"The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy (...) objects and the contentiousness of deploying kitsch as a term in these debates. The buzzing activity of the internet provides much of the raw material for his arguments. Through his close reading of both the works themselves and the public response to them, Emmer once more focuses attention on the competing and overlapping attitudes towards kitsch and the way in which it and its semantic cousins remain a viable and valuable resource with which to police the borders that surround the artworld. Ultimately, his contribution further grounds a wider premise operative in this collection--namely, that a simple and rigid dichotomy of kitsch and (high) art does not and indeed cannot capture the elusive and mercurial nature of kitsch." --from the editor's introduction. (shrink)

What is kitsch? The varieties of phenomena which can fall under the name are bewildering. Here, I focus on what has been called “traditional kitsch,” and argue that it often turns on the emotional effect specifically captured by Edmund Burke’s concept of “beauty” from his 1757 'A Philosophical Enquiry into the Sublime and Beautiful.' Burkean beauty also serves to distinguish “traditional kitsch” from other phenomena also often called “kitsch”—namely, entertainment. Although I argue that Burkean beauty in domestic decoration allows for (...) us to see “traditional kitsch” as resting on natural and even healthy impulses, I also argue that an all-too-common political function of traditional kitsch directs it to dangerous ends. (shrink)

"C.E. Emmer’s article addresses the ongoing debates over how to classify and understand kitsch, from the inception of postmodern culture onwards. It is suggested that the lack of clear distinction between fine art and popular culture generates 'approaches to kitsch – what we might call 'deflationary' approaches – that conspire to create the impression that, ultimately, either 'kitsch' should be abandoned as a concept altogether, or we should simply abandon ourselves to enjoying kitschy objects as kitsch.' The author offers (...) critical insight into 'kitschy' items made in response to 9/11 and tries to examine the reception of these products through scrutinizing a selection of remarks posted by the Internet commentators." Editor Justyna Stępień's summary from her introduction to Redefining Kitsch and Camp in Literature and Culture (Newcastle upon Tyne: Cambridge Scholars Publishing, 2014), p. 2. The final pages of the chapter analyze the seemingly sweet landscape paintings of Thomas Kinkade to show the spirit of revenge their Christian coding can conceal. (shrink)

"The writer discusses the concept of kitsch. Having reviewed a variety of approaches to kitsch, he posits an historical conception of it, connecting it to modernity and defining it as a coping-mechanism for modernity. He thus suggests that kitsch is best understood as a tool in the struggle against the particular stresses of the modern world and that it uses materials at hand, fashioning from them some sort of stability largely through projecting images of nature, stasis, and continuity. He discusses (...) the relation of kitsch to fine art, arguing that fine art also has as its primary function a counter-movement to modernity. He suggests that the main difference between fine art and kitsch is that fine art, as well as its emotional function, also involves a reception context that allows it to assume an intellectual task. Among the writer's conclusions, he finds that positing a stark or absolute contrast between kitsch and fine art is unjustifiable as both have the same roots and objectives." [WilsonWeb]. (shrink)

Examining the images of war displayed on front pages of the New York Times, David Shields makes the case that they ultimately glamorize military conflict. He anchors his case with an excerpt on the delight of the sublime from Edmund Burke’s aesthetic theory in A Philosophical Enquiry. By contrast, this essay considers violence and warfare using not the Burkean sublime, but instead the beautiful in Burke’s aesthetics, and argues that forming identities on the beautiful in the Burkean sense can ultimately (...) shut down dialogue and feed the lust for violence and revenge. (shrink)

Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art.

Benoit B. Mandelbrot, when discussing the global appeal of fractal patterns and designs, draws upon examples from across numerous world cultures. What may be missed in Mandelbrot's presentation is Immanuel Kant’s precedence in recognizing this sort of widespread beauty in art and nature, fractals avant la lettre. More importantly, the idea of the fractal may itself assist the aesthetic attitude which Kantian beauty requires. In addition, from a Kantian perspective, fractal patterns may offer a source for a sense of community (...) with humanity. I close with an excursus on the more sombre note of Kantian sublimity which fractals can also present. (shrink)

It might at first seem that the senses (the five traditionally recognized conduits of outer sense) would have very little to contribute to an investigation of Kant's aesthetics. Is not Kant's aesthetic theory based on a relation of the higher cognitive faculties? Much however can be revealed by asking to what degree sight is essential to aesthetic judgment (of beauty and the sublime) as Kant describes it in the 'Critique of Judgment.' Here the sublime receives particular attention.

The book has three main parts. Part 1, “Painting the Land”, opens by considering the emergence of landscape painting in the West from decorative pictures and then displays the possibilities for the sublime which were opened up when landscape painting per se had finally emerged. The painters who receive the most detailed discussion are Fitz Hugh Lane, Thomas Cole, and John Constable. Casey notes that the recent appearance of landscape painting in Western culture is a local phenomenon, and accordingly ends (...) part 1 with a comparatively brief—but necessary and illuminating—treatment of Northern Sung landscape works from the tenth to twelfth centuries A.D.. The main philosophical concern of part 1 is to make clear what it is that representations of landscapes do, and how the task of relocating the all-encompassing landscape in a restricted representational space navigates among the decorative, the painterly, and the topographic. (shrink)

This review of Elizabeth Anderson’s Hijacked: How Neoliberalism Turned the Work Ethic against Workers and How Workers Can Take It Back (Cambridge University Press, 2023), sets out Anderson’s main claim, that the original Protestant work ethic split into two different work ethics, the conservative (anti-worker) and the progressive (pro-worker) work ethics, and that the conservative work ethic “hijacked” the work ethic, turning it into a tool for the rich to dominate and harm workers and the poor. Conservative thinkers have, Anderson (...) argues, managed to discredit, erase, or deceptively coöpt proponents of the progressive work ethic; her book accordingly aims to re-introduce readers to the suppressed, centuries-long progressive work ethic tradition, and to offer it as a tool for critiquing and counteracting the most recent incarnation of the conservative work ethic, neoliberalism. In the course of doing so, Anderson also re-categorizes a number of supposed heroes of the conservative work ethic, such as John Locke and Adam Smith, as in fact proponents of the progressive work ethic. The review gives attention to each chapter of Anderson’s book. (shrink)

Investigates the resolution of contradictions and ambiguous derogations in a code, by means of the imposition of partial orderings. Although formulated as a study in the logic of norms, it provided the initial ideas for work on the logic of theory (or belief) change, developed by the authors in a series of papers by the authors and Peter Gardenfors beginning in 1985.

Because spaying/neutering animals involves the harming of some animals in order to prevent harm to others, some ethicists, like David Boonin, argue that the philosophy of animal rights is committed to the view that spaying/neutering animals violates the respect principle and that Trap Neuter Release programs are thus impermissible. In response, I demonstrate that the philosophy of animal rights holds that, under certain conditions, it is justified, and sometimes even obligatory, to cause harm to some animals in order to prevent (...) greater harm to others. As I will argue, causing lesser harm to some animals in order to prevent greater harm to others, as TNR programs do, is compatible with the recognition of the inherent value of the ones who are harmed. Indeed, we can, and do, spay/neuter cats while acknowledging that they have value in their own right. (shrink)

This chapter is written for an audience that is not intimately familiar with the philosophy of animal consumption. It provides an overview of the harms that animals, the environment, and humans endure as a result of industrial animal agriculture, and it concludes with a defense of ostroveganism and a tentative defense of cultured meat.

Traduçáo: Normal 0 21 false false false MicrosoftInternetExplorer4 Retirado de Carlos E. Caorsi (Ed.). Ensayos sobre Strawson . Universidad de la República/Faculdad de Humanidades y Ciencias de la Educación, Montevidéo,1992, p. 55-71.

An adequate theory of rights ought to forbid the harming of animals to promote trivial interests of humans, as is often done in the animal-user industries. But what should the rights view say about situations in which harming some animals is necessary to prevent intolerable injustices to other animals? I develop an account of respectful treatment on which, under certain conditions, it’s justified to intentionally harm some individuals to prevent serious harm to others. This can be compatible with recognizing the (...) inherent value of the ones who are harmed. My theory has important implications for contemporary moral issues in nonhuman animal ethics, such as the development of cultured meat and animal research. (shrink)

It is common for conservationists to refer to non-native species that have undesirable impacts on humans as “invasive”. We argue that the classification of any species as “invasive” constitutes wrongful discrimination. Moreover, we argue that its being wrong to categorize a species as invasive is perfectly compatible with it being morally permissible to kill animals—assuming that conservationists “kill equally”. It simply is not compatible with the double standard that conservationists tend to employ in their decisions about who lives and who (...) dies. (shrink)

Background: Breaches of publication ethics such as plagiarism, data fabrication and redundant publication are recognised as forms of research misconduct that can undermine the scientific literature. We surveyed journal editors to determine their views about a range of publication ethics issues. Methods: Questionnaire sent to 524 editors-in-chief of Wiley-Blackwell science journals asking about the severity and frequency of 16 ethical issues at their journals, their confidence in handling such issues, and their awareness and use of guidelines. Results: Responses were obtained (...) from 231 editors (44%), of whom 48% edited healthcare journals. The general level of concern about the 16 issues was low, with mean severity scores of <1 (on a scale of 0–3) for all but one. The issue of greatest concern (mean score 1.19) was redundant publication. Most editors felt confident in handling the issues, with <15% feeling “not at all confident” for all but one of the issues (gift authorship, 22% not confident). Most editors believed such problems occurred less than once a year and >20% of the editors stated that 12 of the 16 items never occurred at their journal. However, 13%–47% did not know the frequency of the problems. Awareness and use of guidelines was generally low. Most editors were unaware of all except other journals’ instructions. Conclusions: Most editors of science journals seem not very concerned about publication ethics and believe that misconduct occurs only rarely in their journals. Many editors are unfamiliar with available guidelines but would welcome more guidance or training. (shrink)

The notion that people should be rewarded proportionately to how hard they work is a common one, and has recently been supported, e.g., by James Sterba on Rawlsian grounds. Such arguments involve the difficulty that inequality of outcome is to be justified by a supposed equality of opportunity, yet it is obvious that, if the gap between winners and losers in a game becomes too wide, then the person in a Rawlsian original position (or any other objective observer) would not (...) consider equality of opportunity sufficient to justify the change of losing so severely; moreover, he might prefer not to play that particular game for such high stakes. (shrink)