In lieu of an abstract, here is a brief excerpt of the content:108 Feminist Studies 46, no. 1. © 2020 by Feminist Studies, Inc. Ellyn Weiss Anna U. Davis: An Introduction Anna U. Davis is a Swedish American mixed-media artist who was born in Lund, Sweden, and currently resides in Washington, DC. Her work draws frequently on the challenges she has faced living in the United States, particularly those related to her gender and racial position. Her husband, who spent (...) most of his childhood in the same Swedish town as Davis, was born to an African American man and a white Swedish woman. When Anna, who is also white, was pregnant with her own son, now in his early twenties, she began drawing what she terms “Frocasians,” people who are neither black nor white and who cannot claim automatic acceptance from either group. As her work explores, the outsider status of Frocasions both presents opportunity and exacerbates insecurity. Davis’s Swedish roots are central to her brand of feminism. She remembers growing up in an environment where notions of gender justice were firmly embedded in the legal framework and norms of the community. Her struggles with inadequate childcare and family leave as a young mother in the United States, then, form a strong undercurrent shaping her critical perspective. Davis also narrates growing up in a household that was emotionally unstable and sometimes difficult to navigate. As an outgrowth of these varied struggles, her art both values and aims to project strength. Davis’s graphic skills anchor her work; she always starts with detailed pieces in black and white. These pieces are then sometimes All images shown in this art essay courtesy of Anna U. Davis. Anna U. Davis, The Modern Plague, 2012. Acrylic, ink pen, and paper collage on canvas, 30 × 26 inches. CLOCKWISE FROM TOP LEFT Anna U. Davis, Bull’s-eye, 2009. Acrylic and paper collage on canvas, 38 × 4 inches. Anna U. Davis, The Edge of Transit, 2008. Acrylic and paper collage on canvas, 12 × 10 inches. Anna U. Davis, Houseman, 2018. Acrylic and ink pen on cut-out birch plywood, 46 × 3 inches. Anna U. Davis, Black Velvet, 201. Inkjet print, 60 × 80 inches. Anna U. Davis, Black Velvet, 201. Inkjet print, 60 × 80 inches. CLOCKWISE FROM TOP LEFT Anna U. Davis, Drop Dead Gorgeous, 2008. Acrylic and paper collage on canvas, 48 × 96 inches. Anna U. Davis, Delivered Agenda, 2009. Acrylic and paper collage on canvas, 20 × 20 inches. Anna U. Davis, Anonymous Was the Woman, 2014. Acrylic and paper collage on canvas, 12 × 10 inches. NEXT PAGE Anna U. Davis, Dr. Jekyll & Mrs. Hyde, 201. Acrylic, ink pen, and paper collage on canvas, 2 × 96 inches. LEFT TO RIGHT Anna U. Davis, Equilibrium, 201. Acrylic, ink pen, and paper collage on canvas, 40 × 40 inches. Anna U. Davis, Second Class, 201. Acrylic, ink pen, and paper collage on canvas, 2 × 96 inches. CLOCKWISE FROM LEFT Anna U. Davis, Shark-cuteri, 2016. Acrylic, ink pen, and paper collage on canvas, 2 × 96 inches. Anna U. Davis, Face-it (part ), 2009. Acrylic and paper collage on canvas, 18 × 24 inches. Anna U. Davis, Love, 201. Acrylic, ink pen, and paper collage on canvas, 2 × 96 inches. CENTER Anna U. Davis, Last Call, 2019. Acrylic, ink pen, and paper collage on canvas, 10 × 10 inches. NEXT PAGE Anna U. Davis, Tripping, 201. Acrylic, ink pen, and paper collage on canvas, 2 × 96 inches. LEFT TO RIGHT Anna U. Davis, The Anonymous Celebrity, 2009. Acrylic and paper collage on canvas, 8 × 44 inches. Anna U. Davis, Tug of War, 2019. Acrylic, ink pen, and paper collage on raw linen, 41 × 31 inches. Anna U. Davis, Undertaker, 2009. Acrylic and paper collage on canvas, 4 × 2 inches. Anna U. Davis, Lena, 2009. Acrylic and paper collage on canvas, 32 × 32 inches. Ellyn Weiss 125 enlarged, either remaining in black and white, becoming the underpinning of a collage, or more recently, turning into a sculptural wall relief. The color in her pieces is typically derived from the brilliant tones of glossy illustrations in so-called “women’s magazines,” which she cuts up for collaging. The content is also influenced by the articles and advertisements in such magazines. Implicit in some of Davis’s... (shrink)

Through critical, qualitative, creative, and arts-integrated approaches, this collection aims to explore the co-curricular capacity of lived experience to re/humanize education.

Beginning from the notion that self is constructed, contributors in Identity Landscapes: Contemplating Place and the Construction of Self are particularly interested in how relationships with place inform identity development. Locating identity inquiry in methodologies that encourage an explicit examination of self (e.g. autoethnography, self-study, autobiographical inquiry, a/r/tography, and reflexive inquiry), authors situate themselves epistemologically and geographically as they explore where place and identity converge. Through critical, qualitative, creative, and arts-integrated approaches, this collection aims to advance thought regarding the myriad (...) ways that place informs identity development. (shrink)

Osiurak and Reynaud argue that cumulative technological culture is made possible by a “non-social cognitive structure” and they offer an account that aims “to escape from the social dimension” of human cognition. We challenge their position by arguing that human technical rationality is unintelligible outside of our species' uniquely social form of life, which is defined by shared intentionality :319–37; Tomasello 2019a, Becoming human: A theory of ontogeny. Cambridge, MA: Belknap Press).

In lieu of an abstract, here is a brief excerpt of the content:preface At a time when access to safe abortions is being curtailed in the United States under the pretext of a response to the COVID-19 pandemic, this Feminist Studies issue focuses on abortion and women’s embodiment. The essays by Melissa Oliver-Powell, Rachel Alpha Johnston Hurst, and Jennifer L. Holland each contribute new approaches to the stillvexed topic of abortion, positioning movements for abortion access in relation to historical and (...) ecological change. Two collaboratively written essays, by South American authors María Fernanda Olarte-Sierra and Tania Pérez-Bustos, and by North American and European authors Laura Bisaillon with six colleagues, both center the body within feminist labor, exploring how the embodied experience of work can also be a site of knowledge-making. Other authors push us to move beyond humanistic understandings of affect and the body in feminist work, as Nathan Snaza shows in a review essay of four recent books engaging “Biopolitics without Bodies.” Poems by Rosetta Marantz Cohen, Darlene Taylor, and Abby Minor also feature experiences of bodily violence and bodily pleasure, while Ellyn Weiss discusses the distinctive representations of bodies in the visual art of Swedish-American artist Anna U. Davis. To close the issue, two News and Views pieces by Pang Laikwan and Sealing Cheng on the recent protest movement in Hong Kong provide two complementary perspectives on living through tumultuous political times. Our next issue will include content directly focused on the COVID-19 pandemic. In the first essay, Melissa Oliver-Powell’s “Beyond the Spectacle of Suffering: Agnès Varda’s L’Une chante, l’autre pas and Rewriting the Subject of Abortion in France” addresses the complexities of anti-​ abortion 8 rhetoric in France. Placing Varda’s 1977 film in the historical context of French nationalistic anxiety about low birthrates in the twentieth century, Oliver-Powell argues that the film deconstructs polarized narratives about abortion. While dominant cultural representations of abortion typically depicted it as the result of female irresponsibility or traumatic victimization, Varda’s film rejects the binary concepts of villain and victim and questions the presumption that women always suffer when exercising their reproductive choice. Oliver-Powell situates Varda alongside the 343 eminent French female cultural leaders who composed a famous 1971 Manifesto publicly declaring themselves criminals for having had illegal abortions and presents simultaneous histories of French feminism and French cinema. Varda’s film constructs a feminist representation of abortion that avoids foregrounding women ’s suffering and instead emphasizes empowerment and solidarity. Its narrative features two women friends, both treated unjustly by France’s abortion laws, who participate in the movement for reform over a fourteen -year span. Varda represents the interplay of motherhood with women ’s lives as a continuum, not a disruptive episode, and she blends documentary -style devices with imaginative musical interludes: she shows actual women seeking abortions in Holland and includes songs about abortion, pregnancy, and motherhood. Oliver-Powell claims that Varda dramatizes unprecedented representations “of female friendship without pathology, of abortion without guilt, death or persecution, of motherhood without objectification....” A second essay, Rachel Hurst’s “Abortion as a Feminist Pedagogy of Grief in Marianne Apostolides’s Deep Salt Water,” proposes that the championing of women’s reproductive rights could better account for the context of difficult emotions and an imperfect world. Hurst uses reproductive justice approaches to critique simplistic rights-based arguments for abortion, premised on liberal concepts of choice and autonomy, which fail to understand the material conditions of poor women and especially women of color. Such analyses emphasize the necessity of rights discourses that include the right to bear and parent one’s own children free from violence and economic hardship, and they advocate the transformative possibilities of acknowledging rather than suppressing women’s ambivalence about their own abortions as well as others’ choices. Hurst describes a collaboration between two contemporary Canadian feminists, writer Marianne Apostolides and visual artist  9 Catherine Mellinger, in their mixed-media text, Deep Salt Water, which is organized according to the weeks of a pregnancy and the aftermath of its termination. Rather than falling back into familiar polarizations for and against “choice,” they use the story of Apostolides’s abortion seventeen years earlier... (shrink)

Imagining Dewey' features productive (re)interpretations of 21st century experience using the lens of John Dewey's 'Art as Experience', through the doubled task of putting an array of international philosophers, educators, and artists-researchers in transactional dialogue and on equal footing in an academic text. This book is a pragmatic attempt to encourage application of aesthetic learning and living, ekphrasic interpretation, critical art and agonist pluralism.0There are two foci: (a) Deweyan philosophy and educational themes with (b) analysis and examples of how educators, (...) artists, and researchers envision and enact artful meaning making. This structure meets the needs of university and high school audiences, who are accustomed to learning about challenging ideas through multimedia and aesthetic experience.00Contributors are: James M. Albrecht, Adam I. Attwood, John Baldacchino, Carolyn L. Berenato, M. Cristina Di Gregori, Holly Fairbank, Jim Garrison, Amanda Gulla, Bethany Henning, Jessica Heybach, David L. Hildebrand, Ellyn Lyle, Livio Mattarollo, Christy McConnell Moroye, Maria-Isabel Moreno-Montoro, Maria Martinez Morales, Stephen M. Noonan, Louise G. Phillips, Scott L. Pratt, Joaquin Roldan, Leopoldo Rueda, Tadd Ruetenik, Leisa Sasso, Bruce Uhrmacher, David Vessey, Ricardo Marin Viadel, Sean Wiebe, Li Xu and Martha Patricia Espiritu Zavalza. (shrink)

Hartmann's way of conceiving what he terms "the actual ought-to-be [aktuales Seinsollen]" offers a fruitful approach to crucial issues in the phenomenology of action. The central issue to be dealt with concerns the description of the "constitution" of anticipated possibilities as projects for action. Such potentialities are termed "problematic possibilities" and are contrasted with "open possibilities" in most of the works published by Husserl as well as those published by Alfred Schutz. The description given by Alfred Schutz emphasized that the (...) projecting of possibilities is thoroughly conditioned by the agent's habitual beliefs and interests. Schutz, however left open the possibility that other factors might affect the projecting of courses of action and the choosing of one in preference to others. In particular, he left open the possibility that the agent come to take an interest in possibilities in which she had no prior interest. More recent interpretations of his position on this issue have left this possibility undiscussed or else excluded it altogether. The result has been that a sort of value nihilism (subjectivism, sociologism, lingualism, anthropologism, historicism, psychologism, etc.) came to prevail in the phenomenological description of actions. A quite parallel development occurred in interpretations of Heidegger's account of actions (of "explication [Auslegung]" in the vocabulary of Being and Time). Heidegger expressly and emphatically rejected most ways of conceiving values in discussing the forms of action (circumspection and assertion in the vocabulary of Sein und Zeit). it came quite generally to be assumed that he subscribed to some variation of nihilism regarding values despite his insistence in the "Letter on Humanism" that he meant no such thing. The literature on this subject has concentrated on Scheler's work to the complete exclusion of Hartmann's axiology — as happened in Parvis Ermad's Heidegger and the Phenomenology of Values, His Critique of Intentionality, foreword by Walter Biernel (Glen Ellyn, Illinois: Torey Press, 1981). Scheler's view entails the radical separation of ontic traits from axiotic traits, of what-is from what-ought-to-be. However, for Hartmann, the set of ontic traits that becomes actual when laws about what-ought-to-be are satisfied is identical with the set of traits that ought-to-be, Hartmann's way of conceiving the ought-to-be, the actual ought-to-be, and the three-fold structure of the finalistic nexus seems entirely compatible with Heidegger's way of thinking about actions. They are also an enlightening supplement to Schutz's description of "Choosing Among Projects of Action" (in Collected Papers 1, 67-96). That description requires that choice and action be thoroughly conditioned by psychological, social, and historical facts about the agent. However, nothing of this vital determination of actions is sacrificed when these concepts that are so central to Hartmann's "absolutism" with respect to values are introduced into the description. Their introduction provides an elaboration that Schutz himself neglected, perhaps due to pragmatic deference to biases which were prevalent then in the intellectual climate of philosophy and sociology in the U.S. Still, the transformation they bring is a significant improvement. It shows decisively that being conditioned linguistically, psychologically, socially, and historically does not enclose the choice among projects within a "Hermeneutical Circle" such as would exclude the possibility that agents be open to previously unfamiliar values. Hartmann's conception of the plurality as well as the absoluteness (or "objectivity") of primary goods allows, put in Kantian terms, that an agent may, however rarely, take an interest in possibilities such as she may never before have been interested in at all; or, put in Heideggerian terms, that she may come to care about possibilities such as have never concerned her before. (shrink)