'Ugly as sin', 'ugly duckling', 'rear its ugly head'. The word 'ugly' is used freely, yet it is a loaded term: from the simply plain and unsightly to the repulsive and even offensive, definitions slide all over the place. Hovering around 'feared and dreaded', ugliness both repels and fascinates. But the concept of ugliness has a lineage that has long haunted our cultural imagination. Gretchen E. Henderson explores perceptions of ugliness through history, from ancient Roman feasts (...) to medieval grotesque gargoyles, from Mary Shelley's monster cobbled from corpses to the Nazi Exhibition of Degenerate Art. Covering literature, art, music and even Uglydolls, Henderson reveals how ugliness has long posed a challenge to aesthetics and taste. Henderson digs into the muck of ugliness, moving beyond the traditional philosophic argument or mere opposition to beauty, and emerges with more than a selection of fascinating tidbits. Following ugly bodies and dismantling ugly senses across periods and continents, [this book] draws on a wealth of fields to cross cultures and times, delineating the changing map of ugliness as it charges the public imagination. Illustrated with a range of artefacts, this book offers a refreshing perspective that moves beyond the surface to ask what 'ugly' truly is, even as its meaning continues to shift. (shrink)

In a companion volume to his "History of Beauty," the renowned philosopher and cultural critic analyzes our attraction to the gruesome, horrific, and repellant in visual culture and the arts, drawing on abundant examples of painting and sculpture, ranging from antiquity to the works of Bosch, Goya, and others.

In _Ugly Freedoms_ Elisabeth R. Anker reckons with the complex legacy of freedom offered by liberal American democracy, outlining how the emphasis of individual liberty has always been entangled with white supremacy, settler colonialism, climate destruction, economic exploitation, and patriarchy. These “ugly freedoms” legitimate the right to exploit and subjugate others. At the same time, Anker locates an unexpected second type of ugly freedom in practices and situations often dismissed as demeaning, offensive, gross, and ineffectual but that provide sources of (...) emancipatory potential. She analyzes both types of ugly freedom at work in a number of texts and locations, from political theory, art, and film to food, toxic dumps, and multispecies interactions. Whether examining how Kara Walker’s sugar sculpture _A Subtlety, Or the Marvelous Sugar Baby_ reveals the importance of sugar plantations to liberal thought or how the impoverished neighborhoods in _The Wire_ blunt neoliberalism’s violence, Anker shifts our perspective of freedom by contesting its idealized expressions and expanding the visions for what freedom can look like, who can exercise it, and how to build a world free from domination. (shrink)

What is ugly? One of the leading cultural commentators of our times, Stephen Bayley, takes us on a journey of discovery by skillfully weaving centuries of art and design history into a discourse on the nature of beauty and its polar opposite, ugly.

In autumn 2009, BBC television ran a natural history series, ‘Last Chance to See’, with Stephen Fry and wildlife writer and photographer, Mark Carwardine, searching out endangered species. In one episode they retraced the steps Carwardine had taken in the 1980s with Douglas Adams, when they visited Madagascar in search of the aye-aye, a nocturnal lemur. Fry and Carwardine visited an aye-aye in captivity, and upon first setting eyes on the creature they found it rather ugly. After spending an (...) hour or so in its company, Fry said he was completely ‘under its spell’. A subsequent encounter with an aye-aye in the wild supported Fry's judgment of ugliness and fascination for the creature: ‘The aye-aye is beguiling, certainly bizarre, for some even a little revolting. And I say, long may it continue being so.’. (shrink)

Jaakko Hintikka (1998) has argued that clarifying the notion of abduction is the fundamental problem of contemporary epistemology. One traditional interpretation of Peirce on abduction sees it as a recipe for generating new theoretical discoveries . A second standard view sees abduction as a mode of reasoning that justifies beliefs about the probable truth of theories. While each reading has some grounding in Peirce's writings, each leaves out features that are crucial to Peirce's distinctive understanding of abduction. I develop and (...) defend a third interpretation, according to which Peirce takes abductive reasoning to lead to judgments about the relative pursuitworthiness of theories; conclusions that can be thoroughly disconnected from assessments of truth-value. Even if Peirce's use of "abduction" slides around among each of these three importantly different though potentially compatible senses, this neglected third understanding makes sense of a large number of Peirce's remarks and directs our attention to the cognitive structure of judgments that scientists face after the initial proposal of explanatory hypotheses but prior to their experimental testing; a topic which should be of interest to contemporary philosophers of science. (shrink)

Once upon a time, an ugly duckling became famous in the history of European fairy tales. It was said of him that "… the poor duckling, who had come last out of his eggshell, and was so ugly, was bitten, pecked, and teased by both ducks and hens.… The poor thing scarcely knew what to do; he was quite distressed because he was so ugly."Today, in America—the mecca of MakeOver culture—that ugly duckling would know exactly what to do: tell (...) his pitiful tale and be accepted for an "Extreme Makeover" that would be televised around the world. This paper uses Foucault's rich and complex notion of an Apparatus to examine how weight-loss surgery is migrating into the repertoire of "normalized procedures" listed under .. (shrink)

Kant’s theory of taste supports his political theory by providing the judgment of beauty as a symbol of the good and example of teleological experience, allowing us to imagine the otherwise obscure movement of nature and history toward the ideal human community. If interpreters are correct in believing that Kant should make room for pure judgments of ugliness in his theory of taste, we will have to consider the implications of such judgments for Kant’s political theory. It is (...) here proposed that pure, formal ugliness symbolizes regressive, counter-teleological trends in nature and history. Kant’s paradoxical stance on the right to rebellion, both condemning and supporting the French Revolution, is interpreted as failing to take into account negative social forces signified by ugliness, and therefore neglecting the role of moral agency in social change. (shrink)

Mikhail Lifshitz is a major forgotten figure in the tradition of Marxist philosophy and art history. _The Crisis of Ugliness_, published here in English for the first time, is a compact broadside against modernism in the visual arts that resists the dogmatic complacencies of Stalinist aesthetics.

For a long time critics of modern and postmodern art have relied on the "Isn't that disgusting" strategy. By that I mean the strategy of pointing out that given works of art are ugly, trivial, or in bad taste, that "a five-year-old could have made them," and so on. And they have mostly left it at that. The points have often been true, but they have also been tiresome and unconvincing—and the art world has been entirely unmoved. -/- Of course, (...) the major works of the twentieth-century art world are ugly. Of course, many are offensive. Of course, a five-year old could in many cases have made an indistinguishable product. Those points are not arguable—and they are entirely beside the main question. The important question is: Why has the art world of the twentieth-century adopted the ugly and the offensive? Why has it poured its creative energies and cleverness into the trivial and the self-proclaimedly meaningless? (shrink)

The first ever English translation of a key text in the history of art and aesthetics.

Kant’s theory of taste, as expounded in the Critique of Judgment, deals exhaustively with judgments of beauty. Rarely does Kant mention ugliness. This omission has led to a debate among commentators about how judgments of ugliness should be explained in a Kantian framework. I argue that the judgment of ugliness originates in the disharmonious play between the faculties of imagination and understanding. Such disharmony occurs when the understanding finds that it cannot in principle form any concept suitable (...) to a representation as it is presented by the imagination. (shrink)

Since the term ‘pragmatism’ was first coined, there have been debates about who is or is not a ‘real’ pragmatist, and what that might mean. The division most often drawn in contemporary pragmatist scholarship is between William James and Charles Peirce. Peirce is said to present a version of pragmatism which is scientific, logical and objective about truth, whereas James presents a version which is nominalistic, subjectivistic and leads to relativism. The first person to set out this division was in (...) fact Peirce himself, when he distinguished his own ‘pragmaticism’ from the broad pragmatism of James and others. Peirce sets out six criteria which defines ‘pragmaticism’: the pragmatic maxim; a number of ‘preliminary propositions’; prope-positivism; metaphysical inquiry; critical common-sensism; and scholastic realism. This paper sets out to argue that in fact James meets each of these criteria, and should be seen as a ‘pragmaticist’ by Peirce’s own lights. (shrink)

ABSTRACT The erudite James Burnet, Lord Monboddo (1714–1799), member of the Select Society and judge of the Court of Session in Edinburgh, wrote many pages about the existence of ‘men with tails’ and orang-utans’ humanity. For this reason, he has been labelled as ‘credulous’, ‘bizarre’ and ‘eccentric’ both by his contemporaries and by modern scholars. In this paper, I shall try to take his argument seriously and to show that throughout his work Monboddo searched for evidence. If his belief in (...) mermaids, giants, blemmyes, daemons and oracles was far from reflecting the general attitude of the age of Enlightenment and empiricism, Monboddo contributed to place the ‘science of man’ at the centre of the map of knowledge, where Nicholas Phillipson had also located it. He did this by emphasising the variety and historicity of humankind and stressing how mind and body changed over time and space. This article is also an attempt to connect Monboddo’s erudite production with his position as a lawyer and a judge. I shall argue that Monboddo founded his ‘science of man’ on an epistemology of legal evidence, employing the same inquisitive approach that he practiced at the bar and in the court. (shrink)

This book is a personal history and apology, written by one of this century's most distinguished small mammal ecologists, for a life in science spent working on problems for which no final dramatic conclusion was reached. Included along the way are some important anecdotes and history about Charles Elton and the pioneering work at the Bureau of Animal Population at Oxford University, from which most of modern population ecology has grown, and insigts on the philosophy and practice of (...) science. (shrink)

Peter Kosso discusses the weak gravitational lensing observations of the Bullet Cluster and argues that dark matter can be detected in this system solely through the equivalence principle without the need to specify a full theory of gravity. This paper argues that Kosso gets some of the details wrong in his analysis of the implications of the Bullet Cluster observations for the Dark Matter Double Bind and the possibility of constructing robust tests of theories of gravity at galactic and greater (...) scales. Even the Bullet Cluster evidence is not sufficiently detailed to allow precision tests of General Relativity that would distinguish it from its rivals at galactic and greater scales. Taking into account the total evidence available, we cannot rule out “ugly” solutions to the dynamical discrepancy in astrophysics that involve both a large quantity of dark matter and a theory of gravity whose predictions differ significantly from those of General Relativity for interactions taking place at galactic and greater scales. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Why Was There So Much Ugly Art in the Twentieth Century?David E.W. Fenner (bio)Two of the most common challenges that teachers of aesthetics have to face in their classrooms today are, first, the presumption that since "beauty is in the eye of the beholder" and "there's no disputing taste," every aesthetic judgment is as good as every other one. The second is that the content from which aesthetics courses (...) commonly draw for examples and for the impetus for contemporary philosophy of art theory — and by this I mean art from Post-Impressionism to the present — is made up of "stuff I could have done when I was four years old." The substance behind these two challenges — that aesthetic judgment is highly or perhaps exclusively subjective and that twentieth-century art does not demonstrate care of technique, or that it is simply ugly1 — are intimately connected. This connection is the focus of this essay. The answer to the question, "why was there so much ugly art in the twentieth century?" may be that the tradition of showing beauty to be a highly or purely subjective phenomenon renders beauty apparently less valuable than if it were objective in character, and so we have, in the twentieth century, a move away from the production in art of beauty to that which is simply "artistic" or "artistically important." I want to come at this thesis not through a discussion about either the location or the reality of aesthetic properties. Instead, I want to focus on the "ugly art."Students in aesthetics courses tend to take one of three positions regarding modern art, and by "modern art," I mean art from Post-Impressionism to the present, including Pop Art, Dada, Surrealism, Abstract Expressionism, and the rest: 1. They deny the value of it, together with claims about their artistic abilities during their kindergarten years. 2. Because they know something of the history and progression of twentieth-century art, or because they have an experiential basis for approaching modern art conceptually, they actually appreciate and value it. 3. They think they ought to value it (the way so many of us feel when buying our very first tickets to the [End Page 13] opera), and they do their level best to act in accord with what they see as their aesthetic obligation. Those of the first camp will probably voice their positions early in aesthetics courses, and at that point the challenge for the teacher is raised.Teachers in aesthetics courses, when faced with this challenge, tend, I think, to take one of three positions in response: 1. They use the authority of their office to stifle the discussion, hoping that students of the first camp will over the course of time and exposure at least move to being students of the third camp. 2. They embrace the complaint, discuss it, give it due regard (after all, those teachers probably read Tom Wolfe's The Painted Word themselves), but leave the final decision about the merit of modern art open and unsettled. I presume this is the majority position, at least in philosophical courses of aesthetics. 3. They seek to impart to students — through exposure, discussion, and the eloquence they can muster of descriptions of their own positive, valuable experiences with modern art — some sense of its merit. In this essay, I will sketch out yet another way to deal with the challenge, one that focuses on the history of aesthetics itself.The HistoryThe history of aesthetic judgment — that is, with the correctness of particular aesthetic judgments — begins with Aristotle.2 He said that an object is aesthetically good — or, actually, beautiful — if it is ordered, symmetrical, and definite, and if it demonstrates each of these virtues to a high degree.3 This analysis we call "formal," because it focuses on the presence in the object of certain aesthetic properties, ones that have to do with the form (as distinguished from the content) of the object. The more basic the cited aesthetic properties, the better, because the strength of the power of one's judgment, along with the power of evidence that can be cited in support of that judgment... (shrink)

Plato seems to countenance both positive and negative Forms, that is to say, both good and bad ones. He may not say so outright, but he invokes both and rejects neither. The apparent finality of this impression creates a lack of direct interest in the subject: Plato scholars do not give negative Forms much thought except as the prospect relates to something else they happen to be doing. Yet when they do give the matter any thought, typically for the sake (...) of a prior concern, they try either to support the textual evidence or to contradict it, indicating that the evidence does not stand on its own. The purpose of this paper is to determine why they tend to affirm or deny the obvious, how they try to confirm or dispute it, and what this says about Plato’s position. The strategic vehicle is a comparative case study. The confirmation comes from Debra Nails (2013), who needs to embrace negative Forms to demonstrate that the unhypothetical first principle of the all is not identical to the Form of the good, something she cannot do unless Plato recognizes negative Forms. The contradiction comes from Holger Thesleff (2013), who needs to reject negative (Ideal) Forms because the defining feature of his (Ideal) Forms is the possession of positive intrinsic value, which cannot be predicated of anything negative. Despite defending opposite views, or perhaps because of this, they jointly make up for any lack of interest in the scholarly community. I appreciate both yet side with Thesleff. (shrink)

What is beauty? What is art? What is taste and fashion? Is beauty something to be observed coolly and rationally or is it something dangerously involving? So begins Umberto Eco's intriguing journey into the aesthetics of beauty, in which he explores the ever-changing concept of the beautiful from the ancient Greeks to today. While closely examining the development of the visual arts and drawing on works of literature from each era, Eco broadens his enquiries to consider a range of concepts, (...) including the idea of love, the unattainable woman, natural inspiration versus numeric formulas, and the continuing importance of ugliness, cruelty, and even the demonic. Professor Eco takes us from classical antiquity to the present day, dispelling many preconceptions along the way and concluding that the relevance of his research is urgent because we live in an age of great reverence for beauty, "an orgy of tolerance, the total syncretism and the absolute and unstoppable polytheism of Beauty." In this, his first illustrated book, Professor Eco offers a layered approach that includes a running narrative, abundant examples of painting and sculpture, and excerpts from writers and philosophers of each age, plus comparative tables. A true road map to the idea of beauty for any reader who wishes to journey into this wonderful realm with Eco's nimble mind as guide. (shrink)

We are such stuff / As dreams are made on.Only an American could have seen in a single lifetime the growth of the whole tragedy of civilization from the primitive forest clearing. An Englishman grows up to think that the ugliness of Manchester and the slums of Liverpool have existed since the beginning of the world.LUCA [Last Universal Common Ancestor], the researchers say, was the common point of origin for three great domains of life—bacteria, archaea, which are bacteria-like single-cell (...) prokaryotes, and the eukaryotes, a domain that includes all plants and animals [including Homo sapiens].Our language evolved as a way of gossiping. According to this theory … [s]ocial cooperation is our key for survival and... (shrink)

Originally published in 1971, this volume examines the relationship between the history and sociology of education. History does not stand in isolation, but has much to draw from and contribute to, other disciplines. The methods and concepts of sociology, in particular, are exerting increasing influence on historical studies, especially the history of education. Since education is considered to be part of the social system, historians and sociologists have come to survey similar fields; yet each discipline appears to (...) have its own aims and methodology. (shrink)

There is a common tradition in European education going back to the Middle Ages which long played a part in providing the curriculum of schools which catered both for the wealthy and for able sons of less well-to-do families. Originally published in 1974, this volume examines the relationship between education and society in the different countries of Europe from which differences in tradition and practice emerge. The countries discussed include: France, Germany, the former Soviet Union, Poland and Sweden.

Originally published in 1972, this book is concerned with education as part of a larger social history. Chapters include: The roots of Anglican supremacy in English education The Board schools of London The use of ecclesiastical records for the history of education Topographical resources: private and secondary education from the sixteenth to the twentieth century.

Part of the educational system in England has been geared towards the preparation of particular professions, while the identity and status of members of some professions have depended significantly on the general education they have received. Originally published in 1973, this volume explores the interaction between education and the professions. It also looks at the education of the main professions in sixteenth century England and at how twentieth century university teaching is a key profession for the training of new recruits (...) to other professions. (shrink)

Despised since ancient times, ugliness gains unprecedented appeal among early modern writers and painters. Subverting all norms, they value the beauty of deformity and, by extolling the paradoxical pleasure of mimesis, they helped create a new subjectivity.

Politics and Modernity provides a critical review of the key interface of contemporary political theory and social theory about the questions of modernity and postmodernity. Review essays offer a broad-ranging assessment of the issues at stake in current debates. Among the works reviewed are those of William Connolly, Anthony Giddens, J[um]urgen Habermas, Alasdair MacIntyre, Richard Rorty, Charles Taylor and Roy Bhaskar. As well as reviewing the contemporary literature, the contributors assess the historical roots of current problems in the works of (...) Nietzsche and Max Weber. (shrink)

The Russian philosopher and cultural theorist Mikhail Bakhtin has traditionally been seen as the leading figure in the group of intellectuals known as the Bakhtin Circle. The writings of other members of the Circle are considered much less important than his work, while Bakhtin's achievement has been exaggerated in proportion to the downgrading of the thinkers with whom he associated in the 1920s. This volume, which includes new translations and studies of the work of the most important members of the (...) Circle, sets out to correct the distortions in the established representations of its activity. The original contributions to literary and linguistic theory made by Valentin Voloshinov and Pavel Medvedev (but frequently credited to Bakhtin) are assessed, and the distinctiveness of their approaches is highlighted. (shrink)

The Pythagorean Life is the most extensive surviving source on Pythagoreanism, and has wider interest as an account of the religious aspirations of late antiquity. "...admirably clear translation and sensible introduction"--The Classical...

Du succès de la saga Moi, moche et méchant au #chubby sur Instagram, du selfie au photo-dumping, du désormais incontournable pull moche arboré à Noël à l’improbable design de la Citroën AMI, il semble qu’aujourd’hui, la Beauté avec un grand B ne soit plus en vogue. Normatif et dictatorial, artificiel et trompeur, prompt à l’asservissement et au rejet du différent, le Beau est alors à présent accusé d’intolérance et de propagandisme. Dès lors, la Laideur est devenue en art une source (...) intarissable de liberté esthétique et une critique de la culture du Surhomme des dictatures du XXe siècle avant que le moche ne soit considéré comme une réponse à l’hyperesthétisme impersonnel et deshumanisant des mass mediaDepuis, l’heure semble désormais à l’élaboration d’une esthétique de l’inesthétique et à la banalisation comme à la valorisation de nos penchants les plus abjects. De cette tendance émerge une nouvelle valeur qui ne prétend plus à la transcendance du Beau ni au choc cathartique du Laid, mais revendique une mocheté assumée et militante. Un moche qui entend déconstruire les anciennes hiérarchies esthétiques et morales au profit d’une vision résolument inclusive. Un néo-moche que nous qualifions d’imbeau, et dont ce livre propose d’analyser la genèse artistique autant que sociétale. (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us (...) to reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

In a series of recent papers Francesco Orilia has presented an argument for the moral desirability of presentism. It goes, in brief, as follows: since the existence of painful events is morally undesirable, presentism, which denies that past painful events (tenselessly) exist, is morally more desirable than non-presentism, which instead affirms that past painful events (tenselessly) exist. An objection against this argument, which has already been taken into consideration by Orilia, is the ugly history objection or radical objection: what (...) really matters in the moral appraisal of a world is the history of it, and since the presentist and the non-presentist versions of our world share the same ugly history, they are morally on a par. This paper aims at corroborating this objection and defending it from Orilia’s criticisms. This will be done by bringing into play various thought experiments and a distinction between relevance (of an event or a fact about the occurrence of an event) to the moral evaluation of a world and moral (and psychological) involvement (in an event or in a fact about the occurrence of an event). (shrink)

In this consensus report by a diverse group of academics who conduct and/or are concerned about social and behavioral genomics (SBG) research, the authors recount the often‐ugly history of scientific attempts to understand the genetic contributions to human behaviors and social outcomes. They then describe what the current science—including genomewide association studies and polygenic indexes—can and cannot tell us, as well as its risks and potential benefits. They conclude with a discussion of responsible behavior in the context of SBG (...) research. SBG research that compares individuals within a group according to a “sensitive” phenotype requires extra attention to responsible conduct and to responsible communication about the research and its findings. SBG research (1) on sensitive phenotypes that (2) compares two or more groups defined by (a) race, (b) ethnicity, or (c) genetic ancestry (where genetic ancestry could easily be misunderstood as race or ethnicity) requires a compelling justification to be conducted, funded, or published. All authors agree that this justification at least requires a convincing argument that a study's design could yield scientifically valid results; some authors would additionally require the study to have a socially favorable risk‐benefit profile. (shrink)

The presence of an aesthetic judgment in an anthropological, scientific study may seem incongruous. One would think that the human body should be approached only in terms of ‘objective’ criteria of functionality and measurable proportions. However, to our surprise, two adjectives keep coming up in Buffon’s description of the human body in his Histoire naturelle de l’Homme: ‘beautiful’ and ‘ugly’. To be sure, it is possible to determine that a person is beautiful through measurements and observations of bodily and facial (...) symmetry, but most often, these proportions are not enough to explain why we find a person beautiful. How does Buffon think about beauty when he writes the Natural History of Man? Does he understand it as a classificatory tool based on an objective system of measurement, or does he use his personal preference? On what criteria does he judge the physical aspect of the varieties in the human species? (shrink)