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\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Feminist Art in U.S. began at CSU, Fresno!\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 The nation}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 s first feminist art education program took place at }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/California_State_University,_Fresno" \\o "California State University, Fresno"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs24 California State University, Fresno}}}{\hich\af1\loch\f1\fs24  in California in 1970 when fifteen female students and instructor }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Judy_Chicago" \\o "Judy Chicago"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs24 Judy Chicago}}}{\hich\af1\loch\f1\fs24  helped pioneer key strategies of the early feminist art movement, including collaboration, the use of }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 female technologies}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24  like costume, performance, and video, and early forms of media critique. Judy Chicago, with painter }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Miriam_Schapiro" \\o "Miriam Schapiro"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs24 Miriam Schapiro}}}{\hich\af1\loch\f1\fs24 , went on to found the feminist art program at California Institute of the Arts (CalArts) in Los Angeles, whose students created, in 1972, a month-long installation in an empty house, entitled }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Womanhouse" \\o "Womanhouse"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs24 Womanhouse}}}{\hich\af1\loch\f1\fs24 .}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24   Wikipedia }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Feminist Art Movement}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Miriam Schapiro. Gates of Paradise, 1980. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Peg Brand }{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 Feminism in Context}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28   1993, Brand is Associate Professor of Philosophy, Indiana University\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Brand}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s books\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1\fs28 Beauty Revisited }{\hich\af1\loch\f1\fs28 (forthcoming Indiana University Press) \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 articles in }{\i\hich\af1\loch\f1\fs28 100,000 Years of Beauty}{\hich\af1\loch\f1\fs28  (Editions-Babylon, Paris 2009),\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 article in}{\i\hich\af1\loch\f1\fs28  The Blackwell Guide to Feminist Philosophy}{\hich\af1\loch\f1\fs28  (2007), \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Editor }{\i\hich\af1\loch\f1\fs28 Beauty Matters}{\hich\af1\loch\f1\fs28  (Indiana University Press 2000),\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Editor with Carolyn Korsmeyer }{\i\hich\af1\loch\f1\fs28 Feminism and Tradition in Aesthetics }{\hich\af1\loch\f1\fs28 (Penn State Press 1995),\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Peg Brand work for Oct. 2010 show }{\loch\af1\hich\f1\fs18 \'93}{\hich\af1\loch\f1\fs18 Scientific Inquiry, Artistic Expression: IU School of Medicine Juried Art Exhibition\line Values and Virtues\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Stolnitz and Interpretive Criticism\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Jerome Stolnitz in the 1950s argued that criticism (talk about art) can be used to give reasons for supporting value-judgments, to describe, to explain, or to clarify a work of art. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 He commented on the need for interpretive criticism during the time of Abstract Expressionism, Abstract Formalism, John Cage, Robert Rauschenberg and the Minimalists. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs24 Robert Rauschenberg}{\hich\af1\loch\f1\fs24 \line }{\i\hich\af1\loch\f1\fs24 Pilgrim}{\hich\af1\loch\f1\fs24 \line 1950\line \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs20 John Cage, }{\b\loch\af1\hich\f1\fs20 \'93}{\b\hich\af1\loch\f1\fs20 Williams Mix}{\b\loch\af1\hich\f1\fs20 \'94}{\b\hich\af1\loch\f1\fs20 , [composition for tape recorder] 1952}{\hich\af1\loch\f1\fs20 \line }{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 During that time interpretive criticism took on a life of its own. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 However he could not have predicted, nor would he have approved of, contemporary critics}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1  emphasis on theory.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 The Aesthetic Attitude\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Stolnitz believed one perceives a work aesthetically while maintaining an aesthetic attitude, }{\b\hich\af1\loch\f1 submissively }{\hich\af1\loch\f1 enjoying the work of art for its own sake, without criticism.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The aesthetic experience then gives rise to evaluative statements like }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 This is a good work of art.}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 For Stolnitz, }{\i\hich\af1\loch\f1 only after}{\hich\af1\loch\f1  giving up the aesthetic attitude can the viewer adopt a critical attitude towards the work, to probe and analyze it.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 What is interesting [for Brand] is the interaction of aesthetic valuing and the activity of providing reasons for these values.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Critique of Stolnitz\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Stolnitz however seems inconsistent when he says }{\b\hich\af1\loch\f1 both }{\hich\af1\loch\f1 that criticism can enhance the appreciation of a work of art }{\b\hich\af1\loch\f1 and}{\hich\af1\loch\f1  that criticism is irrelevant to appreciation. \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 He thought that criticism must illuminate our understanding of the work of art }{\i\hich\af1\loch\f1 and }{\hich\af1\loch\f1 provide criteria of evaluation.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Some forms of criticism might emphasize the origins of the work (contextual criticism), others the effects, and others the structure.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Stolnitz on Contextual Criticism\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Stolnitz thought that contextual criticism, such as Marxist and Freudian criticism, which focus on social, historical and psychological context, }{\i\hich\af1\loch\f1 can sometimes }{\hich\af1\loch\f1 be useful in interpretation.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 But it is highly suspect because it can swamp and distort aesthetic evaluation since it fails to attend to purely artistic elements.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 [Stolnitz is in the tradition of Clive Bell}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s formalism here]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Stolnitz:  Contextual interpretation not good for evaluation\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 He thought that contextual criticism fails to provide criteria of evaluation, and improperly moves into evaluation. \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 These judgments are }{\i\hich\af1\loch\f1 moral}{\hich\af1\loch\f1 , not aesthetic.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 They wrongly transform concepts used to }{\i\hich\af1\loch\f1 describe}{\hich\af1\loch\f1  a work into ones used to }{\i\hich\af1\loch\f1 judge }{\hich\af1\loch\f1 it.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 So Stolnitz was really only claiming that }{\i\hich\af1\loch\f1 some}{\hich\af1\loch\f1  forms of criticism enhance aesthetic appreciation. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Stolnitz:  moral and aesthetic judgment are separate!\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 He believed that only non-contextual criticism is acceptable as evaluative criticism.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 He thought that only internal data [things you could observe just by looking at the work of art] may be used for aesthetic judgments.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 From his argument [which Brand analyzes in more detail] he concludes that only aesthetic judgments determine aesthetic value.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 Context}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  defined\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Stolnitz  }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 The }{\loch\af1\hich\f1 \'91}{\hich\af1\loch\f1 context}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1  of the work of art includes the circumstances in which the work originated, its effects upon society, and, in general, all the relations and interactions of the work with other things, apart from its aesthetic life.}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Contextual criticism excludes the intrinsic, internal, purely aesthetic considerations.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The aesthetic experience under the aesthetic attitude causes us to appreciate the object in isolation.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Monroe Beardsley on isolationists vs. }{\hich\af1\loch\f1\fs40 contextualists}{\hich\af1\loch\f1\fs40 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Monroe Beardsley [an aesthetician important in the 1960s-80s], like }{\hich\af1\loch\f1\fs28 Stolnitz}{\hich\af1\loch\f1\fs28 , [and Bell] distinguished the isolationist, who believes that to appreciate art we need only experience it, from the }{\hich\af1\loch\f1\fs28 contextualist}{\hich\af1\loch\f1\fs28 , who stresses how historical context makes the art experience richer.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 For Beardsley, moral judgments are only side effects and are irrelevant to aesthetic experience.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Aestheticism vs. Moralism\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 He thought contextual data is irrelevant to aesthetic value.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Brand uses Feminist theory  (a contextualist theory) to argue against the claim that }{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 only aesthetic judgments determine aesthetic value.}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28   \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Beardsley }{\i\hich\af1\loch\f1\fs28 himself }{\hich\af1\loch\f1\fs28 rejected Aestheticism as a fanatical reaction of those who forget that human products must find their value in the }{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 whole context of human life.}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Moralism\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Moralism is the view in which aesthetic objects are judged solely or chiefly with respect to moral standards.  \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Argument from Reduction:  all critical evaluation is reduced to moral evaluation.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Argument from Correlation:  grants there is a separate form of aesthetic value, but makes it dependent upon or correlated with moral value: a work of low moral value is a work of low aesthetic value, e.g. pornography.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 If the argument from correlation is plausible then possibly contextual factors that determine so-called moral value }{\i\hich\af1\loch\f1 are }{\hich\af1\loch\f1 relevant in assessing the aesthetic value of a work of art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 First phase of feminist theory.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 In the first phase of feminist theorizing about the arts feminists sought to recapture the past by exposing denigrating stereotypes of women in works by males, and\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 gynocritics}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28  focused on discovering female authors and artists previously excluded from the canon, and finding commonalities in female culture in artistic modes.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs16 course blog for GWSS 3307: Feminist Film/Media Studies, in the }{\field{\*\fldinst HYPERLINK "http://gwss.umn.edu/"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs16 Women, Gender, and Sexuality Studies Department}}}{\hich\af1\loch\f1\fs16  at the University of Minnesota, Fall 2007. [author unknown}{\loch\af1\hich\f1\fs16 \'85}{\hich\af1\loch\f1\fs16 accessed May 12, 2010]}{\hich\af1\loch\f1\fs40  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs18 \'93}{\hich\af1\loch\f1\fs18 It can be assumed that the woman is unbothered by the presence of the domineering man. This shows how it}{\loch\af1\hich\f1\fs18 \'92}{\hich\af1\loch\f1\fs18 s supposed to be ok for a woman to be the subordinate to the man. The man is holding a bottle of Skyy in one hand and two glasses in the other. It looks as though he is clenching the objects in his hand and it can be inferred that the woman below him has no choice but to have drinks with him. This shows dominance as being sexy, and that women have no authority over the men. In terms of the woman she is thin with full breasts, and presents the idea that women should live up to this standard to be attractive to men.}{\loch\af1\hich\f1\fs18 \'94}{\hich\af1\loch\f1\fs18  \line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\i\hich\af1\loch\f1\fs18\lang2057 Susanna and the Elders}{\hich\af1\loch\f1\fs18\lang2057 ; \line Jacopo TINTORETTO; 1555 oil on canvas; Kunsthistorisches Museum, Vienna}{\hich\af1\loch\f1\fs18 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Re-discovered female artists}{\loch\af1\hich\f1\fs24 \'85}{\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs18 Judith Leyster}{\loch\af1\hich\f1\fs18 \'92}{\hich\af1\loch\f1\fs18 s }{\i\hich\af1\loch\f1\fs18 Self-portrait}{\hich\af1\loch\f1\fs18  (c. 1630, oil on canvas, National Gallery of Art, Washington, \line Gift of Mr. and Mrs. Robert Woods Bliss, 29 3/8 x 25 5/8 in.).}{\hich\af1\loch\f1\fs28  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Questioning Universal Criteria\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Questioning the dominating ideology of }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 Great Masters}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  led feminists to question how universal and objective criteria of aesthetic value could yield such a biased set of paradigms.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Present phase of feminism.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The present phase of feminism shows interest in metacriticism (theory about criticism) and metatheory (theory about theory).\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 It seeks to construct an alternative to dominating male criteria for interpreting and evaluating art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 When this involves rejecting the greatest }{\i\hich\af1\loch\f1\fs28 master}{\hich\af1\loch\f1\fs28 pieces of all time the notion of aesthetic value itself is at stake.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 What is feminist theory?\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Many say that feminism is untheorizable: that there can be no definition of it.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The very idea of defining something is thought to be phallocentric [Focused on or concerned with the phallus or penis as a symbol of male dominance. Centered on men or on a male viewpoint, especially one held to entail the domination of women by men.]  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 But feminists do try to characterize the feminist framework for interpreting and judging works of art. [So they do theorize!]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs32 Guiding Principles of Feminism\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Janet Richards, 1980, writes that a feminist is committed to participation in consciousness-raising groups, non-hierarchical organization, the inherent equality of the sexes, and the idea that the enslavement of women is the root of all oppression.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Brand says a feminist seeks to undo wrongs of previous oppression [esp. of women, I assume] and prevent similar occurrences from happening in the future.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Is feminist theory or feminist art propaganda?\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs24 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs24 Works of art can be an expressive and effective means of actively communicating [feminist] principles.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs24 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs24 Feminism not only advances a world view but prescribes a way of life:  it is an ideology [}{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 body of ideas reflecting the social needs and aspirations of an individual, group, class, or culture}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24 ] \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs24 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs24 Although some art created by feminists has been labeled }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 propaganda}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24  this need not be negative, for }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 propaganda}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24  simply means propagation of ideas.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Propaganda as defined by dictionary.com [accessed 5/12/10]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 1. information, ideas, or rumors deliberately spread widely to help or harm a person, group, movement, institution, nation, etc. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 2. the deliberate spreading of such information, rumors, etc. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 3. the particular doctrines or principles propagated by an organization or movement. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 [It was not originally pejorative.]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1  }{\hich\af1\loch\f1\fs18 Nancy Spero, }{\i\hich\af1\loch\f1\fs18 We are Pro-Choice}{\hich\af1\loch\f1\fs18 , silkscreen, 1992}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Judy Chicago, }{\i\hich\af1\loch\f1\fs18 The Dinner Party, }{\hich\af1\loch\f1\fs18 1979}{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Yolanda L}{\loch\af1\hich\f1\fs28 \'f3}{\hich\af1\loch\f1\fs28 pez\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 Portrait of the Artist as the Virgin of Guadalupe}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 1978\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Yolanda L}{\loch\af1\hich\f1\fs28 \'f3}{\hich\af1\loch\f1\fs28 pez\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 The Virgin of Guadalupe}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28  or }{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 A Woman}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 s Work is Never Done}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 1978?\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs18 Yolanda L}{\loch\af1\hich\f1\fs18 \'f3}{\hich\af1\loch\f1\fs18 pez\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs18 Who}{\loch\af1\hich\f1\fs18 \'92}{\hich\af1\loch\f1\fs18 s the Illegal Alien Pilgrim?\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs18 Poster\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs18 published by Galeria de la Raza, 1994, \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Guerilla Girls\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Wikipedia article on Guerilla Girls accessed May 12, 2009\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 The Guerrilla Girls began in 1985, after a few women attended an exhibition titled }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 An International Survey of Painting and Sculpture}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  held by the Museum of Modern Art in New York and discovered that only 13 of the 169 featured artists were women. The ratio of artists of color were even smaller, none of whom were women artists either.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 One of their most famous posters was plastered across New York City buses in 1989\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Its headline read, "Do women have to be naked to get into the Met. Museum?" The Guerrilla Girls conducted a "weenie count" at New York's }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Metropolitan_Museum_of_Art" \\o "Metropolitan Museum of Art"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs28 Metropolitan Museum of Art}}}{\hich\af1\loch\f1\fs28 , counting naked males and naked females in the artworks as well as numbers of female artists in the collection. Less than 5% of the artists in the }{\hich\af1\loch\f1\fs28 Met's}{\hich\af1\loch\f1\fs28  modern art sections were women, but 85% of the nudes were female. Their design was rejected by The Public Art Fund as a billboard so the Guerrilla Girls ran it as an ad in the public buses in New York City.}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 1985 guerrillagirls.com\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Guerilla Girls 1985\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 1988\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs18 Guerilla Girls\line by Virginia Butler\line Published Sep 24, 2004}{\loch\af1\hich\f1\fs18 \'a0\'a0}{\hich\af1\loch\f1\fs18  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 guerrillagirls.com 2007\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 2008\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 2009\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs18 Mary Kelly\line }{\b\loch\af1\hich\f1\fs18 \'93}{\hich\af1\loch\f1\fs18 Post-Partum Document: Documentation I\line Analysed faecal stains and feeding charts (prototype),}{\loch\af1\hich\f1\fs18 \'94}{\hich\af1\loch\f1\fs18 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs18 1974 (detail)\line Perspex unit, white card,\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs18 diaper linings, plastic\line sheeting, paper, ink\line 1 of the 7 units, 28 x 35,5 cm\line Collection Generali Foundation, Vienna \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs18 Mary Kelly\line Post-Partum Document: Documentation IV\line Transitional Objects, Diary and Diagram}{\hich\af1\loch\f1\fs18 , 1976\line (detail)\line Perspex unit, white card, body/hand imprint in clay,\line Plaster of Paris, cotton fabric, string}{\hich\af1\loch\f1\fs28 \line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Feminist theory as prescriptive.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Feminist theory, as descriptive, is like any other theory. [It is either right or wrong.]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 But as prescriptive, it is not confirmable.  It is either practiced or not.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 The personal is the political}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28  means that there is no nonpolitical, unbiased perspective [in art].  This is the Principle of Nonneutrality.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 [Beardsley defines this principle as }{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 judges all behavior with respect to a single goal}{\loch\af1\hich\f1\fs28 \'85}{\hich\af1\loch\f1\fs28 aesthetic objects cannot be politically neutral}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28 ]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Feminist Goal\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The single goal for feminists might be a nonsexist, egalitarian, nonhierarchical society.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Rejection of Isolationism.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Giselda Ecker says that all investigations into art have to be thoroughly genderised : the sex of artist and critic has to be taken into account.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Brand argues that an isolationist approach to art not only ludicrous but pernicious:  the work of art can never be }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 objectively}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  created, interpreted or evaluated.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Summary\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\hich\af1\loch\f1      Contra Stolnitz and Beardsley, knowledge of external, contextual data is relevant to aesthetic value of a work of art, and gender is one aspect of contextual theories that needs to be investigated, and so feminist theory is an essential part of aesthetic inquiry.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Linda Nochlin, }{\loch\af1\hich\f1\fs40 \'93}{\hich\af1\loch\f1\fs40 Why are There No Great Women Artists?}{\loch\af1\hich\f1\fs40 \'94}{\hich\af1\loch\f1\fs40   ArtNews 1971\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Dr. Linda Nochlin is currently the Lila Acheson Wallace Professor of Modern Art at the Institute of Fine Arts/New York University. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Some of her books\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 Women, Art, and Power: And Other Essays}{\hich\af1\loch\f1  (1988), \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 The Politics of Vision: Essays on Nineteenth-Century Art and Society}{\hich\af1\loch\f1  (1989), \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 Women in the 19th Century: Categories and Contradictions}{\hich\af1\loch\f1  (1997),\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 Representing Women}{\hich\af1\loch\f1  (1999). \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 Courbet}{\hich\af1\loch\f1  (2007)\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 She has also co-curated art shows\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 1976 }{\loch\af1\hich\f1 \'97}{\hich\af1\loch\f1  "Women Artists: 1550-1950" (with Anne Sutherland Harris) at the Los Angeles County Museum of Art. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 2007 }{\loch\af1\hich\f1 \'97}{\hich\af1\loch\f1  "Global Feminisms" (with Maura Reilly) at the Brooklyn Museum.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\loch\af1\hich\f1\fs40 \'93}{\hich\af1\loch\f1\fs40 Why are there no great women artists?}{\loch\af1\hich\f1\fs40 \'94}{\hich\af1\loch\f1\fs40 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 It has been argued that this is because women are incapable of greatness.  [Nochlin does not accept this.]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The feminist first reaction was to attempt to answer the question as put:  dig up examples of worthy women in history, e.g. Berthe Morisot, Angelica Kauffman, Artemisia Gentileschi.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 But this did nothing to question the assumptions lying behind the question. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs20 Berthe Morisot. }{\b\i\hich\af1\loch\f1\fs20 On the Balcony.}{\hich\af1\loch\f1\fs20  c. 1871-72.}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Angelica Kauffmann}{\i\hich\af1\loch\f1\fs18  }{\i\loch\af1\hich\f1\fs18 \'93}{\hich\af1\loch\f1\fs18 Virgil Writing His Own Epitaph}{\loch\af1\hich\f1\fs18 \'94}{\i\hich\af1\loch\f1\fs18  }{\hich\af1\loch\f1\fs18  (1785)}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs24 Artemisia Gentileschi,\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs24  Judith and Holofernes, c. 1614-1620\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Caravaggio }{\i\hich\af1\loch\f1\fs28 Judith Beheading Holofernes}{\hich\af1\loch\f1\fs28  (1598-99). \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Another option:  accusing the questioner of using }{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 male}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28  standards as a criteria for greatness\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 This would involve claiming that there is a different kind of greatness for women}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 s art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 This depends on the notion of a distinctive and recognizable feminine or feminist style.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Unfortunately there is no such style:  no subtle essence of femininity in the historically known women artists, any more than in the known women writers.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 It might be argued that women are more inward-looking, more delicate, while men are the opposite. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 But male artists like Redon and Fragonard seem to refute this, as well as such female artists as Rosa Bonheur and Helen Frankenthaler.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Odilon Redon\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 The Birth of Venus}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 1912\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Next Two Paintings by a male and a female\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af2\hich\f2\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf2\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af2\loch\f2\fs28 Fragonard, }{\loch\af2\hich\f2\fs28 \'93}{\hich\af2\loch\f2\fs28 The Swing,}{\loch\af2\hich\f2\fs28 \'94}{\hich\af2\loch\f2\fs28  1766.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af2\hich\f2\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf2\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af2\loch\f2\fs28 Louise }{\loch\af2\hich\f2\fs28 \'c9}{\hich\af2\loch\f2\fs28 lisabeth Vig}{\loch\af2\hich\f2\fs28 \'e9}{\hich\af2\loch\f2\fs28 e Le Brun  (1755 }{\loch\af2\hich\f2\fs28 \'96}{\hich\af2\loch\f2\fs28  1842) }{\loch\af2\hich\f2\fs28 \'93}{\hich\af2\loch\f2\fs28 Self Portrait in a Large Hat}{\loch\af2\hich\f2\fs28 \'94}{\hich\af2\loch\f2\fs28  after 1782.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af2\loch\f2\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs28 The Horse Fair}{\hich\af1\loch\f1\fs28 , 1853}{\loch\af1\hich\f1\fs28 \'96}{\hich\af1\loch\f1\fs28 55\line Rosa Bonheur (French, 1822}{\loch\af1\hich\f1\fs28 \'96}{\hich\af1\loch\f1\fs28 1899)\line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs24 Frankenthaler, Helen }{\b\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Mountains and Sea,}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24  1952}{\hich\af1\loch\f1\fs18 \line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Mary Cassatt, }{\loch\af1\hich\f1\fs18 \'93}{\hich\af1\loch\f1\fs18 The Boating Party}{\loch\af1\hich\f1\fs18 \'94}{\hich\af1\loch\f1\fs18  1893-4\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs24 Pierre-Auguste Renoir. }{\b\i\hich\af1\loch\f1\fs24 Gabrielle with Renoir's Children.}{\hich\af1\loch\f1\fs24  1892-1894. Pastel on paper}{\hich\af1\loch\f1\fs40  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Misconception of what art is.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The problem is with a misconception of what art is, with the na}{\loch\af1\hich\f1\fs28 \'ef}{\hich\af1\loch\f1\fs28 ve idea that art is the direct, personal expression of individual emotional experience, a translation of personal life into visual terms. [Collingwood}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 s view.]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Great art is never that.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The making of art involves a self-consistent language of form, involving temporally defined conventions which have to be learned or worked out, and must be embodied in some material.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Questioning the question\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 It is a fact that there are no great women artists, e.g. equivalent to Michelangelo. 1508-1512. }{\i\hich\af1\loch\f1 The Creation of Adam.}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 But the question }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 Why are there no great women artists?}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  is based on shaky received ideas about the nature of art and the role of the social order in human excellence.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs32 The question makes uncritical assumptions about the making of art and of great art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 It links artists under the title }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 Great Artist}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  as one who has genius.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Genius is here seen as an atemporal and mysterious power embedded in the Great Artist.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 So the question of the conditions generally productive of great art is rarely investigated.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Art historians avoid sociology.\line \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Yet a sociological approach would reveal the entire romantic, elitist, individual- glorifying substructure upon which professional art history is based.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Underneath the question is the myth of the unique, godlike subject of a hundred monographs, bearing the mysterious essence, the golden nugget, called genius.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 This concept of the magical aura of genius gave birth to myths.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 For example there is the myth of the boy wonder discovered in pastoral circumstances.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Picasso was such an example. [ Yet we learn that }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 From the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting.}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  Wikipedia}{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 Pablo Picasso}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  accessed 5/9/09] \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 But what if Picasso had been born a girl?\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Pablo Picasso, First Communion, 1895-6, Museu Picasso, Barcelona. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Picasso completed this painting when he was fifteen years old.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Vincent Van Gogh\line }{\i\hich\af1\loch\f1\fs18 Self-Portrait with Bandaged Ear\line }{\hich\af1\loch\f1\fs18 1889\line \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Stressed in these stories is the apparently miraculous, non-determined, and asocial nature of artistic achievement.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Mad Van Gogh is an example. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Art History Assumptions\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The art history monograph accepts the notion of the Great Artist as primary, and the social and institutional forces as secondary influences.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 The Argument Nochlin }{\b\hich\af1\loch\f1\fs40 Opposes\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 If women had the golden nugget of artistic genius, then it would reveal itself,\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 but it never revealed itself,\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 thus women do not have the golden nugget.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Look at the actual situation of production!\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 But look at the actual situations in which important art has been produced.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 For example, transmission from father to son was a matter of course.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Ask }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 from what social classes etc. artists were most likely to come at different periods of art history?}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Why no great aristocrat artists?\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Why have there been no great artists from aristocracy, even though they provided most of the patronage and audience for art, and even though, like [middle-class] women, they had leisure and other advantages?\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 It is not because they were missing the golden nugget of genius but because  the demands placed on them, as well as on women, made total devotion to art unthinkable.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 The Development of the Child Artist\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 We also need to see the development of reason and imagination in young children as a dynamic activity rather than a static essence:  it happens in a situation.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The characteristics of impressive child artists may only }{\i\hich\af1\loch\f1 appear }{\hich\af1\loch\f1 to be innate.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Scholars will have to abandon the notion of individual genius as innate.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Summary\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Art making, both in terms of the development of the art maker, and the nature and quality of the work of art itself, occurs in a social situation, and mediated by social institutions, including mythologies of the divine creator.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Georgia O}{\loch\af1\hich\f1\fs18 \'92}{\hich\af1\loch\f1\fs18 Keefe, }{\loch\af1\hich\f1\fs18 \'93}{\hich\af1\loch\f1\fs18 Red, White and Blue}{\loch\af1\hich\f1\fs18 \'94}{\hich\af1\loch\f1\fs18  1931}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Sophie Taeuber-Arp. (Swiss, 1889-1943). }{\i\hich\af1\loch\f1\fs18 Dada Head}{\hich\af1\loch\f1\fs18 . 1920.}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Martha Rosler, Gladiators, 2004\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Update\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 2006 }{\loch\af1\hich\f1 \'97}{\hich\af1\loch\f1  "'Why Have There Been No Great Women Artists?' Thirty Years After" in }{\i\hich\af1\loch\f1 Women Artists at the Millennium}{\hich\af1\loch\f1 , edited by Carol Armstrong and Catherine de Zegher. Cambridge: MIT Press.  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Interview  }{\loch\af1\hich\f1\fs28 \'93}{\b\hich\af1\loch\f1\fs28 Linda Nochlin on the many faces of contemporary feminist art}{\b\loch\af1\hich\f1\fs28 \'94}{\i\hich\af1\loch\f1\fs28 \line }{\i\hich\af1\loch\f1\fs20  Art News}{\hich\af1\loch\f1\fs20  }{\i\hich\af1\loch\f1\fs20 by Barbara A. MacAdam }{\hich\af1\loch\f1\fs20  Feb. 2007}{\hich\af1\loch\f1\fs40  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 BAM: Your 1971 article is a comprehensive, very eloquent assessment of the state of women}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 s art at the time. Where do you believe feminism stands today? \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 LN: I think we}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 ve made a lot of progress. I know it}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 s not fashionable to admit it, but I}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 m just stating a fact. I think women artists occupy a better position today than they did 30 or 35 years ago. Some of the best artists in every medium are women. The problem is to make collectors, museums, and curators who aren}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 t really up on things see that there are many great women artists. There are collectors and curators who}{\loch\af1\hich\f1\fs24 \'97}{\hich\af1\loch\f1\fs24 out of habit, laziness, or even misogyny}{\loch\af1\hich\f1\fs24 \'97}{\hich\af1\loch\f1\fs24 simply don}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 t bother with women. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 But that}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 s happening less and less frequently as women begin to occupy the most prominent places in the art world as creative artists. I mean, who wouldn}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 t think of collecting Louise Bourgeois? You}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 d be crazy if you didn}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 t. Or if you were interested in video artists, you}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 d be foolish not to consider the videos of Sam Taylor-Wood or Pipilotti Rist, not to speak of women working in various media from other parts of the world}{\loch\af1\hich\f1\fs24 \'97}{\hich\af1\loch\f1\fs24  Shahzia Sikander, for example, or Ghada Amer, or some of the Latin American women, or the Japanese. They are major figures. They}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 re the ones who are doing the most interesting and challenging work. It isn}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 t that people have to be charitable toward women in general or to people of other ethnicities, as they often were in the past.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs40 Louise Bourgeois}{\hich\af1\loch\f1\fs40  1911-  Maman, 1999, London \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Louise Bourgeois }{\loch\af1\hich\f1\fs40 \'93}{\hich\af1\loch\f1\fs40 Blooming Janus}{\loch\af1\hich\f1\fs40 \'94}{\hich\af1\loch\f1\fs40 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs20 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs20\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs20 Louise Bourgeois, }{\i\hich\af1\loch\f1\fs20 Spiral Woman}{\hich\af1\loch\f1\fs20  , 2003, fabric, hanging piece, 175.2 x 35.5 x 34.2 cm., Courtesy Cheim & Read, New York \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs20 Louise Bourgeois, }{\i\hich\af1\loch\f1\fs20 Arched Figure}{\hich\af1\loch\f1\fs20  , 1999, pink fabric, mirror, wood and glass, 190.5 x 152.4 x 99cm,  Photo: Peter Bellamy}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs18 Bram Stoker's Chair VI, 2005\line }{\hich\af1\loch\f1\fs18 C-print. Image size: 48 x 38 in. (121.9 x 96.5 cm).\line by: }{\b\hich\af1\loch\f1\fs18 Sam Taylor-Wood\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs16 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs16\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs16 Shahzia Sikander \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs16 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs16\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs16 "Fleshy Weapons}{\loch\af1\hich\f1\fs16 \'93}{\hich\af1\loch\f1\fs16 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs16 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs16\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs16 1997Acrylic, dry pigment watercolor, tea wash on linen, 96 x 70 inches \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs16 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs16\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs16 Next page: }{\b\loch\af1\hich\f1\fs16 \'93}{\b\hich\af1\loch\f1\fs16 Pleasure Pillars,}{\b\loch\af1\hich\f1\fs16 \'94\'a0}{\b\hich\af1\loch\f1\fs16 2001.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs16 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs18 Eva Hesse}{\hich\af1\loch\f1\fs18 \line }{\i\hich\af1\loch\f1\fs18 Untitled}{\hich\af1\loch\f1\fs18  (Rope Piece)\line 1970}{\hich\af1\loch\f1\fs40  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Eva Hesse. }{\i\hich\af1\loch\f1\fs40 Metronomic Irregularity I}{\hich\af1\loch\f1\fs40 , 1966. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Eva Hesse. }{\i\hich\af1\loch\f1\fs28 Untitled or Not Yet}{\hich\af1\loch\f1\fs28 , 1966. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Anne Eaton   }{\loch\af1\hich\f1\fs40 \'93}{\hich\af1\loch\f1\fs40 Painting and Ethics}{\loch\af1\hich\f1\fs40 \'94}{\hich\af1\loch\f1\fs40   originally published in 2004\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 The value of a painting.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 There are several ways in which paintings can be valuable: economically, historically, and simply as works of art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 What is this last value and how is it related to other kinds of value?  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Can a painting be worse artistically because it is ethically flawed, or better for its ethical merits?\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Can a painting be the object of ethical judgment at all?  After all, paintings are inanimate objects, like toasters.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 We might think of Hitler}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s watercolors: but the ethical judgment here regards the painter, not the painting.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Hitler watercolor 1910\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Adolf Hitler watercolors 1914-17?\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Karl's Church in Winter - Watercolor painting by Adolf Hitler \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Hitler, watercolor of ruins 1919\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Another way we might see a painting as unethical.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Paintings could be produced in unjust conditions:  painting with the blood of a murder victim for example.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 But such a painting is not itself unethical. The nature of the act does not tell us anything about the ethical value of the product.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The painting and the act that produced it are ontologically distinct [i.e. they are different types of things].\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Representational Paintings [and photographs]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Unlike other inanimate objects }{\i\hich\af1\loch\f1\fs28 representational }{\hich\af1\loch\f1\fs28 paintings can depict actions which may be ethically judged.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs24 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs24 Senator Helms indicted Robert Mapplethorpe}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 s homoerotic photographs.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 But such judgments are aimed at the things represented, not the representation.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs24 Picasso}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 s }{\i\hich\af1\loch\f1\fs24 Guernica }{\hich\af1\loch\f1\fs24 depicts an immoral act, but that does not make the painting itself unethical.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Robert Mapplethorpe self-portrait, 1980\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Picasso Guernica, 1937\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 One view is that a painting is ethically good if it produces good actions and bad if it promotes bad ones.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Titian}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s }{\i\hich\af1\loch\f1 Rape of Europa}{\hich\af1\loch\f1  shows Jupiter as a bull dragging Europa off for sex. \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Imagine it encouraged its audience to having erotic feelings towards rape and even incited some rapes.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Titian, }{\i\hich\af1\loch\f1 Rape of Europa}{\hich\af1\loch\f1  1559-62\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Consequentialist\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 If so, a consequentialist [an ethical theorist who says that one must determine whether an act is ethical based on the consequences] would say that it was an unethical painting.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 But it is unlikely the painting would turn a virtuous person into a rapist.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 What the Painting Invites\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Even if a consequentialist could handle this problem the question remains whether the rape is the result of correct interpretation of the painting.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs24 Many paintings have complex and sometime contradictory meanings.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs24 Only when the audience}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 s unethical response is appropriate is the painting to be judged unethical.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs24 Perhaps it is the response the painting invites [encourages] that makes it immoral.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Both the Picasso and the Titian  depict an act of cruelty.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 One must consider }{\i\hich\af1\loch\f1 how }{\hich\af1\loch\f1 the events are depicted:  what attitude does the painting take to the event depicted.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Picasso}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s painting condemns the bombing it depicts, whereas Titian}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s painting celebrates and eroticizes Jupiter}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s sexual act.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 These are the responses required by proper engagement with the paintings. [?]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 How does the Titian painting celebrate the event?\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Learning to look at paintings involves coming to see how the subject matter is presented.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 One learns to see the formal elements and how they gain an emotional character:  one learns how to respond to the elements in the right way.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Titian}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s painting\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Europa}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s firm grip on the bull}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s phallic horn\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 folds of wet drapery evoking genitalia\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 these erogenous elements are along the strongest diagonal\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 the two cherubs stare at her crotch\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 glowing colors of sunrise lend to celebratory air\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 thus the painting aims to kindle the viewer}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s carnal appetites\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Picasso}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s painting\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 flat, austere landscape the is colorless and stark\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 joyless world with jagged edges\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 mood of disorder, confusion, turmoil\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 figures suggest extreme suffering\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 painting aims to disturb and unsettle\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 In each the solicitation of responses derives from formal and content features of the paintings themselves.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Do these ethical features bear on the paintings}{\loch\af1\hich\f1\fs40 \'92}{\hich\af1\loch\f1\fs40  artistic value?}{\b\hich\af1\loch\f1\fs40 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1 separatism}{\hich\af1\loch\f1 :  ethical and artistic values are distinct\par 
}\pard\plain\ltrpar\s4\li900\fi-180\loch\af1\hich\af1\fs24\ppscheme-1\lang1033\li1080\fi-360 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1  But such a rigid separation does not always work.}{\b\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1 moralism}{\hich\af1\loch\f1 :  an artwork is artistically excellent insofar as it is ethically good [Brand?]\par 
}\pard\plain\ltrpar\s4\li900\fi-180\loch\af1\hich\af1\fs24\ppscheme-1\lang1033\li1080\fi-360 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 But this ignores artistic value altogether.}{\b\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Eaton}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s Own View\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1 ethicism}{\hich\af1\loch\f1 :  a painting can be artistically improved or diminished by its ethical properties [this is Eaton}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s view]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Both paintings we have discussed call for a certain response.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 In the Titian case the artistically relevant response is one we ought not have and in the Picasso case it is one we ought to have.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Ultimately, assessment must rest on scrupulous attention to visual details.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Ovid }{\i\hich\af1\loch\f1 Metamorphosis }{\hich\af1\loch\f1 8 A.D.}{\i\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 And gradually she lost her fear, and he \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Offered his breast for her virgin caresses, \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 His horns for her to wind with chains of flowers \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Until the princess dared to mount his back \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Her pet bull's back, unwitting whom she rode. \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Then}{\loch\af1\hich\f1 \'a0\'97}{\hich\af1\loch\f1  slowly, slowly down the broad, dry beach}{\loch\af1\hich\f1 \'a0\'97}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 First in the shallow waves the great god set \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 His spurious hooves, then sauntered further out \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 'til in the open sea he bore his prize \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Fear filled her heart as, gazing back, she saw \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 The fast receding sands. Her right hand grasped \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 A horn, the other lent upon his back \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Her fluttering tunic floated in the breeze. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs16 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs16\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs16 Europa and the Bull\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs16 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs16\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs16 Red-Figure Stamnos, \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs16 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs16\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs16 Tarquinia Museum, 480 BC \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Mosaic, Roman period? Beirut National Museum\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Pompeii, Europa and the Bull, fresco, 1st century CE \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\i\hich\af1\loch\f1\fs40 The Abduction of Europa}{\hich\af1\loch\f1\fs40  by Rembrandt, 1632 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1\fs28 The Rape of Europa, No}{\i\loch\af1\hich\f1\fs28 \'eb}{\i\hich\af1\loch\f1\fs28 l-Nicolas Coypel, 1726-27.}{\hich\af1\loch\f1\fs28  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs20 The Abduction of Europa by Jean-Baptiste-Marie Pierre, 1750.}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Titian: }{\i\hich\af1\loch\f1\fs24 Diana and Actaeon}{\hich\af1\loch\f1\fs24 , 1556}{\loch\af1\hich\f1\fs24 \'96}{\hich\af1\loch\f1\fs24 1559}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Titian, "Diana and Callisto" \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Andrew Butterfield }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Titian and the Rebirth of Tragedy}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24  }{\i\hich\af1\loch\f1\fs24 New York Review of Books,}{\hich\af1\loch\f1\fs24  Dec. 23, 2010.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1\fs28 Diana and }{\i\hich\af1\loch\f1\fs28 Actaeon}{\hich\af1\loch\f1\fs28  and }{\i\hich\af1\loch\f1\fs28 Diana and }{\i\hich\af1\loch\f1\fs28 Callisto}{\hich\af1\loch\f1\fs28  are two from a suite of six mythological paintings that Titian executed for Philip II between about 1551 and 1562. The other canvases in the series, which Titian called }{\i\hich\af1\loch\f1\fs28 poesie}{\hich\af1\loch\f1\fs28  (Italian for poems or poetry), are }{\i\hich\af1\loch\f1\fs28 Dana}{\i\loch\af1\hich\f1\fs28 \'eb}{\hich\af1\loch\f1\fs28  (the version now in the Prado), }{\i\hich\af1\loch\f1\fs28 Venus and Adonis }{\hich\af1\loch\f1\fs28 (Prado), }{\i\hich\af1\loch\f1\fs28 Perseus}{\i\hich\af1\loch\f1\fs28  and Andromeda}{\hich\af1\loch\f1\fs28 , (Wallace Collection, London), and }{\i\hich\af1\loch\f1\fs28 The Rape of }{\i\hich\af1\loch\f1\fs28 Europa}{\i\hich\af1\loch\f1\fs28  }{\hich\af1\loch\f1\fs28 (Isabella Stewart Gardner Museum, Boston).  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 All the }{\i\hich\af1\loch\f1\fs24 poesie}{\hich\af1\loch\f1\fs24  paintings are approximately six by seven feet, with the exception of the first work in the series, }{\i\hich\af1\loch\f1\fs24 Dana}{\i\loch\af1\hich\f1\fs24 \'eb}{\hich\af1\loch\f1\fs24 , which is somewhat smaller than the others. It is clear from the letters between Titian and Philip II that the painter imagined the }{\i\hich\af1\loch\f1\fs24 poesie}{\hich\af1\loch\f1\fs24  hanging together in one room, although at the time he was making the pictures a specific setting had not been selected for them. Philip II traveled regularly between his residences, as was the custom with Hapsburg royalty, and the paintings did not have a permanent home before 1623, when they were installed in the }{\hich\af1\loch\f1\fs24 Al}{\loch\af1\hich\f1\fs24 \'e1}{\hich\af1\loch\f1\fs24 cazar}{\hich\af1\loch\f1\fs24  palace in Madrid.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 At the left in the painting, the nymphs surround Callisto and rip her clothes from her body. The complexity of Titian}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 s depiction of the women is notable. The nymphs are beautiful and yet terrifying in the avidity with which they pounce on their victim, who moments before had been their companion. In his translation Dolce contrasts the fearful solitude of Callisto with the happiness of the }{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 beautiful elect band}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28  formed by Diana}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 s nymphs; this contrast does not appear in Ovid}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 s original text.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 Titian, too, wants us to feel Callisto}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 s abandonment and isolation; he shows her isolated and alone in her suffering. In contrast to the elegant coiffures of the other nymphs, her hair is disheveled and unbound, a common sign of rape in classical literature. Callisto}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 s sweaty face is in shadow, and yet her gravid abdomen is in light, intensifying the sense of exposure. She looks up to heaven, and her eyes glisten with tears. In both Ovid}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 s poem and Dolce}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 s translation, she pleads with the gods for mercy, and when this is denied, she curses Jove for his evil. In Ovid, no longer able to speak, Callisto woefully raises her arms to express her anger; but Dolce adds that she also glances up to heaven with pitiful and terror-stricken eyes. Likewise, Titian wants the viewer to empathize with Callisto in her sorrow and desperation.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs16 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs20 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs20\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs20 See also A. W. Eaton }{\loch\af1\hich\f1\fs20 \'93}{\hich\af1\loch\f1\fs20 Where Ethics and Aesthetics Meet: Titian's Rape of }{\hich\af1\loch\f1\fs20 Europa}{\hich\af1\loch\f1\fs20 .}{\loch\af1\hich\f1\fs20 \'94}{\hich\af1\loch\f1\fs20  }{\i\hich\af1\loch\f1\fs20 Hypatia}{\hich\af1\loch\f1\fs20 , Vol. 18, No. 4, Women, Art, and Aesthetics (Autumn - Winter, 2003), pp. 159 -188. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs20 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs20\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs20 For much more detail on this painting see Titian}{\loch\af1\hich\f1\fs20 \'92}{\hich\af1\loch\f1\fs20 s Rape of }{\hich\af1\loch\f1\fs20 Europa}{\b\hich\af1\loch\f1\fs20  (1559-1562), The Isabella Steward Gardner Museum, Boston, by Dr. Frances Van }{\b\hich\af1\loch\f1\fs20 Keuren}{\b\hich\af1\loch\f1\fs20 , University of Georgia }{\field{\*\fldinst HYPERLINK "http://wps.prenhall.com/hss_wilkins_artpstpres_5/22/5833/1493345.cw/content/index.html"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs20 http://wps.prenhall.com/hss_wilkins_artpstpres_5/22/5833/1493345.cw/content/index.html#textual}}}{\hich\af1\loch\f1\fs20    accessed May 12, 2011}{\b\hich\af1\loch\f1\fs20 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs20 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs20\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs20 Here}{\b\loch\af1\hich\f1\fs20 \'92}{\b\hich\af1\loch\f1\fs20 s another feminist take on the painting:  Diane }{\b\hich\af1\loch\f1\fs20 Wolfthal}{\b\hich\af1\loch\f1\fs20 , }{\b\i\hich\af1\loch\f1\fs20 Images of Rape: The "Heroic" Tradition and its Alternatives }{\field{\*\fldinst HYPERLINK "http://www.oneonta.edu/faculty/farberas/arth/ARTH200/Heroic_Rape.html"}{\fldrslt\cf2\ul{\b\i\hich\af1\loch\f1\fs20 http://www.oneonta.edu/faculty/farberas/arth/ARTH200/Heroic_Rape.html}}}{\b\i\hich\af1\loch\f1\fs20  }{\hich\af1\loch\f1\fs20 accessed May 12, 2011\par 
}
}