Peg Brand Weiser

How do we assess student-athlete well-being as it is currently conceptualized by those empowered to oversee students? I suggest that at least four levels of oversight have failed student-athletes: university mission statements, principles established by the NCAA and AGB, and federal Title IX legislation. In this chapter, I argue that universities ought to assume greater responsibility for student-athlete well-being; that guiding principles and existing law ought to be more strictly enforced; and when student-athletes are not protected, responsible persons should be punished. Blameworthiness suggests several actions for both individuals and institutions that could function as punishments for lax accountability, allowing for more transparency and vigilance to ensure future protections.

Aurélie Debaene cites a lack of aesthetics research on the professional art model, concluding that the artistic enterprise of collaboration or 'partnering' between model and artist can lead viewers to under-appreciate their conjoined creativity and skill. I argue for a collaborative model that extends the notion of art model beyond the professional to the amateur art model/poser/performer. On this model, an artist can achieve success in an artwork by: (1) posing their self in a self-portrait and/or (2) inviting viewers to pose in artworks designed to 'partner' together in creating an aesthetic experience of shared creativity, skill, and pleasure.

Not everyone faces “modern” death equally, whether in Oran or today’s world. In this chapter, I argue that the “difficulty” in Oran of “modern death” as described by Camus is still with us today in that Americans neither faced death _together_ in any form of solidarity under the Trump administration nor faced death individually in any traditional “decent” manner (as proposed by the character Tarrou), that is, comforted by family or friends. One reason is overwhelming fear of death—what neuroscientists call “existential anxiety”—that can motivate human behavior toward either selfishness or an ethics of care. As a result of lived experiences of the pandemic, a sense of “heroic solidarity” has perhaps been finally achieved that moves us from despair to hope, confirming Camus’s faith in humanity.

The Introduction provides a historical and literary context for the examination of Albert Camus’s 1947 fictional novel, _The Plague_, to suggest its relevance to our own lived experiences of the 2021 Covid-19 pandemic that brought the routines and expectations of our normal, daily lives to an unprecedented halt. Details of Camus’s life and work inform our reading of the narrative that give rise to multiple interpretations as well as intriguing questions of scholarly inquiry: How realistic are the characters? Does solidarity eventually triumph over isolation? Does the popular novel inspire social change or fail in its aspirations? Facing the absurdity of a similarly unwelcome and unpredictable disease, have we managed our fear of death more successfully than the citizens of Oran? An overview of authors’ contributions sets the stage for new and unique perspectives: an invitation for readers to reflect upon our communal experience of immense grief.

Why is painting unique among the visual arts? And why in the late sixteenth century did Cesare Ripa in his landmark Iconologia choose to create a distinctly female template for the act of painting? Moreover, why would a woman ever choose to paint herself as La Pittura (The Allegory of Painting)? This essay offers the thoughts of a painter-philosopher on the historic significance of the choice of topic, iconography, and gender of the most recognized allegory of Painting, namely the original textual description of the Italian writer Cesare Ripa on Pittura (1593) which was later illustrated by various artists (1603 and following). This pattern stands in contrast to an erosion of women’s influence in favor of men’s art: a norm that has internalized male privilege and power for centuries. Yet painting remains a medium that emphasizes women’s talents, particularly as they are embodied in Pittura.

This essay aims to address a lack of recognition on the part of aestheticians, feminist scholars in the visual arts, as well as Simone de Beauvoir scholars by studying Beauvoir's The Ethics of Ambiguity (1948) for what it has to offer on the topic of art and aesthetics: (1) the important role of the visual arts in society and the political legacy artists can contribute to the world; (2) the traditionally revered philosophical concept of the aesthetic attitude; and (30 the use of the aesthetic attitude to improperly justify controversial works of art. It will also point out that Beauvoir's Ethics is distinct in the history of aesthetics for its atypical (proto-feminist) stand against the popular notion of the aesthetic attitude. Her promotion of political (feminist) art presages the feminist art movement of the 1970s. Ahead of her time, Beauvoir recognized the vital interplay between art and ethics.

Sheryl Clark's 2021 book, "Sporty Girls: Gender, Health and Achievement in a Postfeminist Era," explores how girls navigate complex identities shaped by sports participation and societal expectations. Clark examines the complex pressures faced by girls in London and beyond, and how these experiences inform broader discussions on gender, health, and identity through sports participation in contemporary culture. This volume is one of nine titles comprising an ongoing Palgrave Macmillan series under the umbrella concept of New Femininities in Digital, Physical and Sporting Cultures (NFDPSC), co-edited by four international scholars in sociology, health, sport, and public policy.

Feminist aesthetics is the evolving study of both the explicit and the implicit role of gender and sexuality in the activities of creativity, the aesthetic experience of art and nature, and resulting value judgments. The perception, interpretation, and evaluation of occasions of aesthetic appreciation are infused with cognitive preconceptions, implicit biases, emotions, skills, and knowledge based on past lived experiences. In practice, feminist aestheticians have paid close attention to the role of race, class, age, ability, and other social factors in the creation and evaluation of artworks. Whereas modern western European aesthetics deemed an artwork’s contextual factors peripheral to the essence of a viewer’s purely aesthetic, noncontextual, disinterested, or “distanced” experience, 20th-century feminists pioneered a radical break with norms of “good” art by invoking the familiar adage, “The personal is the political.”

Adrian Piper joins the ranks of writer-artists who have provided much of the basic and most reliable literature on modern and contemporary art. Out of Order, Out of Sight is an artistic and intellectual autobiography and an (occasionally scathing) commentary on mainstream art, art criticism, and American culture of the last twenty-five years. Piper is an internationally recognized conceptual artist and the only African American in the early conceptual art movement of the 1960s. The writings in Out of Order, Out of Sight trace the development of her thinking about her artwork and the art world, and her evolving awareness of herself as a creative, racial, and gendered subject situated in an often limiting and always absurd cultural and social context.

"Presence" is a word that can function both as a descriptor of the uniqueness, identity, and strength of an(y) identifiable, individual work of art (as used in the phrase, its "artistic presence") and, more specifically, and with a capital P, the name of a year-long exhibit consisting of a series of artworks in a uniquely created architectural environment with the Speed Art Museum in Louisville, Kentucky. In addition, as well-known art theorist Donald Preziosi points out in his 2004 essay ["Art and the Contemplation off Presence"] included in this publication, the term "presence" may also refer to the character of the artist that is embodied _in_ a physical work of art, whereby the _form_ of the work is "in some way a _figure_ of its truth--the truth or essence or being of the artist..." Indeed I would suggest an even stronger defense of the artist, what I call the Intentionality Thesis, which states: _The most important spokesperson capable of elucidating the meaning of a work of art is the artist_. The Intentionality Thesis is a substantive component of my recommendation for art viewers to practice what I call "contemplative contextual criticism" (CCC, for short). Such an emphasis on intentionality is often fraught with controversy, but the Intentionality Thesis can function (within the broader framework of one's CCC) as a fruitful interpretive tool that optimizes our actual experiences of art. CCC is the deliberate cognitive analysis--the act of contemplation--of a work of art that enhances the potential of artistic presence; both of the work itself and the artist who created it. It is the process of studying a work of art in its full context...

We are more than a full decade into the new millennium and, inevitably, the world has become smaller, more complex, and immanent. Post 9/11, we live daily with the "war" on terror. An image of a veiled woman is fraught with political overtones, yet stunning in its starkness, simplicity, and evocation of beauty that is innocent and long gone.... The essays of Beauty Unlimited position readers in the twenty-first century by pointing them forward and forcing them into the future, toward a more extensive and far-flung understanding of beauty.... New images of beauty presented by authors in this volume embed layers of meaning that invite us to review past philosophical and aesthetic theories through broader cognitive and global perspectives.... The authors presented here serve as guides for scholarly adventures into new terrain, i.e., for beauty unlimited.

This Special Issue [available free online] co-edited by Peg Brand Weiser (University of Arizona) and R. Scott Kretchmar (Pennsylvania State University) is entitled, "The Myles Brand (1942-2009) Era at the NCAA: A Tribute and Scholarly Review." The late Myles Brand was a philosopher (of action theory; social and political applied philosophy, philosophy of sport), former department chair (University of Illinois at Chicago; University of Arizona), dean (Arizona), provost (The Ohio State University), president (University of Oregon; Indiana University), and fourth president of the NCAA (National Collegiate Athletic Association). [An extensive website created in 2020 by Peg Brand Weiser of over 300 entries of his work--speeches, essays, podcasts, and videos--can be found at a website under his name.] This Special Issue includes insightful essays on the legacy of Myles Brand by authors who dig deeply into continuing controversies within higher education, intercollegiate athletics, and the values, principles, and style of Brand's leadership. They take up the gauntlet to dissect and disseminate Brand's lasting influence on the institution of the NCAA in terms of the decisions and policies enacted between 2003 and 2009 that continue to affect the well-being of today's student-athletes, the sustainability of high-cost intercollegiate competition, and now, the "threat to" or "abandonment of" (depending on your point of view) "amateur status" due to students' newfound economic agency and ability to profit from NILs (Name, Image, Likeness) monetary deals. Essays include a co-authored "Editors' Introduction;" an introductory preface by John R. Thelin ("From Chaos to Coherence: Myles Brand and the Balancing of Academics and Athletics"); a short remembrance by Josh Brand ("Myles Brand, My Father"); and essays by Peg Brand Weiser ("Life is an Adventure: From Action Theory to Action"); R. Scott Kretchmar ("President Brand's Gambit: Inviting Scholars Inside the Tent"); Walter Harrison ("Myles Brand and the Responsibility of Leadership"); Heather Reid ("Amateurism, Professionalism and the Value of College Sports"); Lou Mats ("Myles Brand: Intercollegiate Athletics Within the Limits of the Academic Mission Alone'); Welch Suggs and Jennifer Hoffman ("Myles Brand's Collegiate Model and the Post-Amateurism World of College Sports"); David K. Wiggins ("Myles Brand: A Leader Deeply Committed to Diversity, Inclusiveness, and Social Justice"); C. Keith Harrison, Bernard Franklin, and Whitney Griffin ("Myles Brand's Philosophy of the Value of Intercollegiate Athletics: A Collaborative Effort and the Perspective of Two Black Males on Educational Achievement at the NCAA"); and Rodney Fort ("Myles Brand's College Sports Sustainability: 'Amateurism,' Finances, and Institutional Balance.

How do we view, understand and appreciate a complex and challenging work of visual art such as Leon Mostovoy's Transfigure and how, in our encounter with it, does beauty matter? Transfigure Project--a 2013 book, film and photographic installation that is now also an interactive website--is "a project of corporal self-expression, presented as an experimental, visual feast" by which 'transfigure' means "to transform into something more beautiful or elevated." Photographs of fifty nude trans-identified figures can be playfully arranged in numerous combinations; a woman's head can appear over a post-op torso over a pelvis with penis. The result, according to the artist, is "A celebration of bodies that transcend the gender binary" and shatter stereotypical notions of beauty. How does the meaning of Transfigure challenge and subvert traditional theories in aesthetics?

British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual objects, or that women’s subjectivity is eroded by the visual treatment they receive at the hands of male artists such as Manet and Picasso. He wants to show that what is depicted in the picture plane by the (typically male) artist and enjoyed by the (typically male) spectator is more nuanced than just a simple privileged understanding between two men. He adds a third (and possibly fourth or more) party to the mix when he significantly redefines and expands our concept of the gaze: “A gaze may also be conceived of as a function of a painting’s represented content” (p. 9). In other words, a gaze may be “addressed outward by a represented figure,” and regardless of who and where, “the assumption conveyed by the term [‘gaze’] is that some differential and usually asymmetrical relation will be at stake in any exchange between one who directs the gaze and another at whom it is directed. In fact, it is just this difference—in age, in sex, in class, in interest, in power —that the operation of the gaze tends to mark” (p. 9). Referring to a woman depicted within the picture plane, he asks us to consider, “What does it feel like to look like this?” (p. 21) in order to entertain our many emotional responses and interpretations. When he adds, “What does it feel like to whom?” the sexual difference of the spectator also clearly comes into play.

Perfect Me: Beauty as an Ethical Ideal offers a unique approach to an old topic, that of human beauty, written by an ethicist specializing in global ethics who considers herself "an applied philosopher" (14). It seems to be written primarily for ethicists and not--of preferred interest to this reviewer--for aestheticians, that is, those who routinely write about the value of the complex notion of beauty and its many permutations that involve ethics. . . . Perfect Me: Beauty as an Ethical Ideal is a fascinating read that may raise more questions for scholars than it answers. Within the increasingly complex realm of physical beauty and feminist challenges to a white, heterosexual, female beauty ideal, this book should inspire responses that will definitely be a worthwhile result. We can all look forward to the future discussion that considering beauty as an ethical ideal will spawn.

This essay explores the role that the aesthetic-nonaesthetic distinction plays in assessing activist art by women and artists of color. First, I shall review one traditional line of philosophical thought and show how it serves as the foundation for three types of reasons typically given for artworks reputed to lack aesthetic value. I develop two of the three reasons by examining recent writings opposed to the aesthetic value of activist art by well-known art critic Donald Kuspit, pointing out his aberrant use of "obscene." Kuspit's examples of activist art--the work of Jenny Holzer, Barbara Kruger, and Adrian Piper--are presented in light of his charges. I then explore Piper's art in depth in order to outline ways of expanding the notion of aesthetic value beyond its traditional confines. Finally, I suggest moving beyond entrenched, traditional patterns of assessment and invite underrepresented voices to contribute to the emerging discussion of the multiplicity of aesthetic values.

Not everyone faces “modern” death equally, whether in Oran or today’s world. In this chapter, I argue that the “difficulty” in Oran of “modern death” as described by Camus is still with us today in that Americans neither faced death together in any form of solidarity under the Trump administration nor faced death individually in any traditional “decent” manner (as proposed by the character Tarrou), that is, comforted by family or friends. One reason is overwhelming fear of death—what neuroscientists call “existential anxiety”—that can motivate human behavior toward either selfishness or an ethics of care. As a result of lived experiences of the pandemic, a sense of “heroic solidarity” has perhaps been finally achieved that moves us from despair to hope, confirming Camus’s faith in humanity.

The Introduction provides a historical and literary context for the examination of Albert Camus’s 1947 fictional novel, The Plague, to suggest its relevance to our own lived experiences of the 2021 Covid-19 pandemic that brought the routines and expectations of our normal, daily lives to an unprecedented halt. Details of Camus’s life and work inform our reading of the narrative that give rise to multiple interpretations as well as intriguing questions of scholarly inquiry: How realistic are the characters? Does solidarity eventually triumph over isolation? Does the popular novel inspire social change or fail in its aspirations? Facing the absurdity of a similarly unwelcome and unpredictable disease, have we managed our fear of death more successfully than the citizens of Oran? An overview of authors’ contributions sets the stage for new and unique perspectives: an invitation for readers to reflect upon our communal experience of immense grief.

_La Peste_, originally published in 1947 by the Nobel Prize-winning writer Albert Camus, chronicles the progression of deadly bubonic plague as it spreads through the quarantined Algerian city of Oran. While most discussions of fictional examples within aesthetics are either historical or hypothetical, Camus offers an example of "pestilence fiction." Camus chose fiction to convey facts--about plagues in the past, his own bout with tuberculosis at age seventeen, living under quarantine away from home for several years, and forced separation from his wife who remained in Algiers while he was abroad in Nazi-occupied France. His own lived experiences undergird an imaginative account of shared human realities with which we can identify: vulnerability to the disease, isolation, fear, and finally humanitarianism. _The Plague_ teaches us to neither covet nor expect what we so casually took for granted. This collection of original essays on philosophical themes in _The Plague_ is of special relevance during and in the aftermath of Covid-19 but also provides reflections that will be of lasting value to those interested in this classic work of literature. The novel explores questions of enduring importance. Do we collectively meet the threshold of ethical behavior posed by Camus who wrote, "What's true of all the evils in the world is true of plague as well. It helps men to rise above themselves"? Or does the absurd undermine the compassionate? Do "heroes" dutifully fight a plague with "common decency," or does human nature resign itself to the normalization of uncontrollable suffering and death? There are myriad ways to approach the novel and this volume encourages readers to ponder human dilemmas in fictional Oran informed by our current pandemic. Series editor forward by Richard Eldridge. List of Contributors includes Steven G. Kellman, Jane E. Schultz, Andrew Edgar, Kathleen Higgins, Edward B. Weiser, Cynthia A. Freeland, and Margaret E. Gray; see "Introduction" by Peg Brand Weiser below.

This is the co-authored--with Carolyn Korsmeyer--Introduction to the first published feminist scholarship in The Journal of Aesthetics and Art Criticism (Volume 48, Number 4, Fall 1990). Contributors included Hilde Hein, Paul Mattick, Jr., Timothy Gould, Joanne B. Waugh, Joseph Margolis, Mary Devereaux, Noel Carroll, Flo Leibowitz, Anita Silvers, Elizabeth Ann Dobie, Renee Cox, and Ellen Handler Spitz. All essays were subsequently published in an expanded book version entitled, Feminism and Tradition in Aesthetics by Penn State Press (1995).

This paper explores the role of 1980s to early 1990s feminist theory of art within the analytic philosophical tradition of aesthetics starting with a critique of the noncontextual criticism of aesthetics of Jerome Stolnitz and Monroe Beardsley contrasted with contextual feminist theory, informed by contextual theories of Arthur Danto, George Dickie and Marcia Eaton, and concluding that knowledge of external, contextual data is necessarily required to assess a work of art that has been deemed a work of art by means of external, contextual data. Feminist theory is one type of contextual theory available.