There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways (...) pictures represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars. (shrink)

For centuries, philosophers have identified beauty with what brings pleasure. Dominic McIver Lopes challenges this interpretation by offering an entirely new theory of beauty - that beauty engages us in action, in concert with others, in the context of social networks - and sheds light on why aesthetic engagement is crucial for quality of life.

The aim of this article is to promote an analysis of the intercultural experience carried out through the exchange of letters with children from the city of Ninomiya, Kanagawa Province – Japan, with children from the Municipal Education Network of the Veranópolis, Rio Grande do Sul – Brazil. The exchanges take place annually through the Post and Telegraph service in Brazil and Japan, between students from the 3rd to 9th years of this network. Japanese children write to Veranians and vice (...) versa. They tell facts about their routine, their city, peculiar aspects of their daily lives, including photos and geographic and cultural characteristics specific to each local space. This experience invites us to expand our gaze on the importance of thematizing, in the educational process, sociocultural aspects of different peoples, social groups, customs and ways of being and living together. We challenge ourselves to reflect on how this practice of exchanging letters, between children from two very different countries, both socially and culturally, manages to raise awareness about issues related to interculturality as a field of debate about identity processes that constitute an environment. Furthermore, it allows us to analyze issues related to the ease of writing and the symbology used to describe aspects related to the daily life of each child, as well as the subjectivity in each message in the exchange of letters. The reciprocity in exchanges, the care with the details present in each report, the richness that makes up the writing and how everyday life presents itself with similarities and differences in the life of each student, whether here or in Japan, are essential components in the construction of this analysis. Keywords: Local history. Interculturality. Education. Global citizenship. (shrink)

El año pasado, al terminar de leer Caliban y la bruja. Mujeres, cuerpo y acumulación originaria de Silvia Federici, lloré por todas las feminidades que han sido y que seguimos siendo quemadas en las hogueras de la historia, en las frases cotidianas y en las violencias de género. Esa noche no lograba conciliar el sueño, sentía un calor intenso en las piernas. No sabía qué me estaba pasando. A la mañana siguiente busqué entre mi archivo un texto de Suely Rolnik (...) que habla acerca de los saberes-del-cuerpo. Ella me ayudó a entender las razones de mi desvelo, mi cuerpa me estaba hablando, me estaba recordando que nuestras cuerpas se definen por la capacidad de afectar y ser afectados y que, al definirnos como cuerpas mujeriles, nos han subordinado. (shrink)

This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations.

In Brazil, the high number of annual gestational losses constitutes a serious public health issue. Gestational loss can cause emotional trauma for mothers and their families due to society's lack of validation and the inadequate and unsympathetic support often provided by healthcare professionals. Thus, the objective of this research was to understand the role of healthcare professionals in cases of gestational loss, identifying their own feelings, those of women and their families, as well as the attitudes and resources used in (...) these cases. A qualitative descriptive exploratory research was conducted using semi-structured interviews with 10 healthcare professionals in Ribeirão Preto: 9 with degrees (5 nurses, 2 psychologists, and 2 doctors) and 1 nursing technician, all women. Three work in hospitals, 1 in domiciliary care, and 6 in private clinics. The research results were grouped into 3 categories: a) Perception of feelings: Professionals recognize the emotional complexity, encompassing their own feelings, those of women, and family reactions. b) Conducts: Despite facing emotional challenges, professionals strive for empathetic and humane care. c) Institutional resources: There is a notable lack of institutional resources, leading professionals to fill this gap with isolated projects, but these are not institutionalized. Therefore, it is essential to enhance the training of healthcare professionals, both theoretically and practically, to better handle emotional challenges and improve their services. Furthermore, greater availability of institutional resources and protocols ensuring empathetic care for mothers and families facing gestational loss is necessary. (shrink)

Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His (...) book will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives. '...tightly focused and carefully argued... an exceptionally interesting contribution to the philosophy of art: it contains subtle, concise, and convincing discussions of a number of difficult concepts and contentious doctrines... lucid and meticulous'. (shrink)

Art works realize many values. According to tradition, not all of these values are characteristic of art: art works characteristically bear aesthetic value. Breaking with tradition, some now say that art works bear artistic value, as distinct from aesthetic value. I argue that there is no characteristic artistic value distinct from aesthetic value. The argument for this thesis suggests a new way to think about aesthetic value as it is characteristically realized by works of art.

Resumo: O objetivo deste texto é desenvolver a articulação que Foucault faz entre o diagnóstico do presente e a construção de um pensamento crítico acerca do conceito de autonomia a partir do texto de Kant Beantwortung der Frage: Was ist Aufklärung? . Trata-se, portanto, da aproximação de Foucault à herança histórica da Aufklärung analisada por Kant, a partir de uma perspectiva ética para pensar a modernidade. Para tanto, trataremos neste artigo de como Kant descreve o processo da Aufklärung, da relação (...) deste texto de Kant com sua Crítica e, por fim, os desdobramentos destas análises naquilo que Foucault entende ser uma "atitude crítica" da modernidade.Palavras-chave: Foucault - Kant - modernidade.: The aim of this text is to develop the articulation that Foucault makes between the diagnosis of the present and the building of a critical thought about the concept of autonomy from Kant's text Beantwortung der Frage: Was ist Aufklärung? . It is, therefore, Foucault's approach to the historical heritage of the Aufklärung analyzed by Kant, from an ethical perspective to think about modernity. To this end, we will discuss in this article how Kant describes the process of Aufklärung, the relation of Kant's text with his Critique and, finally, the ramifications of these analyzes on what Foucault regards as a "critical attitude" of modernity. (shrink)

Jewish Law as Rebellion is unconventional and controversial in its approach to the world of Jewish Law and its response to religious crises. The book delves into the contemporary application and development of halacha and pointedly protests many accepted methods and ideals, offering new solutions to existing halachic dilemmas. Rabbi Cardozo discusses hot topics such as same-sex marriage, conversion, and religion in the State of Israel and presents a critical analysis and explanation of the application of halacha.

En conmemoración de las luchas femeninas y queer por la libertad y la dignidad de todas las formas de vida, el 30 marzo de 2022 el programa de Filosofía de la Universidad del Quindío realizó el evento Cuestiones en torno a la escritura, la política y la Universidad. Un diálogo queer y feminista. Las participaciones consistieron en reflexiones sobre la escritura feminista en la academia, los feminismos y su lugar en la política electoral, las escrituras cuir y el ciberfeminismo. Del (...) evento surgió la propuesta de este dossier que desde esas miradas queer y feministas propone reflexiones situadas sobre la escritura, la política y la Universidad como espacios marcados por tensiones de género. Los artículos que componen el número avanzan en diagnósticos, críticas y propuestas alternativas a las relaciones de género hegemónicas que definen la naturaleza de los espacios nombrados. Así pues, este número se suma a los intentos de transformación de esos espacios o de la producción de unos nuevos, donde la vida en común, los saberes y su transmisión pueda reducir y quizá abolir las formas de exclusión que se entrelazan y se prolongan en el tiempo. En esta edición de la revista Disertaciones se incluyen artículos resultado del encuentro y otras colaboraciones adicionadas por vía de la convocatoria del monográfico. (shrink)

This volume collects 12 essays by various contributors on the subject of the importance and influence of Schopenhauer’s doctoral dissertation for both Schopenhauer’s more well-known philosophy and the ongoing discussion of the subject of the principle of sufficient reason. The contributions deal with the historical context of Schopenhauer’s reflections, their relationship to idealism, the insights they hold for Schopenhauer’s views of consciousness and sensation, and how they illuminate Schopenhauer’s theory of action. This is the first full-length, English volume on Schopenhauer’s (...) Fourfold Root and its relevance for Schopenhauer’s philosophy. The thought-provoking essays collected in this volume will undoubtedly enrich the burgeoning field of Schopenhauer-studies. (shrink)

When we look at photographs we literally see the objects that they are of. But seeing photographs as photographs engages aesthetic interests that are not engaged by seeing the objects that they are of. These claims appear incompatible. Sceptics about photography as an art form have endorsed the first claim in order to show that there is no photographic aesthetic. Proponents of photography as an art form have insisted that seeing things in photographs is quite unlike seeing things face-to-face. This (...) paper argues that the claims are compatible. While seeing things in photographs is quite unlike seeing things face-to-face, nevertheless seeing things in photographs is one way of seeing things. The differences between seeing things by means of photographs and by means of the naked eye provide the elements of an account of the aesthetic interests photographs engage. (shrink)

Os projetos de psicologia científica enfrentam pelo menos duas ameaças. A primeira delas surge quando uma proposta de psicologia tenta seguir os cânones da ciência moderna. Nesse caso, torna-se necessário "objetivar o fenômeno psicológico", o que, geralmente, é feito por meio da sua tradução em termos fisiológicos. Mas, nesse ponto, a especificidade da psicologia é ameaçada pelo reducionismo fisiológico. A segunda ameaça aparece quando um projeto de psicologia tenta evitar o reducionismo fisiológico defendendo a natureza subjetiva irredutível do fenômeno psicológico. (...) No entanto, isso coloca uma série de dificuldades metodológicas. Dessa maneira, a segunda ameaça às propostas de psicologia científica é o mentalismo, que impõe limitações ao emprego do método científico. O presente ensaio tem o objetivo de mostrar como o projeto de psicologia científica de Tolman pode ser visto como uma alternativa a essas duas ameaças. Em primeiro lugar, examinamos em que medida a concepção de comportamento como fenômeno molar afasta Tolman do reducionismo fisiológico. Em seguida, analisamos algumas dificuldades decorrentes dessa proposta, em especial, as limitações inerentes à epistemologia realista - adotada inicialmente por Tolman. Por fim, apresentamos a proposta tolmaniana de superação dessas dificuldades: trata-se da analogia entre teorias científicas e mapas, que revela a adoção de uma epistemologia instrumentalista por Tolman. (shrink)

What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a (...) wealth of examples he also explains how the roles of the computer artist and computer art user distinguishes them from makers and spectators of traditional art forms and argues that computer art allows us to understand better the role of technology as an art medium. (shrink)

It is widely assumed that the art media can be individuated with reference to the sense modalities. Different art media are perceived by means of different sense modalities, and this tells us what properties of each medium are aesthetically relevant. The case of pictures appears to fit this principle well, for pictures are deemed purely and paradigmatically visual representations. However, recent psychological studies show that congenitally and early blind people have the ability to interpret and make raised‐line drawings through touch. (...) This shows that pictures are not essentially visual representations. The view that pictures are essentially visual follows from influential views of the nature of depiction and of the nature of vision that are mistaken. By rooting out the mistake, we learn something about pictures, something about vision, and something about the doctrine that art media are individuated by the sense modalities. (shrink)

This paper examines a form of pictorial realism that has epistemic import. Gombrich and Schier claim that some pictures are realistic because they convey accurate information. The difficulty is that judgments of realism vary across cultural and historical contexts. Goodman counters that pictures belong to different systems and realistic pictures belong to familiar systems. However, this does not explain the revelatory realism' of pictures in novel systems. I propose that two views can be combined: a realistic picture is one which (...) belongs to a system that conveys the kind of information that suits the needs of users in a context. (shrink)

This article was written based on Michel Foucault’s formulations in the course Abnormals (1975) about the dimension of human monstrosity. In its general lines, Foucault not only provides us with an overview of the slow formation of the “indefinite and confused family” of the abnormal, but also deals with the important participation of the figure of the human monster in its composition. Thus, taking the theme of the human monster as the guiding thread of this text, we intend to launch (...) ourselves into some questions about the technologies of knowledge and strategies of power that made its existence possible, namely: How the dimension of monstrosity came to be linked to the panorama of sexuality? How did the dispositif of sexuality get involved in the proliferation of the pale figures of human monsters? And, in a final step, we ask ourselves about the possibilities of political resistance from the perspective of dissident bodies, insofar as they face the violent universalism of determinations based on true sex. (shrink)

Several recent books indicate that the philosophy of art has embarked upon a new alliance with cognitive science. One impetus for this is the move, beginning in the 70s and 80s, away from general aesthetics to a greater concern with the philosophies of the individual arts. Questions about the nature of art, expression, aesthetic experience and aesthetic properties as generic phenomena are still with us but many philosophers now approach them by means of specialized studies of music, literature, film, the (...) visual arts or the performing arts. Some claim that these questions can only be answered, or can best be answered, by studying the individual art forms. This has brought aesthetics into alignment with empirical research, which has always been concerned with individual art forms, for reasons having to do both with experimental design and with views of the mind as functionally differentiated. There is no psychological work on the perception of beauty, for example, but only on the perception of visual beauty, beauty in music and the like. Now that aesthetics is equally specialized, empirical research on the individual arts can be brought to bear upon familiar problems in aesthetics. (shrink)

Pictures are principally descriptive. Advertising images highlight features of potential purchases; cartoons open portals to scenes in fictional worlds; snapshots in the family photo album remind us of our past selves and landmark events in our personal histories; works of pictorial art express thoughts or feelings about depicted scenes. In addition, pictures serve a directive or action-guiding function that, though not taken into account by theorists, deserves no less attention than their descriptive one. Theories of depiction and the appreciation of (...) pictures stand to benefit by taking "directive pictures" into account, as do theories of representation in general and mental representation in particular. (shrink)

Some argue that there is no art in some non-Western cultures because members of those cultures have no concept of art. Others argue that members of some non-Western cultures have concepts of art because they have art. Both arguments assume that if there is art in a given culture, then some members of the culture have a concept of art. There are reasons to think that this assumption is false; and if it is false, there are lessons to learn for (...) cross-cultural studies of art both in anthropology and philosophy. (shrink)

Les Arts et les Images se veut une introduction aux principaux terrains d’investigation de Dominic McIver Lopes, philosophe canadien contemporain, figure incontournable de l’esthétique et de la philosophie de l’art en langue anglaise au cours des vingt dernières années. Il ouvre une réflexion sur les méthodes employées en esthétique et philosophie de l’art aujourd’hui, qu’on soit un philosophe dit « analytique » ou bien « continental », Lopes cherchant à penser le lien entre les deux traditions. -/- À (...) travers leur textes respectifs, Laure Blanc-Benon, Jacques Morizot et Frédéric Pouillaude instaurent un dialogue avec Dominic McIver Lopes, sur plusieurs de ses livres : Understanding Pictures (1996), ouvrage de référence sur la question philosophique des images et de la représentation, Beyond Art (2014), livre qui traite de la question classique au XXe siècle de la définition de l’œuvre d’art, et Four Arts of Photography (2016) dans lequel Dominic Lopes met en avant une nouvelle philosophie de la photographie. À ce dialogue s’ajoutent trois textes de Lopes inédits en français, portant sur la méthode de l’esthétique et de la philosophie de l’art et également sur la question de la beauté et de la valeur esthétique. (shrink)

La perspectiva de los futuros periodistas sobre la profesión es importante para una evaluación crítica de la forma en que la academia, en sus cursos de comunicación/ periodismo, los prepara.Los resultados de una encuesta a estudiantes de pregrado y maestría en comunicación/periodismo, de 11 instituciones de educación superior portuguesas, apuntan a un desajuste entre las percepciones sobre el periodismo actual y las expectativas futuras, lo que nos llevó a reflexionar sobre el papel de las instituciones educativas, que parecen más como (...) promotores de una visión crítica del periodismo, que promotores de actitudes proactivas en la búsqueda de respuestas a los diversos desafíos identificados por los estudiantes. (shrink)

ABSTRACT One of the many philosophical issues discussed throughout Plutarch's Quaestiones convivales has to do with the origin and inner structure of the universe, i.e., cosmological discussions. It would be impossible to discuss in detail every passage of the treatise that deals with cosmological issues. Therefore, I chose to limit my analysis to the concepts of chance, fate, ‘what depends on us ’, and providence. My purpose is to explain these concepts in the QC and to extract from them a (...) cosmological doctrine. RESUMO Entre os vários problemas filosóficos discutidos ao longo das Quaestiones Convivales de Plutarco, um deles tem que ver com a origem e com a estrutura do universo, isto é, discussões de cariz cosmológico. Seria impossível comentar em detalhe todas as passagens do tratado sobre questões cosmológicas. Por isso, preferi limitar a análise aos conceitos de acaso, destino, 'o que depende de nós' eprovidência. O meu objetivo é explicar estes conceitos nas QC e deles inferir uma doutrina cosmológica. (shrink)

Este breve tratado explora um problema que, já latente na tragédia ou até nos Poemas Homéricos, acabou por se tornar num dos tópicos mais determinantes do helenismo: o destino (εἱμαρμένη). Presente na estrutura mais íntima da mundividência grega de um modo diacrônico e transversal, a leitura dos fenómenos naturais e humanos como emanações incontornáveis de uma esfera superior que prescreve e vigia ganhou no helenismo o estatuto de filosofema fundamental.

The representation of color by pictures raises worthwhile questions for philosophers and psychologists. Moreover, philosophers and psychologists interested in answering these questions will benefit by paying attention to each other's work. Failure to recognize the potential for interdisciplinary cooperation can be attributed to tacit acceptance of the resemblance theory of pictorial color. I argue that this theory is inadequate, so philosophers of art have work to do devising an alternative. At the same time, if the resemblance theory is false, then (...) color depiction has interesting implications for color science. Empirical researchers must rethink the widespread assumption that color recognition requires color constancy. I suggest that a neuropsychological account of color recognition will be instrumental to completing the philosophical task, but by the same token scientists might do well not to proceed without casting an eye to the work of philosophers of art. (shrink)

This papers intends to show that Aristotle's theory on the political nature of man implies a specific difference in relation to other animals and that this does not arise from his understanding of human beings as naturally vulnerable animals that would seek in political life an artifice to redress their insufficiency or individual vulnerability to live. The qualitative difference of human beings in relation to other animals - including political species, such as bees or ants - drives them to an (...) equally specific type of life, whose foundation obeys values that ca be universalized. The political application of these values does not correspond to what is done in the domestic sphere, nor does it correspond to the mere transposition to a quantitatively superior community, because the universality of political values is extracted from what is understood by human beings as necessary for the realization of man as man, not man as an element of nature. (shrink)

Aesthetic hedonists agree that an aesthetic value is a property of an item that stands in some constitutive relation to pleasure. Surprisingly, however, aesthetic hedonists need not reduce aesthetic normativity to hedonic normativity. They might demarcate aesthetic value as a species of hedonic value, but deny that the reason we have to appreciate an item is simply that it pleases. Such is the approach taken by an important strand of South Asian rasa theory that is represented with great clarity and (...) ingenuity in the work of K. C. Bhattacharyya. Bhattacharyya is an aesthetic hedonist who grounds aesthetic normativity in freedom. (shrink)

In recent years, online “involuntary celibate” or “incel” communities have been linked to various deadly attacks targeting women. Why do these men react to romantic rejection with not just disappointment, but murderous rage? Feminists have claimed this is because incels desire women as objects or, alternatively, because they feel entitled to women’s attention. I argue that both of these explanatory models are insufficient. They fail to account for incels’ distinctive ambivalence toward women—for their oscillation between obsessive desire and violent hatred. (...) I propose instead that what incels want is a Beauvoirian “Other.” For Beauvoir, when men conceive of women as Others, they represent them as simultaneously human subjects and embodiments of the natural world. Women function then as sui generis entities through which men can experience themselves as praiseworthy heroes, regardless of the quality of their actions. I go on to give an illustrative analysis of Elliot Rodger’s autobiographical manifesto, “My Twisted World.” I show how this Beauvoirian model sheds light on Rodger’s racist and classist attitudes and gives us a better understanding of his ambivalence toward women. It therefore constitutes a powerful and overlooked theoretical alternative to accounts centered on objectification and entitlement. (shrink)

O presente capítulo compõe a obra organizada por Giovana Temple, "Subjetividade no Pensamento do Século XX - uma introdução". Como tal, o capítulo sobre Foucault se reúne com outros de demais autores importantes sobre a questão da "subjetividade" no século XX. No capítulo em questão, aborda-se a questão do "sujeito", sob panorama geral, desde os escritos dos anos 50 até o fim da obra. A respeito dos textos dos anos 50, busca-se uma breve dedução de como os textos de (...) 1954 e 1957, bem como o resultado dos cursos de Foucault em Lille e na ENS, conduzem aos problemas explicitamente enunciados em História da Loucura e na Tese Complementar. Então o panorama sobre o "sujeito" explora as linhas gerais da "arqueologia" de Foucault, passando depois aos temas caros à "genealogia do poder" e, finalmente, às problemáticas do "cuidado" e das "técnicas" de si, características dos anos 80. Em suma: busca-se uma dedução da questão do "sujeito" desde os compromissos dos anos 50, explorando também suas rupturas e continuidades entre os textos dos anos 1960-1980. (shrink)

Scientific images represent types or particulars. According to a standard history and epistemology of scientific images, drawings are fit to represent types and machine-made images are fit to represent particulars. The fact that archaeologists use drawings of particulars challenges this standard history and epistemology. It also suggests an account of the epistemic quality of archaeological drawings. This account stresses how images integrate non-conceptual and interepretive content.

Cet article ne cherche pas tant à réhabiliter la sculpture décorative (la talha, en portugais), habituellement considérée comme un art mineur, qu’à apporter les différents témoignages de sa domination dans un lieu particulier, le Minho (le nord-ouest portugais), au moment notamment de l’adoption du rococo, domination a priori impensable dans le contexte occidental autrement qu’en termes de périphérie. Il s’agit ensuite de comprendre les nuances qu’une telle domination introduit corollairement dans les concepts artistiques (notamment dans celui de paternité) et, enfin, (...) d’examiner en quoi cette situation permet de remettre en question de l’intérieur quelques modèles théoriques passés et contemporains. (shrink)

Japan's Ise Jingu shrine has been taken down and rebuilt every twenty years for more than a millenium - a practice called "shikinen sengu." A standard ontology of architecture, according to which buildings are material particulars, implies that Ise Jingu is no more than twenty years old. However, a correct ontology of architecture is implicit in practices of architecture appreciation. The Japanese appreciation of Ise Jingu and other buildings in its architectural tradition implies both that it is no more than (...) twenty years old and that it is more than a thousand years old. Two ontologies are considered that reconcile this paradox. A general lesson is also drawn, that ontology of art can profit from cross-cultural studies. (shrink)

One of the key insights of Simone de Beauvoir’s The Second Sex is the idea that gender-based subordination is not just something done to women, but also something women do to themselves. This raises a question about ethical responsibility: if women are complicit, or actively implicated in their own oppression, are they at fault? Recent Beauvoir scholarship remains divided on this point. Here, I argue that Beauvoir did, in fact, ethically criticize many women for their complicity, as a sign of (...) what she called “bad faith”. I challenge recent accounts by Nancy Bauer and Manon Garcia, who both read Beauvoir as exonerating complicit women. According to this reading, women emerge as human “freedoms” within a social world where a “destiny” of inferiority is already prepared for them. Their self-subordination is then an inevitable product of acting in a patriarchal world. I argue, however, that this interpretation generates a crucial tension, leading Bauer and Garcia to call on women to stop being complicit, while also claiming they cannot avoid complicity. I propose instead a different interpretation, on which feminine complicity is often fueled by criticizable ethical attitudes that are far from inevitable. By revisiting Beauvoir’s notion of “bad faith”, I show that this account is compatible with recognizing the limitations imposed on women’s agency and I show that this feminist ethical criticism is itself an important part of a collective project of social transformation. (shrink)