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This article addresses Pamela Sue Anderson’s philosophy of capability and vulnerability as an important contribution to the advancement of today’s feminist ethics. Following Paul Ricœur’s hermeneutics of l’homme capable, Anderson extends the phenomenological perspective of the capable human subject to embrace the distinctly feminine capability. She advocates for women’s recognizing and re-inventing of themselves as capable subjects, and claims that the perturbing initial loss of confidence in their reflective capacities can be redeemed via the transformations in women’s emotional and religious lives, as well as through their creative impulse. Locating in hermeneutics’ openness to ambiguity, incompleteness and insecurity a potential to unveil the non-transparent aspects of the assumed male-female equality, Anderson focuses on the interlocking aspect of human capability and vulnerability. She calls for transforming an ignorance of vulnerability into an ethical avowal of it. In reconfiguring patriarchal culture myths, Anderson sees the possibility of re-shaping our approach to vulnerability and capability, especially the human capacity for love.

Congress's chosen remedy for the proliferation of online revenge porn has a design flaw. The Violence Against Women Reauthorization Act, codified in 15 U.S.C. § 6851, provides a civil right, enforceable in federal court, to victims of nonconsensual pornography. However, exceptions for matters within the \"public concern,\" written into the statute with the First Amendment in mind, weaken the force of the Act and threaten to make its proscriptions a nullity. This Note calls on Congress to narrow the public concern exception in the Violence Against Women Reauthorization Act to include only matters of political significance. Such an amendment will honor the First Amendment's guaranty of free speech and ensure that evolving notions of newsworthiness do not work to burden those seeking relief under the Act.

I take it that A. W. Moore is right when he said that ‘Wittgenstein was right: some things cannot be put into words. Moreover, some things that cannot be put into words are of the utmost philosophical importance’. There is, however, a constant threat of self-stultification whenever an attempt is made to put the ineffable into words. As Pamela Sue Anderson notes in Re-visioning gender in philosophy of religion: reason, love, and epistemic locatedness , certain recent approaches to ineffability—including Moore’s approach—attempt to find a ‘third way’ of engaging with it, which displaces the traditional dichotomy between the effable and the ineffable, that is, between what can be said and what cannot be said. In this way, they seek to overcome the threat of self-stultification mentioned above. Still, one important challenge to this kind of approach, which Moore addresses, is, as he puts it, ‘to show how it is possible’ to talk about the ineffable ‘without belying its very ineffability’. His solution to the problem of the ineffable takes the notion of ‘knowing how’ to play a central role, and is formulated in accordance with his commitments to truth and objectivity. A further important challenge to the kind of approach to the ineffable Moore proposes concerns the issue of objectivity. In Re-visioning gender in philosophy of religion , Anderson draws attention to our epistemic locatedness, which brings in questions concerning, for example, gender and culture. Pursuing this view, the challenge is to show ineffable insight without ignoring our epistemic locatedness and, in particular, the role of gender in the conceptualisation and imagery through which we seek to come to terms with the ineffable. My paper deals with these challenges. By engaging with Moore’s and Anderson’s discussions of the ineffable, I examine how it is possible to talk philosophically about the ineffable, without breaking a commitment to enlarged or objective thinking, and without ignoring the epistemic locatedness of thinking.

This article places the conceptual artist Gordon Matta-Clark in conversation with hermeneutical debates within the field of theological aesthetics. By exploring the transformative effect Matta-Clark’s Splitting evokes on spatially related categories, I argue that place is a locus of meaning, and that absence is a constitutive feature of that meaning. The hermeneutics at play in Matta-Clark have a set of formal features which is in accord with certain positions within theological aesthetics, namely: the particularities of place over the generalities of space, the constitutive role of both absence and presence for perception, and the formative power of these on human identity. A final section argues that while meaning is embedded in place, the imagination retains a vital place in the hermeneutical process through its “imaging” function in events of perception.

I wish to expose the possibility of a Kantian feminism made actual by Pamela Sue Anderson’s recent book Re-visioning Gender in Philosophy of Religion: Reason, Love and Epistemic Locatedness . In this paper I show how Kantian philosophy structures Anderson’s project, and I argue that in embodying the spirit of Kantian critique, this project may be used to turn that spirit against the letter of its expression in an act that would claim Kant for feminism.

Pamela Anderson for WWD. \"We presented the idea to her and her team right before the shoot and, at the shoot, we spoke again about the no makeup and she went for it,\" Badia said. \"I just had seen her documentary and she appeared in some moments at home without it and I thought she looked amazing and pushed for it.\" In September, Anderson went fresh-faced to Victoria Beckham's spring 2024 fashion show during Paris Fashion Week. The 56-year-old author and activist explained she lost interest in \"hovering over the sink with multiple steps\" and has \"weeded out\" beauty products. \"I plant things where I'll see them and [apply them]...a rose hydration spray in the fridge that I use every time I open it...a lip balm in my bag that I apply all day long especially in the winter,\" she described. Anderson said she is wearing homemade formulas, including a rose hip facial oil that she uses \"just 'as my makeup' these days.\" The Pandora global ambassador wrote her routine's goal is to go \"back to basics,\" adding, \"I prefer a bare face these days. \"I still love a big makeup look when I feel like it - there lays the empowerment,\" she wrote.