The Aesthetic Mediation

In the visual arts of the Romantic period the crucifixion of Christ often became a representation of the sufferings of humanity. Caspar David Friedrich’s paintings placed the cross in the context of the immensity of nature. Toward the end of the nineteenth century there was an increasing tendency to portray Jesus’ suffering in the genre of naturalistic realism. Some painters consciously attempted to incorporate the findings of modern biblical scholarship, rather than follow traditional models. Early film representations, on the other hand, tended to rely on classical types and popular piety.

Feminism, Primatology, and Ethical Naturalism

Primatology supports a feminist ethical naturalism rooted in evolutionary biology. Patriarchal exploitation can be condemned as contrary to women's natural needs and capacities, although prudence is required in recognizing how ecological circumstances limit the range of practicable reform. Donna Haraway's history of primatology, however, illustrates the tendency of some feminists to reject naturalistic realism in favor of nihilistic relativism. Such relativism is disastrous for the feminist position, because it deprives the feminist of any ground in nature for criticizing patriarchal customs. The scenario of “Woman the Gatherer” illustrates feminist naturalism in primatology. Judging female circumcision as frustrating the natural needs of both men and women illustrates the power of feminist naturalism for cultural critique.