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Picart graduated with a B.S. Biology at the top of her batch (pre-med, magna cum laude) in 1987, and an M.A. in Philosophy from the [[Ateneo de Manila| Ateneo de Manila University]] in 1989, while teaching as a university lecturer in Zoology, Philosophy and Astro-Physics at both the Ateneo de Manila University and the San Carlos Pastoral Formation Complex.<ref>[http://www.rcam.org/ministry/priestlyformation/index.htm]</ref> She was the first Filipina recipient of the [http://www.shaw.sg/sw_abouthistory.aspx?id=18%20167%20148%20155%204%2028%2034%20103%20152%2083%207%2079%2097%20112%2018%2062 Sir Run Run Shaw Scholarship] at [[Christ's College, Cambridge]], and graduated at the top of her class with an M.Phil from the [http://www.hps.cam.ac.uk/ Department of History and Philosophy of Science] as the Wolfson Prize Winner in 1991. After teaching at [[Yonsei University]]'s Foreign Language Institute from 1992 to 1993, in 1996 she completed her Ph.D. in Philosophy, with doctoral minors in Criticism and Theory, from [[Pennsylvania State University]], the top-ranked program in Continental Philosophy in the U.S. In 1999, she completed a post-doctoral summer seminar with [[Cornell University]]'s School of Criticism and Theory.
Picart graduated with a B.S. Biology at the top of her batch (pre-med, magna cum laude) in 1987, and an M.A. in Philosophy from the [[Ateneo de Manila| Ateneo de Manila University]] in 1989, while teaching as a university lecturer in Zoology, Philosophy and Astro-Physics at both the Ateneo de Manila University and the San Carlos Pastoral Formation Complex.<ref>[http://www.rcam.org/ministry/priestlyformation/index.htm]</ref> She was the first Filipina recipient of the [http://www.shaw.sg/sw_abouthistory.aspx?id=18%20167%20148%20155%204%2028%2034%20103%20152%2083%207%2079%2097%20112%2018%2062 Sir Run Run Shaw Scholarship] at [[Christ's College, Cambridge]], and graduated at the top of her class with an M.Phil from the [http://www.hps.cam.ac.uk/ Department of History and Philosophy of Science] as the Wolfson Prize Winner in 1991. After teaching at [[Yonsei University]]'s Foreign Language Institute from 1992 to 1993, in 1996 she completed her Ph.D. in Philosophy, with doctoral minors in Criticism and Theory, from [[Pennsylvania State University]], the top-ranked program in Continental Philosophy in the U.S. In 1999, she completed a post-doctoral summer seminar with [[Cornell University]]'s School of Criticism and Theory.


Picart has written, co-authored or co-edited 13 books on philosophy and literature, film, cultural studies, law and its interdisciplinary connections, as well as numerous scholarly and popular journal articles. She has also been a newspaper columnist and magazine contributor to newspapers and magazines in Seoul, South Korea, Pennsylvania, Florida and California. She has taught in the Philippines, England, South Korea and various parts of the U.S. in the fields of Biology, Philosophy, Film and the Humanities for 21 years. In the U.S., Picart was an adjunct professor at [[Florida Atlantic University-Davie]] from 1996 to 1997, and accepted a Senior Fellowship from the [[University of Wisconsin–Eau Claire]] in 1997; she was then recruited to be a tenure-track Assistant Professor at the University of Wisconsin–Eau Claire in 1997, where she remained till 1999. From 1999 to 2000, she was a tenure-track Assistant Professor at [[St. Lawrence University]]. From 2000 to 2008, she was a tenure-track Assistant Professor to tenured Associate Professor at [[Florida State University]], having been tenured and promoted in 2004.
Picart has written, co-authored or co-edited 13 books on philosophy and literature, film, cultural studies, law and its interdisciplinary connections, as well as numerous scholarly and popular journal articles. She has also been a newspaper columnist and magazine contributor to newspapers and magazines in Seoul, South Korea, Pennsylvania, Florida and California. She has taught in the Philippines, England, South Korea and various parts of the U.S. in the fields of Biology, Philosophy, Film and the Humanities for 21 years. In the U.S., Picart was an adjunct professor at [[Florida Atlantic University-Davie]] from 1996 to 1997, and accepted a Senior Fellowship from the [[University of Wisconsin–Eau Claire]] in 1997; she was at the University of Wisconsin–Eau Claire in 1997, where she remained till 1999. From 1999 to 2000, she was an Assistant Professor at [[St. Lawrence University]]. From 2000 to 2008, she was at [[Florida State University]], where she was tenured and promoted in 2004.

Picart has served and continues to serve as a manuscript referee or reader for several journals and presses, such as ''Science, Technology, & Human Values'' [http://sth.sagepub.com/], ''Critical Studies in Media Communication'' [http://www.tandf.co.uk/journals/titles/07393180.asp], ''State University of New York Press'' [http://www.sunypress.edu/index.asp?site=True], ''Journal of Nietzsche Studies'' [http://www.hunter.cuny.edu/philosophy/jns/], ''Kaleidoscope: A Graduate Journal of Qualitative Communication Research'' [http://kaleidoscope.siuc.edu/], ''University of Wisconsin Press'' [http://uwpress.wisc.edu/], ''Rhetoric and Public Affairs'' [http://muse.jhu.edu/journals/rhetoric_and_public_affairs/], ''Social Studies of Science'' [http://sss.sagepub.com/], ''Kenneth Burke Journal'' [http://www.kbjournal.org/], ''Journal of Contemporary Ethnography'' [http://jce.sagepub.com/], ''Journal of Criminal Justice and Popular Culture'' [http://www.albany.edu/scj/jcjpc/], ''Review of Communication'' [http://www.tandf.co.uk/journals/titles/15358593.asp], ''American Ethnologist'' [http://www.aesonline.org/], W.W. Norton and Company [http://www.wwnorton.com/], Prentice Hall [http://www.prenticehall.com/], ''Critical and Cultural Studies'' [http://www.natcom.org/index.asp?bid=208], ''Florida Historical Quarterly'' [http://palmm.fcla.edu/FHQ/], ''Fairleigh Dickinson University Press'' [http://www.fdupress.org/], ''Men and Masculinities'' [http://jmm.sagepub.com/], ''Qualitative Inquiry'' [http://qix.sagepub.com], and the ''International Journal of Qualitative Studies in Education'' [http://www.tandf.co.uk/journals/tf/09518398.html], among others.


As an artist, her work has been sold, exhibited, and featured at various galleries and events in the Philippines, South Korea, and various parts of the U.S. Several of her pieces are owned by UNICEF [http://www.unicef.org/]. She was the first Filipino woman painter to have an exhibit in [[Seoul]], South Korea in September, 1992, and founded a group, the International Artists and Poets Society when she was in [[Seoul]] from 1992-1993. In 2006, after being consistently ranked among the top three nationally, she won the US Open Cabaret pro am championship, which entails a mix of ballroom dance, ballet and gymnastics. She is the first Filipina to win this title. [http://www.unitedstatesdancechampionships.com/index.cfm/showsection/breaking_news/fuseaction/view/news_id/887/page.htm]
As an artist, her work has been sold, exhibited, and featured at various galleries and events in the Philippines, South Korea, and various parts of the U.S. Several of her pieces are owned by UNICEF [http://www.unicef.org/]. She was the first Filipino woman painter to have an exhibit in [[Seoul]], South Korea in September, 1992, and founded a group, the International Artists and Poets Society when she was in [[Seoul]] from 1992-1993. In 2006, after being consistently ranked among the top three nationally, she won the US Open Cabaret pro am championship, which entails a mix of ballroom dance, ballet and gymnastics. She is the first Filipina to win this title. [http://www.unitedstatesdancechampionships.com/index.cfm/showsection/breaking_news/fuseaction/view/news_id/887/page.htm]
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===Newspaper / magazine articles===
===Newspaper / magazine articles===
Picart has also published popular articles with ''[[The Korea Times]]'', ''[[The Korea Herald]]'', ''Center Daily Times'' [http://www.centredaily.com/], ''Voices of Central Pennsylvania'' [http://www.voicesweb.org/], ''[[Boca Raton News]]'', ''[[Filipinas Magazine]]'', ''Asia Trend Magazine'' [http://www.asiatrendmagazine.com/], and the ''[[Tallahassee Democrat]]''.<ref name=PopularWritings/>
Picart has also published popular articles with ''[[The Korea Times]]'', ''[[The Korea Herald]]'', ''Center Daily Times'' [http://www.centredaily.com/], ''Voices of Central Pennsylvania'' [http://www.voicesweb.org/], ''[[Boca Raton News]]'', ''[[Filipinas Magazine]]'', ''Asia Trend Magazine'' [http://www.asiatrendmagazine.com/], and the ''[[Tallahassee Democrat]]''.<ref name=PopularWritings/>

==Selected scholarly publications and influences==
Picart straddles a number of traditions as a [[List of female philosophers|female philosopher]].  As a [[Philosophy of science|philosopher of science]], she was most influenced by the writings of [[Thomas Kuhn]], [[Gaston Bachelard]], [[Donna Haraway]], and [[Sandra Harding]]. Her earliest publication in the philosophy of science traced the social construction and rhetorically farcical nature of the onset and closure of a well-known scientific controversy, which claimed to have proven the scientific veracity of [[homeopathy]].<ref>[http://online.sagepub.com/cgi/searchresults?fulltext=Picart&src=selected&andorexactfulltext=and&journal_set=spsss&sendit=Enter&volume=24&issue=1 "Scientific Controversy as Farce: The Benveniste-Maddox Counter-Trials"], ''Social Studies of Science'' 24 (1994): 7-37.</ref> The case was dismissed through a “ghostbusting team” led by the Randy the magician, along with a team of scientific experts from ''Scientific Nature'', and eventually led to a short-lived but vivid media war; this piece, one of four essays that were unanimously awarded the Wolfson Prize in 1991, revealed the mentorships of [[Nicholas Jardine]], [[Simon Schaffer]] and [[Peter Lipton]] of the University of Cambridge.

While Picart has done some work on [[Phenomenology (philosophy)|phenomenology]] as applied to the visual arts,<ref>Picart, Caroline J. S. "Metaphysics in Gaston Bachelard's 'Rêverie'", ''Human Studies: A Journal for Philosophy and the Social Sciences'', 20 (1997): 59-73.</ref> much of her work as a [[Continental philosophy|Continental philosopher]] begins with roots derived from [[Friedrich Nietzsche|Nietzsche's]] critique of power, as applied to the history of philosophy, the visual arts, and literature.<ref>Picart, Caroline J.S. "Nietzsche as Masked Romantic." ''Journal of Aesthetics and Art Criticism'', 55 (1997): 273-292. [http://www.wiley.com/bw/journal.asp?ref=0021-8529], and Picart, Caroline J. S.  "Classical and Romantic Mythology in  the (Re)Birthing of Zarathustra," ''Journal of  Nietzsche Studies'' 12 (Autumn 1996):  40-68. [http://www.hunter.cuny.edu/philosophy/jns/].</ref> Several of Picart's early scholarly work on [[Friedrich Nietzsche|Nietzsche]] traces the German philosopher's ambivalent relationship with [[Romanticism]], women and the concept of ''das weiblich'' (“the feminine”) in his philosophy.  For example, her first two books, on [[Friedrich Nietzsche|Nietzsche]] and [[Thomas Mann]] – ''Resentment and the Feminine in Nietzsche's Politico-Aesthetics'' and ''Thomas Mann and Friedrich Nietzsche: Eroticism, Death, Music and Laughter''– trace the refractory evolution of [[Friedrich Nietzsche|Nietzsche's]] political philosophy in relation to his aesthetics, using the rhetorical registers of power, nature, woman and “the feminine.”  These reflect the influences of [[Stanley Rosen]], Daniel Conway, Irene Harvey, and Raymond Fleming [http://biography.jrank.org/pages/2408/Fleming-Raymond.html]. Her contribution to this discussion is in doing a genealogy of [[Friedrich Nietzsche|Nietzsche's]] own resentful ambivalences regarding women, their symbolic power, as well as their biological capability to birth. [[Friedrich Nietzsche|Nietzsche's]] own evolving personal relationship with his mother and sister (alongside other factors, such as the devolution of his own health, through the onset of syphilis) mirrors how “the feminine” figures into his political and aesthetic philosophy initially as a symbol for power and Health (''Grössegesundheit'') alongside masculine figures, eventually to become replaced by references to real women as symbols of utter decadence and sickliness.

Beyond in-depth studies of Nietzsche's writing, Picard has attempted to cross-fertilize a Nietzschean approach with other approaches.  For example, her work in film criticism springs from her initial work on Nietzsche's ambivalences regarding women and the feminine, to applications of a [[Carl Jung|Jungian]] analysis of cultural “shadows” reflected in popular films, revealing both the deepest anxieties and hopes of a specific historical period, as captured in [[cyborg]] films and films that reveal a “Frankensteinian complex.” Her first articles on this topic<ref>“James Whale’s (Mis)Reading of Mary Shelley’s Frankenstein,” ''Critical Studies in Mass Communication''  15 (December, 1998):  382-404 and "Visualizing the Monstrous in Frankenstein Films," ''Pacific Coast Philology'' 35 (September 2000): 17-34</ref> set the trajectory for three books: ''Remaking the Frankensteinian Myth on Film: Between Laughter and Horror'', ''The Cinematic Rebirths of Frankenstein'' and (with Jayne Blodgett and Frank Smoot) ''A Frankenstein Film Sourcebook''.<ref>For a review of some of these books, see Robert E. Terrill, "Visioning Frankenstein: Rebirth and Reanimation," ''The Review of Communication'' 3.1 (January 2003): 94-98.</ref>

Picart's approach moves from using archival production history documents, to the evolution of scripts, to a detailed formal analysis of the final film, noting omissions and revisions, with respect to key “shadow figures” (women, minorities, cyborgs, monsters, raced and gendered hybrid figures). Her key contribution to this critical discussion has been hypothesizing a “third shadow” – often a conjunction of the female and the monstrous – which the horror genre in particular tends to treat as a scapegoat more severely than its other marginalized characters. Picart plays close attention to film genre conventions or forms, and has traced connections binding classic horror, horror-comedies, and hybrid science fiction narratives. Her work in this area was most influenced by Janice Rushing and Thomas Frentz [http://www.press.uchicago.edu/presssite/metadata.epl?mode=synopsis&bookkey=48779], Thomas Benson [http://cas.la.psu.edu/faculty/benson.htm] and [[Noël Carroll]].

Picart's interest in genre studies and the Gothic eventually led her to explore cinematic conventions cross-fertilizing the realms of fact and fiction, leading her to an examination of how storytelling conventions in the documentation of the Holocaust draws from classic Hollywood horror conventions, and how some contemporary horror films incorporate the Nazi-as-Monster narrative and the iconic “shower scenes” that simultaneously reference ''[[Psycho (film)|Psycho]]'' and Auschwitz. Much of her work in this area began with a systematic archival collection of global Holocaust films (documentaries, fiction, propaganda), ''The Holocaust Film Sourcebook.<ref>Review by Choice and Booklist [http://blog.uwinnipeg.ca/InfoResources/archives/000889.html]; detailed review by Richard Raskin, “Holocaust Film,” ''Review of Communication'', Vol. 4, Nos. 3-4, July–October 2004, pp.&nbsp;304-307.</ref>

From there, Picart teamed up with David Frank [http://honors.uoregon.edu/faculty/profiles/index.php?id=6], a historian and rhetorician, and Cecil Greek [http://www.criminology.fsu.edu/p/faculty-cecil-greek.php], a criminologist interested in film, to produce several articles and two books exploring two key concepts. First, Picart, with Frank, began with a look at classic and conflicted frames as applied to horror and Holocaust narratives that move across fact and fiction and that employ [[Gothic fiction|Gothic]] tropes. Picart and Frank ended with the concept of the possibility of an “ethics of reception,” possibly enabling a healthier collective “working through” (coming to terms with trauma) as opposed to “acting out” (compulsive repetition) of the trauma of the Holocaust through the way in which we frame and collectively remember this event through film. Second, Picart, with Greek, examined the possibility of a “Gothic Criminology,” which explores how “fact” and “fiction” weave across each other  in rhetorical media and cinematic depictions of what is “evil” (e.g., serial killers, female serial killers, terrorists, rogue cops, among others).  The first line of inquiry is influenced by [[Dominick LaCapra]]; the second, by Stanford Lyman [http://www.springerlink.com/content/w4x06644vhk26230/] and to some extent, Lonnie Athens [http://www.pbs.org/thinktank/bio_2043.htm]. The upshot of this line of inquiry is less a popular postmodern cliché, that there is no such thing as 'Truth', than that truth is complex, and is always historically, rhetorically and contextually located.<ref>For examples of an article and a book chapter: Picart, C.J.S. and Greek, C. "The Compulsions of Serial Killers as Vampires: Toward a Gothic Criminology," ''Journal of Criminal Justice and Popular Culture'', 10: 1, Winter 2003. [http://www.albany.edu/scj/jcjpc/vol10.html#vol10is1] and Picart, Caroline J. S., and Frank, David. "Horror and the Holocaust: Genre Elements in Schindler's List and Psycho." ''The Horror Film'', ed. Stephen Prince. New Brunswick, NJ: Rutgers University Press, 2004, 206–223. [http://rutgerspress.rutgers.edu/acatalog/__The_Horror_Film_1549.html]. Picard's two books are ''Frames of Evil: Holocaust as Horror in American Film'' and (ed. with Cecil Greek)''Monsters In and Among Us: Towards a Gothic Criminology''. For reviews, go to: Editor's Choice Review of Selected Books from Choice Reviews Online:
Review by L. D. Talit, Central Connecticut State University [http://www.cro2.org/default.aspx?page=reviewdisplay&pids=3277020] and Kim McQueen, “A monster problem: we should be afraid--very afraid. Monsters have escaped popular culture and now lurk through public policy and education,” ''Florida Trend'', August 1, 2003 [http://www.highbeam.com/doc/1G1-106272748.html]</ref>

Many of Picart's published articles follow this line of argumentation concerning gender, power and depictions of monstrosity (and victimhood), while expanding out to other areas, such as law.  One such example is: “Rhetorically Constructing and Deconstructing Victimhood and Agency:  The Violence Against Women Act’s Civil Rights Clause,” ''Rhetoric and Public Affairs'', volume 6:1 (spring 2003). [http://muse.jhu.edu/journals/rhetoric_and_public_affairs/toc/rap6.1.html] While Picart is a [[Feminist philosophy|feminist philosopher]], her framework would be difficult to classify, as the strength of her work lies in its cross-pollination of frameworks; her article on the Violence Against Women Act, for example, combines detailed rhetorical analyses of court documents as well as media depictions of who (credible) “victims” are, based on depictions of gender, race, and class, balanced with a law and economics framework influenced by [[Richard Posner]] and an intersectional critical race theory analysis by [[Kimberle Williams Crenshaw]].  Influenced by a Jurisprudence seminar taught by [[Lani Guinier]] at the School of Criticism and Theory at Cornell University, whom she met in 1999, as well as by the writings of [[Patricia J. Williams]] and [[Mari Matsuda]], Picart began her own explorations of critical race theory, from her perspective as a woman of mixed heritage, neither “black” nor “white,” and as a then “resident alien” married to a Caucasian American man, while returning to a nuanced application of Nietzschean perspectivism.<ref>“Beyond Good and Evil:  The Black-White Divide in [[Critical Race Theory]],” ''Human Rights Review'', 8:3 (April–June 2007):  221-228.</ref>

Picart's exploration of her own subject-position, as a woman of mixed heritage, neither black nor white, drew her to [[Autoethnography|autoethnographic]] studies. Perhaps the closest to an autobiography she has written is ''Travel Notes of an Insider-Outsider'', which  grapples with questions like:  What does it mean to be defined as a member of a specific race, especially as a “foreigner” then married to a white Anglo Saxon American male, living in the erst-labelled “salad bowl” of multicultural America?  What does it mean to be characterized as a “Filipino” woman, whose mother tongue was English, and whose name reveals my lack of racial purity?  What does it mean to look/be “Asian” to non-Asians and “not-quite-Asian” to “Asians”? Much of the theoretical work Picart does is rooted in lived experience, and in actually negotiating these boundaries to form creative alliances.

Many of Picart's articles deal with the concept of being an 'insider-outsider – being simultaneously inside, and outside, several cultures, or identities, or modes of identification; this is a position she began to explore, initially as a columnist for the ''Korea Times'', from 1992 to 1995.<ref name=PopularWritings>[http://www.carolinekaypicart.com/publications/pbjournals.html Complete list of Picart's popular writings in newspapers and magazines]</ref> The concept of the 'insider-outsider' is an attempt to restore some sense of agency, and the leverage of power, to whatever subject position one occupies in the midst of the prevalence of so much postmodern and postcolonial malaise, and complex discussions on race and power in the U.S. Picart uses the insider-outsider approach to analyzing the pedagogy and theory of science.<ref>“Through the Lens of an Insider-Outsider: Gender, Race and (Self)representation in Science,” [http://www.routledge.com/books/Feminist-Science-Studies-isbn9780415926966 ''A New Generation of Feminist Science Studies''], eds. Maralee Mayberry, Banu Subramaniam and Lisa Weasel. (Routledge, 2001), pp.&nbsp;42-47, and “Gender, Authority and the Politics of Representation in Science and Art,” ''A New Generation of Feminist Science Studies'', eds. Maralee Mayberry, Banu Subramaniam and Lisa Weasel (Routledge, 2001), pp.&nbsp;204-215.</ref> In other articles, Picard applies this view to aesthetics, moving across her experiences as a visual artist, dancer and academic to explore and negotiate various subject-positions.<ref>“Living the Hyphenated Edge: Autoethnography, Hybridity and Aesthetics,” ''Ethnographically Speaking: Autoethnography, Literature, Aesthetics'', eds. Carolyn Ellis and Art Bochner (Rowman and Littlefield, 2002)[http://findarticles.com/p/articles/mi_7081/is_1_23/ai_n28245149/]; “Dancing Through Different Worlds: Virtual Emotions and the Gendered Body in Ballroom Dance,” ''Qualitative Inquiry'', 8:3 (2002): 347–358 [http://online.sagepub.com/cgi/searchresults?fulltext=Picart&src=selected&andorexactfulltext=and&journal_set=spqix&sendit=Enter&volume=8&issue=3]; and “Dharma Dancing: Ballroom Dance and the Relational Order,” ''Qualitative Inquiry'', 10:6, December 2004): 836-838, [http://online.sagepub.com/cgi/searchresults?fulltext=Picart&src=selected&andorexactfulltext=and&journal_set=spqix&sendit=Enter&volume=10&issue=6</ref>

''From Ballroom to DanceSport:  Aesthetics, Athletics and Body Culture''<ref>For a review, go to: Fred Mason, [http://www.uta.edu/english/sla/br060825.html ''Sport Literature Association Book Review''], August 25, 2006</ref> is an offshoot of this line of analysis, springing from her experience as a then-amateur [[DanceSport]] athlete, and winning the 2006 US Open Championship, while holding a tenured Associate Professorship.  For this particular book, she collaborated with the photographer Carson Zullinger [http://www.carsonzullinger.com/], among others.  Her work in autoethnography owes a great deal to Norman Denzin [http://www.webeasel.net/sites/icr/faculty/profiles/Norman_Denzin.html], [[Kenneth Gergen]], Arthur Bochner [http://www.cas.usf.edu/communication/bochner/], Carolyn Ellis [http://www.cas.usf.edu/communication/ellis/], and [[H. L. (Bud) Goodall, Jr.]].  As a dancesport athlete, specializing in cabaret dancing (a mix of ballroom, ballet and gymnastics), Picart trained, at different times, with world and national champions, such as Vivienne Ramsey [http://www.ncdance.org/Faculty.asp#Vivienne], Hanna Kartunnen and Victor da Silva [http://www.vhdance.com/], Eric Luna [http://www.ericandgeorgia.com/index.php?option=com_content&task=view&id=12&Itemid=33] and Georgia Ambarian [http://www.ericandgeorgia.com/index.php?option=com_content&task=view&id=13&Itemid=34], Shirley Johnson, Bruno Collins, and Michael Chapman, among others. Picart has had approximately 16 years of ballet training, with some training in Hawaiian, Philippine and Korean folk dances as she traveled across the Philippines, England and South Korea; she started ballroom dancing at Cambridge, England in 1991. However, she began competing at the national scene in cabaret only in 2005 and won the US Open in 2006, after being ranked second consistently with three different professional partners.

Two other notable articles are more clearly autobiographical, applying similar analysis to media representations of the Marcoses, the Philippine dictators ousted by the February Revolution in 1986, in particular the flamboyant [[Imelda Marcos]].<ref>“Of Nuns and Tanks, and Angels and Demons: the Marcoses and the People's Power Revolution," ''The Long Term View'' (Massachusetts School of Law Journal). 6 (Spring 2005): 70-85, and [http://www.womenandperformance.org/issue30.html “Media Star, Myth, and Monster: Spectacle and the ‘Imeldific’], ''Women and Performance'', 30:15 (2006): 99-117.</ref>

Picart's work on global cinematic depictions of vampires,  ''Draculas, Vampires, and Other Undead Forms: Essays on Gender, Race and Culture'' Lanham, MD: Scarecrow Press, May, 2009 [http://www.scarecrowpress.com/Catalog/SingleBook.shtml?command=Search&db=^DB/CATALOG.db&eqSKUdata=081086696X], in collaboration with John Edgar Browning [http://lsu.academia.edu/JohnEdgarBrowning], one of her former students, continues her interests in the rhetorical constructions of “monster-talk,” a concept derived from [[Edward Ingebretsen]][http://explore.georgetown.edu/people/ingebree/].

As more recent articles show, Picart continues her application of Nietzsche's politico-aesthetics to other inter-disciplinary pursuits intersecting with pragmatism (largely due to the influence of John J. Stuhr [http://www.vanderbilt.edu/AnS/philosophy/faculty/stuhr.html]), critical/cultural studies, and geography.<ref>See, for example: Picart, Caroline J. S. [http://muse.jhu.edu/login?uri=/journals/journal_of_speculative_philosophy/v022/22.3.picart.html “Trans-Nationalities, Bodies, and Power: Dancing Across Different Worlds”], ''Journal of Speculative Philosophy'', Volume 22, #3, 2008, pp.&nbsp;191-204; and Picart, Caroline Joan (Kay) S., "Troping the Tropics: Reflections on Nietzsche's Geophilosophy and the Philippine Rice Terraces," ''ACME: An International E-Journal for Critical Geographies'', 2009, forthcoming.</ref>


==References==
==References==

Revision as of 16:23, 19 April 2011


Caroline Joan (Kay) Picart is an author, artist, DanceSport athlete, and radio host and producer. She currently attends the University of Florida Levin College of Law.

Personal life

Caroline Joan (Kay) Picart was born and grew up in the Philippines; her father, Robert, has a Filipino-French-American ancestry, and her mother, Anarose, a Filipino-Chinese-Spanish background. She was one among many active student leaders during the 1986 peaceful People's Power Revolution that overthrew Ferdinand and Imelda Marcos. Picart has three siblings: Richard, Blanche, and Yvette. She was married to Davis William Houck from 1994 to 2006;[1] in 2009, she married Gerardo M. Rivera.[2] In 2006, she became a naturalized U.S. citizen.

Professional life

Picart graduated with a B.S. Biology at the top of her batch (pre-med, magna cum laude) in 1987, and an M.A. in Philosophy from the Ateneo de Manila University in 1989, while teaching as a university lecturer in Zoology, Philosophy and Astro-Physics at both the Ateneo de Manila University and the San Carlos Pastoral Formation Complex.[3] She was the first Filipina recipient of the Sir Run Run Shaw Scholarship at Christ's College, Cambridge, and graduated at the top of her class with an M.Phil from the Department of History and Philosophy of Science as the Wolfson Prize Winner in 1991. After teaching at Yonsei University's Foreign Language Institute from 1992 to 1993, in 1996 she completed her Ph.D. in Philosophy, with doctoral minors in Criticism and Theory, from Pennsylvania State University, the top-ranked program in Continental Philosophy in the U.S. In 1999, she completed a post-doctoral summer seminar with Cornell University's School of Criticism and Theory.

Picart has written, co-authored or co-edited 13 books on philosophy and literature, film, cultural studies, law and its interdisciplinary connections, as well as numerous scholarly and popular journal articles. She has also been a newspaper columnist and magazine contributor to newspapers and magazines in Seoul, South Korea, Pennsylvania, Florida and California. She has taught in the Philippines, England, South Korea and various parts of the U.S. in the fields of Biology, Philosophy, Film and the Humanities for 21 years. In the U.S., Picart was an adjunct professor at Florida Atlantic University-Davie from 1996 to 1997, and accepted a Senior Fellowship from the University of Wisconsin–Eau Claire in 1997; she was at the University of Wisconsin–Eau Claire in 1997, where she remained till 1999. From 1999 to 2000, she was an Assistant Professor at St. Lawrence University. From 2000 to 2008, she was at Florida State University, where she was tenured and promoted in 2004.

As an artist, her work has been sold, exhibited, and featured at various galleries and events in the Philippines, South Korea, and various parts of the U.S. Several of her pieces are owned by UNICEF [4]. She was the first Filipino woman painter to have an exhibit in Seoul, South Korea in September, 1992, and founded a group, the International Artists and Poets Society when she was in Seoul from 1992-1993. In 2006, after being consistently ranked among the top three nationally, she won the US Open Cabaret pro am championship, which entails a mix of ballroom dance, ballet and gymnastics. She is the first Filipina to win this title. [5]

Picart's radio show, the Dr. Caroline (Kay) Picart Show, in 9 months of airing, was picked up, in excerpted form, by 59 national and international radio stations, and had an estimated listenership of over two million. [6]

Works

Books

  • Thomas Mann and Friedrich Nietzsche: Eroticism, Death, Music and Laughter in Thomas Mann and Friedrich Nietzsche. Amsterdam, Netherlands: Rodopi, 1999. Nominated for Second American Philosophical Association Book Prize for Younger Scholars.[7]
  • Resentment and The Feminine in Nietzsche’s Politico-Aesthetics. University Park, PA: The Pennsylvania State University Press, 1999. Nominated for Second American Philosophical Association Book Prize for Younger Scholars; American Metaphysical Society, John Findlay Prize; Current Research Session, Society for Phenomenology and Existential Philosophy (2001 and 2002).[8]
  • (with Frank Smoot and Jayne Blodgett) A Frankenstein Film Sourcebook Westport, CT: Greenwood, 2001.[9]
  • The Cinematic Rebirths of Frankenstein: Universal, Hammer and Beyond. Westport, CT: Praeger, 2001. Nominated for Current Research Session, Society for Phenomenology and Existential Philosophy and the National Communication Association Diamond Anniversary Award, (2002).[10]
  • Remaking the Frankenstein Myth on Film: Between Laughter and Horror. Albany, NY: State University of New York Press, 2003. Nominated for the National Communication Association Rhetoric and Communication Emerging Scholar Award.[11]
  • The Holocaust Film Sourcebook (Fiction, Documentary, Propaganda) 2 Volumes. Westport, CT: Praeger, 2004.[12]
  • Picart, Caroline J. S. Inside Notes from the Outside. Lanham, MD: Lexington Books/Rowman and Littlefield, 2004.[13]
  • (with David Frank; introductions by Dominick LaCapra and Edward Ingebretsen) Frames of Evil: The Holocaust as Horror in American Film. Carbondale, IL: Southern Illinois University Press, November 2006. Nominated for the National Communication Association “Best Book” Awards in both the Rhetorical Theory division and the Visual Communication Division.[14]
  • From Ballroom Dance to DanceSport: Aesthetics, Athletics and Body Culture. Albany, NY: State University of New York Press,January 2006. Nominated for the National Communication Association “Best Book” Awards in both the Rhetorical Theory division and the Visual Communication Division.[15]
  • (with Cecil Greek) Monsters in and Among Us: Towards a Gothic Criminology. Madison, New Jersey: Fairleigh Dickinson University Press, October, 2007.[16]
  • (with John Browning) Draculas, Vampires and Other Undead Forms: Essays on Gender, Race and Culture. Lanham, MD: Scarecrow Press, May, 2009.[17]
  • (with John Browning) The Dracula Film, Comic Book and Game Sourcebook. Jefferson, NC: McFarland Press, contracted and forthcoming.

Book chapters / journal articles

Picart has published many scholarly book chapters and journal articles;[4] amongst the journals for which she has published are: Journal of Criminal Justice and Popular Culture [18], Qualitative Inquiry, The Long Term View [19], Women and Performance [20], Scope [21], Communication and Critical/Cultural Studies [22], Rhetoric & Public Affairs [23], Film and History [24], p.o.v., A Danish Journal of Film Studies [25], Jump Cut [26], Pacific Coast Philology [27], Critical Studies in Media Communication [28], Journal of Aesthetics and Art Criticism, Human Studies: A Journal for Philosophy and the Social Sciences [29], Philosophy Today [30], Social Studies of Science [31], Journal of Nietzsche Studies [32], Journal of Speculative Philosophy [33] and ACME: An International E-Journal for Critical Geographies [34]

Newspaper / magazine articles

Picart has also published popular articles with The Korea Times, The Korea Herald, Center Daily Times [35], Voices of Central Pennsylvania [36], Boca Raton News, Filipinas Magazine, Asia Trend Magazine [37], and the Tallahassee Democrat.[5]

References

  1. ^ [1]
  2. ^ [2]
  3. ^ [3]
  4. ^ Complete list of book chapters and journal articles
  5. ^ Cite error: The named reference PopularWritings was invoked but never defined (see the help page).

External links

  • Dr. Caroline Joan (Kay) Picart, 2008
    Dr. Caroline Joan (Kay) Picart, 2008
  • U.S. Open Cabaret Pro Am Championship, 2006
    U.S. Open Cabaret Pro Am Championship, 2006
  • Dr. Caroline Joan (Kay) Picart Radio Show, 2008
    Dr. Caroline Joan (Kay) Picart Radio Show, 2008

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