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Added by: Tomasz Zyglewicz, Shannon Brick, Michael GreerAbstract:
Contemporary analytic philosophers often employ thought experiments in arguing for or against a philosophical position. These abstract, counterfactual scenarios draw on our intuitions to illustrate the force of a particular argument or to demonstrate that a certain position is untenable. Political theorists, for instance, employ Rawls's “original position” to illustrate the power of “justice as fairness,” and epistemologists raise “Gettier cases” to problematize a standard definition of knowledge. Although not all philosophers proceed in this manner, such methods are common in many areas of contemporary analytic philosophy...Said, Edward W.. Orientalism1978, Pantheon Books.-
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Added by: Suddha Guharoy and Andreas SorgerPublisher’s Note:
More than three decades after its first publication, Edward Said's groundbreaking critique of the West's historical, cultural, and political perceptions of the East has become a modern classic.
In this wide-ranging, intellectually vigorous study, Said traces the origins of "orientalism" to the centuries-long period during which Europe dominated the Middle and Near East and, from its position of power, defined "the orient" simply as "other than" the occident. This entrenched view continues to dominate western ideas and, because it does not allow the East to represent itself, prevents true understanding. Essential, and still eye-opening, Orientalism remains one of the most important books written about our divided world.Comment (from this Blueprint): Orientalism is a classic text in postcolonial theory which successfully brought out the politics of ‘othering’. It shows how the ‘Orient’ was constructed by delineating it from the supposedly morally, culturally and politically advanced (and superior) ‘Occident’. The book is not so much about the East as much as it is about how the Orient was ‘produced’ by the imperial masters of Europe and America and perceived as the ‘other’ to the rest of the ‘civilized’ world. The author traces and examines various literary and political sources which originated and perpetuated Orientalism. The abstract gives an overview of the argument and introduces the reader to the rest of the book.
Ukpokolo, Isaac E. . Enriching the Knowledge of the Other Through an Epistemology of Intercourse2020, In: Imafidon, E. (ed.) Handbook of African Philosophy of Difference. Cham: Springer, 193-204-
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Added by: Björn Freter, Contributed by: Björn Freter
Abstract: Ideas, knowledge, and cognitive claims we have about “the other” or “the different” traditionally stems from what can be referred to as mainstream Cartesianism of epistemic duality, an orientation that has primary consideration for subject-object dichotomy; the knower and the known; the I and the thou; and the center and the periphery. In such considerations, what is of the center perceives what is not as an “other.” This disposition about the other constitutes a gap in cognition resulting in poverty of knowledge – knowledge of the other attained from a distance. Furthermore, this condition presents some rigid boundary between episteme (the knowledge) and doxa (the opinions), between the “self” and the “other,” between reality and appearance, between noumena and the phenomena, or between space and time. The present work attempts an alternative epistemology that avoids the impossibility of obtaining genuine knowledge beyond the self, proposing an epistemology of intercourse which alone, I believe, is capable of re-presenting a robust understanding of the entirety of reality (a holistic cognition of reality that is a continuum). According to this proposal, “knowledge” is “intercourse.” The knower is subsumed in the known and vice versa. Only then can the knower know the other for what it is and appreciates the non-difference between the knower and the known. This way, a just relationship between the self and the other would evolve.Comment:
Kukla, Rebecca. Cognitive models and representation1992, British Journal for the Philosophy of Science 43 (2):219-32.-
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Added by: Clotilde Torregrossa, Contributed by: Simon Fokt
Abstract: Several accounts of representation in cognitive systems have recently been proposed. These look for a theory that will establish how a representation comes to have a certain content, and how these representations are used by cognitive systems. Covariation accounts are unsatisfactory, as they make intelligent reasoning and cognition impossible. Cummins' interpretation-based account cannot explain the distinction between cognitive and non-cognitive systems, nor how certain cognitive representations appear to have intrinsic meaning. Cognitive systems can be defined as model-constructers, or systems that use information from interpreted models as arguments in the functions they execute. An account based on this definition solves many of the problems raised by the earlier proposalsComment:
Mukherji, Parul Dave. Who is afraid of Mimesis? Contesting the Common Sense of Indian Aesthetics through the Theory of ‘Mimesis’ or Anukaraṇa Vâda2016, In Arindam Chakrabarti (ed.). The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art. New York: Bloomsbury Academic, 71-92.-
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Added by: Meilin Chinn
Summary: A rejoinder to the claim that mimesis is unimportant in Indian art and aesthetics. Dave-Mukherji seeks to decolonize Indian aesthetics from its internalized Western ethnocentrism, according to which mimesis belongs to the domain of Western art and aesthetics, and open new, non-binary terrain for comparative aesthetics. She seeks to revive the complex theory of visual representation theorized in ancient Indian art treatises, particularly the concept of anukrti, a term she considers cognate to mimesis.Comment: This text is appropriate for a course in aesthetics and/or comparative aesthetics. It provides an excellent background for a cross-cultural discussion of mimesis.
West, Shearer. What is a Portrait?2004, In: Portraiture, Oxford: Oxford University Press, pp. 21-41.-
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Added by: Hans Maes
Summary: Explores three fundamental claims: (1) portraits can be placed on a continuum between the specificity of likeness and the generality of type; (2) all portraits represent something about the body and face, on the one hand, and the soul, character, or virtues of the sitter, on the other; (3) all portraits involve a series of negotiations – often between artist and sitter, but sometimes there is also a patron who is not included in the portrait. NB: In the Introduction preceding this chapter West also questions the cliché that portraits are an invention of the Renaissance and an exclusively Western phenomenon.Comment: This text offers a great introduction to the topic of portraiture and an overview of the subject. It can also be useful in a wider context of depiction and representation.
Artworks to use with this text:
Jan Van Eyck, Madonna With Chancellor Rolin (1433) vs Rogier van der Weyden, The Donor, Chancellor Rolin, Kneeling in Prayer; from the reverse of Last Judgment Polyptych (1445)
A comparison of these two paintings reveals how likenesses are always mediated by the varying functions of portraits and the distinct styles of the artists.
Angelica Kauffmann, Portrait of J.W. Goethe (1787-8)
For women artists such as Kauffmann the control of the gaze during sessions with male sitters could be socially uncomfortable but empowering. This text offers a great introduction to the topic of portraiture and an overview of the subject. It can also be useful in a wider context of depiction and representation.
Artworks to use with this text:
Jan Van Eyck, Madonna With Chancellor Rolin (1433) vs Rogier van der Weyden, The Donor, Chancellor Rolin, Kneeling in Prayer; from the reverse of Last Judgment Polyptych (1445)
A comparison of these two paintings reveals how likenesses are always mediated by the varying functions of portraits and the distinct styles of the artists.
Angelica Kauffmann, Portrait of J.W. Goethe (1787-8)
For women artists such as Kauffmann the control of the gaze during sessions with male sitters could be socially uncomfortable but empowering.
Chino, Kaori. A Man Pretending to Be a Woman: On Yasumasa Morimura’s “Actresses”2000, in: Brand, Peg Zeglin (ed.), Beauty Matters, Bloomington: Indiana University Press, pp. 252-265.-
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Added by: Hans Maes
Summary: Argues that Morimura's portraits achieve something that depictions of the female body rarely can. Morimura invites the violent male gaze with his exposed body and then, in the next moment, snubs and nullifies it. With references to Andy Warhol's portraits of Marilyn Monroe and Cindy Sherman's work.Comment: Useful in discussing portraiture and depiction, and objectification in general.
Artworks to use with this text:
Yasumasa Morimura, Descent of the Actresses (1994)
Self-portraits in which the artists impersonates famous actresses. Useful in discussing portraiture and depiction, and objectification in general.
Artworks to use with this text:
Yasumasa Morimura, Descent of the Actresses (1994)
Self-portraits in which the artists impersonates famous actresses.
Campbell, Shelley. Myra: a Portrait of a Portrait2013, in: Hannah Priest (ed.), The Female of the Species: Cultural Constructions of Evil, Women and the Feminine, Oxford: Inter-disciplinary Press.-
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Added by: Hans Maes
Summary: Considers philosophical problems with representation, particularly in regard to the loss of particularity and individuality in instances when an identity takes on symbolic proportions. Hindley, the woman, has been totally merged with Hindley, the monster. Her particularity has been subsumed as a two-dimensional stereotype by having her photo treated with obsessive media attention by being repetitively linked to that same hated stereotype.Comment: Useful in classes focused on depiction and representation.
Artworks to use with this text:
Marcus Harvey, Myra (1995)
Despite Harvey's attack on reflex reactions to Hindley and his verbal protest to the contrary, his portrait has further incited public outrage and denied her a chance of fair treatment. There's a clear discrepancy between what the artist has said in interviews and what the painting appears to express. Useful in classes focused on depiction and representation.
Artworks to use with this text:
Marcus Harvey, Myra (1995)
Despite Harvey's attack on reflex reactions to Hindley and his verbal protest to the contrary, his portrait has further incited public outrage and denied her a chance of fair treatment. There's a clear discrepancy between what the artist has said in interviews and what the painting appears to express.
Strother, Z.S.. “A Photograph Steals the Soul”: The History of an Idea2013, in: John Peffer and Elisabeth L. Cameron (eds.), Portraiture & Photography in Africa, Bloomington and Indianapolis: Indiana University Press, pp. 177-212.-
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Added by: Hans Maes
Summary: Traces the origins of, and eventually challenges, the idea that many people in non-industrialized countries refused to have their photographic portrait taken due to the belief that it would steal their soul. Investigates and refutes the evidence provided by Richard Andree, James Napier, James G. Frazer. With references to C.S. Peirce, Rosalind Krauss, Susan Sontag.Comment: Useful in aesthetics classes discussing portraiture, depiction and representation, as well as social and political philosophy classes focused on racial and cultural stereotyping.
Artworks to use with this text:
Antoine Freitas, self-portrait with handmade box camera in Bena Mulumba, Kasaï Province (1939)
A masterpiece of composition, showing the photographer at work, surrounded by children and women who would normally be kept away from recognized sorcerers (thereby demonstrating that the photographer was not considered an evil soul-stealing sorcerer). Useful in aesthetics classes discussing portraiture, depiction and representation, as well as social and political philosophy classes focused on racial and cultural stereotyping.
Artworks to use with this text:
Antoine Freitas, self-portrait with handmade box camera in Bena Mulumba, Kasaï Province (1939)
A masterpiece of composition, showing the photographer at work, surrounded by children and women who would normally be kept away from recognized sorcerers (thereby demonstrating that the photographer was not considered an evil soul-stealing sorcerer).
Pointon, Marcia. Portrait, Fact and Fiction2013, in: Portrayal and the Search for Identity, Reaktion Books, pp. 23-46.-
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Added by: Hans Maes
Summary: Considers portraiture an unstable, destabilizing, potentially subversive art through which uncomfortable and unsettling convictions are negotiated. As such, it is primarily an instrumental art form, a kind of agency. Also argues that there is an element of the fictive involved in all portrait representations. Explains how portraiture is a slippery and seductive art.Comment: Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Garibaldi at Caprera, frontispiece of G.M. Trevelyan, Garibaldi and the Thousand, May 1860 (1931 edition)
A reproduction of a photograph of a copy of a many times copied portrait of the guerilla leader. Devoid of monetary or aesthetic value. Not very likely that Garibaldi looked like this or posed for the artist. The portrait works to endow the historical narrative with its illusion of a unified subject. Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Garibaldi at Caprera, frontispiece of G.M. Trevelyan, Garibaldi and the Thousand, May 1860 (1931 edition)
A reproduction of a photograph of a copy of a many times copied portrait of the guerilla leader. Devoid of monetary or aesthetic value. Not very likely that Garibaldi looked like this or posed for the artist. The portrait works to endow the historical narrative with its illusion of a unified subject.
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Schwartzman, Lisa. Intuition, Thought Experiments, and Philosophical Method: Feminism and Experimental Philosophy
2012, Journal of Social Philosophy 43 (3): 307-316
Comment (from this Blueprint): Schwartzman mounts a critical argument about x-phi's feminist potential. She argues that the sorts of methods that are central to much x-phi are uncritical of the ways in which intuitions can be shaped by a variety of prejudicial and ideological forces, and are unable to reveal the existence of the sort of structural injustice that is responsible for professional philosophy's radically unrepresentative demographics. Importantly, along the way she recruits empirical work about the nature of implicit bias and stereotype threat.