-
Expand entry
-
Added by: Simon Fokt
Abstract: While Stephen Davies argues that a debate on cross-cultural aesthetics is possible if we adopt an attitude of mutual respect and forbearance, his fellow symposiasts shed light upon different aspects which merit a closer scrutiny in such a dialogue. Samer Akkach warns that an inclusivistic embrace of difference runs the risk of collapsing the very difference one sought to understand. Julie Nagam underscores that local knowledge carriers and/or the medium should be involved in such a cross-cultural exploration. Enrico Fongaro searches for a way of experiencing cross-cultural art such that it can lead to a transformative experience Relatedly, Meilin Chinn uses the analogy of friendship to explore the edifying dimension of experiencing an art form. Lastly, John Powell studies whether Dickie’s Institutional Theory can be meaningfully used to identify works of art in Western and non-Western traditions.
Dotson, Kristie. How is this Paper Philosophy?2013, Comparative Philosophy 3 (1):3-29.-
Expand entry
-
Added by: Clotilde Torregrossa, Contributed by: Corbin Covington
Abstract: This paper answers a call made by Anita Allen to genuinely assess whether the field of philosophy has the capacity to sustain the work of diverse peoples. By identifying a pervasive culture of justification within professional philosophy, I gesture to the ways professional philosophy is not an attractive working environment for many diverse practitioners. As a result of the downsides of the culture of justification that pervades professional philosophy, I advocate that the discipline of professional philosophy be cast according to a culture of praxis. Finally, I provide a comparative exercise using Graham Priest's definition of philosophy and Audre Lorde's observations of the limitations of philosophical theorizing to show how these two disparate accounts can be understood as philosophical engagement with a shift to a culture of praxis perspective.Comment:
Dotson, Kristie. On the Costs of Socially Relevant Philosophy Papers: A Reflection2019, Journal of Social Philosophy .-
Expand entry
-
Added by: Clotilde Torregrossa, Contributed by: Corbin Covington
Introduction: The noticeable uptake of the paper 'How Is This Paper Philosophy?' (Dotson 2012a) within professional philosophy has given me the occasion to reflect about the uptake of philosophy papers. This may shed light on producing socially relevant philosophy articles and their costs. The relative success of that paper is a huge surprise to me. What I mean by success is pretty straightforward and not particularly ambitious. I am counting success as whether one regularly runs into people who have read one's paper and cite it as having had an impact on their considered or ambient positions on the paper's content. That is, it has received some uptake in a populated domain of activity. What I take to be central to ques-tions of how an article becomes socially relevant are questions of uptake. Uptake, here, is understood broadly to refer to readership that takes one's stated positions seriously enough to adopt (or be influenced by) them in part or in whole. What I have found is that many people in academic philosophy, for example, have read 'How Is This Paper Philosophy?' Some folks pay serious attention to it.Comment:
Eaton, A. W.. ‘A Lady on the Street but a Freak in the Bed’: On the Distinction Between Erotic Art and Pornography2018, British Journal of Aesthetics 58 (4): 469-488-
Expand entry
-
Added by: Simon Fokt
Abstract: How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function of erotic images in 16 th -century Italy. This exploration suggests that the root of the erotic art/pornography distinction was—at least in this context—class: in particular, the need for a special category of unsanctioned illicit images arose at the very time when print culture was beginning to threaten elite privilege. What made an erotic representation exceed the boundaries of acceptability, I suggest, was not its extreme libidinosity but, rather, its widespread availability and, thereby, its threat to one of the mechanisms of sustaining class privilege.
Comment: The paper has implications reaching far beyond the pornography debate. Could similar power relations not impact art classification elsewhere? It might be useful to discuss this in the context of Larry Shiner's 'The Invention of Art,' where the historical processes leading to the establishment of the modern Western system of the arts are analysed, including examples such as the exclusion of weaving as it became a female-dominated profession. Reaching even further, this can be applied to attitudes to art of other cultures, with (post)colonial power relations impacting on the way works are classified. Finally, Eaton’s text can serve as a sceptical argument against the classificatory project altogether: could all our attempts to distinguish art from non-art be just expressions of discrimination along various lines of priviledge? The paper has implications reaching far beyond the pornography debate. Could similar power relations not impact art classification elsewhere? It might be useful to discuss this in the context of Larry Shiner's 'The Invention of Art,' where the historical processes leading to the establishment of the modern Western system of the arts are analysed, including examples such as the exclusion of weaving as it became a female-dominated profession. Reaching even further, this can be applied to attitudes to art of other cultures, with (post)colonial power relations impacting on the way works are classified. Finally, Eaton’s text can serve as a sceptical argument against the classificatory project altogether: could all our attempts to distinguish art from non-art be just expressions of discrimination along various lines of priviledge?
Eichler, Lauren. Sacred Truths, Fables, and Falsehoods: Intersections between Feminist and Native American Logics2018, APA Newsletter on Native American and Indigenous Philosophy, 18(1).-
Expand entry
-
Added by: Franci MangravitiAbstract:
From the newsletter's introduction: "Lauren Eichler [...] examines the resonances between feminist and Native American analyses of classical logic. After considering the range of responses, from overly monolithic rejection to more nuanced appreciation, Eichler argues for a careful, pluralist understanding of logic as she articulates her suggestion that feminists and Native American philosophers could build fruitful alliances around this topic."
Comment:
available in this Blueprint
Finlayson, Lorna. The Political is Political: Conformity and the Illusion of Dissent in Contemporary Political Philosophy2015, London: Rowman and Littlefield International-
Expand entry
-
Added by: Carl Fox, Contributed by: Emily Dyson
Publisher's Note: Nobody should really have to point out that political philosophy is political. Yet in this highly original and provocative book Lorna Finlayson argues that in fact it is necessary to do so. Offering a critique of mainstream liberal political philosophy through close, critical engagement with a series of specific debates and arguments, Finlayson analyzes the way in which apparently neutral methodological devices such as 'charitable interpretation' and 'constructive criticism' function so as to protect against challenges to the status quo. At each stage, Finlayson demonstrates that political philosophy is suffering from a complex process of 'depoliticization.' Even in cases where it appears that the dominant framework of liberal political philosophy is being strongly challenged - as, for example, in the case of the 'realist' critique of 'ideal theory' - this book argues that the debate is set up in such a way as to impose strict limits on the kind of dissent that is possible. Only by dragging these hidden presuppositions into the foreground can we arrive at a clear-eyed appreciation of such debates, and perhaps look beyond the artificially constricted landscape in which they seek to confine us.Comment: Good further or advanced reading on the methodology of political philosophy, and an incredibly illuminating critical complement to a Rawls-heavy syllabus. Finlayson provides an interesting and challenging critique of liberal presuppositions that are widespread in political philosophy. Individual chapters would also make very good further or advanced reading in their own right, especially the chapters on Rawls, the norm of philosophical charity, speech acts and silencing, and political realism.
Fricker, Miranda. Epistemic Injustice: The Power and Ethics of Knowing2007, Oxford: Oxford University Press-
Expand entry
-
Added by: Tomasz Zyglewicz, Shannon Brick, Michael GreerPublisher’s Note:
Justice is one of the oldest and most central themes of philosophy, but sometimes we would do well to focus instead on injustice. In epistemology, the very idea that there is a first-order ethical dimension to our epistemic practices — the idea that there is such a thing as epistemic justice — remains obscure until we adjust the philosophical lens so that we see through to the negative space that is epistemic injustice. This book argues that there is a distinctively epistemic genus of injustice, in which someone is wronged specifically in their capacity as a knower, wronged therefore in a capacity essential to human value. The book identifies two forms of epistemic injustice: testimonial injustice and hermeneutical injustice. In doing so, it charts the ethical dimension of two fundamental epistemic practices: gaining knowledge by being told and making sense of our social experiences. As the account unfolds, the book travels through a range of philosophical problems. Thus, the book finds an analysis of social power; an account of prejudicial stereotypes; a characterization of two hybrid intellectual-ethical virtues; a revised account of the State of Nature used in genealogical explanations of the concept of knowledge; a discussion of objectification and ‘silencing’; and a framework for a virtue epistemological account of testimony. The book reveals epistemic injustice as a potent yet largely silent dimension of discrimination, analyses the wrong it perpetrates, and constructs two hybrid ethical-intellectual virtues of epistemic justice which aim to forestall it.Comment (from this Blueprint): In this excerpt, Miranda Fricker introduces the concept of testimonial injustice.
Gannett, Lisa. Echoes From the Cave: Philosophical Conversations Since Plato2014, Oup Canada.-
Expand entry
-
Added by: Clotilde Torregrossa, Contributed by: Simon Fokt
Publisher's Note: Echoes from the Cave: Philosophical Conversations since Plato is an anthology of classic and contemporary readings in philosophy compiled to introduce students to the main problems discussed by philosophers past and presentComment: This is an anthology of texts on central topics in philosophy, many of which might be suitable for the DRL.
Garavaso, Pieranna. The Woman of Reason: On the Re-appropriation of Rationality and the Enjoyment of Philosophy2015, Meta-Philosophical Reflection on Feminist Philosophies of Science, pp.185-202.-
Expand entry
-
Added by: Franci MangravitiAbstract:
This paper starts out from two feminist criticisms of classical logic, namely Andrea Nye’s general rejection of logic and Val Plumwood’s criticism of the standard notion of negation in classical logic. I then look at some of Gottlob Frege’s reflections on negation in one of his later Logical Investigations. It will appear clear that Frege’s notion of negation is not easily pegged in the general category of ‘Otherness’ that Plumwood uses to characterize negation in classical logic. In the second half of the paper, I discuss the claim that the adversarial method of argumentation in philosophy is hostile to feminist goals and perhaps responsible for the low numbers of women engaged in academic philosophy. Against this hypothesis, I claim that a more naturalistic perspective on logic can avoid essentialism and provide a feminist friendly and pluralist view of logic, human reasoning, and philosophical argumentation.
Comment:
available in this Blueprint
Gendler, Tamar. Intuition, Imagination, and Philosophical Methodology2010, Oxford: Oxford University Press.-
Expand entry
-
Added by: Jie Gao
Publisher's Note: This volume consists of fourteen chapters that focus on a trio of interrelated themes. First: what are the powers and limits of appeals to intuition in supporting or refuting various sorts of claims? Second: what are the cognitive consequences of engaging with content that is represented as imaginary or otherwise unreal? Third: what are the implications of these issues for the methodology of philosophy more generally? These themes are explored in a variety of cases, including thought experiments in science and philosophy, early childhood pretense, self?deception, cognitive and emotional engagement with fiction, mental and motor imagery, automatic and habitual behavior, and social categorization.Comment: The book contains fourteen previously published essays. The first six essays are on thought experiments and the use of the imagination therein. Mainly, these essays take up the tasks of explaining how thought experiments produce novel beliefs and explaining whether and how thought experiments justify beliefs. Those are good papers for teachings on methodology of philosophy and intuitions. The next six essays are on imagination in general: its nature, its role in motivating action and producing emotion, and its relations to other mental states. It covers a range of topics including the paradox of fictional emotions and the nature of self-deception, the puzzle of imaginative resistance, the problem of the precipice. The topic of the last two essays is a mental state called "alief" which are highly relevant materials for teachings on mental states in action, implicit bias and etc.
Can’t find it?Contribute the texts you think should be here and we’ll add them soon!
-
-
-
This site is registered on Toolset.com as a development site. -
-
-
-
-
-
Davies, Stephen, Samer Akkach, Meilin Chinn, et. al.. How Do Cross-Cultural Studies Impact Upon the Conventional Definition of Art?
2018, Journal of World Philosophies 3 (1): 93-122
Comment: The selection of texts by Davies, Akkach, and Chinn, with a part of Davies’ reply in the end, are particularly interesting. These present an interesting tension, with Akkach and (somewhat less overtly) Chinn, criticising Davies for adopting a Western-centric attitude to studying and conceptualising art of other cultures. It can be useful to consider this in the context of Nikiru Ngzewu, ‘African Art in Deep Time: De-race-ing Aesthetics and De-racializing Visual Art’, asking to what extent the present discussion is similar to her criticism of Vogel and Danto. Given that Davies is offering a reply to the criticisms, this could offer an opportunity for a debate-style class design. The texts, and especially Davies’ reply, invite a further reflection: can one ever understand, conceptualise, or analyse the products (art?) of another culture, without doing so using the conceptual frameworks of one’s own culture in ways that are problematic? If yes, how could this be done? If not, should we just never attempt it? What role do power structures and imbalances play in such attempts? The selection of texts by Davies, Akkach, and Chinn, with a part of Davies’ reply in the end, are particularly interesting. These present an interesting tension, with Akkach and (somewhat less overtly) Chinn, criticising Davies for adopting a Western-centric attitude to studying and conceptualising art of other cultures. It can be useful to consider this in the context of Nikiru Ngzewu, ‘African Art in Deep Time: De-race-ing Aesthetics and De-racializing Visual Art’, asking to what extent the present discussion is similar to her criticism of Vogel and Danto. Given that Davies is offering a reply to the criticisms, this could offer an opportunity for a debate-style class design. The texts, and especially Davies’ reply, invite a further reflection: can one ever understand, conceptualise, or analyse the products (art?) of another culture, without doing so using the conceptual frameworks of one’s own culture in ways that are problematic? If yes, how could this be done? If not, should we just never attempt it? What role do power structures and imbalances play in such attempts?