Driver, Julia. Ethics: The Fundamentals
2006, Wiley-Blackwell.
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Added by: Nick NovelliEditor's Note: Ethics: The Fundamentals explores core ideas and arguments in moral theory by introducing students to different philosophical approaches to ethics, including virtue ethics, Kantian ethics, divine command theory, and feminist ethics. The first volume in the new Fundamentals of Philosophy series. Presents lively, real-world examples and thoughtful discussion of key moral philosophers and their ideas. Constitutes an excellent resource for readers coming to the subject of ethics for the first time.Comment: This book offers good preliminary introductions to a number of topics in ethics. Each section could be assigned individually as a starting point for the given topic. The sections on utilitarianism and consequentialism are particularly good introductions. Primarily of use to early undergraduates or students who have not studied ethics before.
Du Bois, W.E.B.. Criteria of Negro Art
1926, The Crisis, 32: 290-297
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Added by: Quentin Pharr and Clotilde TorregrossaAbstract:
Published in The Crisis of October 1926, DuBois initially spoke these words at a celebration for the recipient of the Twelfth Spingarn Medal, Carter Godwin Woodson. The celebration was part of the NAACP's annual conference and was held in June 1926.Comment (from this Blueprint): In this selection, Du Bois discusses the nature of aesthetic value, how black artists have been historically excluded from creating it for false and racist reasons, and what role black artists actually have to play in creating beauty. Firstly, he establishes an expansive conception of aesthetic value. Secondly, he sets out various examples of how black artists have been historically excluded from producing art in general and art which portrays "blackness" more specifically. And lastly, he sets out a vision for the arts which not only includes black artists, but also recognizes the aesthetic and political value of their work for creating fair and equal societies where beauty is ever present and sought. It will help readers to understand the costs and wrongs that come with exclusionary practices in the production of aesthetic objects.
du Toit, Louise, Coetzee, Azille. Gendering African Philosophy, or: African Feminism as Decolonizing Force
2017, in Afolayan, A. and Falola, T. (eds.), The Palgrave Handbook of African Philosophy. New York: Palgrave Macmillan
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Added by: Björn Freter & Marc GwodogAbstract:
Although feminist authors and publications abound in other disciplines on the continent, professional African philosophy is overwhelmingly male dominated, with a conspicuous absence of feminist and gender themes. To redress the situation, du Toit and Coetzee consider the choice between applying globally dominant feminist frameworks to issues and debates in the African context or outright immersion in the masculine field of African philosophy in order to open up spaces for feminist questions in dialogue with indigenous worldviews and philosophical positions. In this chapter the authors focus on the second option, in line with recent calls to more authentically contextualize philosophical practice on the continent. The chapter examines the themes of sexual agency and motherhood. Grounded in this way, African feminist philosophy emerges as a potentially powerful source of critique and partner in dialogue with the more established strands of feminist thought.Comment (from this Blueprint): The interest of this article lies in the way it addresses the question of decolonization. It offers an analysis of the mechanisms that have allowed the memory of colonized peoples to remain under the influence of the colonial narrative and shows how feminist studies can contribute to a real emancipation of African memories and identities.
du Toit, Louise. Old Wives’ Tales and Philosophical Delusions: On ‘the Problem of Women and African Philosophy’
2008, in South African Journal of Philosophy, 27(4), Taylor & Francis
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Added by: Björn Freter & Marc GwodogAbstract:
This article represents a response to ‘the problem of women and African philosophy’, which refers mainly to the absence of strong women’s and feminist voices within the discipline of African philosophy. I investigate the possibility that African women are not so much excluded from the institutionalized discipline of philosophy, as preferring fiction as a genre for intellectual expression. This hypothesis can be supported by some feminists who read the absolute prioritisation of abstraction and generalization over the concrete and the particular as a masculine and western oppressive strategy. Attention to the concrete and the unique which is made possible by literature more readily than by philosophy, could thus operate as a form of political resistance in certain contexts. If fiction is currently the preferred form of intellectual expression of African women, it is crucial that the community of professional philosophers in a context like South Africa should come to terms with the relevance of such a preference for philosophy’s self-conception, and it should work to make these intellectual contributions philosophically fruitful. In the process, we may entertain the hope that philosophy itself will move closer to its root or source as ‘love of wisdom’.Comment (from this Blueprint): This paper is interesting because it addresses the question of the representation of women in philosophy. It contrasts the underrepresentation of women in philosophy with their representation in literature and explains this difference by a deliberate choice consistent with the struggles of African women.
Eaton, A. W.. ‘A Lady on the Street but a Freak in the Bed’: On the Distinction Between Erotic Art and Pornography
2018, British Journal of Aesthetics 58 (4): 469-488
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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?
Eaton, A. W.. Feminist philosophy of art
2008, Philosophy Compass 3 (5):873-893.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirAbstract: This article outlines the issues addressed by feminist philosophy of art, critically surveys major developments in the field, and concludes by considering directions in which the field is moving.
Eaton, A.W.. A Lady in the Street But a Freak in the Bed: On the Distinction Between Erotic Art And Pornography
2018, British Journal of Aesthetics, 58 (4): 469-488
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Added by: Quentin Pharr and Clotilde TorregrossaAbstract:
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 (from this Blueprint): Eaton argues that what really matters in the distinction between pornography and erotic art, has little to do with artistic or aesthetic features, value, or function. Instead, the distinction follows social power structures along the class line: the priviledged reserve art status (and positive value) to works available only in an exclusive ‘private iconic circuit’ but are otherwise no different from those available in the ‘public iconic circuit’ and labelled pornography (and evaluated negatively). Eaton likens the distinction to that between two kinds of prostitute: a ‘courtesan’ and a ‘whore’, suggesting that in both cases the distinctions originate in class divisions and serve to reinforce them. Eaton’s text can serve as a great case study in the debate surrounding the distinction between low and high art, as well 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?
Eckert, Maureen, Donahue, Charlie. Towards a Feminist Logic: Val Plumwood’s Legacy and Beyond
2020, In Dominic Hyde (ed.), Noneist Explorations II: The Sylvan Jungle - Volume 3 (Synthese Library, 432). Dordrecht: pp. 424-448
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Added by: Franci MangravitiAbstract:
Val Plumwood’s 1993 paper, “The politics of reason: towards a feminist logic” (hence- forth POR) attempted to set the stage for what she hoped would begin serious feminist exploration into formal logic – not merely its historical abuses, but, more importantly, its potential uses. This work offers us: (1) a case for there being feminist logic; and (2) a sketch of what it should resemble. The former goal of Plumwood’s paper encourages feminist theorists to reject anti-logic feminist views. The paper’s latter aim is even more challenging. Plumwood’s critique of classical negation (and classical logic) as a logic of domination asks us to recognize that particular logical systems are weapons of oppression. Against anti-logic feminist theorists, Plumwood argues that there are other logics besides classical logic, such as relevant logics, which are suited for feminist theorizing. Some logics may oppress while others may liberate. We provide details about the sources and context for her rejection of classical logic and motivation for promoting relevant logics as feminist.
Comment (from this Blueprint): This is an ideal companion piece to Plumwood's paper: it provides an accessible summary, and discusses both objections to the paper and possible responses.
Edet, Mesembe Ita. Women in the History of African Philosophy and the Imperative of ‘Her-Storical’ Perspective in the Contemporary African Philosophy
2018, in Chimakonam, J. and du Toit, L. (eds.), African Philosophy and the Epistemic Marginalization of Women. London, New York: Routledge
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Added by: Björn Freter & Marc GwodogAbstract:
The points this chapter labors to make are straight and simple. First, the documented reflections of women in contemporary African philosophy, of individuals such as Sophie Oluwole, Anke Graness, Wangari Maathai, Nkiru Nzegwu, Ebunoluwa Oduwole, Betty Wambui, Gail Presbey, and Louise du Toit, are impossible to deny or to ignore; the heritage they (and other female thinkers on the African condition, too numerous to do justice to here) have bequeathed to African philosophy and the world deserves the recognition denied it for so long, and current African philosophical historiography must remediate this epistemic injustice. Furthermore, I maintain that concepts are crucial in philosophical discourse, and this work has thrown up fresh concepts and keywords such as ‘his-story’, ‘her-story’, ‘her-storycide’, ‘her-storicity’, and ‘Afro-herstoricism’. These concepts are pregnant with implications, consequences, and creative possibilities for African philosophy and her place in the philosophical world. These concepts encapsulate the idea that women’s lives, experiences, deeds, contributions, voices, perceptions, representations, struggles, problems, expectations and participation in human affairs have been too long neglected or undervalued in standard historical narratives, and that serious cognizance must be taken of the creative works that women have produced in the development of knowledge and how these have affected the philosophic temper. Contemporary African philosophy cannot run away from honoring its ‘debts and duties’ to women in African philosophy.Comment (from this Blueprint): Introducing the problem of women's marginalization in African philosophy via a rich historical exposition and explanation of new concepts such as his-story, her-story, her-storycide, her-storicity, and Afro-herstoricism.
Elan, Priya. Beyoncé and Jay-Z’s Tiffany Advert Criticized by Friends of Basquiat
2021, The Guardian, 7th September 2021
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Added by: Quentin Pharr and Clotilde TorregrossaAbstract:
Close friends of artist Jean-Michel Basquiat have spoken out against the advert from jewellers Tiffany which features Beyoncé and Jay-Z posing in front of one of his paintings saying it was “not really what he was about”. Basquiat’s 1982 work Equals Pi sits behind the couple in the campaign as Beyoncé wears a 128.54-carat yellow diamond, the first black woman to have done so.Comment (from this Blueprint): This news item discusses the controversy surrounding a 2021 advert for the high-end jewelry brand Tiffany, featuring Beyoncé and Jay-Z, and, in the background, a rarely seen painting by Basquiat owned by Tiffany. This controversy serves to illustrate both the disappointment that hooks and others feel in how Basquiat's work has been consumed in a emotionally superficial and Eurocentric manner, as well as how his work has come to be a luxury object to be conspicuously consumed primarily by the elite and used for the sake of propagating such consumption of other luxury items to the elite (in this particular instance, a 128.54-carat yellow diamond previously worn by Audrey Hepburn and Lady Gaga). The aesthetic appreciation of the painting, when used as a prop for elite interests, is under scrutiny - and, equally, whether Basquiat's intentions and what he is trying to express through his work are respected in such use and whether should be. Moreover, many of Basquiat's works are privately owned and are not displayed to the public, only to elites. So, using this ad as a case study, we should note that aspects of specific class and status affiliations and interests can affect how appropriately or inappropriately an aesthetic object is consumed, if at all.
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