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Added by: Clotilde Torregrossa, Contributed by: Simon Fokt
Abstract: It is argued that it is important for cognitive scientists to understand both the precise nature of RTM, and the challenges to it. The biggest foundational challenge is to develop an adequate naturalistic theory of how representational content is determined. Philosophers have proposed several ingenious theory-sketches of content determination but none accounts for the full range of semantic features mental representations arguably have. Another major challenge is the existence of non-representational competitor research programs. A likely future scenario is that we will be able to explain certain 'low-level' aspects of cognition without resort to representations but that representational hypotheses will still be needed to account for the intentionality-based features of cognition and 'representation hungry' higher-level processes.Webb, Simone. Mary Astell’s ‘A Serious Proposal to the Ladies’ (1694)2018, 1000-Word Philosophy: An Introductory Anthology-
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Added by: Simon Fokt, Contributed by: Simone Webb
Introduction: Mary Wollstonecraft (1759-1797) is established in the popular imagination as the “first feminist,” but another philosopher provided a systematic analysis of women’s subjugated condition and a call for female education nearly a century before Wollstonecraft’s A Vindication of the Rights of Woman (1792). Mary Astell’s (1666-1731) A Serious Proposal to the Ladies, for the Advancement of their True and Greatest Interest by a Lover of Her Sex, Parts I and II (1694, 1697) is a philosophical text that argues that women are in an inferior moral condition compared to men, analyses the causes of this problem, and presents a two-part remedy.
Comment: This is a 1000-word introductory article to Mary Astell's feminist thought as expressed in her philosophical treatise A Serious Proposal to the Ladies. It would work well as pre-class reading, or a very basic introduction to the study of the history of feminist thought or women in early modern philosophy.
Weil, Simone. Essay on the Notion of Reading (1946)2020, Journal of Continental Philosophy 1 (1):9-15-
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Added by: Deryn Mair ThomasAbstract:
In this essay, Weil undertakes a meditation on the idea of “reading”, which she thinks can shed new light on a diverse range of conceptual and experiential “mysteries”, especially with respect to our existential responses to the world. A central concern is how we ascribe meaning and respond to phenomena. She argues that, for the most part, our reading of the world and the things in it are immediate, not subject to “interpretation”, at least as this is regularly conceived. Further, Weil says, our readings of the world are invariably tied to particular kinds of valuation, of ethical assessment and orientation, which appear to us as both obvious and immediate. This immediacy of reading, however, does not entail that our readings cannot be changed or challenged—only that such a change or challenge requires a particular kind of labor.
Comment: This is a unique and original analysis of the experience and phenomena of perception and its relation to ethical evaluation. It constitutes a distinct contribution to the philosophical literature, in part, because the ideas developed by Weil in the essay were original to her and not in response to any other thinker. The essay also showcases a somewhat idiosyncratic style of philosophical methodology that was unique to Weil - a blend of continental style, treating philosophy as poetic prose, and analytic method, laying out an argument in sequential premises which lead the reader towards a conclusion. As such, it might constitute an interesting contribution to a course that examines alternative philosophical methodologies, or underexplored women of 20th century western philosophy. It could also be used as an alternative text in intermediate courses on the philosophy of perception and sensation.
Weil, Simone. The Need for Roots: Prelude to a Declaration of Duties Towards Mankind1952, New York: Routledge-
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Added by: Deryn Mair ThomasPublisher’s Note:
In The Need for Roots, her most famous book, Weil reflects on the importance of religious and political social structures in the life of the individual. She wrote that one of the basic obligations we have as human beings is to not let another suffer from hunger. Equally as important, however, is our duty towards our community: we may have declared various human rights, but we have overlooked the obligations and this has left us self-righteous and rootless. Published posthumously, The Need for Roots was a direct result of Weil's collaboration with Charles De Gaulle, where Weil set out to address the past and to propose a road map for the future of France after World War II. She painstakingly analyzes the spiritual and ethical milieu that led to France's defeat by the German army, and then addresses these issues with the prospect of eventual French victory.
Comment: This text offers a unique and original analysis of the duty to uphold community, and the bearing of community on the life of the individual. As with much of Weil's writing, the series of essays constitute a distinct contribution to the philosophical literature, in part, because they showcase a somewhat idiosyncratic style of philosophical methodology that was unique to Weil - a blend of continental style, treating philosophy as poetic prose, and analytic method, laying out an argument in sequential premises which lead the reader towards a conclusion. As such, it might constitute an interesting contribution to a course on political philosophy, by offering an alternative approach outside of 20th century canon to examining basic human rights and collective obligations. In addition, it could also be used as supplemental text in courses examines alternative philosophical methodologies, especially in political philosophy (for example, it could be paired with work by Hannah Arendt) or underexplored women of 20th century western philosophy.
Weil, Simone. Reflections on the Right Use of School Studies With a View to the Love of God (1950)2009, New York: HarperCollins.-
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Added by: Deryn Mair ThomasAbstract:
Comment: This text provides a novel analysis of the concept of attention and explores the role that education plays in cultivating the capacity to attend. Weil is especially interested in the relationship between attention and spiritual meditation (which she refers to as prayer) but the implications of her analysis reach well beyond the religious sphere. Her approach, as was true in the case with most of her philosophy, is idiosyncratic, employing both analytic and continential elements. As a result, the essay could be used in any course or reading group that was interested in studying alternative philosophical methodologies, or underexplored philosophical topic areas. This essay in particular is fairly short, so with careful attention and some guidance, could be used for introductory level students - but there is more than enough philosophical content for it to provide fruitful discussion to more advanced groups.
West, Shearer. The Functions of Portraiture2004, In: Portraiture, Oxford: Oxford University Press, pp. 43-69.-
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Added by: Hans Maes
Summary: Posits that aesthetic value has only rarely been the primary inspiration in the commissioning, display, and reception of portraits. Discusses the different functions that portraits and portrait collections have fulfilled. Includes sections on the portrait as biography, the portrait as document, the portrait as proxy and gift, the portrait as commemoration and memorial, the portrait as political tool.Comment: A central text for classes on portraiture. Very useful in any classes focusing on non-aesthetic function of art.
Artworks to use with this text:
Anonymous, after an engraving by Simon Van de Passe, Pocahontas (after 1616)
Words painted on a portrait were often important in establishing the authenticity of the likeness, but in this case that claim is misleading, as this portrait was a third-hand image. Moreover, Pocahantos is depicted as white, described as a Christian convert, and principally identified as the wife of John Rolfe.
Jean-Étienne Liotard, Portrait of Maria Frederike van Reede-Athlone at 7 years of age (1755-6)
Because pastel portraits rendered the person both lifelike and seemingly touchable, they potentially had an erotic and fetishistic quality and were collected obsessively. A central text for classes on portraiture. Very useful in any classes focusing on non-aesthetic function of art.
Artworks to use with this text:
Anonymous, after an engraving by Simon Van de Passe, Pocahontas (after 1616)
Words painted on a portrait were often important in establishing the authenticity of the likeness, but in this case that claim is misleading, as this portrait was a third-hand image. Moreover, Pocahantos is depicted as white, described as a Christian convert, and principally identified as the wife of John Rolfe.
Jean-Étienne Liotard, Portrait of Maria Frederike van Reede-Athlone at 7 years of age (1755-6)
Because pastel portraits rendered the person both lifelike and seemingly touchable, they potentially had an erotic and fetishistic quality and were collected obsessively.
West, Shearer. Gender and Portraiture2004, In: Portraiture, Oxford: Oxford University Press, pp. 144-161.-
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Added by: Hans Maes
Summary: The gender of both artist and sitter needs to be taken into account when considering the history of portraiture. Explores how and why women were often portrayed in certain roles (as goddesses, historical or religious figures, allegorical embodiments of abstract notions). Discusses why many women artists before the 20th century were portraitists and considers a few examples. Also highlights changing notions of masculinity in portraiture.Comment: Useful in aesthetics classes discussing portraiture, depiction and representation, as well as philosophy of gender classes discussing representations of women.
Artworks to use with this text:
Lotte Laserstein, Self-Portrait with Cat (1928) vs Otto Dix, Portrait of the Journalist Sylvia von Harden (1926)
Both portraits were painted in 1920s Germany by artists linked to the New Objectivity art movement. Still, there is a notable difference between the 'objective' view of the male artist and the subjective self-image of the woman artist.
Elizabeth Siddal, Self-Portrait (1854)
There's a marked contrast between the unhappiness and fatigue visible in this self-portrait and the beauty and eroticism in Dante Gabriel Rossetti's Beata Beatrix (c.1862) in which he transfers the ideal qualities of Dante's Beatrice into the real portrait of Siddal.
Artemisia Gentileschi, Self-Portrait as "La Pittura" (c. 1630)
It could be said that the artist is complicit in the tendency of portraitists to generalize their women subjects as she embodied herself as the allegory of Painting. Nevertheless, Artemisia does not show herself in an idealized way and by self-consciously manipulating a set of conventions makes a unique contribution to the corpus of self-portraiture. Useful in aesthetics classes discussing portraiture, depiction and representation, as well as philosophy of gender classes discussing representations of women.
Artworks to use with this text:
Lotte Laserstein, Self-Portrait with Cat (1928) vs Otto Dix, Portrait of the Journalist Sylvia von Harden (1926)
Both portraits were painted in 1920s Germany by artists linked to the New Objectivity art movement. Still, there is a notable difference between the 'objective' view of the male artist and the subjective self-image of the woman artist.
Elizabeth Siddal, Self-Portrait (1854)
There's a marked contrast between the unhappiness and fatigue visible in this self-portrait and the beauty and eroticism in Dante Gabriel Rossetti's Beata Beatrix (c.1862) in which he transfers the ideal qualities of Dante's Beatrice into the real portrait of Siddal.
Artemisia Gentileschi, Self-Portrait as "La Pittura" (c. 1630)
It could be said that the artist is complicit in the tendency of portraitists to generalize their women subjects as she embodied herself as the allegory of Painting. Nevertheless, Artemisia does not show herself in an idealized way and by self-consciously manipulating a set of conventions makes a unique contribution to the corpus of self-portraiture.
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.
Wikforss, Åsa. Semantic Externalism and Psychological Externalism2007, Philosophy Compass 3 (1): 158-181.-
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Added by: Giada Fratantonio
Abstract: Externalism is widely endorsed within contemporary philosophy of mind and language. Despite this, it is far from clear how the externalist thesis should be construed and, indeed, why we should accept it. In this entry I distinguish and examine three central types of externalism: what I call foundational externalism, externalist semantics, and psychological externalism. I suggest that the most plausible version of externalism is not in fact a very radical thesis and does not have any terribly interesting implications for philosophy of mind, whereas the more radical and interesting versions of externalism are quite difficult to support.Comment: The author sheds light on what the externalist thesis in philosophy of mind actually refers to. More precisely, the author distinguishes between three varieties of externalism, namely, i) foundational externalism, ii) externalist semantics and iii) psychological externalism. After discussing these three varieties of externalism, the author argues that there is a variety of externalism which is non-radical and does not bring about any disastrous conclusion. The first half of the paper can be very useful as introduction on the topic of externalism in philosophy of mind, insofar as lots of the main argument for externalism are addressed and evaluated. The author sheds light on what the externalist thesis in philosophy of mind actually refers to. More precisely, the author distinguishes between three varieties of externalism, namely, i) foundational externalism, ii) externalist semantics and iii) psychological externalism. After discussing these three varieties of externalism, the author argues that there is a variety of externalism which is non-radical and does not bring about any disastrous conclusion. The first half of the paper can be very useful as introduction on the topic of externalism in philosophy of mind, insofar as lots of the main argument for externalism are addressed and evaluated.
Wilkes, Kathleen Vaughan. Is consciousness important?1984, British Journal for the Philosophy of Science 35 (September):223-43.-
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Added by: Clotilde Torregrossa, Contributed by: Simon Fokt
Abstract: The paper discusses the utility of the notion of consciousness for the behavioural and brain sciences. It describes four distinctively different senses of 'conscious', and argues that to cope with the heterogeneous phenomena loosely indicated thereby, these sciences not only do not but should not discuss them in terms of 'consciousness'. It is thus suggested that 'the problem' allegedly posed to scientists by consciousness is unreal; one need neither adopt a realist stance with respect to it, nor include the term and its cognates in the sciences' conceptual apparatus. The paper briefly examines Nagel's [1974] article, since this presents the strongest counter to the thesis proposedComment:
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Von Eckardt, Barbara. The representational theory of mind
2012, In Keith Frankish & William Ramsey (eds.), The Cambridge Handbook of Cognitive Science. Cambridge University Press.
Comment: