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Added by: Hans Maes
Summary: Argues that the introduction of photography did not significantly interfere with, or terminate, the àkó legacy of portraiture. Shows instead that the stylistic elements of the àkó life-size burial effigy – a sculpted portrait that attempts to capture the physical likeness, identity, character, social status of a deceased parent – informed the photographic traditional formal portrait in Òwò, Nigeria.Kólá Abímbólá. A critique of Methodological Naturalism2006, Science in Context, 19(2): 191-213.-
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Added by: Laura Jimenez
Abstract: Larry Laudan defends "methodological naturalism" - the position that scientific methodology can be fully empirical and be subject to radical change without sacrificing the rationality of science. This view has two main components: (a) the historical claim that just as substantive science has changed and developed in response to new information and evidence, so have the basic rules and methods which guide theory appraisal in science changed in response to new information about the world; and (b) the philosophical claim that all aspects of science are in principle subject to radical change and evolution in the light of new information about the world. In this paper, the athor argues that one main historical example used by Laudan, namely, the scientific revolution that accompanied the change from the corpuscular to the wave theory of light, does not in fact support the view that there have been radical methodological changes in the history of science.Comment: Interesting paper about the question of methodological changes in the history of science. Its clarity makes it suitable for undergraduate courses in philosophy of science.
Etieyibo, Edwin. The Case of Competancy and Informed Consent2013, Journal of Clinical Research and Bioethics, 4 (2): 1-4.-
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Added by: Rochelle DuFord
Abstract: Patient competence is an essential element of every doctor-patient relationship. In this paper I provide a case report involving an older Korean man in a Hawaiian hospital who refused treatment on the basis of mistaken facts or beliefs about his doctors and treatment. I discuss the case as it relates to competency and extends it to informed consent, autonomy and paternalism. I suggest and argue firstly, that the older Korean man is not fully competent, and secondly, that if he is not fully competent, then soft and weak paternalism may be justified in his case and in cases similar to his.Comment: This text presents an introduction to the relationship between competance, informed consent, and autonomy in medical contexts through the use of a case study. As such, it would be a good text for an introductory course in health care ethics or biomedical ethics within a unit on autonomy or culturally-specific applications of medical ethical principles.
Abímbọ́lá, Kọ́lá. Culture and the Principles of Biomedical Ethics2013, Journal of Commercial Biotechnology, 19 (3): 31-39.-
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Added by: Rochelle DuFord
Abstract: This paper examines the roles of culture in the principles of biomedical ethics. Drawing on examples from African, Navajo and Western cultures, the paper maintains that various elements of culture are indispensable to the application of the principles of biomedical ethics.Comment: This text presents a clear introduction to questions about the application of biomedical ethical principles outside of Western medical contexts. It contains a good overview of the Western interpretation and application of autonomy, as well as other, culturally specific, interpretations of autonomy in medical contexts. This makes it useful as a text to introduce students to the way in which conflicts occur over the application of medical ethical principles in context prior to looking at specific cases (such as Jehovah's Witnesses refusal to accept blood transfusions or the well known case of the Hmong medical culture).
Wingo, Ajume H.. African Art and the Aesthetics of Hiding and Revealing1998, British Journal of Aesthetics 38(3): 251-264-
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Added by: Simon Fokt
Content: This text focuses on identifying distinctive features of African art. First, African art is virtually always functional and although it can be enjoyed intrinsically, it is rarely created for its own sake. It is a part of the social and political structure and cannot be understood without an understanding of this structure. The function of such art is to ‘veil social functions’: communicate that there exist secrets available to those initiated without communicating those secrets to everyone. Wingo further focuses on masks and dance as examples of African art which are experienced in specific, culturally embedded ways. He offers detailed descriptions and a theoretical analysis of various artistic and cultural practices, showing the uniqueness of the experiences they afford and arguing that they cannot be experienced or understood without a prior immersion in the culture they are part of.Comment: The primary value of this text lies in the detailed first-hand account and a theoretical analysis of particular non-Western art practices. Most of the other, more theoretical articles in this section talk about non-Western art in a very abstract way. But surely understanding the differences between arts of different cultures requires a grasp of what the art of those cultures is like. Wingo’s text offers a valuable insight into one such cultural context and his text can be very useful when taught alongside more theoretical articles.
Wingo, Ajume H.. The Many-Layered Aesthetics of African Art2005, in A Companion to African Philosophy, ed. by Kwasi Wiredu (Malden, MA: Blackwell Publishing).-
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Added by: Simon Fokt
Content: Wingo contrasts the traditional Western approaches to art classification with some African traditions in which what gives art its status is the social context in which it is situated, the community that art creates. He reviews some of the ways in which art is approached in those cultures, focusing on its functional, everyday character and sensual nature. Art is not meant for disinterested intellectual contemplation, but for sense experience, and should have the capacity to really move its audience. Similarly, the forms of African art are often different, including mask and costume making and dance. Wingo offers an overview of ways in which such works can be embedded in other cultural practices, and discusses how they are commonly perceived and approached.Comment: This text is particularly valuable as a description of a set of art-related beliefs and practices which are different from those commonly accepted in the modern Western artworld. As a vivid first-hand account, it is particularly good at drawing attention to those differences.
Appiah, Kwame Anthony. Reconstructing Racial Identities1996, Research in African Literatures 27 (3):58-72.-
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Added by: Simon Fokt
Abstract: The main theoretical gap in In My Father's House - in the opinion, at least, of its author - is the lack of a proposed alternative to the account of identity in the black diaspora that the book criticizes. The pseudo- biological essentialist account of black identity is, in my judgment, now generally understood to be untenable; what is lacking is an alternative positive account of black identity. In the book I criticized the biological account as a proposed basis for identities in the continent as well: but I offered, in the chapter on "African Identities," some suggestions for a positive basis for a range of continentally based mobilizations of Africa as what I called "a vital and enabling badge." But what I had to say about diasporic identities was, to put it kindly, perfunctory. Katya Azoulay's critique of my work ("Outside Our Parents' House: Race, Culture, and Identity" in RAL 27.1 [1996]: 129-42) identifies this theoretical gap and rightly draws attention to it. Let me offer at least a sketch of an approach.
Comment: The article follows up on Appiah's In My Father's House.
Appiah, Kwame Anthony. In My Father’s House: Africa in the Philosophy of Culture1992, Oxford University Press.-
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Added by: Simon Fokt
Back matter: Africa's intellectuals have long been engaged in a conversation with each other, and with Europeans and Americans about what it means to be African. At the heart of these debates on African identity are the seminal works of politicians, creative writers and philosophers from Africa and its diaspora. In this book, Appiah draws on his experiences as a Ghanaian in the New World to explore the writings of these African and African-American thinkers and to contribute his own vision of the possibilities and pitfalls of an African identity in the late twentieth century. Appiah sets out to dismantle the specious oppositions between "us" and "them," the West and the Rest, that have governed so much of the cultural debate about Africa in the modern world. All of us, he maintains, wherever we live on the planet, must explore together the relations between our local cultures and an increasingly global civilization. Combining philosophical analysis with more personal reflections, Appiah addresses the major issues in the philosophy of culture through an exploration of the contemporary African predicament.Comment: Chapters 1 & 2 can be particularly useful in teaching on the social construction of race.
Appiah, Kwame Anthony. Cosmopolitanism: Ethics in a World of Strangers (Issues of Our Time)2010, WW Norton & Company.-
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Added by: Simon Fokt
Back matter: "A welcome attempt to resurrect an older tradition of moral and political reflection and to show its relevance to our current condition." -- John Gray "Cosmopolitanism is... of wide interest-invitingly written and enlivened by personal history... Appiah is wonderfully perceptive and levelheaded about this tangle of issues." -- Thomas Nagel "Elegantly provocative." -- Edward Rothstein "[Appiah's] belief in having conversations across boundaries, and in recognizing our obligations to other human beings, offers a welcome prescription for a world still plagued by fanaticism and intolerance." -- Kofi A. Annan, former United Nations secretary-general "[Appiah's] exhilarating exposition of his philosophy knocks one right off complacent balance... All is conveyed with flashes of iconoclastic humor." -- Nadine Gordimer, winner of the 1991 Nobel Prize in Literature "An attempt to redefine our moral obligations to others based on a very humane and realistic outlook and love of art... I felt like a better person after I read it, and I recommend the same experience to others." -- Orham Pamuk, winner of the 2006 Nobel Prize in Literature.Comment: The introduction provides a particularly good entry text to ethics, race and cosmopolitanism.
Appiah, Kwame Anthony. Experiments in Ethics2008, London: Harvard University Press.-
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Added by: Simon Fokt
Publisher's Note: In the past few decades, scientists of human nature—including experimental and cognitive psychologists, neuroscientists, evolutionary theorists, and behavioral economists—have explored the way we arrive at moral judgments. They have called into question commonplaces about character and offered troubling explanations for various moral intuitions. Research like this may help explain what, in fact, we do and feel. But can it tell us what we ought to do or feel?
In Experiments in Ethics, the philosopher Kwame Anthony Appiah explores how the new empirical moral psychology relates to the age-old project of philosophical ethics. Some moral theorists hold that the realm of morality must be autonomous of the sciences; others maintain that science undermines the authority of moral reasons. Appiah elaborates a vision of naturalism that resists both temptations. He traces an intellectual genealogy of the burgeoning discipline of “experimental philosophy,” provides a balanced, lucid account of the work being done in this controversial and increasingly influential field, and offers a fresh way of thinking about ethics in the classical tradition.
Appiah urges that the relation between empirical research and morality, now so often antagonistic, should be seen in terms of dialogue, not contest. And he shows how experimental philosophy, far from being something new, is actually as old as philosophy itself. Beyond illuminating debates about the connection between psychology and ethics, intuition and theory, his book helps us to rethink the very nature of the philosophical enterprise.
Comment: This is a great work for any ethics course, insofar as it interrogates the traditional mode of doing ethics through an experimental lens. Also good for courses on experimental philosophy, suitable for both undergraduates and early stage graduate students.
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Abíódún, Rowland. Àkó-graphy: Òwò Portraits
2013, in: John Peffer and Elisabeth L. Cameron (eds.), Portraiture & Photography in Africa, Bloomington and Indianapolis: Indiana University Press, pp. 287-312.
Comment: Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Mamah, Carved, life-size, fully dressed second-burial effigy for Madam Aládé, EÌpelè- Òwò, Nigeria (1972)
Striking example of the practice. Demonstrates how the àkó tradition appears to have influenced the way elderly people posed for photographs. Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Mamah, Carved, life-size, fully dressed second-burial effigy for Madam Aládé, EÌpelè- Òwò, Nigeria (1972)
Striking example of the practice. Demonstrates how the àkó tradition appears to have influenced the way elderly people posed for photographs.