Chimakonam, Jonathan O.. Logic and African Philosophy
2020, Vernon Press.
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Added by: Viviane FairbankAbstract:
“Logic and African Philosophy: Seminal Essays on African Systems of Thought” aims to put African intellectual history in perspective, with focus on the subjects of racism, logic, language, and psychology. The volume seeks to fill in the gaps left by the exclusion of African thinkers that are frequent in the curricula of African schools concerning history, sociology, philosophy, and cultural studies. The book is divided into four parts that are preceded by an introduction to link up the essays and emphasise their sociological implications. Part one is comprised of essays that opened the controversy of whether logic can be found in traditional African cultures as well as other matters like the nature of the mind and behaviour of African peoples. The essays in part two are centred on the following question: are the laws of thought present in African languages and cultures? Part three brings together essays that sparkle the debate on whether there can be such a thing as African logic, which stems from the discussions in part two. Part four is concerned on the theme of system-building in logic; contributions are written by members of the budding African philosophy movement called the “Conversational School of Philosophy” based at the University of Calabar, and the main objective of their papers is to formulate systems of African logic.Comment: This collection provides a useful introduction to a number of different perspectives regarding formal logic and deductive reasoning in African thinkers and African philosophy. The articles included in this collection are varied and cover a number of different questions concerning logic. They might accordingly be included not only in a course on African philosophy, but also perhaps a general philosophy of logic class in which logical pluralism, the formality of logic, and other related issues are addressed.
Chiu, Wai Wai. Zhuangzi’s Knowing-How and Skepticism
2018, Philosophy East and West 68(4), pp. 1062-1084
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Added by: Lea CantorAbstract:
A common interpretation of the Zhuangzi holds that the text is skeptical only about propositional knowledge and not practical knowledge. It is argued here that this interpretation is problematic, for two reasons. The first is that there is no motivation for Zhuangzi to criticize propositional knowledge, given some general pre-Qin epistemological assumptions. The second is that Zhuangzi explicitly criticizes a certain kind of practical knowledge. It is then explained how Zhuangzi's skepticism can co-exist with the idea of "great knowledge."
Comment: This is a useful article for anyone interested in the question of scepticism in the Zhuangzi - a foundational text in the Daoist tradition of classical Chinese philosophy. The article is written in a way that is accessible to those with little or no background in the Zhuangzi, Daoism, or classical Chinese. However, some basic knowledge of classical Chinese philosophy as a whole is required to follow the argument of the paper. The paper offers a useful overview of a number of scholarly controversies surrounding the scope and nature of Zhuangzi's scepticism, and how they relates to interpretive issues surrounding the so-called 'skills stories' of the Zhuangzi.
Chung-Yuan Chang. Immeasurable potentialities of creativity
2011, In Chung-Yuan Chang (ed.). Creativity and Taoism: A Study of Chinese Philosophy, Art, and Poetry. London & Philadelphia: Singing Dragon.
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Added by: Meilin ChinnSummary: A study of the Taoist (Daoist) concept of creativity as a non-instrumental process in which all things create themselves. Chang argues for the foundational place of this understanding of self-emergent creativity in the aesthetics of Chinese art.Comment: Can be used as both an introduction to Daoism and to Chinese aesthetics.
Related reading:
- Laozi, Tao Te Ching. D. C. Lau, trans. New York: Addison Wesley, 2000.
Related reading:
- Laozi, Tao Te Ching. D. C. Lau, trans. New York: Addison Wesley, 2000.
Coleman, Elizabeth Burns. Cultural Property and Collective Identity
2006, In Returning (to) Communities: Theory, Culture and Political Practice of the Communal, edited by Stefan Herbrechter and Michael Higgins: Brill.
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Added by: Erich Hatala MatthesSummary: This short paper examines the relationship between cultural property and collective identity through a close analysis of a paper by Richard Handler that questions such a relationship. In particular, Handler raises a version of common worries about the lack of cultural group continuity over time: because cultures are constantly changing, this fact is thought to undermine claims about the relationship between cultural identity and cultural property, as well as subsequent repatriation requests. Coleman pushes back against this objection by questioning what kind of identity or sameness is actually required for cultural continuity over time.Comment: Though focused on a reading that is not included in this curriculum, this text pairs well with, for instance, the Appiah, Thompson, or Young readings in this module, or any other article that raises questions about cultural continuity over time.
Coleman, Elizabeth Burns. Repatriation and the Concept of Inalienable Possession
2010, In The Long Way Home, edited by Paul Turnbull and Michael Pickering: Berghan Books.
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Added by: Erich Hatala MatthesSummary: The concept of inalienable possession often figures centrally in debates about repatriation of cultural artifacts (which are also often artworks). The right of alienability (or the right to transfer title to property) is one of the core rights in Western property theory. If property is inalienable, this means that title to it cannot rightly be transferred. In this paper, Coleman analyzes the concept of inalienable possession, and argues that laws (such as the Native American Graves Protection and Repatriation Act (NAGPRA)) can foist a conception of inalienable possession on indigenous peoples that can be inaccurate to past and changing cultural norms. She uses this point to offer a distinction between property and ownership. This opens up conceptual space for a link between objects and identity through ownership that might nevertheless allow for the alienability of such property.Comment: This paper is best for a course unit that is making room for in-depth discussion of the property dimensions of cultural property. It would pair well with Janna Thompson's "Art, Property Rights, and the Interests of Humanity," or James O. Young's "Cultures and Cultural Property." It can be also used together with or in lieu of Sarah Harding's much longer and more detailed paper "Justifying Repatriation of Native American Cultural Property."
Coleman, Elizabeth Burns, Rosemary J. Coombe, Fiona MacArailt. A Broken Record: Subjecting ‘Music’ to Cultural Rights
2012, In The Ethics of Cultural Appropriation, edited by James O. Young and Conrad G. Brunk: Blackwell Publishing.
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Added by: Erich Hatala MatthesSummary: This article presents multiple arguments for the "repatriation" of indigenous music, and the assertion of indigenous cultural rights, while troubling the imposition of legalistic frameworks of Western intellectual property. It situates the harms of appropriation in the perpetuation of unjust systems and misrepresentation, and demonstrates how careful attention to specific cultural practices can play an essential role in sorting out sometimes overly abstract debates about repatriation and appropriation.Comment: This is a long and difficult text, but it does an excellent job of marrying careful attention to cases with philosophical context and reflection. It is a good choice for more advanced classes, particularly ones that might be focusing on music.
Coleman, Elizabeth Burns. Aboriginal Painting: Identity and Authenticity
2001, Journal of Aesthetics and Art Criticism 59(4): 385–402.
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Added by: Erich Hatala MatthesSummary: Coleman argues for an ontological understanding of Australian Aboriginal artworks (namely, that they function as insignia that require authoritative endorsement) that can resolve disputes about the authenticity of controversial cases of Aboriginal art. More broadly, her article illuminates the ways in which viewing art as part of a cultural heritage can affect how we understand its authenticity.Comment: This is a longer text that intersects with a number of other topics, including appropriation, art ontology, and the art-status of non-Western artworks. It could be used in the context of course units exploring any of those themes, or to raise them in the context of a unit on authenticity.
Coomaraswamy, Ananda K.. Samvega, ‘Aesthetic Shock’
1943, Harvard Journal of Asiatic Studies 7(3): 174-179.
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Added by: Meilin ChinnSummary: An explication of the Pali aesthetic term samvega as the state of shock and wonder at a work of art that occurs when the implications of its aesthetic qualities are experienced. Despite being an emotion, Coomaraswamy associates samvega with disinterested aesthetic contemplation.Comment: This text would work well in a focused study of Indian aesthetics, as well in a cross-cultural study of disinterest in aesthetics.
Darby, Derrick. Reparations and Racial Inequality
2010, Philosophy Compass 5 (1): 55-66.
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Added by: Rochelle DuFordAbstract: A recent development in philosophical scholarship on reparations for black chattel slavery and Jim Crow segregation is reliance upon social science in normative arguments for reparations. Although there are certainly positive things to be said in favor of an empirically informed normative argument for black reparations, given the depth of empirical disagreement about the causes of persistent racial inequalities, and the ethos of 'post-racial' America, the strongest normative argument for reparations may be one that goes through irrespective of how we ultimately explain the causes of racial inequalities. By illuminating the interplay between normative political philosophy and social scientific explanations of racial inequality in the prevailing corrective justice argument for black reparations, I shall explain why an alternative normative argument, which is not tethered to a particular empirical explanation of racial inequality, may be more appealing.Comment: This text provides a clear overview and introduction to debates about reparations for decendents of African American slaves. It also surveys quite a bit of empirical data surrounding racial inequalities. It would fit well in a course that considered questions of social justice, racial inequality, or reparations.
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
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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.
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?
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