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Nelson, Julie. Feminism and economics
1995, Journal of Economic Perspectives, 9(2), 131-148.
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Added by: Simon Fokt, Contributed by: Patricia Rich

Introduction: An article in The Chronicle of Higher Education of June 30, 1993, reported, “Two decades after it began redefining debates” in many other disciplines, “feminist thinking seems suddenly to have arrived in economics.” Many economists, of course, did not happen to be in the station when this train arrived, belated as it might be. Many who might have heard rumor of its coming have not yet learned just what arguments are involved or what it promises for the refinement of the profession. The purpose of this essay is to provide a low-cost way of gaining some familiarity.

Comment: This text provides a good overview, as well as an argument regarding how the field of economics reflects masculine values, and how the field could be improved by removing this bias. It makes sense to read the text with students who have some familiarity with economics itself. It should be noted that the field of economics actually has changed in some of the ways the author recommends, since the time of publication, but the article is still relevant and provokes plenty of discussion.
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Nelson, Lynn Hankinson, Nelson, Jack. Logic from a Quinean Perspective: An Empirical Enterprise
2002, In Falmagne, R.J. and Hass, M. eds. Representing Reason: Feminist Theory and Formal Logic. Rowman & Littlefield
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Added by: Franci Mangraviti

From the Introduction: "Lynn Hankinson Nelson and Jack Nelson extend the work begun in the former’s book Who Knows: From Quine to a Feminist Empiricism, by showing that a Quinean understanding of logic as an empirical field implies that logic remains open to revision in light of fundamental shifts in knowledge. Nelson and Nelson point to the revisions in scientific understandings made possible by the incorporation of women and women’s lives as emblematic of the possible ways that feminist thought can provide a deep reworking of the structures of knowledge and thus potentially of logic. Although they are cautious of any conclusions that logic must change, their work offers a theoretical ground from which the effects of feminist theorizing on logic can be usefully explored."

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Ngũgĩ wa Thiong'o. Decolonising the Mind. The Politics of Language in African Literature
1986, London: James Curry, Nairobi: Heineman Kenya, Portsmouth: Heinemann, Harare: Zimbabwe Publishing House

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Added by: Sara Peppe and Björn Freter
Publisher’s Note:
Decolonising the Mind is a collection of essays about language and its constructive role in national culture, history, and identity. The book, which advocates for linguistic decolonization, is one of Ngũgĩ’s best-known and most-cited non-fiction publications, helping to cement him as a pre-eminent voice theorizing the “language debate” in post-colonial studies. Ngũgĩ describes the book as “a summary of some of the issues in which I have been passionately involved for the last twenty years of my practice in fiction, theatre, criticism, and in teaching of literature…” Decolonising the Mind is split into four essays: “The Language of African Literature,” “The Language of African Theatre,” “The Language of African Fiction,” and “The Quest for Relevance.”
Comment (from this Blueprint): The papers in this volume were foundational for the post-colonial debate on African language.
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Nicholas, George P., Alison Wylie. ‘Do Not Do Unto Others…’ Cultural Misrecognition and the Harms of Appropriation in an Open-Source World
2012, In Geoffrey Scarre & Robin Coningham (eds.), Appropriating the Past: Philosophical Perspectives on the Practice of Archaeology. Cambridge University Press. pp. 195-221.

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Added by: Erich Hatala Matthes
Abstract: In this chapter we explore two important questions that we believe should be central to any discussion of the ethics and politics of cultural heritage: What are the harms associated with appropriation and commodification, specifically where the heritage of Indigenous peoples is concerned? And how can these harms best be avoided? Archaeological concerns animate this discussion; we are ultimately concerned with fostering postcolonial archaeological practices. But we situate these questions in a broader context, addressing them as they arise in connection with the appropriation of Indigenous cultural heritage, both past and present.
Comment: The text offers a wide-ranging discussion of cultural appropriation, and an interresting focus on commodification, display, and community engagement. A collaboration between a philosopher (Wylie) and an archaeologist (Nicholas), it's a great fit for instructors who are looking for a case-driven text that includes theoretical context. It includes four specific case studies that range over multiple cultural contexts.
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Nochlin, Linda. Women, Art, and Power and Other Essays
1988, Routledge

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Added by: Clotilde Torregrossa, Contributed by: Christy Mag Uidhir
Abstract: Seven landmark essays on women artists and women in art history - brings together the work of almost twenty years of scholarship and speculation.
Comment: This is a stub entry. Please add your comments below to help us expand it
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Nochlin, Linda. Why Have There Been No Great Women Artists?
1971, ARTnews.

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Added by: Clotilde Torregrossa, Contributed by: Christy Mag Uidhir
Introduction: In the field of art history, the white Western male viewpoint, unconsciously accepted as the viewpoint of the art historian, may - and does - prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones. In revealing the failure of much academic art history, and a great deal of history in general, to take account of the unacknowledged value system, the very presence of an intruding subject in historical investigation, the feminist critique at the same time lays bare its conceptual smugness, its meta-historical naivete. At a moment when all disciplines are becoming more self-conscious, more aware of the nature of their presuppositions as exhibited in the very languages and structures of the various fields of scholarship, such uncritical acceptance of 'what is' as 'natural' may be intellectually fatal. Just as Mill saw male domination as one of a long series of social injustices that had to be overcome if a truly just social order were to be created, so we may see the unstated domination of white male subjectivity as one in a series of intellectual distortions which must be corrected in order to achieve a more adequate and accurate view of historical situations.
Comment: This is a stub entry. Please add your comments below to help us expand it
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Nye, Andrea. Words of Power: A Feminist Reading of the History of Logic
1990, New York: Routledge
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Added by: Franci Mangraviti
Publisher’s Note:

Is logic masculine? Is women's lack of interest in the "hard core" philosophical disciplines of formal logic and semantics symptomatic of an inadequacy linked to sex? Is the failure of women to excel in pure mathematics and mathematical science a function of their inability to think rationally? Andrea Nye undermines the assumptions that inform these questions, assumptions such as: logic is unitary, logic is independenet of concrete human relations, and logic transcends historical circumstances as well as gender. In a series of studies of the logics of historical figures--Parmenides, Plato, Aristotle, Zeno, Abelard, Ockham, and Frege--she traces the changing interrelationships between logical innovation and oppressive speech strategies, showing that logic is not transcendent truth but abstract forms of language spoken by men, whether Greek ruling citizens, or scientists.

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Nye, Andrea. Saying What It Is: Predicate Logic and Natural Kinds
2002, In Falmagne, R.J. and Hass, M. eds. Representing Reason: Feminist Theory and Formal Logic. Rowman & Littlefield
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Added by: Franci Mangraviti

From the Introduction: "Andrea Nye is also concerned with the role of logic in science, linking the adequacy of logic with its applicability in a domain of scientific knowledge. Nye argues that the dominant predicate logic cannot adequately represent the issues surrounding attempts to divide organisms into species. Feminist critiques of the extensional theory of meaning lay the ground for alternative theories of categorization. Without renewed models of categorization, Nye submits, science is in danger of becoming a self-enclosed “logical” system, rather than an instrumental model of reality."

Comment: available in this Blueprint
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Nzegwu, Nkiru. African Art in Deep Time: De‐race‐ing Aesthetics and De‐racializing Visual Art
2019, Journal of Aesthetics and Art Criticism 77 (4): 367-378.
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Added by: Simon Fokt

Abstract: In two essays in the ART/Artifact(1988) exhibition catalog, white American museum curator Susan Vogel and white American philosopher Arthur Danto pronounce that Africans do not distinguish between art and nonart. Although seemingly objective empirical statements, their assertions about Africa and its art are racially based ruminations of a white supremacist worldview. I argue that in theorizing within the category of race they produced racialized aesthetics that commit the Eurocentric fallacy of upholding systemic racist objectives. I argue that (1) their assertions fail to be about African art, but about hegemony and power; (2) as the longest enduring artistic activity of humanity, African art is an important check to racialized aesthetics; (3) art is produced outside the category of race and from a critically conscious awareness of the world; and (4) art bespeaks creativity and presupposes the artistic and moral values of a culture in the manipulation and transformation of physical reality.

Comment: Written in an engaging way, this paper invites the reader to re-evaluate some common assumptions about art from different cultures. Exposing the prevalent Western approach to African art as racialised, it can be a great tool in making students understand both the structural-societal, as well as own biases in approaching other cultures. Ngzewu defends a powerful thesis: that ‘the West’s conception of art and creativity presupposes white racial hegemony.’ She exposes the way in which Western art is tacitly assumed to be a yardstick against which all is measured, and the Westerners have become the ‘purveyors of knowledge’ who apply this yardstick to decide whether works of other cultures are art, all without any need to consult the creators of those works, or to revise own concept of art. As such, the paper can be very empowering to some students, while also being very uncomfortable to others – teaching it might require some skill in leading the discussion in a constructive way. The import of Ngzewu’s argumentis that while racism and white domination rest on the assumption of cognitive and moral superiority of white people, the approach to African art she criticises serves to reinforce this assumption. This can inspire further class discussion on the importance and value of aesthetics. Best used before assigning other texts on non-Western art, which should all be read in light of Ngzewu’s criticism. Written in an engaging way, this paper invites the reader to re-evaluate some common assumptions about art from different cultures. Exposing the prevalent Western approach to African art as racialised, it can be a great tool in making students understand both the structural-societal, as well as own biases in approaching other cultures. Ngzewu defends a powerful thesis: that ‘the West’s conception of art and creativity presupposes white racial hegemony.’ She exposes the way in which Western art is tacitly assumed to be a yardstick against which all is measured, and the Westerners have become the ‘purveyors of knowledge’ who apply this yardstick to decide whether works of other cultures are art, all without any need to consult the creators of those works, or to revise own concept of art. As such, the paper can be very empowering to some students, while also being very uncomfortable to others – teaching it might require some skill in leading the discussion in a constructive way. The import of Ngzewu’s argumentis that while racism and white domination rest on the assumption of cognitive and moral superiority of white people, the approach to African art she criticises serves to reinforce this assumption. This can inspire further class discussion on the importance and value of aesthetics. Best used before assigning other texts on non-Western art, which should all be read in light of Ngzewu’s criticism.
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Odour, Reginald M.J.. African Philosophy, and Non-human Animals [Interview]
2012, Rainer Ebert [Blog]

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Added by: Björn Freter
Abstract:
University of Nairobi’s Reginald M. J. Oduor talks to Anteneh Roba and Rainer Ebert.
Comment (from this Blueprint): A general introduction into African philosophy and ethics with a focus on the role of non-human animal life in African philosophy, explaining that in in indigenous African thought, humans are not understood as animals, but as a class of their own superior to the class of animals.
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