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, Contributed by: Quentin PharrPublisher’s Note:
In May of this year I had the opportunity to give several talks on the topic of nihilism. Initially I intended to focus on the three themes of Nietzsche, Dostoevsky, and Buddhism. When I was twenty, the figures of Nietzsche and Dostoevsky burned a lasting impression deep into my soul-as I suppose they may still do to many young people even today-and the tremors I experienced at that time have continued to make my heart tremble ever since. The final theme, of Buddhist "emptiness," came to capture my interest more gradually. The connections among these three topics are not merely arbitrary or external. The nihilism that Dostoevsky plumbed so deeply has important connections with that of Nietzsche, as a number of critics have pointed out; and Nietzsche considers what he calls European nihilism to be the European form of Buddhism. Even though there may be in Nietzsche a radical misunderstanding of the spirit of Buddhism, the fact that he considered it in relation to nihilism shows how well attuned he was to the real issue. It was considerations such as these that inclined me toward these three themes in my discussion of nihilism.Kimmerer, Robin Wall. Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teaching of Plants2015, Milkweed Editions.-
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Added by: Sonja Dobroski and Quentin PharrPublisher’s Note:
As a botanist, Robin Wall Kimmerer has been trained to ask questions of nature with the tools of science. As a member of the Citizen Potawatomi Nation, she embraces the notion that plants and animals are our oldest teachers. In Braiding Sweetgrass, Kimmerer brings these lenses of knowledge together to show that the awakening of a wider ecological consciousness requires the acknowledgment and celebration of our reciprocal relationship with the rest of the living world. For only when we can hear the languages of other beings are we capable of understanding the generosity of the earth, and learning to give our own gifts in return.Comment:
available in this Blueprint
Kishani, Bongasu Tanla. On the Interface of Philosophy and Language in Africa: Some Practical and Theoretical Considerations2001, Cambridge University Press-
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Added by: Sara Peppe and Björn FreterPublisher’s Note:
The relation between philosophy and language in Africa seems to favor the languages of written expression to the detriment of the languages of "oraural" expression. Concretely, this has meant not only the exclusive use of Arabic and European languages in the philosophies in Africa, but also the assumption that philosophy is only possible in, with, and through written languages. This article argues that change is long overdue, and that African languages should play significant roles in both the exploration of the past and in contemporary and future philosophical inquiries in Africa. In other words, the real problem is not so much to determine how far philosophy is compatible or incompatible with specific languages and with language as a whole, or vice versa, as to discern what role African languages should play within the framework of the past, contemporary, and future philosophies in Africa. For if colonial experiences obliged Africans to confront this predicament without success, the contention here is that Africans cannot continue to philosophize sine die in European languages and according to European models of philosophy as if African languages cannot provide and play the same roles. Today more than before, both the lettered and "oraural" traditions of Africa invite Africans to practice self-reliance in such matters.
Comment (from this Blueprint): Kishani’s paper On the Interface of Philosophy and Language in Africa: Some Practical and Theoretical Considerations argues that African languages should play a vital role in the African philosophical inquiries. The crucial point of the article is to examine and establish the role African languages should play in past, present and future African philosophies. The article argues that Africans cannot keep doing philosophy relying on European languages and models as if African languages would be unable to play the same role. Indeed, the article explains that Africans should be self-sufficient in philosophising in their languages and with their models relying on their lettered and “oraural” traditions.
Kuki Shūzō. The Structure of Iki2004, In Hiroshi Nara (ed.). The Structure of Detachment: The Aesthetic Vision of Kuki Sh?z?. Univeristy of Hawai'i Press.-
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Added by: Meilin Chinn
Summary: One of the most important and creative works in modern Japanese aesthetics. Kuki develops a description of a uniquely Japanese sense of taste (iki) that brings together characteristics of the geisha, samurai, and Buddhist priest.Comment: Best used by a reader with at least an introductory knowledge of Japanese aesthetics. Could be used comparatively with work on disinterest in western Aesthetics, e.g., Kant.
Kwang-Myung Kim. Korean Aesthetic Consciousness and the Problem of Aesthetic Rationality1998, Canadian Aesthetics Journal, 2-
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Added by: Meilin Chinn
Abstract: Aesthetic emotions are reputed to be irrational, but, aesthetic emotions as mental phenomena bear complex relations to rationality. Emotions give us knowledge about the world. The aesthetic consciousness of Korean is the internal roots of the Korean's mentality. The aesthetic consciousness and the mentality are inseparably related to each other. The aesthetic consciousness as the analogy of reason, in the context of A.G. Baumgarten plays a role to extend the logical world. Aesthetic rationality is the common sense or the communicative rationality of it. For the argument of universality we discuss the problem of aesthetic rationality. Since the modern aesthetics, the problem of aesthetic rationality came on the stage of aesthetics. Shamanism as the deep-rooted element of Korean mentality is the most authentic cultural legacy of Koreans. Buddhism, Confucianism, Taoism, and other religious elements influence the unique nature of the Korean character together with shamanism. They play a decisive role in determining the Korean mentality or consciousness. For Koreans, nature is a mirror of the self and a world of meditation which gives life, restoring all things to their proper state. As a peculiar color consciousness, Korean monochrome is characterized by vitality, spontaneity and unconcern for technical perfection. Korean art also tends to be devoid of an artificial movement and this reflects dislike of disturbance, deformation and convention. If we are to consider Korean contemporary art from an international perspective, we must define what it means to be Korean, i.e. our cultural habits and artistic elements hidden in the artist's unconsciousness. In this age of multiculturalism, the new interpretation on tradition makes it possible to merge the Korean art with the world stage. The extension of aesthetic emotion through experimentation shows us the change of aesthetic consciousness as a new possibility of interpretation.Comment: Kim argues for aesthetic rationality, as a kind of aesthetic consciousness, at the heart of Korean identity. He traces its unique cultural legacy in Korean shamanism, Buddhism, Confucianism, and Daoism in order to account for the characteristic vitality and spontaneity in Korean art. This text is appropriate for an aesthetics course. It does not require a background in Korean philosophy, but at least an introductory knowledge of aesthetics would be beneficial.
Lafont, Christina. Accountability and Global Governance: Challenging the State-Centric Conception of Human Rights2010, Ethics and Global Politics 3 (3): 193-215.-
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Added by: Rochelle DuFord
Abstract: In this essay I analyze some conceptual difficulties associated with the demand that global institutions be made more democratically accountable. In the absence of a world state, it may seem inconsistent to insist that global institutions be accountable to all those subject to their decisions while also insisting that the members of these institutions, as representatives of states, simultaneously remain accountable to the citizens of their own countries for the special responsibilities they have towards them. This difficulty seems insurmountable in light of the widespread acceptance of a state-centric conception of human rights, according to which states and only states bear primary responsibility for the protection of their citizens' rights. Against this conception, I argue that in light of the current structures of global governance the monistic ascription of human rights obligations to states is no longer plausible. Under current conditions, states are bound to fail in their ability to protect the human rights of their citizens whenever potential violations either stem from transnational regulations or are perpetrated by non-state actors. In order to show the plausibility of an alternative, pluralist conception of human rights obligations I turn to the current debate among scholars of international law regarding the human rights obligations of non-state actors. I document the various ways in which these obligations could be legally entrenched in global financial institutions such as the WTO, the IMF and the World Bank. These examples indicate feasible methods for strengthening the democratic accountability of these institutions while also respecting the accountability that participating member states owe to their own citizens. I conclude that, once the distinctions between the obligations to respect, protect and fulfill human rights are taken into account, no conceptual difficulty remains in holding states and non-state actors accountable for their respective human rights obligations.Comment: This journal article would fit well within a course that considers the political and legal aspects of human rights. It would also be useful in a course on global justice or global democracy. It will be of particular interest to advanced undergraduates and graduate students interested in non-state actors and human rights.
Lafont, Christina. Alternative Visions of a New Global Order: What Should Cosmopolitans Hope For?2008, Ethics and Global Politics (1).-
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Added by: Rochelle DuFord
Abstract: In this essay, I analyze the cosmopolitan project for a new international order that Habermas has articulated in recent publications. I argue that his presentation of the project oscillates between two models. The first is a very ambitious model for a future international order geared to fulfill the peace and human rights goals of the UN Charter. The second is a minimalist model, in which the obligation to protect human rights by the international community is circumscribed to the negative duty of preventing wars of aggression and massive human rights violations due to armed conflicts such as ethnic cleansing or genocide. According to this model, any more ambitious goals should be left to a global domestic politics, which would have to come about through negotiated compromises among domesticated major powers at the transnational level. I defend the ambitious model by arguing that there is no basis for drawing a normatively significant distinction between massive human rights violations due to armed conflicts and those due to regulations of the global economic order. I conclude that the cosmopolitan goals of the Habermasian project can only be achieved if the principles of transnational justice recognized by the international community are ambitious enough to cover economic justice.Comment: This article addresses topics that may be covered by a wide variety of courses. Lafont addresses both a Rawlsian and a Habermasian theory of global justice and international law, making this a good text to supplement a course that covers institutional proposals for global justice and fulfilling other cosmopolitan obligations.
Lambert-Beatty, Claire. Twelve Miles: Boundaries of the New Art/Activism2008, Signs: Journal of Women in Culture and Society 33(2): 309-327.-
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Added by: Rossen Ventzislavov
Summary: Lambert-Beatty explores the limits of art activism through a detailed account of Rebecca Gomperts' Women on Waves project. Starting in 2001, Gomperts - a physician with a background in art - sailed a customized maritime gynecological clinic with a crew from the Netherlands to the coastal areas of countries where abortion had been outlawed. The clinic would dock far enough from the shore (twelve miles being the limit of states' naval jurisdictions) to offer healthcare to local women undisturbed. Lambert-Beatty notes that for all of its political import, the project retains a radical imagination of the poetic kind. Considering its enthusiastic reception by the international artworld, and inclusion in major art exhibitions, it is also clear that Gomperts intended the work at least partially as art. And, yet, Women on Waves challenges notions of the aesthetic as the "retreat from the real" that it is so often seen as. Lambert-Beatty sees the pragmatic aspect of the work as an integral part of its beauty, and vice versa. This symbiotic balance seems to resolve the tension Ranciere finds "between the logic of art that becomes life at the price of abolishing itself as art, and the logic of art that does politics on the explicit condition of not doing it at all."Comment: This text is best used in discussions of the relationship between art and political activism. It can also be used as a case study in applied ethics classes on abortion.
Langer, Susanne. Feeling and Form; a Theory of Art Developed From Philosophy in a New Key1953, Charles Scribner’s Sons.-
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Added by: Simon Fokt
Content: Langer offers a theory of art according to which artworks are purely perceptible forms which embody some sort of feeling. Objects are art if they have ‘significant form’ which is understood as a form symbolic of human feeling or clearly expressing our internal lives. A discussion of different types of symbols and ways to symbolise follows to explain how art can symbolise feeling. The book discusses different arts, where they create different ‘primary illusions’, e.g. ‘virtual time’ is characteristic of music, while ‘virtual space’ – of visual arts. Thus arts are alike in that they all create forms symbolic of human feeling, but differ in what kind of illusions they create.Comment: Langer is likely the most well-known female author of a major theory of art, and thus teaching her work can be particularly valuable in the context of curriculum diversification. The most interesting discussion points of this book will likely relate to the understanding of what is a symbol and what it means to symbolise human feeling.
Laozi, trans. D.C. Lau. Tao Te Ching (Laozi/ Daodejing); trans. DC Lau1963, Columbia University Press-
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, Contributed by: I Xuan ChongPublisher’s Note:
The Laozi is a key text in Daoism/Taosim (a school in Classical Chinese Philosophy), and is also the single most frequently translated Chinese classic. This is a bilingual edition of a standard translation.Comment: This is a highly influential and still excellent English translation of the Laozi. It is essential reading on Daoism.
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1990, SUNY Press
Comment: This text is an excellent overview of both some of the themes within Nishitani's work as well as European conceptions of nihilism and its overcoming. In general, some appreciation of Nietzsche and aspects of Buddhism will help students navigate this book. But, it is largely expository, so it will often inform readers of what they need in the course of reading. This text will primarily be for students who are looking for an overall perspective on nihilism - especially, a Japanese one.