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Added by: Sonja Dobroski and Quentin PharrAbstract:
This "Tending Nature" special features multiple perspectives and voices from Indigenous communities across California who are striving to keep the practices of their heritage alive. From coming-of-age rituals, seasonal food harvests, basket weaving and jewelry making, the documentary shares how traditional practices can be protected and maintained as a way of life for future generations.Vaughan-Lee, Emmanuel. Marie’s Dictionary2014, Self-Produced. 10min. USA.-
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Added by: Sonja Dobroski and Quentin PharrAbstract:
This short documentary tells the story of Marie Wilcox, the last fluent speaker of the Wukchumni language, and the dictionary she created to keep her language alive. For Ms. Wilcox, the Wukchumni language has become her life. She has spent more than twenty years working on the dictionary and continues to refine and update the text. Through her hard work and dedication, she has created a document that will support the revitalization of the Wukchumni language for decades to come. Along with her daughter, Jennifer Malone, she travels to conferences throughout California and meets other tribes who struggle with language loss. Ms. Wilcox’s tribe, the Wukchumni, is not recognized by the federal government. It is part of the broader Yokuts tribal group native to Central California. Before European contact, as many as 50,000 Yokuts lived in the region, but those numbers have steadily diminished. Today, it is estimated that fewer than 200 Wukchumni remain.Comment:
available in this Blueprint
Vergine, Lea. The Body as Language. Body Art and Like Stories2000, In: Body Art and Performance: The Body as Language. Trans. Henry Martin. Milan: Skira Editore S.p.A.. 7-27.-
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Added by: Rossen Ventzislavov
Summary: Vergine's account of the formative years of performance art takes stock of the many innovative strategies artists developed for re-engaging the human body. One of the crucial dimensions of this reengagement is the positioning of one's body in physical proximity with others. This happens in art through the bodily negotiation of basic dichotomies such as nature/artifice, ethos/pathos, agency/abandon, publicity/privacy, mortality/immortality etc. Vergine sees objects, and the body's undifferentiated objecthood, as active participants in the performative communication and communion between artist and audience. These forms of togetherness stand or fall on the intensity of all parties' affective investment, but they are also equally affected by the level of intellectual mutuality an art work occasions. According to Vergine, the demand for intelligent analysis and deep understanding that performance art places on its audience is balanced out by the artists' bodily presence. For her the artist's body does not serve merely as a mechanical expedient. It also "contributes to the life of consciousness and memory in a psycho-physical parallelism of processes that assume meaning and relief only when they are connected."Comment: This text offers a historical overview of our concept of the human body in the context of art. It can be useful in any class on body aesthetics, performance art, or dance.
Wacker, Jeanne. Particular works of art1960, Mind 69 (274):223-233.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: CRITICS and philosophers of art often appeal to the idea that works of art are particulars. As Mr. Stuart Hampshire says in a passage representative of this sort of appeal, " He (the artist) did not set himself to create Beauty, but some particular thing ". But although being a particular is plainly supposed to be an important fact about works of art, the criterion of particularity to be invoked in this connection is not always clear. I do not mean to suggest that the way out of this difficulty in identifying particular works of art is obvious or that there must be some single answer which will be uniformly satisfactory in connection with each, of the arts. In short, it seems to me that although the search for analogous type-token distinctions may bring fewer returns in connection with some arts than with others, it will hardly ever entirely fail to be worth the effort. A stagger- ing amount of work needs to be done, but it does not seem to me unduly sanguine to say that in this direction the prospects for some interesting philosophical generalizations are tolerably good.Comment:
Walda Heywat (Wäldä Hewat, Mitku), Sumner, Claude. Hatata [II] (~1692)1976, In Ethiopian Philosophy, Vol. 2. Addis Ababa, Addis Ababa University Press-
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Added by: Sara Peppe, Contributed by: Jonathan EgidPublisher’s Note:
Translating to 'an investigation', this is the second of two 17th century ethical and rational treatises from present-day Ethiopia. Walda Heywat (Wäldä Hewat) continued the work of his mentor, Zera Yacob (Zär'a Ya'eqob, Wärqe), and expanded on it, turning it into more of a practical guide. Hatata (II) is considered to be more in line with more traditional views in its approach to topics such as marriage and abortion. However, where as Zara Yacob's ideas were relatively individualistic, Walda Heywat was particularly known for his social ethics. In his writing, he states, "God did not create me only for myself, but placed me in the midst of other created [men] who are equal to me." He also adds, “Man cannot come to existence, grow and serve by himself without the help of other men."
Comment: Covering themes such as abortion, marriage, religion and morality this text represents a way to develop further knowledge of the Ethiopian philosophy in the 1600s. Also, it shows how some philosophical ideas developed from Zera Yacob to Walda Heywat. It may therefore be used as a supplemental text to the previous Hatata in offering an introduction to Ethiopian philosophy. As with the first Hatata, it may also be useful as a tool to explore enlightenment ideals as they predated work by European philosophers, such as Descartes and John Locke.
Walsh, Andrea N., Dominic McIver Lopes. Objects of Appropriation2012, In Young, James O., and Conrad G. Brunk, eds. The Ethics of Cultural Appropriation: Blackwell Publishing.-
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Added by: Erich Hatala Matthes
Summary: Walsh and Lopes argue that some appropriation can be beneficial and productive: in particular, the appropriation of elements of dominant culture by members of culturally marginalized groups. They explore this idea through discussion of such appropriative artwork by a number of contemporary First Nations artists, which they argue challenges "the assumed alignment of appropriator with oppressor and appropriatee with victim"(227).Comment: This text serves as a useful counterpoint to the general framework employed in much of the other cultural appropriation literature. It is also a useful selection for course units focusing on art practice.
Wang Bi. Clarifying the Images (Ming xiang)2004, In Richard John Lynn (ed.). The Classic of Changes: A New Translation of the I Ching as Interpreted by Wang Bi.-
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Added by: Meilin Chinn
Summary: From Wang Bi’s (226-249) seminal commentary on the Yi Jing (I Ching) or Classic of Changes. Bi catalogues and explains the relationship between images, ideas, language, and meaning. A key text that continues to be of importance in Chinese aesthetics, philosophy of language, and hermeneutics.Comment: This text requires a basic understanding of early Chinese philosophy. It would be appropriate in an advanced undergraduate or graduate seminar on Chinese philosophy and/or aesthetics.
Related reading:
- Ch. 26 of the Zhuangzi in Chuang-Tzu: The Inner Chapters. A.C. Graham, trans. Indianapolis, Hackett Publishing Company, Inc., 2001.
Warren, Karen J.. Ecofeminist Philosophy: A Western Perspective on What It Is and Why It Matters2000, New York: Rowman & Littlefield.-
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Added by: Rochelle DuFord
Summary: A philosophical exploration of the nature, scope, and significance of ecofeminist theory and practice. This book presents the key issues, concepts, and arguments which motivate and sustain ecofeminism from a western philosophical perspective. Back Matter: How are the unjustified dominations of women and other humans connected to the unjustified domination of animals and nonhuman nature? What are the characteristics of oppressive conceptual frameworks and systems of unjustified domination? How does an ecofeminist perspective help one understand issues of environmental and social justice? In this important new work, Karen J. Warren answers these and other questions from a Western perspective. Warren looks at the variety of positions in ecofeminism, the distinctive nature of ecofeminist philosophy, ecofeminism as an ecological position, and other aspects of the movement to reveal its significance to both understanding and creatively changing patriarchal (and other) systems of unjustified domination.Comment: This book serves as a comprehensive introduction to ecofeminist philosophy. The introductory chapter (1), the chapter on vegetarianism (6), and the chapter on the Land Ethic (7) make excellent stand alone readings in an introductory course on Environmental Ethics.
Warren, Karen J.. A Philosophical Perspective on the Ethics and Resolution of Cultural Property Issues1989, In The Ethics of Collecting Cultural Property, edited by Phyllis Mauch Messenger. USA: University of New Mexico Press.-
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Added by: Erich Hatala Matthes
Summary: Warren's chapter offers a careful and systematic look at arguments concerning what she calls "the 3 R's": restitution (or repatriation) of cultural property, restrictions on cultural imports and exports, and the rights (to ownership, access, etc.) over cultural property. She ultimately argues that this framework should be overturned in favor of an approach to cultural property disputes that is modeled on conflict resolution. This approach deprioritizes traditional talk of property and ownership in favor of a focus on preservation.Comment: Due to its clear and organized approach, this article is an excellent teaching resource, and a good choice in particular if you plan to do a single reading on repatriation issues. While it often focuses more on summary than developing the many argumentative approaches mentioned, it offers a helpful backbone for further discussion.
Waziyatawin. What Does Justice Look Like?: The Struggle for Liberation in Dakota Homeland2008, Living Justice Press.-
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Added by: Sonja Dobroski and Quentin PharrPublisher’s Note:
During the past 150 years, the majority of Minnesotans have not acknowledged the immense and ongoing harms suffered by the Dakota People ever since their homelands were invaded over 200 years ago. Many Dakota people say that the wounds incurred have never healed, and it is clear that the injustices: genocide, ethnic cleansing, mass executions, death marches, broken treaties, and land theft; have not been made right. The Dakota People paid and continue to pay the ultimate price for Minnesota's statehood.This book explores how we can embark on a path of transformation on the way to respectful coexistence with those whose ancestral homeland this is. Doing justice is central to this process. Without justice, many Dakota say, healing and transformation on both sides cannot occur, and good, authentic relations cannot develop between our Peoples. Written by Wahpetunwan Dakota scholar and activist Waziyatawin of Pezihutazizi Otunwe, What Does Justice Look Like? offers an opportunity now and for future generations to learn the long-untold history and what it has meant for the Dakota People. On that basis, the book offers the further opportunity to explore what we can do between us as Peoples to reverse the patterns of genocide and oppression, and instead to do justice with a depth of good faith, commitment, and action that would be genuinely new for Native and non-Native relations.Comment:
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Various Contributors. Indigenous Land Stewardship: Tending Nature
2021, KCET. 57min. USA.
Comment:
available in this Blueprint