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Added by: M. Jimena Clavel Vázquez and Andrés Hernández VillarrealPublisher’s Note:
The Aztecs: A Very Short Introduction employs the disciplines of history, religious studies, and anthropology as it illuminates the complexities of Aztec life. This VSI looks beyond Spanish accounts that have coloured much of the Western narrative to let Aztec voices speak. It also discusses the arrival of the Spaniards, contrasts Aztec mythical traditions about the origins of their city with actual urban life in Mesoamerica, outlines the rise of the Aztec empire, explores Aztec religion, and sheds light on Aztec art. The VSI concludes by looking at how the Aztecs have been portrayed in Western thought, art, film, and literature as well as in Latino culture and artsCarrasco, David, Jones, Lindsay, Sessions, Scott. Mesoamerica’s Classic Heritage: From Teotihuacan to the Aztecs2000, University Press of Colorado-
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Added by: M. Jimena Clavel Vázquez and Andrés Hernández VillarrealPublisher’s Note:
For more than a millennium the great Mesoamerican city of Teotihuacn (c. 150 b.c.a.d. 750) has been imagined and reimagined by a host of subsequent cultures including our own. Mesoamerica's Classic Heritage engages the subject of the unity and diversity of pre-Hispanic Mesoamerica by focusing on the classic heritage of this ancient city. This new volume is the product of several years of research by members of Princeton University's Moses Mesoamerican Archive and Research Project and Mexico's Proyecto Teotihuacn. Offering a variety of disciplinary perspectives--including the history of religions, anthropology, archaeology, and art history - and a wealth of new data, Mesoamerica's Classic Heritage examines Teotihuacn's rippling influence across Mesoamerican time and space, including important patterns of continuity and change, and its relationships, both historical and symbolic, with Tenochtitlan, Cholula, and various Mayan communities.
Comment:
available in this Blueprint
Césaire, Aimé. Discourse on Colonialism2000, NYU Press-
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Added by: Suddha Guharoy, Andreas Sorger
Publisher's Note: This classic work, first published in France in 1955, profoundly influenced the generation of scholars and activists at the forefront of liberation struggles in Africa, Latin America, and the Caribbean. Nearly twenty years later, when published for the first time in English, Discourse on Colonialism inspired a new generation engaged in the Civil Rights, Black Power, and anti-war movements and has sold more than 75,000 copies to date.
Aimé Césaire eloquently describes the brutal impact of capitalism and colonialism on both the colonizer and colonized, exposing the contradictions and hypocrisy implicit in western notions of "progress" and "civilization" upon encountering the "savage," "uncultured," or "primitive." Here, Césaire reaffirms African values, identity, and culture, and their relevance, reminding us that "the relationship between consciousness and reality are extremely complex. . . . It is equally necessary to decolonize our minds, our inner life, at the same time that we decolonize society."
Comment (from this Blueprint): Aimé Césaire’s Discourse on Colonialism is a foundational text in postcolonial theory, which provides an excoriating critique of not only European practices of colonialism, but also the underlying theories and logics used to justify them. Specifically, Césaire takes aim at the view of colonialism as a ‘civilising mission’, where benevolent Europeans would provide non-white non- Europeans with the tools necessary for modernisation. Instead, he argued that colonialism wrought destruction everywhere it went, killing people, eradicating civilisations, and obliterating any alternative cultural ideas that contrasted European values. Crucially, Césaire explores the psychological effects of colonialism on both the colonised and the coloniser – a theme that would be taken further by Frantz Fanon (a student of Césaire’s) in his writings.
Chakrabarti, Arindam. Ownerless Emotions in Rasa-Aesthetics2011, In Ken-ichi Sasaki (ed.). Asian Aesthetics. National Univeristy of Singapore Press.-
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Added by: Meilin Chinn
Summary: Chakrabarti explores the possibilities of rasa theory via the question of whose emotion is experienced when an audience relishes a work of art. Chakrabarti argues for the existence of a “centerless non-singular subjectivity” according to which the special emotions savored in aesthetic experience do not have specific owners. These personless sentiments indicate an ethical relationship between aesthetic imagination and moral unselfishness.Comment: This text could serve as both an overview of rasa theory in Indian aesthetics, as a basis for comparative work in cross-cultural aesthetics, as well as comparative philosophy.
Related reading:
- Abhinavabhāratī. Abhinavagupta. In Nāṭyaśāstra of Bharatamuni: Text, Commentary of Abhinava Bharati by Abhinavaguptacarya and English Translation. M.M. Ghosh (ed.). Delhi: New Bharatiya Book Corporation, 2006.
Related reading:
- Abhinavabhāratī. Abhinavagupta. In Nāṭyaśāstra of Bharatamuni: Text, Commentary of Abhinava Bharati by Abhinavaguptacarya and English Translation. M.M. Ghosh (ed.). Delhi: New Bharatiya Book Corporation, 2006.
Chambers, Emma. Face to Face: Representing Facial Disfigurement2010, in: Richard Sandell, Jocelyn Dodd, & Rosemarie Garland-Thomson, Re-presenting Disability: Activism and Agency in the Museum, London: Routledge, pp. 179-193.-
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Added by: Hans Maes
Summary: In-depth analysis of how the Saving Faces exhibition challenges stereotypes of disabled people as dependent invalids or exotic specimens. Discusses the artist's rejection of experimentation in favour of a painting style that is as 'straight' as possible (and so makes for an interesting contrast with the use of cubist painting in Anita Silver's essays). Also draws attention to the interaction between artist and sitter and to the process of portraiture.Comment: Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Mark Gilbert, Saving Faces (2000)
Gilbert was artist-in-residence at the oral and maxillofacial surgery department of a London hospital. His brief was to illustrate what is, and also isn't, possible with modern facial surgery; and to capture the emotional journey undertaken by patients in ways that standard clinical photography cannot. Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Mark Gilbert, Saving Faces (2000)
Gilbert was artist-in-residence at the oral and maxillofacial surgery department of a London hospital. His brief was to illustrate what is, and also isn't, possible with modern facial surgery; and to capture the emotional journey undertaken by patients in ways that standard clinical photography cannot.
Chari, V.K.. Validity in Interpretation: Some Indian Views1978, Journal of Aesthetics and Art Criticism 36(3): 329-340.-
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Added by: Meilin Chinn
Summary: An outline of the theory of interpretation within the language philosophies of ancient India. Chari organizes this extensive history according to topics such as verbal autonomy, intention, unity of meaning, polysemy, contextualism, and interpretation.Comment: This text is appropriate for discussions of language and meaning in aesthetics, as well as philosophy of language.
Chimakonam, Jonathan O,. Ezumezu: A System of Logic for African Philosophy and Studies2019, Cham, Switzerland: Springer Verlag-
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Added by: Franci MangravitiPublisher’s Note:
The issue of a logic foundation for African thought connects well with the question of method. Do we need new methods for African philosophy and studies? Or, are the methods of Western thought adequate for African intellectual space? These questions are not some of the easiest to answer because they lead straight to the question of whether or not a logic tradition from African intellectual space is possible. Thus in charting the course of future direction in African philosophy and studies, one must be confronted with this question of logic. The author boldly takes up this challenge and becomes the first to do so in a book by introducing new concepts and formulating a new African culture-inspired system of logic called Ezumezu which he believes would ground new methods in African philosophy and studies. He develops this system to rescue African philosophy and, by extension, sundry fields in African Indigenous Knowledge Systems from the spell of Plato and the hegemony of Aristotle. African philosophers can now ground their discourses in Ezumezu logic which will distinguish their philosophy as a tradition in its own right. On the whole, the book engages with some of the lingering controversies in the idea of (an) African logic before unveiling Ezumezu as a philosophy of logic, methodology and formal system. The book also provides fresh arguments and insights on the themes of decolonisation and Africanisation for the intellectual transformation of scholarship in Africa. It will appeal to philosophers and logicians—undergraduates and post graduate researchers—as well as those in various areas of African studies.
Comment: Can be used as a main reference textbook for a course on African logic, insofar as Part I provides an (opinionated) survey of the field, and Part II develops a particular proposal in extensive detail. The chapters in Part I can be accompanied by many of the primary sources in "Logic and African Philosophy: Seminal Essays on African Systems of Thought", edited by the same author. Chapters 6-8, which introduce Ezumezu, can be used in a general course on logic or African philosophy wanting to discuss this particular system and philosophy thereof. While familiarity with Part I is helpful, it is not strictly required. Can be used as a main reference textbook for a course on African logic, insofar as Part I provides an (opinionated) survey of the field, and Part II develops a particular proposal in extensive detail. The chapters in Part I can be accompanied by many of the primary sources in "Logic and African Philosophy: Seminal Essays on African Systems of Thought", edited by the same author. Chapters 6-8, which introduce Ezumezu, can be used in a general course on logic or African philosophy wanting to discuss this particular system and philosophy thereof. While familiarity with Part I is helpful, it is not strictly required.
Chimakonam, Jonathan O.. Othering, Re-othering, and De-othering. Interrogating the Skolombo’s Fight-Back Strategy2020, In: Imafidon, E. (ed.) Handbook of African Philosophy of Difference. Cham: Springer, 433-488-
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Added by: Björn Freter
Abstract: I argue that the phenomenon of “othering”—the stratification of identities into in-group and out-group by the norm and the consequent marginalization of the out-group—has created another problem which can be referred to as “re-othering,” that is, when the victim of othering responds with disidentification strategy to counter identity constructed for them by the norm. I use the context of the residents—the legitimate people in the city of Calabar, Nigeria and the Issakaba—the marginalized other, to show how negative identity construction has been used to discriminate against the homeless poor in the city of Calabar. I explore the conditions that compelled the homeless poor to reconstruct their imposed identity Issakaba to Skolombo and contend that it was a fightback strategy. I then employ a new concept, de-othering, as a conversational strategy that might be able to address the mutually opposing negative identification and disidentification constructions in Calabar specifically and in other places where similar problem emerges.Comment:
Chino, Kaori. A Man Pretending to Be a Woman: On Yasumasa Morimura’s “Actresses”2000, in: Brand, Peg Zeglin (ed.), Beauty Matters, Bloomington: Indiana University Press, pp. 252-265.-
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Added by: Hans Maes
Summary: Argues that Morimura's portraits achieve something that depictions of the female body rarely can. Morimura invites the violent male gaze with his exposed body and then, in the next moment, snubs and nullifies it. With references to Andy Warhol's portraits of Marilyn Monroe and Cindy Sherman's work.Comment: Useful in discussing portraiture and depiction, and objectification in general.
Artworks to use with this text:
Yasumasa Morimura, Descent of the Actresses (1994)
Self-portraits in which the artists impersonates famous actresses. Useful in discussing portraiture and depiction, and objectification in general.
Artworks to use with this text:
Yasumasa Morimura, Descent of the Actresses (1994)
Self-portraits in which the artists impersonates famous actresses.
Choi, Jinhee. All the right responses: Fiction films and warranted emotions2003, British Journal of Aesthetics 43 (3):308-321.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: Cognitive theories of emotions have provided us with explanations of how we emotionally engage with fiction, when we are aware that what is depicted is fictional. However, these theories left an important question unanswered: namely, what kinds of emotional responses to fiction are warranted responses. The main focus of this paper is how our emotional responses to fiction can be aesthetically warranted - that is, how emotions directed to fiction can be warranted given the fact that its object is an artwork. I consider three possible explanations of this phenomenon: the real-life principle, a correspondence model, and a functional model. I argue that the real-life principle and the correspondence model fall short of explaining how our emotional responses to film are aesthetically warranted, and instead I argue that a functional model provides such an explanation. In this paper, I will primarily focus on fiction films, although I will address novels and other art forms where necessary.Comment:
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Carrasco, David. The Aztecs: A Very Short Introduction
2012, Oxford University Press
Comment:
available in this Blueprint