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.
Coombe, Rosemary J.. The Properties of Culture and the Politics of Possessing Identity: Native Claims in the Cultural Appropriation Controversy.
1993, Canadian Journal of Law and Jurisprudence 6(2): 249-285.
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Added by: Erich Hatala MatthesAbstract: The West has created categories of property, including intellectual property, which divides peoples and things according to the same colonizing discourses of possessive individualism that historically disentitled and disenfranchised Native peoples in North America. These categories are often presented as one or both of neutral and natural, and often racialized. The commodification and removal of land from people’s social relations which inform Western valuations of cultural value and human beings living in communities represents only one particular, partial way of categorizing the world. Legal and cultural manifestations of authorship, culture, and property are contingent upon Enlightenment and Romantic notions built upon a colonial foundation. I will argue that the law rips apart what First Nations peoples view as integrally and relationally joined, but traditional Western understandings of culture, identity, and property are provoked, challenged, and undermined by the concept of Aboriginal Title in a fashion that is both necessary and long overdue.Comment: In this wide-ranging essay, Coombe situates debates about cultural appropriation in the context of colonial power dynamics. She discusses both appropriation of styles and stories as well as alienation of material cultural property. In particular, she criticizes the appeal to Western conceptions of property in these debates, and questions whether Native identity and autonomy can be appropriately protected by subsuming Native intangible cultural property claims under Western frameworks for intellectual property. This is a long and challenging essay, best used for more advanced courses. Alternative texts that capture some of the ideas here include Loretta Todd's "Notes on Appropriation" (on which Coombe draws), or, for a text that situates some of these ideas in the literature on epistemic injustice, see Erich Hatala Matthes, "Cultural Appropriation without Cultural Essentialism?".
Cordova, Viola. How It Is: The Native American Philosophy of V. F. Cordova
2007, Kathleen Dean Moore, Kurt Peters, Ted Jojola & Amber Lacy (eds.), University of Arizona Press.
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Added by: Sonja Dobroski and Quentin PharrPublisher’s Note:
Viola Cordova was the first Native American woman to receive a PhD in philosophy. Even as she became an expert on canonical works of traditional Western philosophy, she devoted herself to defining a Native American philosophy. Although she passed away before she could complete her life’s work, some of her colleagues have organized her pioneering contributions into this provocative book. In three parts, Cordova sets out a complete Native American philosophy. First she explains her own understanding of the nature of reality itself—the origins of the world, the relation of matter and spirit, the nature of time, and the roles of culture and language in understanding all of these. She then turns to our role as residents of the Earth, arguing that we become human as we deepen our relation to our people and to our places, and as we understand the responsibilities that grow from those relationships. In the final section, she calls for a new reverence in a world where there is no distinction between the sacred and the mundane. Cordova clearly contrasts Native American beliefs with the traditions of the Enlightenment and Christianized Europeans. By doing so, she leads her readers into a deeper understanding of both traditions and encourages us to question any view that claims a singular truth. From these essays—which are lucid, insightful, frequently funny, and occasionally angry—we receive a powerful new vision of how we can live with respect, reciprocity, and joyComment: available in this Blueprint
Cordova, Viola. Ethics: The We and the I
2004, In: American Indian Thought: Philosophical Essays. Anne Waters (ed.), Blackwell (Oxford).
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Added by: Sonja Dobroski and Quentin PharrAbstract:
This book brings together a diverse group of American Indian thinkers to discuss traditional and contemporary philosophies and philosophical issues. The essays presented here address philosophical questions pertaining to knowledge, time, place, history, science, law, religion, nationhood, ethics, and art, as understood from a variety of Native American standpoints. Unique in its approach, this volume represents several different tribes and nations and amplifies the voice of contemporary American Indian culture struggling for respect and autonomy. Taken together, the essays collected here exemplify the way in which American Indian perspectives enrich contemporary philosophy.Comment: available in this Blueprint
Coulthard, Glen. Red Skin, White Masks: Rejecting the Colonial Politics of Recognition
2014, University of Minnesota Press.
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Added by: Sonja Dobroski and Quentin PharrPublisher’s Note:
Over the past forty years, recognition has become the dominant mode of negotiation and decolonization between the nation-state and Indigenous nations in North America. The term “recognition” shapes debates over Indigenous cultural distinctiveness, Indigenous rights to land and self-government, and Indigenous peoples’ right to benefit from the development of their lands and resources. In a work of critically engaged political theory, Glen Sean Coulthard challenges recognition as a method of organizing difference and identity in liberal politics, questioning the assumption that contemporary difference and past histories of destructive colonialism between the state and Indigenous peoples can be reconciled through a process of acknowledgment. Beyond this, Coulthard examines an alternative politics—one that seeks to revalue, reconstruct, and redeploy Indigenous cultural practices based on self-recognition rather than on seeking appreciation from the very agents of colonialism. Coulthard demonstrates how a “place-based” modification of Karl Marx’s theory of “primitive accumulation” throws light on Indigenous–state relations in settler-colonial contexts and how Frantz Fanon’s critique of colonial recognition shows that this relationship reproduces itself over time. This framework strengthens his exploration of the ways that the politics of recognition has come to serve the interests of settler-colonial power. In addressing the core tenets of Indigenous resistance movements, like Red Power and Idle No More, Coulthard offers fresh insights into the politics of active decolonization.Comment: available in this Blueprint
Cudd, Ann E.. Enforced Pregnancy, Rape, and the Image of Woman
1990, Philosophical Studies, 60 (1-2): 47-59.
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Added by: Rochelle DuFordSummary: In this essay, Cudd argues that enforced pregnancy constitutes a group harm against women, harming even women who are not forced to carry a fetus to term against their will. In this essay, she develops a theoy of group harm, arguing that forced pregnancy constitutes a similar sort of group harm as rape. Ultimately, she claims that both rape and enforced pregnancy constitute a group harm via degredation of a class (women) and an individual harm via the individual negative effects caused by enforced pregnancy.Comment: This text serves as a good introduction to the idea of a group harm. Further, it would fit well in a class that covers the ethics of sex, sexual violence, pregnancy, or abortion. If you plan to utilize this reading in the context of a biomedical ethics course covering abortion, it would be helpful to have first covered other classical readings on the topic (Marquis and Thomson, at least).
Cudd, Ann E.. Sporting Metaphors: Competition and the Ethos of Capitalism
2007, Journal of the Philsophy of Sport 34 (1): 52-67.
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Added by: Rochelle DuFordAbstract:
Synopsis: This article examines metaphors that illuminate the competitive aspects of capitalism and its focus on winning but also metaphors that emphasize cooperation and ways that capitalism improves the lives not only of the winners but also of all who choose to play the game by its rules. Although sports metaphors invoked to describe capitalist competition may appear to cast an unflattering light on both capitalism and sport, on a deeper analysis those metaphors appeal to many of us because they reveal a closer resemblance to the Latin root of the word 'competition' and its cooperative, pareto-improving implications. Just as healthy competition in sports requires cooperation, healthy capitalism is also,ultimately, a cooperative endeavor. I will argue that metaphors imported from and expanded through our experiences of sport reveal many, while concealing other, aspects of capitalism.Comment: This text would have a place within a course on business ethics that considers whether competition is good or bad within the context of the market. This would make it an interesting addition to a course that covered Satz's Why Some Things Should Not be for Sale: The Moral Limits of Markets. It is also a good overview of some ideas that are central to the philosophy of sport, such as what constitutes a game, the idea of cooperation, and competitiveness (winning/non-winning).
Davidson, Maria Del Guadalupe, Kathryn Sophia Belle (formerly known as Kathryn T. Gines), Marcano, Donna-Dale L. (eds). Convergences: Black Feminism and Continental Philosophy
2010, State University of New York Press.
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Added by: Chris Blake-Turner, Contributed by: Esther McIntoshPublisher's Note: A range of themes - race and gender, sexuality, otherness, sisterhood, and agency - run throughout this collection, and the chapters constitute a collective discourse at the intersection of Black feminist thought and continental philosophy, converging on a similar set of questions and concerns. These convergences are not random or forced, but are in many ways natural and necessary: the same issues of agency, identity, alienation, and power inevitably are addressed by both camps. Never before has a group of scholars worked together to examine the resources these two traditions can offer one another. By bringing the relationship between these two critical fields of thought to the forefront, the book will encourage scholars to engage in new dialogues about how each can inform the other. If contemporary philosophy is troubled by the fact that it can be too limited, too closed, too white, too male, then this groundbreaking book confronts and challenges these problems.
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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