Dissanayake, Ellen. Art and Intimacy
2000, University of Washington Press.
-
Expand entry
-
Added by: Simon Fokt, Contributed by: Christy Mag UidhirPublisher's Note: To Ellen Dissanayake, the arts are biologically evolved propensities of human nature: their fundamental features helped early humans adapt to their environment and reproduce themselves successfully over generations. In Art and Intimacy she argues for the joint evolutionary origin of art and intimacy, what we commonly call love.It all begins with the human trait of birthing immature and helpless infants. To ensure that mothers find their demanding babies worth caring for, humans evolved to be lovable and to attune themselves to others from the moment of birth. The ways in which mother and infant respond to each other are rhythmically patterned vocalizations and exaggerated face and body movements that Dissanayake calls rhythms and sensory modes. Rhythms and modes also give rise to the arts. Because humans are born predisposed to respond to and use rhythmic-modal signals, societies everywhere have elaborated them further as music, mime, dance, and display, in rituals which instill and reinforce valued cultural beliefs. Just as rhythms and modes coordinate and unify the mother-infant pair, in ceremonies they coordinate and unify members of a group. Today we humans live in environments very different from those of our ancestors. They used ceremonies (the arts) to address matters of serious concern, such as health, prosperity, and fecundity, that affected their survival. Now we tend to dismiss the arts, to see them as superfluous, only for an elite. But if we are biologically predisposed to participate in artlike behavior, then we actually need the arts. Even -- or perhaps especially -- in our fast-paced, sophisticated modern lives, the arts encourage us to show that we care about important things.Comment: This is a stub entry. Please add your comments below to help us expand it
Doyle, Jennifer. Thinking Feeling: Criticism and Emotion
2013, In: Hold It Against Me: Difficulty and Emotion in Contemporary Art. Durham: Duke University Press. 69-89.
-
Expand entry
-
Added by: Rossen VentzislavovSummary: Doyle investigates the emotional dimensions of aesthetic experience in the context of controversial performance art practices. She focuses on sentimentality because it sits at the extreme end not only of the emotional spectrum but also, as a negative, on the art critical radar. Critics' charge against the sentimental is twofold - it enables vicarious experience at the expense of its direct counterpart and it gives a platform to the inauthentic. Furthermore, the overwhelming critical consensus is that the personal itself, manifested in sentimentality or otherwise, is inherently suspect. Emotion is thus framed as detrimental to "serious" art. It is also, and even more damagingly, feminized and drained of its political charge. To counter these assumptions, Doyle uses specific art-historical examples which reveal the richness and importance of emotional interest in the way art is made and experienced.Comment: This text can be used in discussions of emotion and affectivity. While much of its focus is on art, it can be used in more general classes on emotions as well.
Du Bois, W.E.B.. Criteria of Negro Art
1926, The Crisis, 32: 290-297
-
Expand entry
-
Added by: Quentin Pharr and Clotilde TorregrossaAbstract:
Published in The Crisis of October 1926, DuBois initially spoke these words at a celebration for the recipient of the Twelfth Spingarn Medal, Carter Godwin Woodson. The celebration was part of the NAACP's annual conference and was held in June 1926.Comment (from this Blueprint): In this selection, Du Bois discusses the nature of aesthetic value, how black artists have been historically excluded from creating it for false and racist reasons, and what role black artists actually have to play in creating beauty. Firstly, he establishes an expansive conception of aesthetic value. Secondly, he sets out various examples of how black artists have been historically excluded from producing art in general and art which portrays "blackness" more specifically. And lastly, he sets out a vision for the arts which not only includes black artists, but also recognizes the aesthetic and political value of their work for creating fair and equal societies where beauty is ever present and sought. It will help readers to understand the costs and wrongs that come with exclusionary practices in the production of aesthetic objects.
Eaton, A. W., I. Gaskell. Do Subaltern Artifacts Belong in Art Museums?
2009, In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley
-
Expand entry
-
Added by: Erich Hatala MatthesSummary: Eaton and Gaskell argue that museums are "instruments of power," and then ask whether it is permissible for them to display the cultural heritage of peoples who have been subordinated. Ultimately, they argue that despite a series of arguments to the contrary, the display of "subaltern" artifacts is not just permissible, "but advantageous to all interested parties." They make the argument by posing and responding to four central objections to this position.Comment: This is a careful and comprehensive look at ethical questions surrounding the display of "subaltern" cultural heritage in museums. If you plan to assign a single reading on this topic, use this one.
Egbunu, Fidelis Eleojo. Language Problem in African Philosophy: The Igala Case
2014, Journal of Educational and Social Research. 4 (3): 363-371.
-
Expand entry
-
Added by: Sara Peppe and Björn FreterAbstract:
The Language Question is a very central subject of discourse in African Philosophy. This is consequent upon the fact that the essence of language in philosophy cannot be gainsaid. Language, as it were, is culture bound. As such, to deny a people of their language is to deny them their cultural heritage. While applying the descriptive and analytic method in this work, it is contended that language plays not only a catalyzing role in the art of philosophizing but that it occupies an inalienable place in philosophy. Again, that since philosophy is more or less about resolving “conceptual cramps” or “bottle-necks”, indigenous languages should be given a pride of place over and against their foreign counterparts because of the obvious epistemological advantages embedded therein (especially in mother-tongues). It is submitted here that a lot of homework need to be done in terms of advocacy and development on the low status of such languages so as to meet up with the international standard and nature of the discipline. Meanwhile, the need for using a language that engenders understanding across ethnic barriers alongside the language of the environment is being advocated as a short-term measure. This is not without sounding a caveat that such a transfer of knowledge which is often fraught with some degree of adulteration via the instrument of translation, though practicable, is far from being the ideal. It is on this token the opinions of experts such as Barry Hallen, Quine and a host of others on Methods of Ordinary Language Philosophy and Indeterminacy, respectively are being advanced as plausible means of meeting the challenges before us. In this manner, while using the Igala language of Central Nigeria as a case study, it is finally submitted that it is possible to have what we might term authentic African Philosophy emerging from a systematic analysis of our traditional worldviews.Comment (from this Blueprint): This paper examines the issue of language in African Philosophy and highlights that language and culture are closely linked. Indeed, in paragraph 2, Egbonu studies the term “language”, underlining that language has to do with people’s identity and culture. Also, the author explains that language has a crucial role in philosophising, with African indigenous languages that should have a major role in African philosophy since it expresses the cultural heritage of African people. Egbunu focuses on the case of Igala people, where the meaning of the words they use is not the same when we translate them. But, Egbunu also underlines that language is not the only way to determine what should be considered authentic African philosophy. Indeed, it is argued that language does not determine whether African philosophy is authentic or not. Instead, authentic African philosophy is the philosophy applied to the conceptual issues of the African experience.
Estlund, Cynthia. Working Together: Crossing Color Lines at Work
2005, Labor History. 46 (1):79-98
-
Expand entry
-
Added by: Deryn Mair ThomasAbstract:
Amidst signs of declining social capital, the typical workplace is a hotbed of sociability and cooperation. And in a still-segregated society, the workplace is where adults are most likely to interact across color lines. The convergence of close interaction and some racial diversity makes the workplace a crucial institution within a diverse democratic society. Paradoxically, the involuntariness of workplace associations—the compulsion of economic necessity, of managerial authority, and of law—helps to facilitate constructive interaction among diverse co-workers. Where racial diversity is a fact of organizational life (and the law can help to make it so), then employers and workers have their own powerful reasons—psychological and economic—to make those relationships constructive, even amicable. I contend here that it is where we are compelled to get along, and not where we choose to do so, that we can best advance the project of racial integration.Comment (from this Blueprint): This text raises interesting questions about the relationship between diverse workplaces and democratic practices, and in particular, makes an interesting argument about the implications for racial integration. It can therefore be used to prompt students to think generally about democratic political structures, citizenship, and equality, while also encouraging discussion in particular about the role that work plays in promoting good civic practices.
Etieyibo, Edwin. The Case of Competancy and Informed Consent
2013, Journal of Clinical Research and Bioethics, 4 (2): 1-4.
-
Expand entry
-
Added by: Rochelle DuFordAbstract: Patient competence is an essential element of every doctor-patient relationship. In this paper I provide a case report involving an older Korean man in a Hawaiian hospital who refused treatment on the basis of mistaken facts or beliefs about his doctors and treatment. I discuss the case as it relates to competency and extends it to informed consent, autonomy and paternalism. I suggest and argue firstly, that the older Korean man is not fully competent, and secondly, that if he is not fully competent, then soft and weak paternalism may be justified in his case and in cases similar to his.Comment: This text presents an introduction to the relationship between competance, informed consent, and autonomy in medical contexts through the use of a case study. As such, it would be a good text for an introductory course in health care ethics or biomedical ethics within a unit on autonomy or culturally-specific applications of medical ethical principles.
1995, William Morrow
-
Expand entry
-
Added by: M. Jimena Clavel Vázquez and Andrés Hernández VillarrealPublisher’s Note:
The ancient Maya, through their shamans, kings, warriors, and scribes, created a legacy of power and enduring beauty. The landmark publication of A Forest of Kings presented the first accessible, dramatic history of this great civilization, written by experts in the translation of glyphs. Now, in Maya Cosmos, Freidel, Schele, and Parker examine Maya mythology and religion, unraveling the question of how these extraordinary people, five million strong, have managed to preserve their most sacred beliefs into modern times. In Maya Cosmos, the authors draw upon translations of sacred texts and histories spanning thousands of years to tell us a story of the Maya, not in our words but in theirs.
Comment (from this Blueprint): The book contextualises the Mayan Popol Vuh. Chapter 2 contextualizes the creation of human beings in the wider context of the Quiché creation myth. Chapter 4 introduces the Mayan notions of k’ul (ch’ul), essence or vital force, used to denote a sacred aspect of human that is not identical with their bodies but is inserted into them; chanul (also kanul) which is a supernatural guardian that accompanies a person and shares with them their vital force; and the ‘white flower’ and the idea that the soul is created and abandons the body in the moment of death.
Freter, Yvette. Difference in African Educational Contexts
2020, In: Imafidon, E. (ed.) Handbook of African Philosophy of Difference. Cham: Springer, 217-237
-
Expand entry
-
, Contributed by: Björn FreterAbstract: Educational institutions pull together students of different genders, abilities, races, classes, and religions and are the microcosm of their communities. In African contexts, schools have been the location of “cultural parochialism” and “colonial epistemicide and the consolidation of colonization” (Lebakeng et al. 72, 2006). Thus an additional dimension of difference drawn along the fallacious line of the superior dominant Eurowestern colonizer versus the inferior indigenous African population has been institutionalized within the educational system. I engage in a philosophical examination of the African context of difference in the sphere of education. I consider the hopeful gaze philosophy offers in the light of difference, by considering the concept of pluralism, and argue for a view of difference that is both inclusive and appreciative of diversity and suggests ways educators can critically assess their own differences by considering their positionality. I conclude by applying the philosophical outlook that embraces pluralism to our classroom spaces and suggests multicultural theory that embraces difference by including both dominant and marginalized educators to impact education in an efficacious way.
Fusco, Coco. The Other History of Intercultural Performance
1994, The Drama Review 38(1): 143-167.
-
Expand entry
-
Added by: Rossen VentzislavovSummary: Fusco's text chronicles the preparation, performance, and public reception of an artwork - "Two Undiscovered Amerindians" - she created in collaboration with Guillermo Gómez-Peña in 1992. The performance was intended as a critique of the contemporary artworld, whose shallow redemptive multiculturalism often sidelined important issues of racial difference and racialized aesthetic perception. It consisted of the two artists spending three days in a golden cage presented, in the manner of live ethnographic spectacles of the not so distant colonial past, as members of an exotic and newly discovered island nation in the Gulf of Mexico. Fusco contends that otherness is always performative and, as such, has held the entire history of performance art - from the Dadaists to the present day - captive. The resulting frequent gestures of appropriation, condescension and erasure discredit the social and intercultural consciousness most performance artists see themselves as representing. Ironically, the strange journey the "Two Undiscovered Amerindians" project has travelled has plentifully confirmed the iniquities the two artists set out to expose.Comment: While not a philosophical text per se, this article is very helpful in discussions of the political dimension of the contemporary artworld, and the race dynamics within it.
Can’t find it?
Contribute the texts you think should be here and we’ll add them soon!