Gilligan, Carol. Moral orientation and moral development
1987, In Eva Feder Kittay & Diana T. Meyers (eds.), Women and Moral Theory. Rowman & Littlefield 19-23.
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Added by: Simon FoktAbstract: When one looks at an ambiguous figure like the drawing that can be seen as a young or old woman, or the image of the vase and the faces, one initially sees it in only one way. Yet even after seeing it in both ways, one way often seems more compelling. This phenomenon reflects the laws of perceptual organization that favor certain modes of visual grouping. But it also suggests a tendency to view reality as unequivocal and thus to argue that there is one right or better way of seeing. Diversifying Syllabi: Gilligan argues that there are two “moral perspectives” that individuals can take when making moral judgments. The “justice” perspective has been associated with men and is (traditionally) taken as paradigmatic of mature moral reasoning. The “care” perspective, on the other hand, is associated with women, and is taken (by psychologists of the time) as a less mature form of moral reasoning. She argues against this view, and suggests that both perspectives are valuable. Though an individual may only be able to take on one perspective at a given time, they are not mutually exclusive, nor is one better than the other.
Ginsborg, Hannah. Aesthetic Judgment and Perceptual Normativity
2006, Inquiry 49(5): 403-437.
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Added by: Ben McGorrigan, Contributed by: Christy Mag UidhirAbstract: I draw a connection between the question, raised by Hume and Kant, of how aesthetic judgments can claim universal agreement, and the question, raised in recent discussions of nonconceptual content, of how concepts can be acquired on the basis of experience. Developing an idea suggested by Kant's linkage of aesthetic judgment with the capacity for empirical conceptualization, I propose that both questions can be resolved by appealing to the idea of "perceptual normativity". Perceptual experience, on this proposal, involves the awareness of its own appropriateness with respect to the object perceived, where this appropriateness is more primitive than truth or veridicality. This means that a subject can take herself to be perceiving an object as she (and anyone else) ought to perceive it, without first recognizing the object as falling under a corresponding concept. I motivate the proposal through a criticism of Peacocke's account of concept-acquisition, which, I argue, rests on a confusion between the notion of a way something is perceived, and that of a way it is perceived as being. Whereas Peacocke's account of concept-acquisition depends on an illicit slide between these two notions, the notion of perceptual normativity allows a legitimate transition between them: if someone's perceiving something a certain way involves her taking it that she ought to perceive it that way, then she perceives the thing as being a certain way, so that the corresponding concept is available to her in perceptual experience.
Comment: This paper will mainly be of relevance in relation to the antinomy or paradox of taste, a problem famously examined by Hume and Kant. It may also be of use in relation to topics in the Philosophy of Perception or Epistemology, or in teaching on Kant's Critique of Judgment. Ginsbourg presents a very thorough discussion of the notion that perceptions make concepts available by involving implicit claims to their own appropriateness; she uses this idea to make an interesting and plausible contribution to the debate regarding the antinomy of taste.
Glaude, Eddie S.. In a Shade of Blue: Pragmatism and the Politics of Black America
2007, University of Chicago Press.
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Added by: Chris Blake-Turner, Contributed by: Bart SchultzPublisher's Note: In this timely book, Eddie S. Glaude Jr., one of our nation's rising young African American intellectuals, makes an impassioned plea for black America to address its social problems by recourse to experience and with an eye set on the promise and potential of the future, rather than the fixed ideas and categories of the past. Central to Glaude's mission is a rehabilitation of philosopher John Dewey, whose ideas, he argues, can be fruitfully applied to a renewal of African American politics. According to Glaude, Dewey's pragmatism, when attentive to the darker dimensions of life - or what we often speak of as the blues - can address many of the conceptual problems that plague contemporary African American discourse. How blacks think about themselves, how they imagine their own history, and how they conceive of their own actions can be rendered in ways that escape bad ways of thinking that assume a tendentious political unity among African Americans simply because they are black, or that short-circuit imaginative responses to problems confronting actual black people. Drawing deeply on black religious thought and literature, In a Shade of Blue seeks to dislodge such crude and simplistic thinking, and replace it with a deeper understanding of and appreciation for black life in all its variety and intricacy. Only when black political leaders acknowledge such complexity, Glaude argues, can the real-life sufferings of many African Americans be remedied. Heady, inspirational, and brimming with practical wisdom, In a Shade of Blue is a remarkable work of political commentary on a scale rarely seen today. To follow its trajectory is to learn how African Americans arrived at this critical moment in their history and to envision where they might head in the twenty-first century
Comment: A really terrific, historically sophisticated work that highlights how philosophical pragmatism can be developed in connection with critical race theory.
Gluer, Kathrin. Donald Davidson: A short Introduction
2014, Oxford University Press USA
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Added by: Giada FratantonioPublisher's Note: Donald Davidson was one of the 20th Century's deepest analytic thinkers. He developed a systematic picture of the human mind and its relation to the world, an original and sustained vision that exerted a shaping influence well beyond analytic philosophy of mind and language. At its center is an idea of minded creatures as essentially rational animals: Rational animals can be interpreted, their behavior can be understood, and the contents of their thoughts are, in principle, open to others. The combination of a rigorous analytic stance with aspects of humanism so distinctive of Davidsonian thought finds its maybe most characteristic expression when this central idea is brought to bear on the relation of the mental to the physical: Davidson defended the irreducibility of its rational nature while acknowledging that the mental is ultimately determined by the physical. Davidson made contributions of lasting importance to a wide range of topics - from general theory of meaning and content over formal semantics, the theories of truth, explanation, and action, to metaphysics and epistemology. His writings almost entirely consist of short, elegant, and often witty papers. These dense and thematically tightly interwoven essays present a profound challenge to the reader. This book provides a concise, systematic introduction to all the main elements of Davidson's philosophy. It places the theory of meaning and content at the very center of his thought. By using interpretation, and the interpreter, as key ideas it clearly brings out the underlying structure and unified nature of Davidson's work. Kathrin Gluer carefully outlines his principal claims and arguments, and discusses them in some detail. The book thus makes Davidson's thought accessible in its genuine depth, and acquaints the reader with the main lines of discussion surrounding it.
Comment: Can be used as brief introduction into the main thoughts of Donald Davidon's philosophy.
Goehr, Lydia. Political music and the politics of music
1994, Journal of Aesthetics and Art Criticism 52 (1):99-112.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirIntroduction: On September 24th, 1947, a composer with "an international reputation" became the first Holly wood artist to be called before the Committee on Un-American Activities [HUAC]. The charge against him was that his music had aided the Communist infiltration of the motion-picture industry.' A significant part of his defense con sisted in his claim that he was only a musician and thus not responsible for any part of a Com munist conspiracy. What is peculiar is that he almost got away with this unlikely defense, unlikely because he had spent much of his life developing a political music consistent with the ideals of Communism. In the end, the Commit tee caught him out on technical grounds: it found a history of inaccurate statements in his visa applications. The composer was deported. It was the second exile of his life: the first had been from Germany ten years earlier.
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Goehr, Lydia. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music
1992, Oxford University Press.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirPublisher's Note: What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. Out of the historical thesis, Goehr draws philosophical conclusions about the normative functions of concepts and ideals. She also addresses current debates amongst conductors, early-music performers, and avant-gardists.
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Goldberg, RoseLee. Identities: Feminism, Multiculturalism, Sexuality
2004, In: Performance: Live Art Since the 60's. New York: Thames & Hudson. 128-145.
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Added by: Rossen VentzislavovSummary: Goldberg provides a richly illustrated historical account of the intimate connection between identity and performance art. Starting from the feminist art of the 1960's, the recognition and assertion of identity was a fundamental bid for social visibility. The next frontier was social recognition, which concerned ethnic and sexual minorities as much as it did women. The final frontier - political equality - is one that is still out of reach. Still, according to Goldberg, performance art continues to chart new territories of identification. In fact, while at the outset performance art used early feminist writing as inspiration, Goldberg recognizes a gradual reversal - today's feminists are as likely to chart new philosophical directions as they are to follow the exploratory charge of their performance art counterparts.
Comment: This text provides a historical background on the relationship between identity politics and art. It would be useful in classes on performance art, on the social context of art, as well as classes focusing on philosophy or race, gender and sexuality and ways to achieve social visibility.
Goldberg, RoseLee. The Body: Ritual, Living Sculpture, Performed Photography
2004, In: Performance: Live Art Since the 60's. New York: Thames & Hudson. 94-127.
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Added by: Rossen VentzislavovSummary: Goldberg sees the human body in performance art as a transmitter of erotics, gender tensions, cultural norms and political deviations. While two of the notable early works of performance art featured fully clothed male artists using naked female bodies (Yves Klein's Anthropometries of the Blue Period from 1960 and Piero Manzoni's Living Scupture from 1961), the work of female artists like Shigeko Kubota and Yoko Ono addressed the gender imbalance soon after. Goldberg sees the recognition of the body as "prime, raw material" as one of the central accomplishments of performance art. Through numerous examples she demonstrates how this notion enabled a spectrum of physical signification - from regarding the human body as a mere lump of undifferentiated flesh to capitalizing on its biological intricacies. Because of the irreducible intimacy of shared bodily experience, all creative choices along this spectrum - from the disquietingly erotic, to the anachronistically ritualistic, to the viscerally sacrificial - have affected the way we see art and the world around us.
Comment: This historical overview of the use of the human body in early performance art can be in any class on body aesthetics or performance art, and can offer an interesting background reading on erotic art.
Goldberg, RoseLee. The Art of Ideas and the Media Generation
2001, in: Performance Art: From Futurism to the Present. New York: Thames & Hudson. 152-155.
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Added by: Rossen VentzislavovSummary: In this brief historical note, Goldberg outlines the artistic response to the political upheavals of the 1960's. The general spirit of civic disillusionment offered the best conditions for the re-evaluation of art and its supporting social institutions. Not surprisingly, a new animosity emerged towards the objects of art and their claim to aesthetic pleasure. The farthest possible opposite, which many artists readily embraced, was found in conceptual art, which prioritized ideas, relations and experiences over traditional aesthetic categories. Goldberg sees performance art as a potent embodied application of these new artistic concerns, and thus as a rightful heir to conceptual art. Furthermore, each sub-genre of performance art - from body art to live sculpture to discussions and performative scripts - retains a conceptual core that finds its roots in that decade of strife and controversy.
Comment: This text offers a historical note on the relationship between conceptual art and performance art, and could be used in aesthetics classes focusing on either of those arts
Goldstein, Rebecca. Plato at the Googleplex: Why Philosophy Won’t Go Away
2014, Pantheon Books.
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Added by: Jamie CollinPublisher's Note: Imagine that Plato came to life in the twenty-first century and embarked on a multi-city speaking tour. How would he mediate a debate between a Freudian psychoanalyst and a 'tiger mum' on how to raise the perfect child? How would he handle the host of a right-wing news program who denies there can be morality without religion? What would Plato make of Google, and of the idea that knowledge can be crowdsourced rather than reasoned out by experts? Plato at the Googleplex is acclaimed thinker Rebecca Newberger Goldstein's dazzling investigation of these conundra. With a philosopher's depth and erudition and a novelist's imagination and wit, Goldstein probes the deepest issues confronting us by allowing us to eavesdrop on Plato as he takes on the modern world; it is a stunningly original plunge into the drama of philosophy, revealing its hidden role in today's debates on religion, morality, politics and science.
Comment: Useful in a general intro to philosophy course. This is partcularly suited for a general introduction course because it touches on a number of disparate parts of philosophy, and because it provides arguments for the continued value of philosophy.
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Comment: Diversifying Syllabi: Gilligan argues that there are two “moral perspectives” that individuals can take when making moral judgments. The “justice” perspective has been associated with men and is (traditionally) taken as paradigmatic of mature moral reasoning. The “care” perspective, on the other hand, is associated with women, and is taken (by psychologists of the time) as a less mature form of moral reasoning. She argues against this view, and suggests that both perspectives are valuable. Though an individual may only be able to take on one perspective at a given time, they are not mutually exclusive, nor is one better than the other.