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Added by: Rochelle DuFordSummary: This paper is a response to Thomson's influential defense of abortion. Warren argues that Thomson is mistaken that if a fetus has full moral rights, then abortion is still morally permissible. Warren, instead, argues that while fetuses participate in genetic humanity, they do not participate in the category of personhood (the category which defines the moral community). For this reason, abortion is always morally permissible and thus ought to be legally permissible.Comment: This reading is a good response to Thomson's influential violinist case. The text is a bit complex, and would be better suited for a course that considered issues of abortion and infanticide in an in depth way.Waters, Anne. Language Matters: Nondiscrete Nonbinary Dualisms2003, In Waters A., ed. American Indian Thought, pp.97-115.
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Added by: Franci Mangraviti
From the Introduction: "Anne Waters shows how nondiscrete nonbinary ontologies of being operate as background framework to some of America’s Indigenous languages. This background logic explains
why and how gender, for example, can be understood as a non-essentialized concept in
some Indigenous languages of the Americas. [...] The Indigenous understanding that all things interpenetrate and are relationally interdependent embraces a manifold of complexity, resembling a world of multifariously associated connections and intimate fusions Such a nondiscretely aggregate ontology ought not to be expected to easily give way to a metaphysics of a sharply defined discretely organized binary ontology. From an Indigenous ontology, some multigendered identities may be more kaleidoscopic and protean concepts than Euro-American culture has yet to imagine."Comment: available in this BlueprintWaziyatawin. 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: available in this BlueprintWee, Cecilia. Xin, Trust, and Confucius’ Ethics2011, Philosophy East and West, 61 (3): 516-533.
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Added by: Simon Fokt, Contributed by: Ian James KiddAbstract: Confucius frequently employs the term xin 信 in the Analects. The frequency of his usage suggests that xin has a significant place within his ethics. The main aim of this article is to offer an account of the roles played by xin within Confucius' ethics. To have a clear understanding of these roles, however, one needs first to understand what Confucius encompasses within his notion of xin. The article begins by delineating the Confucian conception of xin, as presented in the Analects. The notion of xin is often taken to be isomorphic with the notion of trust. I argue that Confucius' notion of xin does not quite map onto the notion of trust as usually understood in contemporary Western contexts. To understand better what Confucian xin amounts to, I compare and contrast the Confucian conception of xin with contemporary Western accounts of trust by Baier, McLeod, and Mullin. This comparison helps elucidate what xin is as well as how xin relates to morality. With this in hand, the roles that Confucius ascribes to xin in social and political contexts are then delineated.Comment: Clear discussion of Confucian conceptions of trustworthiness and trust and their roles in the moral life. Useful for those who want to do comparative work with Chinese philosophy.Weil, Simone. The Need for Roots: Prelude to a Declaration of Duties Towards Mankind1952, New York: Routledge
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Added by: Deryn Mair ThomasPublisher’s Note:
In The Need for Roots, her most famous book, Weil reflects on the importance of religious and political social structures in the life of the individual. She wrote that one of the basic obligations we have as human beings is to not let another suffer from hunger. Equally as important, however, is our duty towards our community: we may have declared various human rights, but we have overlooked the obligations and this has left us self-righteous and rootless. Published posthumously, The Need for Roots was a direct result of Weil's collaboration with Charles De Gaulle, where Weil set out to address the past and to propose a road map for the future of France after World War II. She painstakingly analyzes the spiritual and ethical milieu that led to France's defeat by the German army, and then addresses these issues with the prospect of eventual French victory.
Comment: This text offers a unique and original analysis of the duty to uphold community, and the bearing of community on the life of the individual. As with much of Weil's writing, the series of essays constitute a distinct contribution to the philosophical literature, in part, because they showcase a somewhat idiosyncratic style of philosophical methodology that was unique to Weil - a blend of continental style, treating philosophy as poetic prose, and analytic method, laying out an argument in sequential premises which lead the reader towards a conclusion. As such, it might constitute an interesting contribution to a course on political philosophy, by offering an alternative approach outside of 20th century canon to examining basic human rights and collective obligations. In addition, it could also be used as supplemental text in courses examines alternative philosophical methodologies, especially in political philosophy (for example, it could be paired with work by Hannah Arendt) or underexplored women of 20th century western philosophy.Wells Barnett, Ida. Lynch Law in America1995, In Words of Fire: An Anthology of African-American Feminist Thought, ed. Beverly Guy-Sheftall. The New Press, pp. 70-76-
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Added by: Tomasz Zyglewicz, Shannon Brick, Michael GreerAbstract: The first major anthology to trace the development of Black Feminist thought in the United States, Words of Fire is Beverly Guy-Sheftall’s comprehensive collection of writings by more than sixty Black women. From the pioneering work of abolitionist Maria Miller Stewart and anti-lynching crusader Ida Wells-Barnett to the writings of feminist critics Michele Wallace and bell hooks, Black women have been writing about the multiple jeopardies—racism, sexism, and classism—that have made it imperative to forge a brand of feminism uniquely their own. In the words of Audre Lorde, “the master’s tools will never dismantle the master’s house”—Words of Fire provides the tools to dismantle the interlocking systems that oppress us and to rebuild from their ashes a society of true freedom.Comment (from this Blueprint): This 1900 essay is seminal in feminist theory and black studies. Wells paves the way, appealing to empirical evidence, for theorizing on the role that white women's sexuality plays in black people's oppression in the US context. This is part of her broader argument for why lynching should be considered a moral catastrophe in the US.Werhane, Patricia H.. Evaluating the Classificatory Process1979, The Journal of Aesthetics and Art Criticism, 37: 352–54.
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Added by: Simon FoktContent: In this short discussion paper, Werhane challenges the distinction between the classificatory and evaluative senses of ‘art’ defended by George Dickie. Many of the criteria which matter in the selective classificatory process are evaluative in nature, and thus even institutional classification of art depends on evaluation. This means that sometimes people whom institutionalists would interpret as using ‘art’ in the evaluative sense (e.g. in saying: ‘this is not art!’), should rather be seen as using it in the classificatory sense, evaluating the classificatory process (e.g. meaning: ‘the process which led to classifying this as art is wrong, because this should not be classified as art’).Comment: Despite its focus on the institutional definitions of art, this paper can have a wider application to the general discussion on the possibility and appropriateness of separating the classificatory and evaluative uses of the concept ‘art’. This makes it particularly well suited as a further reading in teaching on the proceduralist-functionalist debate (or, since it is very short, an extra required reading).West, Shearer. Gender and Portraiture2004, In: Portraiture, Oxford: Oxford University Press, pp. 144-161.
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Added by: Hans MaesSummary: The gender of both artist and sitter needs to be taken into account when considering the history of portraiture. Explores how and why women were often portrayed in certain roles (as goddesses, historical or religious figures, allegorical embodiments of abstract notions). Discusses why many women artists before the 20th century were portraitists and considers a few examples. Also highlights changing notions of masculinity in portraiture.Comment: Useful in aesthetics classes discussing portraiture, depiction and representation, as well as philosophy of gender classes discussing representations of women.
Artworks to use with this text:
Lotte Laserstein, Self-Portrait with Cat (1928) vs Otto Dix, Portrait of the Journalist Sylvia von Harden (1926)
Both portraits were painted in 1920s Germany by artists linked to the New Objectivity art movement. Still, there is a notable difference between the 'objective' view of the male artist and the subjective self-image of the woman artist.
Elizabeth Siddal, Self-Portrait (1854)
There's a marked contrast between the unhappiness and fatigue visible in this self-portrait and the beauty and eroticism in Dante Gabriel Rossetti's Beata Beatrix (c.1862) in which he transfers the ideal qualities of Dante's Beatrice into the real portrait of Siddal.
Artemisia Gentileschi, Self-Portrait as "La Pittura" (c. 1630)
It could be said that the artist is complicit in the tendency of portraitists to generalize their women subjects as she embodied herself as the allegory of Painting. Nevertheless, Artemisia does not show herself in an idealized way and by self-consciously manipulating a set of conventions makes a unique contribution to the corpus of self-portraiture. Useful in aesthetics classes discussing portraiture, depiction and representation, as well as philosophy of gender classes discussing representations of women.
Artworks to use with this text:
Lotte Laserstein, Self-Portrait with Cat (1928) vs Otto Dix, Portrait of the Journalist Sylvia von Harden (1926)
Both portraits were painted in 1920s Germany by artists linked to the New Objectivity art movement. Still, there is a notable difference between the 'objective' view of the male artist and the subjective self-image of the woman artist.
Elizabeth Siddal, Self-Portrait (1854)
There's a marked contrast between the unhappiness and fatigue visible in this self-portrait and the beauty and eroticism in Dante Gabriel Rossetti's Beata Beatrix (c.1862) in which he transfers the ideal qualities of Dante's Beatrice into the real portrait of Siddal.
Artemisia Gentileschi, Self-Portrait as "La Pittura" (c. 1630)
It could be said that the artist is complicit in the tendency of portraitists to generalize their women subjects as she embodied herself as the allegory of Painting. Nevertheless, Artemisia does not show herself in an idealized way and by self-consciously manipulating a set of conventions makes a unique contribution to the corpus of self-portraiture.
West, Shearer. The Functions of Portraiture2004, In: Portraiture, Oxford: Oxford University Press, pp. 43-69.-
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Added by: Hans MaesSummary: Posits that aesthetic value has only rarely been the primary inspiration in the commissioning, display, and reception of portraits. Discusses the different functions that portraits and portrait collections have fulfilled. Includes sections on the portrait as biography, the portrait as document, the portrait as proxy and gift, the portrait as commemoration and memorial, the portrait as political tool.Comment: A central text for classes on portraiture. Very useful in any classes focusing on non-aesthetic function of art.
Artworks to use with this text:
Anonymous, after an engraving by Simon Van de Passe, Pocahontas (after 1616)
Words painted on a portrait were often important in establishing the authenticity of the likeness, but in this case that claim is misleading, as this portrait was a third-hand image. Moreover, Pocahantos is depicted as white, described as a Christian convert, and principally identified as the wife of John Rolfe.
Jean-Étienne Liotard, Portrait of Maria Frederike van Reede-Athlone at 7 years of age (1755-6)
Because pastel portraits rendered the person both lifelike and seemingly touchable, they potentially had an erotic and fetishistic quality and were collected obsessively. A central text for classes on portraiture. Very useful in any classes focusing on non-aesthetic function of art.
Artworks to use with this text:
Anonymous, after an engraving by Simon Van de Passe, Pocahontas (after 1616)
Words painted on a portrait were often important in establishing the authenticity of the likeness, but in this case that claim is misleading, as this portrait was a third-hand image. Moreover, Pocahantos is depicted as white, described as a Christian convert, and principally identified as the wife of John Rolfe.
Jean-Étienne Liotard, Portrait of Maria Frederike van Reede-Athlone at 7 years of age (1755-6)
Because pastel portraits rendered the person both lifelike and seemingly touchable, they potentially had an erotic and fetishistic quality and were collected obsessively.
Williams, Melissa. Citizenship as Identity, Citizenship as Shared Fate, and the Functions of Multicultural Education2003, In Kevin McDonough & Walter Feinberg (eds.), Citizenship and Education in Liberal-Democratic Societies: Teaching for Cosmopolitan Values and Collective Identities. Oxford University Press.-
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Added by: Deryn Mair ThomasAbstract:
This is the second of the four essays in Part II of the book on liberalism and traditionalist education; all four are by authors who would like to find ways for the liberal state to honour the self-definitions of traditional cultures and to find ways of avoiding a confrontation with differences. Melissa Williams examines citizenship as identity in relation to the project of nation-building, the shifting boundaries of citizenship in relation to globalization, citizenship as shared fate, and the role of multicultural education within the view of citizenship-as-shared-fate. She argues the other side of the same coin to that presented by Shelley Burtt in the previous chapter: according to Williams, the liberal state often demands too much in the way of loyalty from traditional groups, and when it does, it runs a strong risk of becoming oppressive and illiberal. Moreover, she holds that there is no need for a single shared identity among citizens of the liberal state. Her conception of people tied together by a shared fate is to this extent compatible with Burtt’s attempt to make liberalism’s commitment to autonomy more hospitable to groups of individuals encumbered by unchosen attachments, but her notion of citizenship as shared fate also goes further than that, and possibly stands in some tension with, Burtt’s view, since it allows and even encourages people to develop primary affiliation to all kind of groups – traditional as well as global.
Comment: This text explores existing conceptions of citizenship as identity and the challenges these pose for the ideal liberal state. In addition, the author proposes a previous unrecognised conception of citizenship as shared fate. In doing so, the paper touches on a variety of topics in contemporary political philosophy and theory, such as multiculturalism and globalization, the boundaries of political identity, the grounding of liberal democracy, and the project of civic education. As such, it would be most useful as a supplemental reading in undergraduate level political philosophy courses discussing any of the aforementioned topics, or in more specific contexts to explore questions about citizenship and what it means to share an idenitity with a group of others, with whom we may never meet face-to-face or have direct interpersonal dealings. The article itself has interesting implications for questions of social cohesion and group identity.Willis, Ellen. Toward a Feminist Sexual Revolution1982, Social Text, 6: 3-21.-
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Added by: Emma Holmes, David MacDonald, Yichi Zhang, and Samuel Dando-MooreAbstract: In this essay I argue that a sexual liberationist perspective is essential to a genuinely radical analysis of women's condition. Much of my argument centers on the psychosexual dynamics of the family, where children first experience both sexism and sexual repression. This discussion refers primarily to the family as it exists - actually and ideologically - for the dominant cultures of modern industrial societies. Clearly, to extend my focus backward to feudal societies or outward to the Third World would require (at the very least) a far longer, more complex article. I strongly suspect, however, that in its fundamentals the process of sexual acculturation I describe here is common to all historical (i.e., patriarchal) societies.Comment (from this Blueprint): Willis describes the double binds women are in: between being too good – boring, frigid, a sexual failure, a cold bitch – and being bad – easy, insatiable, demanding. Willis argues that the only way to solve this is to end the association between sex and badness. This presents an answer to Bartky's dilemma: we should choose to eradicate sexual shame, rather than our desires.Wilson, Yolonda, et al.. Intersectionality in Clinical Medicine: The Need for a Conceptual Framework2019, The American Journal of Bioethics. 19(2): 8–19.
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Added by: Chris Blake-TurnerAbstract: Intersectionality has become a significant intellectual approach for those thinking about the ways that race, gender, and other social identities converge in order to create unique forms of oppression. Although the initial work on intersectionality addressed the unique position of black women relative to both black men and white women, the concept has since been expanded to address a range of social identities. Here we consider how to apply some of the theoretical tools provided by intersectionality to the clinical context. We begin with a brief discussion of intersectionality and how it might be useful in a clinical context. We then discuss two clinical scenarios that highlight how we think considering intersectionality could lead to more successful patient–clinician interactions. Finally, we extrapolate general strategies for applying intersectionality to the clinical context before considering objections and replies.Comment (from this Blueprint): Wilson et al. argue that intersectionality is an important concept in clinical practice. They clarify the concept and distinguish their call for intersectionality from nearby claims. For instance, they argue that intersectionality goes beyond mere cultural competence that healthcare providers are already trained in, at least to some degree. Their paper is anchored around two fictionalized case studies, which they use to make vivid and explain their central claims. They end by responding to objections, including the very idea of intersectionality itself.Wingo, Ajume H.. African Art and the Aesthetics of Hiding and Revealing1998, British Journal of Aesthetics 38(3): 251-264
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Added by: Simon FoktContent: This text focuses on identifying distinctive features of African art. First, African art is virtually always functional and although it can be enjoyed intrinsically, it is rarely created for its own sake. It is a part of the social and political structure and cannot be understood without an understanding of this structure. The function of such art is to ‘veil social functions’: communicate that there exist secrets available to those initiated without communicating those secrets to everyone. Wingo further focuses on masks and dance as examples of African art which are experienced in specific, culturally embedded ways. He offers detailed descriptions and a theoretical analysis of various artistic and cultural practices, showing the uniqueness of the experiences they afford and arguing that they cannot be experienced or understood without a prior immersion in the culture they are part of.Comment: The primary value of this text lies in the detailed first-hand account and a theoretical analysis of particular non-Western art practices. Most of the other, more theoretical articles in this section talk about non-Western art in a very abstract way. But surely understanding the differences between arts of different cultures requires a grasp of what the art of those cultures is like. Wingo’s text offers a valuable insight into one such cultural context and his text can be very useful when taught alongside more theoretical articles.Wingo, Ajume H.. The Many-Layered Aesthetics of African Art2005, in A Companion to African Philosophy, ed. by Kwasi Wiredu (Malden, MA: Blackwell Publishing).
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Added by: Simon FoktContent: Wingo contrasts the traditional Western approaches to art classification with some African traditions in which what gives art its status is the social context in which it is situated, the community that art creates. He reviews some of the ways in which art is approached in those cultures, focusing on its functional, everyday character and sensual nature. Art is not meant for disinterested intellectual contemplation, but for sense experience, and should have the capacity to really move its audience. Similarly, the forms of African art are often different, including mask and costume making and dance. Wingo offers an overview of ways in which such works can be embedded in other cultural practices, and discusses how they are commonly perceived and approached.Comment: This text is particularly valuable as a description of a set of art-related beliefs and practices which are different from those commonly accepted in the modern Western artworld. As a vivid first-hand account, it is particularly good at drawing attention to those differences.Winter, Irene J.. What/When Is a Portrait? Royal Images of the Ancient Near East2009, Proceedings of the American Philosophical Society 153: 254-270.
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Added by: Hans MaesSummary: Argues that ancient sculptural images of Mesopotamia, while non-naturalistic, should be regarded as portraits. The title is a reference to Nelson Goodman's shifting of the question 'What is art?' to 'When is art?' in his book Ways of World-Making.Comment: Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Standing sculptures of Gudea, ruler of Lagash (ca. 2110 BCE)
On the basis of detailed lexicographical and iconographical research, Winter concludes that these sculptures, with their recognizably broad face and chin, large ears, and muscular arms, were intended as portraits. Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Standing sculptures of Gudea, ruler of Lagash (ca. 2110 BCE)
On the basis of detailed lexicographical and iconographical research, Winter concludes that these sculptures, with their recognizably broad face and chin, large ears, and muscular arms, were intended as portraits.
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Warren, Mary Anne. On the Moral and Legal Status of Abortion
1973, The Monist, 57 (4): 43-61.