Diversity Reading List

Introduction: For some time my own interests in aesthetics and in feminism appeared to run parallel yet mutually exclusive courses, but it seems to me now that philosophical aesthetics and feminist views of culture have begun to dovetail and to share certain concerns and orientations. Philo sophical aesthetics is not by and large taking note of this, however, and in the first section of this essay I argue that feminist perspectives pro vide a vantage from which the appearance of breakdown in unified theorizing can be seen to have an underlying order and pattern.2 Thus at first I shall emphasize a potential harmony be tween feminist critiques and recent directions in aesthetics. Then in the second section I shall focus on one of the subjects that has all but dropped from view in the reshuffling of the oretic concerns: aesthetic appreciation or plea sure. I argue that this concept is urgently in need of reexamination, a need that is especially evi dent when we consider feminist alternatives to the traditional idea of aesthetic pleasure.

Publisher's Note: This is the first comprehensive account of Kant's cosmopolitanism, highlighting its moral, political, legal, economic, cultural, and psychological aspects. Contrasting Kant's views with those of his German contemporaries, and relating them to current debates, Pauline Kleingeld sheds new light on texts that have been hitherto neglected or underestimated. In clear and carefully argued discussions, she shows that Kant's philosophical cosmopolitanism underwent a radical transformation in the mid 1790s and that the resulting theory is philosophically stronger than is usually thought. Using the work of figures such as Fichte, Cloots, Forster, Hegewisch, Wieland, and Novalis, Kleingeld analyzes Kant's arguments regarding the relationship between cosmopolitanism and patriotism, the importance of states, the ideal of an international federation, cultural pluralism, race, global economic justice, and the psychological feasibility of the cosmopolitan ideal. In doing so, she reveals a broad spectrum of positions in cosmopolitan theory that are relevant to current discussions of cosmopolitanism.

Abstract: Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their work, whereas the forger's central objectives are determined by the nature of the activity of forgery. Appropriation artists, by revealing that no aspect of the objectives an artist pursues are in fact built in to the concept of art, demonstrate artists' responsibility for all aspects of their objectives and, hence, of their products. This responsibility is constitutive of authorship and accounts for the interpretability of artworks. Far from undermining the concept of authorship in art, then, the appropriation artists in fact reaffirm and strengthen it.

Abstract: There is, to all appearances, a philosophic hostility to fashionable dress. Studying this contempt, this paper examines likely sources in philosophy's suspicion of change; anxiety about surfaces and the inessential; failures in the face of death; and the philosophic disdain for, denial of, the human body and human passivity. If there are feminist concerns about fashion, they should be radically different from those of traditional philosophy. Whatever our ineluctable worries about desire and death, whatever our appropriate anger and impatience with the merely superficial, whatever our genuine need to mark off the serious from the trivial, feminism may be a corrective therapy for philosophy's bad humor and self-deception, as these manifest themselves when the subject turns to beautiful clothes.

Publisher'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

Abstract: Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, against (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features.

Abstract: In her excellent "Feminist Art History and De Facto Significance," for example, aesthetician Susan L. Feagin explains how her initial skepticism about Continental approaches-especially those drawing on Foucault, Marx, Levi-Strauss, Lacan, and "even Derrida and poststructuralist literary theory" - gave way to an appreciation of how these approaches encourage, in a way analytic aesthetics does not, "the trenchant analyses and acute observations that have emerged from feminist art historians" (305). And, indeed, although she goes on to suggest how traditional aesthetics might accommodate feminist and other politically informed analyses, she cautions that "it is too easy to miss the most innovative aspects of another's view if one tries to understand it only in terms of one's own theoretical perspective" (305).(from review by Sally Markowitz, Hypatia Vol. 11, No. 3 (Summer, 1996), pp. 169-172)

Abstract: This article outlines the issues addressed by feminist philosophy of art, critically surveys major developments in the field, and concludes by considering directions in which the field is moving.

Abstract: Anniversaries are appropriate times for reflection. On this, the 50th anniversary of the Ameri can Society for Aesthetics, I want to explore a complicated and confusing situation currently facing Anglo-American aesthetics. Works of art were once esteemed as objects of beauty. I In the past several years, however, artists have been accused of encouraging teenage suicide, urban rage, violence against women, and poisoning American culture. Museum directors have been indicted on obscenity charges, and artists and organizations receiving federal grants have been required to sign pledges that they will not pro mote, disseminate, or produce materials that may be considered obscene. Today in America, as in other times and places, artists face de mands for their art to conform to religious and moral criteria. These demands are not new, but they challenge the view that artistic expression falls under the protection of speech guaranteed by the First Amendment.2

Abstract: In this chapter we focus on the debate over publicly-maintained racist monuments as it manifests in the mid-2010s Anglosphere, primarily in the US (chiefly regarding the over 700 monuments devoted to the Confederacy), but to some degree also in Britain and Commonwealth countries, especially South Africa (chiefly regarding monuments devoted to figures and events associated with colonialism and apartheid). After pointing to some representative examples of racist monuments, we discuss ways a monument can be thought racist, and neutrally categorize removalist and preservationist arguments heard in the monument debate. We suggest that both extremist and moderate removalist goals are likely to be self-defeating, and that when concerns of civic sustainability are put on moral par with those of fairness and justice, something like a Mandela-era preservationist policy is best: one which removes the most offensive of the minor racist monuments, but which focuses on closing the monumentary gap between peoples and reframing existing racist monuments.