Kleingeld, Pauline. Kant and Cosmopolitanism: The Philosophical Ideal of World Citizenship
2011, Cambridge University Press.
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Added by: Chris Blake-Turner, Contributed by: Charlotte Sabourin
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.Irvin, Sherri. Appropriation and authorship in contemporary art2005, British Journal of Aesthetics 45 (2):123-137.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
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.Comment:
Inness, Julie C.. Privacy, Intimacy, and Isolation1996, OUP USA.-
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Added by: Clotilde Torregrossa, Contributed by: Simon Fokt
Publisher's Note: This book undermines privacy scepticism, proving a strong theoretical foundation for many of our everyday and legal privacy claims. Inness argues that intimacy is the core of privacy, including privacy appeals in tort and constitutional law. She explores the myriad of debates and puts forth an intimacy and control-based account of privacy which escapes these criticisms.Comment:
Hein, Hilde. Refining Feminist Theory: Lessons from Aesthetics2010, In Hilde Hein and Carolyn Korsmeyer (eds.), Aesthetics in Feminist Perspective. Indiana University Press.-
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Added by: Clotilde Torregrossa, Contributed by: Christy Mag Uidhir
Abstract: Because it embraces a domain that is invincibly pluralistic and dynamic, aesthetic theory can serve as a model for feminist theory. Feminist theory, which takes gender as a constituted point of departure, pluralizes theory, thereby challenging its unicity. This anomalous approach to theory is also implicit in conventional aesthetics, which has for that reason been spurned by centrist philosophy. Whilst aesthetics therefore merits attention from feminists, there is reason to be wary of such classic aesthetic doctrines as the the thesis that art is "autonomous" and properly percevied "disinterestedly". That belief has roots in somatophobic dualism which ultimately leads to consequences as negative for art and the aesthetic as for women. Feminists rightly join with other critics of traditional dominative dualisms; yet they can learn from the expansive tendency in aesthetics toward openness and self-reflexive innovation.Comment:
Harris, Leonard (ed.). The Critical Pragmatism of Alain Locke a Reader on Value Theory, Aesthetics, Community, Culture, Race, and Education1999, Rowman & Littlefield Publishers.-
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Added by: Chris Blake-Turner, Contributed by: Lydia Patton
Publisher's Note: In its comprehensive overview of Alain Locke's pragmatist philosophy this book captures the radical implications of Locke's approach within pragmatism, the critical temper embedded in Locke's works, the central role of power and empowerment of the oppressed and the concept of broad democracy Locke employedComment: Alain Locke (1885-1954) founded the philosophy department at Howard University. (The department is still housed in Locke hall, named for Alain, not John!) He was a pragmatist philosopher, who wrote on cultural relativism, pragmatism, and values. He is best known for his role as an aesthetic scholar of the Harlem Renaissance, but this work has deep connections to his work on the theory of race, on value theory and cultural relativism, and on pragmatism. (See the introductions to the anthologies above for more details.) Locke is an under-appreciated scholar of historical and philosophical significance. His work would provide excellent readings for courses in value theory, ethics and meta-ethics, aesthetics, pragmatism, and the philosophy of race, but would also be interesting reading for courses in epistemology, for instance, given his original stance on relativism, and his pragmatism about truth.
Harman, Elizabeth. Creation Ethics: The Moral Status of Early Fetuses and the Ethics of Abortion1999, Philosophy and Public Affairs 28 (4):310-324.-
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Added by: Clotilde Torregrossa, Contributed by: Simon Fokt
Introduction: There has been considerable discussion of the moral status of early fetuses and the ethics of the choice whether to abort a pregnancy. But one tenable view about the moral status of early fetuses has been regularly ignored. As a consequence, a very liberal view about the ethics of abortion is more attractive than has previously been thought. Let us use the term 'early fetus' as follows: (1) 'early fetus': a fetus before it has any intrinsic properties that themselves confer moral status on the fetus. I assume that there is a nonnegligible period of time in which fetuses are early fetuses in my sense; it may be as short as a few weeks or as long as several months, depending on which intrinsic properties can them- selves confer moral status. One plausible view says that an early fetus is a fetus before it has any conscious experience and before it can properly be described as the subject of experience.Comment:
Hanson, Karen. Dressing down Dressing up – The Philosophic Fear of Fashion1990, Hypatia 5 (2):107 - 121.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
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.Comment:
Glaude, Eddie S.. In a Shade of Blue: Pragmatism and the Politics of Black America2007, University of Chicago Press.-
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Added by: Chris Blake-Turner, Contributed by: Bart Schultz
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 centuryComment: A really terrific, historically sophisticated work that highlights how philosophical pragmatism can be developed in connection with critical race theory.
Friend, Stacie. The pleasures of documentary tragedy2007, British Journal of Aesthetics 47 (2):184-198.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
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.Comment: This is a clearly written paper that can be used in teaching a wide array of topics in aesthetics, especially the literatures on emotional engagement with art, and documentary film. Friend does not presuppose much background knowledge on these issues. As such, this paper would make for an excellent addition to an introduction to aesthetics module, perhaps being used as a main reading for units on emotion and art. A more focused upper-division module on a subject such as philosophy of film could also benefit from this paper's inclusion.
Feagin, Susan. Feminist Art History and De Facto Significance2010, In Peg Zeglin Brand & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Penn State Press.-
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Added by: Clotilde Torregrossa, Contributed by: Christy Mag Uidhir
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)Comment:
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