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Added by: Clotilde Torregrossa, Contributed by: Corbin Covington
Abstract: US black feminist thought reflects the interests and standpoint of its creators. Indeed, White men have control over knowledge. And, Black women's ideas have been controlled by White men interpretation of the world. This means that Black feminist thought can best be viewed as subjugated knowledge.Collins, Patricia Hill. A Black women’s standpoint1995, In Beverly Guy-Sheftal (ed.), Words of Fire: An Anthology of African American Feminist Thought. The New Press.-
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Added by: Clotilde Torregrossa, Contributed by: Corbin Covington
Publisher's Note: The first major anthology to trace the development, from the early 1800s to the present, of black feminist thought in the United States, Words of Fire is Beverly Guy-Sheftall's comprehensive collection of writings, in the feminist tradition, of more than sixty African American women. From the pioneering work of abolitionist Maria Miller Stewart and anti-lynching crusader Ida Wells-Barnett to the writings of contemporary feminist critics Michele Wallace and bell hooks, black women have been writing about the multiple jeopardies--racism, sexism, and classicm--that have made it imperative for them to forge a brand of feminism uniquely their own.Comment:
Card, Claudia. Against Marriage and Motherhood1996, Hypatia 11 (3):1 - 23.-
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Added by: Clotilde Torregrossa, Contributed by: Carla Rodriguez
Abstract: This essay argues that current advocacy of lesbian and gay rights to legal marriage and parenthood insufficiently criticizes both marriage and motherhood as they are currently practiced and structured by Northern legal institutions. Instead we would do better not to let the State define our intimate unions and parenting would be improved if the power presently concentrated in the hands of one or two guardians were diluted and distributed through an appropriately concerned community.Comment:
Battersby, Christine. Gender and Genius: Towards a Feminist Aesthetics1989, Indiana University Press.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Publisher's Note: During the Middle Ages and the Renaissance, women were blamed for having too much passion, imagination and sexual appetite. By the late eighteenth century, however, these qualities had been revalued and appropriated for male artists. The virtues attributed to the Romantic"genius" made him like a woman but not a woman. He belonged to a third, supermale sex. As new and old concepts of woman and genius clashed, there evolved a rhetoric of sexual apartheid which today still affects our perceptions of cultural achievement. Genius from the time of the Greeks has been defined as male. In this study, Christine Battersby traces the history of the concept of genius from ancient Rome to the present day, showing how pagan myths linking divinity with male procreativity have survived into our own time. The author explores the dilemma faced by female creators who have resisted the idea that Art requires "feminine" qualities of mind but male sexual energies. GENDER AND GENIUS argues, against those currently seeking to establish an aesthetics of the "feminine," that a feminist aesthetics must look to the achievements of women artists in the past as well as in the present.Comment:
Appiah, Kwame Anthony. Akan and Euro-American Concepts of the Person2004, In Lee M. Brown (ed.), African Philosophy: New and Traditional Perspectives. Oxford University.-
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Added by: Chris Blake-Turner, Contributed by: Simon Fokt
Abstract: This essay explores the theories of the person within Western and Akan traditions. It identifies six obstacles to theory comparison. It argues that there may be no non-question begging way of comparing theories since these theories themselves play key roles in understanding how each is to be used.
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Alcoff, Linda Martin. On Judging Epistemic Credibility: Is Social Identity Relevant?2000, In Naomi Zack (ed.), Women of Color and Philosophy: A Critical Reader. Wiley-Blackwell. pp. 235-262.-
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Added by: Clotilde Torregrossa
Abstract: In assessing the likely credibility of a claim or judgment, is it ever relevant to take into account the social identity of the person who has made the claim? There are strong reasons, political and otherwise, to argue against the epistemic relevance of social identity. However, there are instances where social identity might be deemed relevant, such as in determinations of criminal culpability where a relatively small amount of evidence is the only basis for the decision and where social prejudices can play a role in inductive reasoning. This paper explores these issues.Comment:
Adams, Laurie. Art on Trial: From Whistler to Rothko1976, New York: Walker & Co-
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Added by: Clotilde Torregrossa, Contributed by: Christy Mag Uidhir
Publisher's Note: This book examines six modern art trials covering a wide range of legal and artistic considerations ... the first in-depth examination of the art trial from every intriguing point of view.Comment: Of particular interest is chapter 4: Traitor or forger? - Van Meegeren vs. Vermeer, dealing with issues of authenticity, forgery, and art ontology
Hoagland, Sarah Lucia. Denying Relationality: Epistemology and Ethics and Ignorance2007,-
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Added by: Giada Fratantonio
Summary: In this chapter, the author argues that epistemological and ethical practices of ignorance are strategic and involve a strategic denial of relationality, namely, of the way in which subjects are formed through relation with each other.Comment: Good as a further reading for a course on epistemology of ignorance.
Nzegwu, Nkiru. African Art in Deep Time: De‐race‐ing Aesthetics and De‐racializing Visual Art2019, Journal of Aesthetics and Art Criticism 77 (4): 367-378.-
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Added by: Simon Fokt
Abstract: In two essays in the ART/Artifact(1988) exhibition catalog, white American museum curator Susan Vogel and white American philosopher Arthur Danto pronounce that Africans do not distinguish between art and nonart. Although seemingly objective empirical statements, their assertions about Africa and its art are racially based ruminations of a white supremacist worldview. I argue that in theorizing within the category of race they produced racialized aesthetics that commit the Eurocentric fallacy of upholding systemic racist objectives. I argue that (1) their assertions fail to be about African art, but about hegemony and power; (2) as the longest enduring artistic activity of humanity, African art is an important check to racialized aesthetics; (3) art is produced outside the category of race and from a critically conscious awareness of the world; and (4) art bespeaks creativity and presupposes the artistic and moral values of a culture in the manipulation and transformation of physical reality.
Comment: Written in an engaging way, this paper invites the reader to re-evaluate some common assumptions about art from different cultures. Exposing the prevalent Western approach to African art as racialised, it can be a great tool in making students understand both the structural-societal, as well as own biases in approaching other cultures. Ngzewu defends a powerful thesis: that ‘the West’s conception of art and creativity presupposes white racial hegemony.’ She exposes the way in which Western art is tacitly assumed to be a yardstick against which all is measured, and the Westerners have become the ‘purveyors of knowledge’ who apply this yardstick to decide whether works of other cultures are art, all without any need to consult the creators of those works, or to revise own concept of art. As such, the paper can be very empowering to some students, while also being very uncomfortable to others – teaching it might require some skill in leading the discussion in a constructive way. The import of Ngzewu’s argumentis that while racism and white domination rest on the assumption of cognitive and moral superiority of white people, the approach to African art she criticises serves to reinforce this assumption. This can inspire further class discussion on the importance and value of aesthetics. Best used before assigning other texts on non-Western art, which should all be read in light of Ngzewu’s criticism. Written in an engaging way, this paper invites the reader to re-evaluate some common assumptions about art from different cultures. Exposing the prevalent Western approach to African art as racialised, it can be a great tool in making students understand both the structural-societal, as well as own biases in approaching other cultures. Ngzewu defends a powerful thesis: that ‘the West’s conception of art and creativity presupposes white racial hegemony.’ She exposes the way in which Western art is tacitly assumed to be a yardstick against which all is measured, and the Westerners have become the ‘purveyors of knowledge’ who apply this yardstick to decide whether works of other cultures are art, all without any need to consult the creators of those works, or to revise own concept of art. As such, the paper can be very empowering to some students, while also being very uncomfortable to others – teaching it might require some skill in leading the discussion in a constructive way. The import of Ngzewu’s argumentis that while racism and white domination rest on the assumption of cognitive and moral superiority of white people, the approach to African art she criticises serves to reinforce this assumption. This can inspire further class discussion on the importance and value of aesthetics. Best used before assigning other texts on non-Western art, which should all be read in light of Ngzewu’s criticism.
Wang, Robin. Dao Becomes Female2017, In Garry, A., Khader, S.J. and Stone, A (eds.) New York: Routledge, pp. 35–38-
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Added by: Chris Blake-Turner
Abstract: Daoism, a Dao based and inspired teaching and practice, has been considered to be the philosophy of yielding in Chinese intellectual history. One important aspect of yielding is being rou 柔—soft, gentle, supple—which the Daodejing couples with the feminine. Not surprisingly, then, the female and femininity have enormous significance for Laozi and Daoism. To highlight this unique philosophical aspect of Daoism, this chapter will place femininity/the feminine/the female center stage to investigate Daoist thought and its possible contribution to feminist thought in a contemporary global setting. In this chapter I promote a somewhat female consciousness of Dao, or a Daoist female consciousness, which may expand, support, or alter feminist assumptions about femininity/the feminine/the female. The overarching focal point of this understanding lies in a depiction of the female and femininity as a cosmic force, a way of knowing, and a strategy for leading a flourishing life. The main points are that Dao does not govern actually existing gender relations—or, at least, that the social and political reality of gender relations is not modeled on Dao, because the patriarchy is not Dao. Highlighting the female or feminine aspect of Dao, or Dao as becoming female, is a feminist intervention, using resources from within classical Daoist thought in order to re-imagine or reconfigure gender for our time.Comment: A useful way of introducing some feminist thought into a course on classical Chinese philosophy. It would fit well either in a unit on Daoism or in a unit on feminism. It would be tough to use this in a feminist course to introduce some Daoist thought; the chapter is tricky without some familiarity with the Daodejing
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Collins, Patricia Hill. Black Feminist Epistemology
2007, In Craig J. Calhoun (ed.), Contemporary Sociological Theory. Blackwell. pp. 327.
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