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Added by: Hans Maes
Summary: 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.Bishop, Claire. Antagonism and Relational Aesthetics2004, October 110: 51-79.-
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Added by: Rossen Ventzislavov
Summary: Bishop offers a critique of "relational aesthetics" - an approach to installation art that originated in the 1990's and whose main proponent and interpreter was Nicolas Bourriaud. Bourriaud's chief claim is that the art movement in question promotes intersubjective relationships (between artist and audience members and among audience members alike) and privileges social and political cohesion over other possible aspects of the aesthetic experience. While Bishop finds this ethos applicable to the work of the artists Bourriaud chooses to discuss (Rikrit Tiravanija, Liam Gillick etc.), she finds it difficult to reconcile relational aesthetics with the realities and concerns of the larger artworld. Antagonism is for Bishop just as viable a driving force in the making and appreciation of art as are social cohesion and intersubjective togetherness. Furthermore, as the history of early performance art and its reception shows, what makes art difficult, and thus politically important, is precisely the tensions that the makers and theorists of relational aesthetics attempt to quell.Comment: This text offers a good introduction to relational aesthetics. Best if read together with (some of) Nicolas Bourriaud's work on relational aesthetics.
Vergine, Lea. The Body as Language. Body Art and Like Stories2000, In: Body Art and Performance: The Body as Language. Trans. Henry Martin. Milan: Skira Editore S.p.A.. 7-27.-
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Added by: Rossen Ventzislavov
Summary: Vergine's account of the formative years of performance art takes stock of the many innovative strategies artists developed for re-engaging the human body. One of the crucial dimensions of this reengagement is the positioning of one's body in physical proximity with others. This happens in art through the bodily negotiation of basic dichotomies such as nature/artifice, ethos/pathos, agency/abandon, publicity/privacy, mortality/immortality etc. Vergine sees objects, and the body's undifferentiated objecthood, as active participants in the performative communication and communion between artist and audience. These forms of togetherness stand or fall on the intensity of all parties' affective investment, but they are also equally affected by the level of intellectual mutuality an art work occasions. According to Vergine, the demand for intelligent analysis and deep understanding that performance art places on its audience is balanced out by the artists' bodily presence. For her the artist's body does not serve merely as a mechanical expedient. It also "contributes to the life of consciousness and memory in a psycho-physical parallelism of processes that assume meaning and relief only when they are connected."Comment: This text offers a historical overview of our concept of the human body in the context of art. It can be useful in any class on body aesthetics, performance art, or dance.
Kristeva, Julia. Approaching Abjection1982, In: Powers of Horror: An Essay on Abjection, Columbia University Press, pp. 1-31.-
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Added by: Rossen Ventzislavov
Summary: The abject - expressed through the grotesque, the gross and the physically challenging - has long been a source of innovation and scandal in the art world. For Kristeva abjection accounts for much of the complexity of the human condition. She understands abjection to encompass various aspects of our humanity that are often seen as conceptually and/or experientially disparate - emotion, embodiment, affect, repression, criminality, hygiene etc. Kristeva's guiding intuition is that the abject helps arbitrate between our perception of ourselves as subject and object. In the liminal space between the two, the "I" is experienced in its full heterogeneity to the frequent detriment of traditional ethical, aesthetic, and scientific considerations. This has direct bearing on performance art, whose history is marked by the deliberate departure from beauty and, concurrently, the constant renegotiation of identity between the extremes of subject and object.Comment: Best if read together with Sigmund Freud's "The Uncanny"
Appiah, Kwame Anthony. Whose Culture Is It, Anyway?2007, in Cosmopolitanism: Ethics in a World of Strangers. New York, London: W. W. Nortion & Company.-
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Added by: Erich Hatala Matthes
Summary: In this chapter, Appiah offers a cosmopolitan critique of the concept of cultural property/patrimony. By emphasizing the common features of our humanity and the tenuousness of certain cultural identity claims, he puts pressure on conceptions of cultural property that would exclude others, particularly those that have a nationalist character. He raises important philosophical questions about cultural continuity over time, and explores how the location of art can best facilitate its value for humanity. In general, he supports a cosmopolitan/internationalist approach to cultural property that promotes the exchange of cultural products around the world.Comment: This text offers a clear and effective overview of philosophical issues concerning cultural property, and uses a range of cultural and artistic examples. It offers a concise summary of the legal scholar John Merryman's classic article in support of internationalism about cultural property (not included in this curriculum). It pairs well with Lindsay's article.
Finlayson, Lorna. The Political is Political: Conformity and the Illusion of Dissent in Contemporary Political Philosophy2015, London: Rowman and Littlefield International-
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Added by: Carl Fox, Contributed by: Emily Dyson
Publisher's Note: Nobody should really have to point out that political philosophy is political. Yet in this highly original and provocative book Lorna Finlayson argues that in fact it is necessary to do so. Offering a critique of mainstream liberal political philosophy through close, critical engagement with a series of specific debates and arguments, Finlayson analyzes the way in which apparently neutral methodological devices such as 'charitable interpretation' and 'constructive criticism' function so as to protect against challenges to the status quo. At each stage, Finlayson demonstrates that political philosophy is suffering from a complex process of 'depoliticization.' Even in cases where it appears that the dominant framework of liberal political philosophy is being strongly challenged - as, for example, in the case of the 'realist' critique of 'ideal theory' - this book argues that the debate is set up in such a way as to impose strict limits on the kind of dissent that is possible. Only by dragging these hidden presuppositions into the foreground can we arrive at a clear-eyed appreciation of such debates, and perhaps look beyond the artificially constricted landscape in which they seek to confine us.Comment: Good further or advanced reading on the methodology of political philosophy, and an incredibly illuminating critical complement to a Rawls-heavy syllabus. Finlayson provides an interesting and challenging critique of liberal presuppositions that are widespread in political philosophy. Individual chapters would also make very good further or advanced reading in their own right, especially the chapters on Rawls, the norm of philosophical charity, speech acts and silencing, and political realism.
Chambers, Clare, Phil Parvin. Teach Yourself Political Philosophy: A Complete Introduction2012, Hodder & Stoughton.-
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Added by: Carl Fox
Publisher's Note: Written by Phil Parvin and Clare Chambers, who are current political philosophy lecturers and leading researchers, Political Philosophy - The Essentials is designed to give you everything you need to succeed, all in one place. It covers the key areas that students are expected to be confident in, outlining the basics in clear jargon-free English, and then providing added-value features like summaries of key thinkers, and even lists of questions you might be asked in your seminar or exam. The book's structure follows that of most university courses on political philosophy, by looking at the essential concepts within political philosophy (freedom, equality, power, democracy, rights, the state, political obligation), and then looking at the ways in which political philosophers have used these fundamental concepts in order to tackle a range of normative political questions such as whether the state has a responsibility to alleviate inequalities, and what interest liberal and democratic states should take in the cultural or religious beliefs of citizens.Comment: 'Phil Parvin and Clare Chambers have produced a state of the art textbook, which provides students with a comprehensive and bang up-to-date introduction to contemporary political philosophy. Topics are introduced in a clear and eminently readable fashion, using accessible real world examples whilst drawing on sophisticated scholarly literature. There is no comparable book which covers such a wide range of topics in such a student-friendly manner.' (Dr Daniel Butt, Lecturer in Political Theory, University of Bristol.) 'A lively, accessible and engaging read. Comprehensive and well organized, it provides an updated account of key concepts in contemporary political philosophy, and highlights their relevance to political life in the 21st century. A valuable book for anyone taking their first steps in the world of political philosophy, or anyone who seeks to understand the normative challenges faced by our society today.' (Dr Avia Pasternak, Lecturer in Political Theory, University of Essex.) 'Written in a clear and accessible style, it is an engaging introduction for those who are new to political philosophy and wish to think through some of its most important questions. In addition to offering outlines of key arguments, each chapter also contains a summary of main concepts, self-test questions, a wonderful selection of quotations and some attention-grabbing 'nuggets'' (Dr Zosia Stemplowska, University Lecturer in Political Theory, University of Oxford) 'Phil Parvin and Clare Chambers have produced a state of the art textbook, which provides students with a comprehensive and bang up-to-date introduction to contemporary political philosophy. Topics are introduced in a clear and eminently readable fashion, using accessible real world examples whilst drawing on sophisticated scholarly literature. There is no comparable book which covers such a wide range of topics in such a student-friendly manner.' (Dr Daniel Butt, Lecturer in Political Theory, University of Bristol.) 'A lively, accessible and engaging read. Comprehensive and well organized, it provides an updated account of key concepts in contemporary political philosophy, and highlights their relevance to political life in the 21st century. A valuable book for anyone taking their first steps in the world of political philosophy, or anyone who seeks to understand the normative challenges faced by our society today.' (Dr Avia Pasternak, Lecturer in Political Theory, University of Essex.) 'Written in a clear and accessible style, it is an engaging introduction for those who are new to political philosophy and wish to think through some of its most important questions. In addition to offering outlines of key arguments, each chapter also contains a summary of main concepts, self-test questions, a wonderful selection of quotations and some attention-grabbing 'nuggets'' (Dr Zosia Stemplowska, University Lecturer in Political Theory, University of Oxford)
2001, Cambridge University Press.-
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Added by: Berta Grimau
Publisher's Note: Structural proof theory is a branch of logic that studies the general structure and properties of logical and mathematical proofs. This book is both a concise introduction to the central results and methods of structural proof theory, and a work of research that will be of interest to specialists. The book is designed to be used by students of philosophy, mathematics and computer science. The book contains a wealth of results on proof-theoretical systems, including extensions of such systems from logic to mathematics, and on the connection between the two main forms of structural proof theory - natural deduction and sequent calculus. The authors emphasize the computational content of logical results. A special feature of the volume is a computerized system for developing proofs interactively, downloadable from the web and regularly updated.Comment: This book can be used both in a general course on proof theory for advanced Undergraduates or for Masters students, and for specialized courses - for example, a course on natural deduction. Chapters 1-4 can be used as background reading of a general course. Chapter 1, 5 and 8 could be used in a course on natural deduction. The presentation is self-contained and the book should be readable without any previous knowledge of logic.
Hampton, Jean. Political Philosophy1996, Boulder, CO: Westview Press.-
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Added by: Carl Fox
Publisher's Note: Political philosophy, perhaps even more than other branches of philosophy, calls for constant renewal to reflect not just re-readings of the tradition but also the demands of current events. In this lively and readable survey, Jean Hampton has created a text for our time that does justice both to the great traditions of the field and to the newest developments. In a marvelous feat of synthesis, she links the classical tradition, the giants of the modern period, the dominant topics of the twentieth century, and the new questions and concerns that are just beginning to rewrite contemporary political philosophy.Hampton presents these traditions in an engaging and accessible manner, adding to them her own views and encouraging readers to critically examine a range of ideas and to reach their own conclusions. Of particular interest are the discussions of the contemporary liberalism-communitarianism debates, the revival of interest in issues of citizenship and nationality, and the way in which feminist concerns are integrated into all these discussions. Political Philosophy is the most modern text on the topic now available, the ideal guide to what is going on in the field. It will be welcomed by scholars and students in philosophy and political science, and it will serve as an introduction for readers from outside these fields.Comment: Many of the chapters would make for good introductory readings to standard topics in political philosophy, including: social contract theories, political authority, distributive justice, liberalism vs communitarianism, nationalism.
Terlazzo, Rosa. Conceptualizing Adaptive Preferences Respectfully: An Indirectly Substantive Account2016, The Journal of Political Philosophy 24(2): 206-226.-
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Added by: Carl Fox
Abstract: While the concept of adaptive preferences is an important tool for criticizing injustice, it is often claimed that using the concept involves showing disrespect for persons judged to have adaptive preferences. In this paper, I propose an account of adaptive preferences that does the relevant political work while still showing persons two centrally important kinds of respect. My account is based in what I call an indirect substantive account of autonomy, which places substantive requirements on the options available to a person, rather than on the option that she ultimately prefers. This allows us to pinpoint cases in which a person's circumstances have rendered her insufficiently autonomous, without saying that any conception of the good must be non-autonomous tout court.Comment: This article would make good recommended reading for a session taking an in-depth look at adaptive preferences, or further reading if the topic was autonomy and the session broached questions about preference formation.
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West, Shearer. Gender and Portraiture
2004, In: Portraiture, Oxford: Oxford University Press, pp. 144-161.
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.