This paper explores postcolonial pedagogy and the use of oral dialogues as a way to assess college students and cultivate intellectual virtues in philosophy courses. The authors apply the theories of postcolonialism, particularly the emerging work of “poor theory,” to affirm the academic validity of oral dialogues and subaltern philosophy for a pedagogical framework of equity that goes beyond inclusion. Oral dialogues utilize an epistemology of the body in contexts of scarcity to increase student success and retention. The authors (...) offer two case studies that exemplify the promise and complications of oral dialogues. The paper does not argue for the replacement of written philosophical work, but rather, draws attention to the symbiotic relationship between oral and written philosophy. (shrink)

Beginning with a focus on the ethical foundations of caregiving in health and expanding towards problems of ethics and justice implicated in a range of issues, this book develops and expands the notion of care itself and its connection to practice. Organised around the themes of culture as a restraint on caregiving in different social contexts and situations, innovative methods in healthcare, and the way in which culture works to position care as part of a rhetorical approach to dependency, responsibility, (...) and justice, The Ethics of Carepresents case studies examining institutional responses to end-of-life issues, the notion of informed consent, biomedicine, indigenous rights and postcolonialism in care and theoretical approaches to the concept of care. Offering discussions from a variety of disciplinary approaches, including sociology, communication, and social theory, as well as hermeneutics, phenomenology, and deconstruction, this book will appeal to scholars across the social sciences with interests in healthcare, medicine, justice and the question of how we think about care as a notion and social form, and how this is related to practice. (shrink)

What is the importance of deconstruction, and the writing of Jacques Derrida in particular, for literary criticism today? Derek Attridge argues that the challenge of Derrida's work for our understanding of literature and its value has still not been fully met, and in this book, which traces a close engagement with Derrida's writing over two decades and reflects an interest in that work going back a further two decades, shows how that work can illuminate a variety of topics. Chapters include (...) an overview of deconstruction as a critical practice today, discussions of the secret, postcolonialism, ethics, literary criticism, jargon, fiction, and photography, and responses to the theoretical writing of Emmanuel Levinas, Roland Barthes, and J. Hillis Miller. Also included is a discussion of the recent reading of Derrida's philosophy as 'radical atheism', and the book ends with a conversation on deconstruction and place with the theorist and critic Jean-Michel Rabate. Running throughout is a concern with the question of responsibility, as exemplified in Derrida's own readings of literary and philosophical texts: responsibility to the work being read, responsibility to the protocols of rational argument, and responsibility to the reader. (shrink)

Art and science is an area of research that has strengthened recently, mainly due to the impact of interdisciplinary work. At the same time, approaches between the humanities and the sciences have succeeded in re-signifying traditional views towards critical positions such as postcolonialism, especially in the colonially so-called “Global South”. In this paper, we want to review the case of the work of the Mexican artist Octavio Ocampo through works that present the case of biological and cultural evolution. From (...) this, we want to reflect on the public perception of science in Mexico, the tensions between social and natural sciences, and the urgent need to strengthen the postcolonial discourse in scientific practice. (shrink)

Exemplification is the relation of an example to whatever it is an example of. Goodman maintains that exemplification is a symptom of the aesthetic: although not a necessary condition, it is an indicator that symbol is functioning aesthetically. I argue that exemplification is as important in science as it is in art. It is the vehicle by which experiments make aspects of nature manifest. I suggest that the difference between exemplars in the arts and the sciences lies in the way (...) they exemplify. Density and repleteness are characteristic of aesthetic exemplars but not of scientific ones. (shrink)

Peirce was a thinker who claimed that his mind had been thoroughly formed by his rigorous training in the natural sciences. But he was also the author who proclaimed that nothing is truer than true poetry. In making the case for Peirce’s relevance to issues of education, then, it is necessary to do justice to the multifaceted character of his philosophical genius, in particular, to the experimentalist cast of his mind and his profound appreciation for the aesthetic, the imaginative, and (...) (more narrowly) the metaphorical in their myriad guises. My aim in this paper is to go some distance, however small, toward doing such justice to Peirce. (shrink)

Artists and humanists who work in universities are generally ambivalent about the idea of defending their enterprises in terms of social utility: on the one hand they do not want to claim that the Arts and Humanities are such exalted and selfjustifying endeavors that no one need bother explainingwhy such things are worth pursuing, yet on the other hand they are rightly skeptical that cost-benefit analyses of academic labor will do justice to disciplines devoted to the varieties of human cultural (...) expression rather than to the research and development of patentable forms of knowledge. This essay explores this ambivalence and suggests an alternative way of thinking about the ‘utility’ of cultural work. (shrink)

The eighteenth and nineteenth centuries witnessed a change in the perception of the arts and of philosophy. In the arts this transition occurred around 1800, with, for instance, the breakdown of Vitruvianism in architecture, while in philosophy the foundationalism of which Descartes and Spinoza were paradigmatic representatives, which presumed that philosophy and the sciences possessed a method of ensuring the demonstration of truths, was undermined by the idea, asserted by Nietzsche and Wittgenstein, that there exist alternative styles of enquiry among (...) which a choice is open. The essays in this book examine the circumstances, features, and consequences of this historical transition, exploring in particular new aspects and instances of the inter-relatedness of content and its formal representation in both the arts and philosophy. (shrink)

From Lucretius throwing a spear beyond the boundary of the universe to Einstein racing against a beam of light, thought experiments stand as a fascinating challenge to the necessity of data in the empirical sciences. Are these experiments, conducted uniquely in our imagination, simply rhetorical devices or communication tools or are they an essential part of scientific practice? This volume surveys the current state of the debate and explores new avenues of research into the epistemology of thought experiments.

The essays in this book depart from Fanon's prayer to understand decolonial aestheSis as Black Consciousness.

This paper looks at the tragedy of Qiao Feng in Jin Yong’s The Demi-Gods and the Semi-Devils. While it is common practice for Žižekean scholars to examine genre writing and popular culture with Lacanian theory, the martial arts genre has received little attention. In Demi-Gods, Qiao Feng experiences an ‘identity crisis’ at the peak of his career: rumour has it that though he was raised and trained in China, he was born a Khitan. Qiao Feng at first believes it is (...) a just conspiracy, and henceforth is blind-sided by the imaginary relation between his ego and small others. He mis-recognises others’ scheming as ‘the Other of the Other,’ while his supposedly deceased Khitan father occupies the corner of the Other in the schema L to orchestra the manipulation game. However, what Qiao Feng is really under prey is the desire of the father, and of the two fatherlands, one Han-Chinese, one Khitan: his tragedy lies in the split of the national Other, in the impossibility of the ethical imperative Your duty is to be loyal to your country. And yet, it is exactly because of the emptiness in the ethical call that Qiao Feng can start to act as a subject, a subject that is by definition already always split. This paper thus interprets the actions of Jin Yong’s hero according to Lacan’s schema L, and also provides variations of the schema based on the twists and turns of this martial arts tragedy. (shrink)

Much recent discussion surrounding valuation of the arts and culture, particularly in the policy arena, has been dominated by a concern to identify an economic and financial basis for valuation of art works, arts, activities and more general ways in which we express our culture. Whereas a great deal can be gained from a fuller understanding of the economic value of art, there is a real danger that financial considerations will tend to crowd out all other aspects of value. This (...) book moves beyond the limitations implicit in a narrow economic approach, bringing different disciplinary viewpoints together, opening up a dialogue between scholars about the processes of valuation that they use and exploring differences and identifying common ground between the various viewpoints. The book's common theme – the tension between economic and cultural modes of evaluation – unites the chapters, making it a coherent and unified volume that provides a new and unique perspective on how we value art. (shrink)

This article tells the empirical story of women from seven villages of Kwale, the most southeastern county in the Coast Province of Kenya that borders with Tanzania—Lunga Lunga, Godo, Perani, Umoja, Maasailand, Mpakani and Jirani—as they searched for community health, equity, gender equality and peace on their own terms. This article shows that creative health initiatives can be successfully used as mechanisms for peace building. Since 2010, the Nikumbuke-Health by All Means projects from the University of Madison-Wisconsin in the United (...) States, have trained 57 health promoters and 32 female actors on disease prevention and health promotion that have outreached approximately 120,000 inhabitants around the county enhancing unity in diversity, and breaking down the walls of ethnic hostilities and prejudice. Because of its low cost and high effectivity, the United Nations awarded N-HbAM[1] the 2013 Public Service Award as a model of best practice in gender, community development and sustainable wellbeing. [1] In 2013, at the time of the UNPS Award the projects were still called Nikumbuke-Health by Motorbike. The name was changed in 2018 as the projects broadened in scope and geographical location. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Justifying the Arts:Drama and Intercultural EducationMike Fleming (bio)IntroductionFor teachers of arts subjects, questions about justification can be tiresome in the same way that contemporary aestheticians may feel fatigue about defining art.1 Providing justification can feel more like an exercise in rhetoric than theoretical enquiry, induced more by political necessity than intellectual challenge. If the value of the arts is not self-evident, it is difficult to advance arguments to convince (...) those who have no knowledge or affinity with them. Not that many educationists admit to falling into the latter category. As Eisner has said, nobody wants to be seen as a philistine.2 Yet to those with a deep commitment to the value of the arts in education and wider society, the arts are rarely thought to be taken as seriously as they should be.3 This paper will describe five approaches to the question of justifying the arts before examining the specific case of drama and intercultural education.Approaches to Justifying the Teaching of the ArtsFaced with questions of justification, providing a list of reasons for teaching the arts is one approach but not the only one. Instead, looking for broader categories of justification within possible lists (e.g., between art and entertainment, feeling and cognition) exposes differences of emphasis more easily. Exploration of the tension between such concepts as "creating" and "responding" may help get behind bland claims of the kind that the arts can "develop creativity." In this way, the relevance of aesthetic theory, which often centers on the tension between competing concepts, can be demonstrated more readily. Another approach to the question of justification is to reject the idea that the arts should serve instrumental goals at all by advancing an argument in favor of their intrinsic rewards. A fourth approach is to [End Page 54] question whether it is appropriate to seek justification for the arts as a generic concept, rather than looking instead at individual art forms; the benefits of dance may be different in certain respects from those of visual arts. Finally, a priori enquiry could be abandoned altogether in favor of seeing what teachers actually say about their reasons for teaching the arts. Each of these positions will be examined briefly.Mortimer includes physical education and personal and social education among the areas of benefit he attributes to the arts.4 Within five broad categories, he describes further subcategories, amounting to more than seventeen reasons for teaching the arts. He also claims that the arts are a way of developing life skills and attitudes that are transferable across the curriculum and are a way of contextualizing other learning. It is easy to sympathize with someone who is passionate about the arts and concerned that they should be seen as a "fundamental" not as a "frill," but such general claims do not always bring clarity or insight. It is difficult for example to see how poetry "encourages physical confidence in balance." A visit to a children's home may be more fruitful in "developing sensitivity to others." The benefit of "using imagination and creativity" (a catchall phrase that on its own says very little) may in practice find tension with other stated benefits such as "discriminating, selecting, editing." The latter concepts suggest a more constrained, skills-oriented form of teaching rather than an approach that encourages free flow of imagination. Long lists of justifications can obscure theoretical differences and from a tactical point of view in the political arena can appear overblown. They are well meant but not always helpful. Nor do they go far in explaining the deep importance of the arts in so many people's lives.The influential Gulbenkian report in the United Kingdom was wide-ranging in its claims but reinforced the idea of the arts as being an alternative to academic study and what it termed "logico-deductive thought."5 "Society," it argued, "needs and values more than academic abilities." In the 1980s, many writers were keen to free themselves from the influence of narrow theories of self-expression to embrace a wider discipline-based approach but continued to underplay the cognitive dimensions of work in art.6 Of course an emphasis... (shrink)

pt. I. Metaphysical theories.--pt. II. Factualism.--pt. III. A new approach.

This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

Introduction In "search of instances where the American imagination demands the real thing, and, to attain it, must fabricate the absolute fake," Umberto ...

Half a century into the digital era, the profound impact of information technology on intellectual and cultural life is universally acknowledged but still poorly understood. The sheer complexity of the technology coupled with the rapid pace of change makes it increasingly difficult to establish common ground and to promote thoughtful discussion. Responding to this challenge, _Switching Codes _brings together leading American and European scholars, scientists, and artists—including Charles Bernstein, Ian Foster, Bruno Latour, Alan Liu, and Richard Powers—to consider how the (...) precipitous growth of digital information and its associated technologies are transforming the ways we think and act. Employing a wide range of forms, including essay, dialogue, short fiction, and game design, this book aims to model and foster discussion between IT specialists, who typically have scant training in the humanities or traditional arts, and scholars and artists, who often understand little about the technologies that are so radically transforming their fields. _Switching Codes_ will be an indispensable volume for anyone seeking to understand the impact of digital technology on contemporary culture, including scientists, educators, policymakers, and artists, alike. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Contemplative Studies and the Liberal ArtsAndrew O. FortContemplative Studies—meaning both standard “third-person” study of contemplative traditions in history and various cultures as well as actual “first-person” practice of contemplative exercises as part of coursework—is a new field in academia, and aspects have been controversial in some quarters, seen as not completely compatible with the rigorous “critical inquiry” of liberal arts study. While there are agendas within contemplative studies (CS) (...) that go beyond the traditional questions and issues of liberal education, I want to argue that CS has, for a number of reasons, a place right at the heart of such inquiry. CS can be approached from many disciplines, including psychology, medicine, and neuroscience, as well as literature and visual, fine, and performing arts, but here I will focus on its place in liberal arts generally, and in religious studies specifically.1Given my specific focus, I will skip defining some broad terms frequently used in and beyond CS (such as “religion,” “spirituality,” or “meditation”), but, in view of my topic, I do need to say a few words about what I mean by “contemplation” and “liberal arts.” “Contemplation” refers to ways of knowing and focusing attention, often but certainly not always part of a religious tradition. It includes a wide variety of practices: sitting or walking meditation, various other kinds of “mindfulness” practices, yogic postures, visualizations, silent prayer and group chanting, reflective self-inquiry, observing nature, and many others. “Liberal arts” or “liberal education” has many qualities and purposes, but the ones most relevant here include (1) reflective self-awareness, recognizing and critiquing one’s beliefs and assumptions; (2) respectful and empathetic understanding of others (what I call “mental migration” into other worldviews); (3) understanding that humans are socially and culturally conditioned, existing in and shaped by historical contexts; and (4) learning about various ways of thinking or modes of inquiry.Contemplative studies clearly has the goals of enhancing both self-awareness and “mental migration” into other worldviews, and an expected outcome would be ongoing critical reflection on such learning. CS should and does value the analytic study of contemplative states and traditions: scientifically, historically, culturally, and personally. While few would disagree that scientific inquiry, historical study, and knowledge of sociocultural context are significant when learning about contemplative traditions, [End Page 23] there is more dispute about the value of actual “first-person” contemplative practice, both for scholars and for students in academic courses, either during or outside class. Some of my fellow essayists in this volume and many others have argued eloquently that firsthand personal experience is an important way of illumining these traditions as well as alternative ways of knowing and valuing more generally.I will begin by offering a series of connected reasons why the latter view should resonate for a liberal arts teacher, then raise some issues that focus on the practice of contemplative teaching in the classroom.1. There are a variety of ways of knowing oneself or consciousness and the world, and it is important to investigate these various ways, to better understand human existence. In fact, recognizing that there are different kinds of knowing increases one’s capacity for critical analysis.2. Contemplative reflection is one of the ways people come to know themselves and the world, and come to understand the nature of contemplative practice itself.3. Contemplative inquiry has been important to many people in a large number of cultures, so it should be understood through both external study and direct experience, to gain a more accurate (and “lived”) understanding of others’ worldviews and practices.4. Given this broad and long-standing interest, there are, naturally, diverse contemplative traditions and experiences. We should learn how this variety is understood and explained by practitioners (i.e., their personal significance) as well as by scientists (their observable characteristics). Both kinds of study facilitate “mental migration” into others’ worldviews.5. Those within contemplative traditions have a long history of critical analysis and argument about various introspective states, so we should learn about and attend to both the states and the arguments.6. In evaluating what contemplative thinkers say, it is valuable to attend to what and how we... (shrink)

A multi-disciplinary and inter-disciplinary volume exploring the damage to the arts, arts’ funding and education through the rhetoric, manipulation and auditing of value. The collection includes contributions from anthropology, the history of art, literature, education, musicology, political science, and philosophy.

As virtues of intellectual character are commonly discussed, they aim at _propositional _intellectual goods. But some creative works—especially those in music and the visual arts—are not primarily intended to gain, keep, or share propositional goods such as truth, knowledge, and understanding. They aim at something else. Thus, to conceive of intellectual creativity in a way that accords with standard discussions of intellectual virtue is to exclude paradigmatic works of the creative intellect. There is a kind of puzzle here: it appears (...) that we cannot maintain both the commonly-discussed notion of intellectual virtue and the claim that, say, Beethoven’s Ninth, or Monet’s Water Lilies, are central cases of intellectually virtuous creativity. We provide a two-part solution to the puzzle. First, we suggest that some works of music and visual art can convey propositional goods. Second, we appeal to the notion of _acquaintance _as an epistemic good that is conveyed through creative artistic and musical to an extent not conveyed in standard prose works. In this respect, intellectual creativity is the virtue that breaks the propositional mold of much contemporary virtue epistemology. (shrink)

This paper, conceptually mainly informed by Michel Foucault’s notion of morality, ethics, and ethical practice, illustrates the power program and the moral codes which currently govern the professional field of the arts. Building on empirical material from the field of theatre, the paper discusses how the moral codes and subject ideals that are promoted through the ‘culturepreneurial’ program affect and shape the subjectivity of artists and their specific modes of organizing ethical relations to self and others (Foucault 1984, 1986). The (...) insights of the study emphasize that subjectification presents a dynamic and precarious process. Discursively promoted moral codes are used by the artists in a variety of ways; they are accepted, undermined, and re-created. While doing so, artistic professionals contribute to both their own subjection and in-subordination. (shrink)

Using insights from two of the major proponents of the hermeneutical approach, Paul Ricoeur and Hannah Arendt—who both recognized the ethicopolitical importance of narrative and acknowledged some of the dangers associated with it—I will flesh out the worry that “narrativity” in political theory has been overly attentive to story telling and not heedful enough of story listening. More specifically, even if, as Ricoeur says, “narrative intelligence” is crucial for self-understanding, that does not mean, as he invites us to, that we (...) should always seek to develop a “narrative identity” or become, as he says, “the narrator of our own life story.” I offer that, perhaps inadvertently, such an injunction might turn out to be detrimental to the “art of listening.” This, however, must also be cultivated if we want to do justice to our narrative character and expect narrative to have the political role that both Ricoeur and Arendt envisaged. Thus, although there certainly is a “redemptive power” in narrative, when the latter is understood primarily as the act of narration or as the telling of stories, there is a danger to it as well. Such a danger, I think, intensifies at a time like ours, when, as some scholars have noted, “communicative abundance” or the “ceaseless production of redundancy” in traditional and social media has often led to the impoverishment of the public conversation. (shrink)

The essays in this volume exhibit many sides of the perceptual complex that is the aesthetic field and develop them in different ways. They reinvigorate our understanding of such arts as music and architecture; they range across the natural landscape to the urban one; they reassess the place of beauty in the modern environment and reassess the significance of the contributions to aesthetic theory of Kant and Dewey; and they broach the kinds of meanings and larger understanding that aesthetic engagement (...) with the human environment can offer. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art Education and the Emergence of Radical Art Movements in Egypt: The Surrealists and the Contemporary Arts Group, 1938–1951Patrick Kane (bio)So it wasn’t the aim of the artist to just toss out a work of art. A tradition of the exhibition of the natural, and its meaning was not that it fled from life, but that it had penetrated and plunged into reality. Its meaning was not a prescription (...) or plain exercise in the taste of the sublime, or harmony of forms and charming scenes; and its meaning was not as a decoration of life; it was in its expression of what life inspires in us to give back.—Henry Moore, as quoted by Ramses Yunan, in “The Aim of the Contemporary Artist”1In these crucial days of difficulty, the artists in this country live in tall aristocratic towers.... For this peasant has an art of his own that sustains him, and it is not that art of the educated class.—Kamil Al-Tilmisani (c. 1941–1942)By 1938, as the agrarian crisis in Egypt deepened, the Depression, food shortages, low wages, expropriations of crops, and forced rents opened a polemic among Egyptian intellectuals over the role of the state and the looming threat of fascism. With the dismissal of the government of Mustafa Al-Nahas at the end of 1937, the political turbulence underscored the weakening of the Wafd Party. Opponents of the old Wafdists and supporters of the monarchy resorted to openly fascist tactics, including the establishment of youth organizations and the Blue Shirts, the fascist front of the young Wafdists who modeled themselves on Mussolini’s Black Shirts. The serial crises of agrarian struggles and parliamentary stalemates between [End Page 95] nationalists and monarchists led to increasingly militant stances by the paramilitary fascist organization Misr Al-Fattah (Young Egypt) as a counter to the Muslim Brothers. When Mahmud Khalil resigned from the Wafd and assumed the presidency of the Senate in 1938, his ascension opened a new phase of struggle in politics through culture and the arts.2 In this context, caricatures and satirical sculptures of Khalil appeared in 1939 that parodied him as the icon of a “dictatorship of art.”3 Leading intellectuals from all political stances addressed these issues directly. The cultural journals were peppered with articles on the problems of everyday life and the material crises with such representative titles as ‘Abbas al-Aqqad’s “Food for the Rich,” in which he raised the problem of food shortages and inequity as an issue for reform.4 Within the year, articles in Al-Risala and Al-Thaqafa drew comparisons with French and Italian nineteenth-century landscapes as a model for the recognition of the countryside as a subject. In journalism and the arts, suffering became a part of the recognition of the everyday, as articles appeared on Millet’s nineteenth-century paintings of French peasants.As the war in Europe encroached into the cover pages of Egypt’s cultural journals, Zaki Muhammad Hasan wrote an essay for Al-Thaqafa entitled “The Angelus,” with a reproduction of the 1859 painting by Jean Francois Millet (1814–1874).5 Hasan wrote about Millet’s interest in the “the daily labors of the peasant” as a depiction of the conditions of French peasants. Hasan’s mention of Millet’s own peasant origins, and his listing of paintings of social conditions, including Les Glaneuses (The Gleaners), reflected a broadening interest in the artistic subject of the peasant and the rise of the peasant as artist. Although in Millet’s painting there is a prayer scene of a man and a woman in the fields that is generally regarded as the evening prayer with the sun setting, an Egyptian reader could link the prayer with the issue of workers taking breaks in the fields at a time when the issue of compensation of peasant farm workers was paramount.6 Hasan introduced “The Angelus” to his readers as a Catholic prayer in southern Europe offered at dawn, noon, and sunset and compared the origins of the prayer’s stanzas from the Gospel of Luke 1:28–31 with passages from the chapter on Maryam in the Quran... (shrink)