Country music critics and scholars have noticed an apparent contradiction between the practical identity of country music with the image of the male country singer as the 'rhinestone cowboy'. In this case, the problem is one of how we can make sense of the rural, working-class, ruggedly masculinity persona common to the genre with its elaborately embroidered, brightly colored, and highly embellished male fashion. The intractability of this problem has led some to argue that the simplest solution is to just (...) deny the legitimacy of country music authenticity discourse altogether. That is, all the genre’s talk of the rural working class is inauthentic and should be discarded. Here, I argue that by accounting for country music authenticity in terms of the genre being a dual character concept, we can fully address the skeptic's worries. Beyond merely being compatible with the Nudie suit however, this notion of authenticity is also our best way of understanding the aesthetic value of the rhinestone cowboy image at all. The resulting picture, in which the suit primarily serves as an epistemic signifier of one’s standing in the country music community, allows for the Nudie suit to function as a class, and sometimes queer, commentary on mainstream culture. (shrink)

In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, I argue (...) for an alternative model of authenticity in which we take claims about the relative authenticity of country music to be evidence of ‘country’ being a dual character concept in the same way that it has been suggested of punk rock and hip-hop. Authentic country music is country music that embodies the core value commitments of the genre. These values form the basis of country artists’ and audiences’ practical identities. Part of country music’s aesthetic practice is that audiences reconnect with, reify, and revise this common practical identity through identification with artists and works that manifest these values. We should then think of authenticity discourse within country music as a kind of game within the genre’s practice of shaping and maintaining this practical identity. (shrink)

Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x (...) is the genre of that work). A work can be good all things considered, but genre membership provides us with an additional set of evaluative criteria over and above those of the medium, which colors how we interpret and appreciate the work. Given this importance, it is not surprising that philosophers of art have been interested in providing an account of what, exactly, a genre is. Despite this interest, there is not widespread agreement about what it takes for something to be a genre, nor what kinds of considerations are relevant in determining whether a work is a member of that genre. Beyond this, we might also want to know to what degree we ought to consider genre in evaluating a work of art and why it should matter at all. Here, I explore the variety of recent theories that philosophers have taken up on the topic of genre and why we should ultimately think of genres as artistic practices rather than the alternatives. (shrink)

Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance novels, or film noir. It should be no surprise then, that philosophers of art have also been interested in genres. Whether they are giving accounts of genres as such or of particular genres, genre talk abounds in philosophy as much as it does the popular discourse. As a result, theories of genre proliferate as well. However, in their accounts, philosophers have so far focused on capturing all (...) of the categories of art that we think of as genres and have focused less on ensuring that only the categories we think are genres are captured by those theories. Each of these theories populates the world with far too many genres because they call a wide class of mere categories of art genres. I call this the problem of genre explosion. In this paper, I survey the existing accounts of genre and describe the kinds of considerations they employ in determining whether a work is a work of a given genre. After this, I demonstrate the ways in which the problem of genre explosion arises for all of these theories and discuss some solutions those theories could adopt that will ultimately not work. Finally, I argue that the problem of genre explosion is best solved by adopting a social view of genres, which can capture the difference between genres and mere categories of art. (shrink)

Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the music’ and, (...) on the other, groove is the psychological feeling (induced by music) of wanting to move one’s body. Further, I argue that recent work in music psychology shows that these two concepts do not converge on a unified set of musical features. Finally, I also argue that these two concepts play different functional roles in the appreciative practices of jazz and popular music. This should cause us to further consider the mediating role genre plays for aesthetic concepts and provides us with reason for adopting a more communitarian approach to aesthetics which is attentive to the ways in which aesthetic discourse serves the practices of different audiences. (shrink)

Many widely divergent accounts of luck have been offered or employed in discussing an equally wide range of philosophical topics. We should, then, expect to find some unified philosophical conception of luck of which moral luck, epistemic luck, and luck egalitarianism are species. One of the attempts to provide such an account is that offered by Duncan Pritchard, which he refers to as the modal account. This view commits us to calling an event lucky when it obtains in this world, (...) but fails to obtain in a wide class of nearby possible worlds. In support of this account, Pritchard argues that a theory of luck ought to capture the fact that luck comes in degrees and that luck is closely associated with risk. I argue against this claim by suggesting that an understanding of luck grounded in considerations of probability is better able to satisfy these demands, and that the probability theory better explains exemplary cases of luck like those brought up by Pritchard. (shrink)

In this paper, I propose a novel theory for why we find certain mundane everyday experiences, objects, and phenomena satisfying aesthetic experiences. I refer to these as 'oddly satisfying' experiences, and argue that they assert themselves as aesthetic by being suggestive of the cinematic. This cinematic quality is the product of everyday experiences gesturing towards a kind of careful artistic intent.

It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in court as (...) a central case of this injustice. In section 2, we distinguish art-interpretive injustice from other categories already discussed in recent literature. In section 3, we discuss the relationship between genre discourse and identity prejudice. The case for recognizing the category of art-interpretive injustice is that it allows one to recognize a class of harms as being importantly related in ways that one would otherwise overlook. (shrink)

Honor walks are ceremonies that purportedly honor organ donors as they make their final journey from the ICU to the OR. In this paper, we draw on Ronald Grimes’ work in ritual studies to examine honor walks as ceremonial rituals that display medico-technological power in a symbolic social drama (Grimes, 1982). We argue that while honor walks claim to honor organ donors, ceremonies cannot primarily honor donors, but can only honor donation itself. Honor walks promote the quasi-religious idea of donation (...) as a “good death,” and mask the ambiguity and discomfort inherent in organ donation to promote greater acceptance by the medical community. While some goods may be achieved through honor walks, particularly for donor families, it is still important to examine the negative work done by this practice. (shrink)

Let us give voice to this new demand: we need a critique of moral values, the value of these values should itself, for once, be examined. -Friedrich NietzscheAnyone who, stimulated by education, has come to feel the force of the various obligations in life, at some time or other comes to feel the irksomeness of carrying them out, and to recognize the sacrifice of interest involved; and, if thoughtful, he inevitably puts to himself the question: “Is there really a reason (...) why I should act in the ways in which hitherto I have thought I ought to act? … Should I not really be justified in simply trying to have a good time?” -H.A. Prichard. (shrink)

Social norms – rules governing which behaviours are deemed appropriate or inappropriate within a given community – are typically taken to be uniquely human. Recently, this position has been challenged by a number of philosophers, cognitive scientists, and ethologists, who have suggested that social norms may also be found in certain non-human animal communities. Such claims have elicited considerable scepticism from norm cognition researchers, who doubt that any non-human animals possess the psychological capacities necessary for normative cognition. However, there is (...) little agreement among these researchers about what these psychological prerequisites are. This makes empirical study of animal social norms difficult, since it is not clear what we are looking for and thus what should count as behavioural evidence for the presence (or absence) of social norms in animals. To break this impasse, we offer an approach that moves beyond contested psychological criteria for social norms. This approach is inspired by the animal culture research program, which has made a similar shift away from heavily psychological definitions of ‘culture’ and to become organized around a cluster of more empirically tractable concepts of culture. Here, we propose an analogous set of constructs built around the core notion of a normative regularity, which we define as a socially maintained pattern of behavioural conformity within a community. We suggest methods for studying potential normative regularities in wild and captive primates. We also discuss the broader scientific and philosophical implications of this research program with respect to questions of human uniqueness, animal welfare and conservation. (shrink)

This study examines the issues associated with the disinvestment of U.S. interests from South Africa that took place in the mid-80s from the perspective of three dominant moral theories: utility, rights, and justice. By examining the issues in light of these three theories, the paper attempts to establish a decision framework from which managers and investors can evaluate similar decisions they are facing around the world today. Similarly, the reading may prove useful to educators who incorporate discussions of ethical decision (...) making into the classroom.Training in business ethics too often takes a strictly utilitarian perspective, or worse, a relativistic one. This study attempts to illustrate how utilitarian theory and related rights and justice issues can he interwoven into the heuristics associated with the contemporary concepts of corporate social responsibility. (shrink)

Accession Number: ATLA0001712130; Hosting Book Page Citation: p 226-235.; Language(s): English; General Note: Bibliography: p 234-235.; Issued by ATLA: 20130825; Publication Type: Essay.

Outside of philosophy, the idea that workers deserve to be paid according to their productive contributions is very popular. But political philosophers have given it relatively little attention. In this paper, I argue against the attempt to use this idea about desert and contribution to vindicate significant income inequality. I claim that the inegalitarian invocation of reward according to contribution fails on its own terms when the following condition holds: the size of each worker's contribution depends on what others only (...) together do. When workers only together make another more productive, that is not reflected in the sum of their own contributions. Thus reward according to contribution recognizes individual accomplishments without recognizing their dependence on collectives, dependence that is, in complex economies, ubiquitous. (shrink)

The Body in French Queer Thought from Wittig to Preciado: Queer Permeability identifies a common concern in French queer works for the materiality of the body, and argues for a return to the body as fundamental to queer thought and politics, from HIV onwards.

What happens when we blur time and allow ourselves to haunt or to become haunted by ghosts of the past? Drawing on archaeological, historical, and ethnographic data, Blurring Timescapes, Subverting Erasure demonstrates the value of conceiving of ghosts not just as metaphors, but as mechanisms for making the past more concrete and allowing the negative specters of enduring historical legacies, such as colonialism and capitalism, to be exorcised.

This article proposes that Horace's Epodes and Ovid's Metamorphoses open with significant acrostics that comprise the first two letters, in some cases forming syllables, of successive lines: IB-AM/IAMB (Epod. 1.1–2) and IN-CO-(H)AS (Met. 1.1–3). Each acrostic, it will be argued, tees up programmatic concerns vital to the work it opens: generic identity and the interrelation of form and content (Epodes), etymology and monumentality (Metamorphoses). Moreover, as befits their placement at the head of collections, both acrostics negotiate the challenge of literary (...) commencement. The introduction reviews recent developments in acrostic studies and discusses important predecessors and parallels for Horace's and Ovid's ‘two-letter’ and syllabic acrostics. Two subsequent sections examine the acrostics singly, and a conclusion compares the dialogues that these acrostics open between author and reader, underscoring the welcome challenge which Ovid's acrostic offers to the prevailing scholarly view that this form of wordplay is a strictly visual affair. (shrink)

Building on self-professed perspectival approaches to both scientific knowledge and causation, I explore the potentially radical suggestion that perspectivalism can be extended to account for a type of objectivity in science. Motivated by recent claims from quantum foundations that quantum mechanics must admit the possibility of observer-dependent facts, I develop the notion of ‘perspectival objectivity’, and suggest that an easier pill to swallow, philosophically speaking, than observer-dependency is perspective-dependency, allowing for a notion of observer-independence indexed to an agent perspective. Working (...) through the case studies of colour perception and causal perspectivalism, I identify two places within which I claim perspectival objectivity is already employed, and make the connection to quantum mechanics through Bohr’s philosophy of quantum theory. I contend that perspectival objectivity can ensure, despite the possibility of perspective-dependent scientific facts, the objectivity of scientific inquiry. (shrink)

These are central to the accounts of lexical representation and meaning construction developed, giving rise to the Theory of Lexical Concepts and Cognitive ...

Edward O. Wilson's sociobiology, as advocated in On Human Nature, is often criticized for its sensationalism and its anthropomorphisms. Critics have not recognized, however, that the so?called anthropomorphisms are essential to sociobiology, in so far as it seeks to address the humanities, and that the sensationalism derives from them. They are not just the sloppiness usually found in popularizations. Section I reviews the grounds for these criticisms and then ends by demonstrating that it is no less a confusion to label (...) these misuses of language ?anthropomorphisms?. Section II analyzes the style of reasoning, characteristic of scientism in general and sociobiology in particular, that sanctions misuses of language such as Wilson's. The flaw in this reasoning is that it depends upon the very language it sets out to debunk, in a way that renders its own arguments unintelligible. (shrink)

This special issue considers the significance of film to the establishment and development of scientific approaches to the mind. Bonnie Evans explores how the origins of film technologies in 1895 in France encouraged a series of innovative collaborations, influencing both psychological theorisation, and new filming techniques. Jeremy Blatter explains how Harvard psychologist Hugo Münsterberg created early films specifically designed to engage audiences using psychological tactics. Scott Curtis’ article examines how Yale psychologist Arnold Gesell was able to extract scientific data from (...) a film. Felix Rietmann’s article explores a collection of infant observation films from the 1930s and 1960s and how they developed unique narratives of mothers’ engagement with their children that did not necessarily match up with dominant scientific theories. Janet Harbord's article considers how a trilogy of films made at the Maudsley Hospital in the 1950s engaged with innovative film-making techniques that captured behaviour as discrete units. Seth Watter further examines how William S. Condon's use of the unique technology of the Bell and Howell 173BD projector in the 1960s created new understandings of human behaviour that could not have been predicted in advance, and which were highly influenced by the technology itself. Finally, Des O’Rawe explores how radical approaches in both anti-psychiatry, and documentary film-making in the 1960s created new opportunities for audiences to engage with different psychological states. All of these developments in film and psychology continue to influence understandings in both these fields to the present day. (shrink)

My aim in this paper is to defend negligence as a legitimate basis for moral and criminal culpability. In so doing, I also hope to demonstrate how philosophical and jurisprudential perspectives on responsibility can mutually inform each other. While much of the paper focuses on criminal negligence, my aim is to show how attention to certain doctrines and concepts in criminal law can shed light on our understanding of moral culpability including culpability for negligence. It is often taken to be (...) a fundamental principle of criminal law that an act cannot be guilty unless it is accompanied by a culpable state of mind or mens rea. This has led to scepticism regarding negligence as a legitimate basis for desert-based criminal sanction because it is not clear that negligence picks out any mental state at all, much less a culpable one. In this paper I articulate and defend a unified account of moral and criminal culpability that rejects the standard view of mens rea that underlies negligence-skepticism. Specifically, I hold that the mens rea element of a crime does not function to inculpate, as is standardly held, but to partly determine the description under which an action counts as wrongful. While I agree that we should be especially cautious about criminalizing negligence, the relevant question, on my view, is not whether a given mens is sufficiently culpable but whether the mens-cum-actus is sufficiently wrongful to warrant the attention of criminal justice. (shrink)

Pastor and trusted Bible teacher Dr. Tony Evans answers fundamental questions about the Christian faith to help children understand who God is and why they can trust Him with their lives. Help children build a firm foundation of faith.

An essential introduction to post-war critical thought on the problem of violence.

The question has long confounded philosophers and scientists, and it is this so-called explanatory gap between biological life and consciousness that Evan ...

Leading scholars explore the later thought of Merleau-Ponty and its central role in the modernism-postmodernism debate.

This chapter contains sections titled: The Aztecs and Their Kings Nezahualcoyotl: Renaissance Man of Aztec Culture The Uses of Nezahualcoyotl: Bridging Spanish and Aztec Cultures Nezahualcoyotl's Place, and the Place of Gardens, in Aztec Political History Texcotzingo Notes.

The very idea of humanity seems to be in crisis. Born in the ashes of devastation after the slaughter of millions, the liberal conception of humanity imagined a suffering victim in need of salvation. Today, this figure appears less and less capable of galvanizing the political imagination. But without it, how are we to respond to the inhumane violence that overwhelms our political and philosophical registers? How can we make sense of the violence that was carried out in the name (...) of humanism? And how can we develop more ethical relations without becoming parasitic on the pain of others? Through a critical exploration of violence and the sacred, Ecce Humanitas recasts the fall of liberal humanism. Brad Evans offers a rich analysis of the changing nature of sacrificial violence, from its theological origins to the exhaustion of the victim in the contemporary world. He critiques the aestheticization that turns victims into sacred objects, sacrificial figures that demand response, perpetuating a cycle of violence that is seen as natural and inevitable. In novel readings of classic and contemporary works, Evans traces the sacralization of violence as well as art’s potential to incite resistance. Countering the continued annihilation of life, Ecce Humanitas calls for liberating the political imagination from the scene of sacrifice. A new aesthetics provides a form of transgressive witnessing that challenges the ubiquity of violence and allows us to go beyond humanism to imagine a truly liberated humanity. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Sophists were active participants in ancient discussions about being or what-is at the most general level. This chapter discusses the contributions of Gorgias, Protagoras, Xeniades, and Lycophron in the context of the Eleatic philosophers Parmenides, Zeno, and Melissus. All of these figures share a serious commitment to ontological inquiry as well as a concern with the problems that arise when discussing being or what-is. They also share an approach to these problems that is at times paradoxical and self-undermining. -/- The (...) chapter begins with a brief discussion of Parmenides’ poem, a work that serves as an important backdrop for later ontology. It then covers Gorgias’ On Not-Being, a response to the Eleatics and a unique contribution in its own right. Gorgias’ work is then compared with that of Zeno and Melissus. Finally, the more limited evidence we have of Protagoras, Xeniades, and Lycophron’s ontological theorizing is discussed. (shrink)

The fragility of democracy and the political aesthetics of public art -- Voices and places: the space of public art and Wodiczko's the homeless projection -- Democracy's "empty place": Rawls's political liberalism and Derrida's democracy to come -- Public art's "plain tablet": the political aesthetics of contemporary art -- Democracy and public art: Badiou and Ranciere -- The political aesthetics of Chicago's Millennium Park -- The political aesthetics of New York's National 9/11 Memorial -- Public art as an act of (...) citizenship -- Badiou on "being and the void.". (shrink)

For many years emotion theory has been characterized by a dichotomy between the head and the body. In the golden years of cognitivism, during the nineteen-sixties and seventies, emotion theory focused on the cognitive antecedents of emotion, the so-called “appraisal processes.” Bodily events were seen largely as byproducts of cognition, and as too unspecific to contribute to the variety of emotion experience. Cognition was conceptualized as an abstract, intellectual, “heady” process separate from bodily events. Although current emotion theory has moved (...) beyond this disembodied stance by conceiving of emotions as involving both cognitive processes (perception, attention, and evaluation) and bodily events (arousal, behavior, and facial expressions), the legacy of cognitivism persists in the tendency to treat cognitive and bodily events as separate constituents of emotion. Thus the cognitive aspects of emotion are supposedly distinct and separate from the bodily ones. This separation indicates that cognitivism’s disembodied conception of cognition continues to shape the way emotion theorists conceptualize emotion. (shrink)

This is a sequel to the author's The Language and Logic of the Bible: The Earlier Middle Ages. The period of the reformation saw immense changes of approach to the study of the Bible, which in turn brought huge consequences. This book, seeking to show the direction of endeavour of such study in the last medieval centuries, examines the theory of exegesis, practical interpretation, popular Bible study and preaching, and looks especially at the areas of logic and language in which (...) the scholars of the period had considerable expertise. The condemnation of the scholastics has tended to sink with them a proper recognition of what they achieved. In looking forward to the reformation, Dr Evans demonstrates a greater continuity of attitude than has often been allowed and describes how the enquiries of later medieval scholars opened out into the explorations of the sixteenth century made by Protestant and Roman Catholic thinkers alike. (shrink)

In March 2013, after reading articles about the questionable marketing styles of Victoria's Secret, targeted especially to younger demographics, Dolive penned an open letter calling for companies to not view girls as objects but as human beings. The letter came out of his desire to instill in his own daughter that love, care, and acceptance should not be based on articles of clothing. The letter was viewed nearly four million times (on his site alone) in about a week-and-a-half, and dozens (...) of other news organizations and publications picked up the story. Dolive was interviewed by national news publications and appeared on CNN and Headline News. The letter was a catalyst for conversations about body image, marketing, and how the church could affect change and confidence in people of all ages. Seeking Imperfection explores these false messages and takes a look at people from the Bible who, despite their flaws, were still able to serve God faithfully. (shrink)