Part I Philosophic Traditions Introduction to Part I 3 1 Philosophy and the Afro-American Experience 7 CORNEL WEST 2 African-American Existential Philosophy 33 LEWIS R. GORDON 3 African-American Philosophy: A Caribbean Perspective 48 PAGET HENRY 4 Modernisms in Black 67 FRANK M. KIRKLAND 5 The Crisis of the Black Intellectual 87 HORTENSE J. SPILLERS Part II The Moral and Political Legacy of Slavery Introduction to Part II 107 6 Kant and Knowledge of Disappearing Expression 110 (...) RONALD A. T. JUDY 7 Social Contract Theory, Slavery, and the Antebellum Courts 125 ANITA L. ALLEN AND THADDEUS POPE 8 The Morality of Reparations II 134 BERNARD R. BOXILL Part III Africa and Diaspora Thought Introduction to Part III 151 9 “Afrocentricity‘: Critical Considerations 155 LUCIUS T. OUTLAW, JR. 10 African Retentions 168 TOMMY L. LOTT 11 African Philosophy at the Turn of the Century 190 ALBERT G. MOSLEY Part IV Gender, Race, and Racism Introduction to Part IV 199 12 Some Group Matters: Intersectionality, Situated Standpoints, and Black Feminist Thought 205 PATRICIA HILL COLLINS 13 Radicalizing Feminisms from “The Movement Era‘ 230 JOY A. JAMES 14 Philosophy and Racial Paradigms 239 NAOMI ZACK 15 Racial Classification and Public Policy 255 DAVID THEO GOLDBERG 16 White Supremacy 269 CHARLES W. MILLS Part V Legal and Social Philosophy Introduction to Part V 285 17 Self-Respect, Fairness, and Living Morally 293 LAURENCE M. THOMAS 18 The Legacy of Plessy v. Ferguson 306 MICHELE MOODY-ADAMS 19 Some Reflections on the Brown Decision and Its Aftermath 313 HOWARD McGARY 20 Contesting the Ambivalence and Hostility to Affirmative Action within the Black Community 324 LUKE C. HARRIS 21 Subsistence Welfare Benefits as Property Interests: Legal Theories and Moral Considerations 333 RUDOLPH V. VANTERPOOL 22 Racism and Health Care: A Medical Ethics Issue 349 ANNETTE DULA 23 Racialized Punishment and Prison Abolition 360 ANGELA Y. DAVIS Part VI Aesthetic and Cultural Values Introduction to Part VI 373 24 The Harlem Renaissance and Philosophy 381 LEONARD HARRIS 25 Critical Theory, Aesthetics, and Black Modernity 386 LORENZO C. SIMPSON 26 Black Cinema and Aesthetics 399 CLYDE R. TAYLOR 27 Thanatic Pornography, Interracial Rape, and the Ku Klux Klan 407 T. DENEAN SHARPLEY-WHITING 28 Lynching and Burning Rituals in African-American Literature 413 TRUDIER HARRIS-LOPEZ 29 Rap as Art and Philosophy 419 RICHARD SHUSTERMAN 30 Microphone Commandos: Rap Music and Political Ideology 429 BILL E. LAWSON 31 Sports, Political Philosophy, and the African American 436 GERALD EARLY. (shrink)

An artistic discussion on the critical potential of African American expressive culture In a major reassessment of African American culture, Phillip Brian Harper intervenes in the ongoing debate about the “proper” depiction of black people. He advocates for African American aesthetic abstractionism—a representational mode whereby an artwork, rather than striving for realist verisimilitude, vigorously asserts its essentially artificial character. Maintaining that realist representation reaffirms the very social facts that it might have been understood to (...) challenge, Harper contends that abstractionism shows up the actual constructedness of those facts, thereby subjecting them to critical scrutiny and making them amenable to transformation. Arguing against the need for “positive” representations, Abstractionist Aesthetics displaces realism as the primary mode of African American representational aesthetics, re-centers literature as a principal site of African American cultural politics, and elevates experimental prose within the domain of African American literature. Drawing on examples across a variety of artistic production, including the visual work of Fred Wilson and Kara Walker, the music of Billie Holiday and Cecil Taylor, and the prose and verse writings of Ntozake Shange, Alice Walker, and John Keene, this book poses urgent questions about how racial blackness is made to assume certain social meanings. In the process, African American aesthetics are upended, rendering abstractionism as the most powerful modality for Black representation. (shrink)

What Makes That Black? The African American Aesthetic in American Expressive Culture delineates the African-American aesthetic in both the African-American culture and the artistic cultural formation of the United States. It presents a definition of the African-American aesthetic using a typology of seventy-four tenets-markers that expand the aesthetic's definition to include its artistic structure, cultural function, and consciousness.¿The book is both anecdotal and scholarly, creating an accessible dialogue in a research area (...) sometimes burdened by excessive scholarly nomenclature. The power of story (art) reaches into cognitive spaces and impact understandings unreachable by linear academic argument. ¿Physical features such as images, links to visual media, glossary, bibliography, and index make the project easier for teachers/students to use.¿The book approaches the African-American Aesthetic from wide-ranging sources, cross-referencing literature, dance, oration, music, dress, sub-Saharan African aesthetics, scholarly text, visual arts, athletics, children's games, and anecdotal accounts. (shrink)

Fern Logan’s collection of photographic portraits documents the emergence of the African American artist into mainstream American art. The Artist Portrait Series captures sixty significant artists from the late twentieth century.

In lieu of an abstract, here is a brief excerpt of the content:Black Deconstruction: Russell Atkins and the Reconstruction of African-American CriticismAldon Lynn Nielsen (bio)“What does that signify?” “It don’t signify nothin’ Mr. Warner.”—Russell Atkins, MaleficiumThere are, everywhere unheard (as one might see deep in an electron microscope) rigidities violently breaking—Russell Atkins, WhicheverCritical debates about the applicability of recent literary theories to the reading of African-American writing have often been marked by curious lacunae. Despite the rapid (...) proliferation of critical texts addressing themselves to black writing, it remains the case that many critics come to black writing with methodologies and agendas already in hand, while few critics have taken upon themselves the task of rereading the critical history of African-American work in theory. This has often resulted in a sort of critical shortsightedness, with the field of black literary theory presented as a foreshortened, if now more level, playing field. While some have engaged in arguments about the question of whether or not African-American writing should be engaged by poststructuralist theorists (a question that seems to begin with the assumption that poststructuralism is a particularly white mode of mythology), the fact is that a form of deconstruction had been theorized by an African-American poet long before deconstruction had entered the American academy. That this fact is largely unknown among contemporary critics is the result of a continuing practice of not reading the theoretical work of black poets who have published outside the established circuit of the academic press. With the prominent exceptions of poets like Amiri Baraka, June Jordan, Larry Neal, and Haki Madhabuti, the critical writings of recent African-American poets have seldom been collected and circulated in any very effective way. Characteristically, Neal’s essays were gathered into a book posthumously, and Madhabuti’s have been published and distributed primarily through his own publishing house. Even Baraka’s collections have been allowed to pass out of print in most instances, only the books on music remaining readily available throughout his career. This may change for black poets who write in more mainstream modes in the near future. Now that Rita Dove has served a term as Poet Laureate of the United States and Derek Walcott has won the Nobel Prize, we might expect a modest increase in interest by publishers and readers in critical works by poets whose forms are less troubling than their content. And black poets who attain academic credentials and write scholarly/critical essays, such as Nathaniel Mackey and Harryette Mullen, may succeed in getting their works published by the university presses. However, surveys of shelves in bookstores and [End Page 86] libraries will confirm that there has been little concern among even university and small presses to collect and preserve the critical legacy of black experimentalists in the way that the essays of Charles Olson, Ed Dorn, or Robert Creeley have been maintained before a public.Russell Atkins has been one of the most prolific and demanding of black poets writing criticism and theory in the last four decades, but like Percy Johnston, central figure of the Dasein group of poets centered at Howard University in the 1950s, he has had to publish most of this work through his own magazine and workshop press, and there has never been a published collection of his critical work. The special Russell Atkins number of the Free Lance, a journal with which Atkins was associated for two decades, included a section surveying his work in critical prose, but little of that work has found its way into the broader critical discourse of literary scholars (it has fared a little better with musicologists), and Atkins’s prose is infrequently cited. As eccentric as Atkins’s prose can sometimes be, these works are important early signs of a break with the “rigidities” of traditional humanist discourse among African-American writers. Atkins’s statements on music, literature, politics, and education parallel the works by Baraka leading into and out of the Black Arts Movement, but Atkins, as he does in his verse, travels an independent and often disturbing path.Speaking of Anthony Braxton’s experimentalism, Ronald Radano observes that it “emerged from the changing landscape of urban American life, from... (shrink)

While the field of aesthetics has long been dominated by European philosophy, recent inquiries have expanded the arena to accommodate different cultures as well as different definitions. In this volume, scholars and teachers in the fields of African and African American studies advance the debate over the nature of African aesthetics, approaching the subject from a broad range of disciplines. Dance, music, art, theatre, and literature are examined in order to appreciate and delineate the specific qualities (...) and aspects of African aesthetics; additionally, theoretical concepts and issues are discussed to define more clearly the meaning of an "African aesthetic.". (shrink)

In Interplay of Things Anthony B. Pinn theorizes religion as a technology for interrogating human experiences and the boundaries between people and other things. Rather than considering religion in terms of institutions, doctrines, and creeds, Pinn shows how religion exposes the openness and porousness of all things and how they are always involved in processes of exchange and interplay. Pinn examines work by Nella Larsen and Richard Wright that illustrates an openness between things and traces how pop art and readymades (...) point to the multidirectional nature of influence. He also shows how Ron Athey's and Clifford Owens' performance art draws out inherent interconnectedness to various cultural codes in ways that reveal the symbiotic relationship between art and religion as a technology. Theorizing that antiblack racism and gender- and class-based hostility constitute efforts to close off the porous nature of certain bodies, Pinn shows how many artists have rebelled against these attempts to counter openness. His analyses offer a means with which to understand the porous, unbounded, and open nature of humans and things. (shrink)

This essay asks why modernist art history has been unable to account for the career of the African American painter Rose Piper. One of the most gifted painters of her generation, Piper was also amo...

The literary relations between the Harlem Renaissance and the Negritude Movement have, we believe, been sufficiently documented. It has been demonstrated that Senghor, Damas and Césaire avidly perused the pages of Crisis, Opportunity and Garvey's Negro World—Journals in which Langston Hughes, Claude Mckay, Countee Cullen and Jean Tommer—the poets of the Harlem Renaissance, first had their poems published. It is equally literary history now, that some of the poems of the Afro-American writers were reprinted in such Parisian Black-oriented journals (...) and little magazines as Les Continents, La Dépêche Africaine, Le Cri des Nègres, La Revue du Monde Noir and Légitime Défense. In this dissemination of ideas across the Atlantic, Paulette Nardal, Edward A. Jones, Louis T. Achille and Mercer Cook played the important role of literary intermediaries through their translations. (shrink)

In this article, I bring together the archive of institutional activism of Niara Sudarkasa in the U.S. and the posthumous impact of activist and public administrator Marielle Franco. The 1970s historical sources show Sudarkasa’s institutional solidarity with students and faculty in the creation of one of the first Africana Studies departments in the U.S. Reading them, I articulate an ethos for the curation ‘715 Haven Street: Art Looks Back,’ a public digital art gallery comprised of art and history found in (...) the DAAS Papers (Department of Afroamerican and African Studies) housed in the Bentley Library’s digital and physical archives. The analysis of the primary sources is guided by an engagement with the ‘Marielle Effect,’ generating a historical parameter for Abolitionist solidarity between American, Brazilian, Latin American, African American, Diasporic, and ally scholarly communities. The discussion of these parameters is embedded in my discussion of the concept of pacification, a phenomenon of colonial and post-colonial policing that survives through the perpetuation of an extra-judicial policing impetus articulated along race, identity, legality, and sexual legitimacy of subjects. (shrink)

This book offers a sustained scholarly analysis of Gadamer's reflections on art and our experience of art. It examines fundamental themes in Gadamer's hermeneutical aesthetics such as play, festival, symbol, contemporaneity, enactment, art's performative ontology, and hermeneutical identity. The first two chapters focus on Gadamer's critical appropriation and movement beyond Kantian and Hegelian aesthetics (and includes a coda on Heidegger's influence). The final three chapters argue for the continued relevance of Gadamer's hermeneutical aesthetics by bringing his claims into conversation with (...) contemporary art and music, as well as the ethical and sociopolitical dimensions of the Artworld and art-praxis. The ethical and sociopolitical aspects of art- and music-making are given particular attention in chapters devoted to 20th century African American artist Romare Bearden, Banksy's street art, and a range of jazz expressions, from traditional jazz to the complex practice of free jazz. Gadamer's Hermeneutical Aesthetics will appeal to researchers and advanced students working on Gadamer, philosophical hermeneutics, continental philosophy, aesthetics, and the philosophy of contemporary art and music. (shrink)

Taylor exposes the concept of 'art' as a tool of ethnocentricity and radical ideology. He challenges the history of aesthetics as a recent invention of privileged Western consumerism and questions the myth of its ancient Greek origin.

One of the most significant developments in the art world of the 1970s, 1980s, and 1990s has been the rise to prominence of art made by minority cultures. Race, Sex, and Gender examines the controversial challenges these groups present to today's artists and critics. Works by African-Americans, feminists, homosexuals, and Latino-Hispanics - once considered marginal - have come to transform contemporary art. As this so-called minority art has moved into a more dominant position, museums - once official symbols of (...) culture - have formed a more secure alliance with the avant-garde. The result is that "minority" art has become, in effect, our most major concern. In this provocative volume, art historian Edward Lucie-Smith seeks to determine how these different groups came to acclaim, and how they have revolutionized the kind of art shown in museums and galleries. Cindy Sherman, Robert Mapplethorpe, Jean-Michel Basquiat, Nancy Spero, Hannah Wilke, Larry Fuente, Cheri Samba, and Martin Puryear are among those artists whose work is pictured and discussed as Lucie-Smith probes issues of racial identity, sexual orientation, and gender politics. Statements from the artists as well as from theoreticians and critics are given, offering additional commentaries on these crucial new topics. Organized by profusely illustrated chapters devoted to specific minority groups, Race, Sex, and Gender is a timely introduction to the issues that are shaping contemporary art. (shrink)

Adrian Piper joins the ranks of writer-artists who have provided much of the basic and most reliable literature on modern and contemporary art. Out of Order, Out of Sight is an artistic and intellectual autobiography and an (occasionally scathing) commentary on mainstream art, art criticism, and American culture of the last twenty-five years. Piper is an internationally recognized conceptual artist and the only African American in the early conceptual art movement of the 1960s. The writings in Out (...) of Order, Out of Sight trace the development of her thinking about her artwork and the art world, and her evolving awareness of herself as a creative, racial, and gendered subject situated in an often limiting and always absurd cultural and social context. (shrink)

This is a multicultural philosophy of art applied to common American and European experience and discussed in relation to Taoist, Buddhist, Hindu, Native American, and African traditions.

This paper is a study of a social-justice, arts-based literacy curriculum in a low income, working-class, predominately African-American school district in Newark, New Jersey. Participating students studied photography and poetry of established artists and took and developed their own photographs accompanied by written narratives. As a part of the curriculum students also wrote poetry and analytical essays. I present my findings within the context of a Vygotskian pedagogical approach that takes social consciousness and metaphor as its central concepts. (...) The paper lays out this conceptual apparatus and deploys it to analyze the curriculum and student work. The paper argues for curriculum that develops social consciousness as the most effective for preparing students to create and participate in democratic societies. The research and analysis show that an arts based curriculum, in addition to successfully teaching literacy, is one of the most effective ways of bringing students’ life experience into the classroom for analysis and discussion, making activity at school relevant for students lives, especially those whose daily activities regularly confronts issues of life and death. (shrink)

Dans ses efforts pour la renaissance et la reconnaissance de l'Afrique, Léopold Sédar Senghor a élaboré une philosophie de l'art fondée sur l'identification des paradigmes inhérents au style afro-diasporique : le génie du rythme et l'hégémonie du mouvement, source d'un négro-orphisme où l'émotion apparaît consubstantielle de la commotion. S'inscrivant dans la continuité de la pensée senghorienne, le présent ouvrage met en place la théorie d'une esthétique kinésique et tente de l'appliquer à l'étude des pratiques oratoires, musicales, sportives, chorégraphiques afro-diasporiques. Il (...) montre comment l'idiosyncrasie africaine a servi de matrice à de nouveaux langages plastiques et musicaux tant en Europe qu'aux Amériques. Il en est ainsi de la geste jazzistique de Wynton Marsalis, examinée ici en lien avec la statuaire oraculaire nkisi nkondi du Congo, les polyphonies des peuples "pygmées", le bwiti et le mvet, culte et art verbal d'Afrique centrale. L'esthétique du jazz, du basket-ball, du hip-hop, des cultes religieux et des musiques diasporiques se rattache essentiellement à l'Afrique noire par la virtuosité expressive, la vitalité kinesthésique et la démocratisation du rythme. Libératrice, jouissive, délice dionysiaque, elle traduit le goût, la passion d'exister ainsi que la faculté de résistance d'une sensibilité culturelle qui a su surmonter les tragédies de l'Histoire avant de trouver de nouvelles voies de régénération et de dissémination dans le corps et l'âme des sociétés postmodernes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Petrification of Cleopatra in Nineteenth Century Art MARGARET MALAMUD MARTHA MALAMUD What did Cleopatra look like? Was she a Roman, a Ptolemaic Greek, an Egyptian, an African? Was she a precocious child, a devastatingly beautiful seductress, an astute practitioner of imperial politics, a murderess, a longnosed blue-stocking? [Figure 1] Cleopatra is dead, but “Cleopatra ” exists in the eye of the beholder. What other human being has (...) been portrayed in such “infinite variety”? In her life, and even more in her afterlife, the protean queen of the Nile has, like a shaft of sunlight focused through a magnifying glass, clarified and set ablaze underlying ideologies and overt assertions of race and gender, manifested differently in disparate times and places. Here we consider two case studies of nineteenth century representations of Cleopatra in stone: William Wetmore Story’s Cleopatra (1860) and Edmonia Lewis’s The Death of Cleopatra (1876). [Figarion 28.1 spring/summer 2020 Figure 1: Bust of Cleopatra VII, 40–30 bce, Altes Museum, Berlin. 32 the petrification of cleopatra ure 2] Story, a wealthy and well-connected white expatriate living in Rome, gave the famous queen features that deviated from classicizing portrayals of the queen and struck critics as startling and original. American artist Edmonia Lewis, of Black West Indies / Ojibwa Native American descent, lived and worked in Rome, but as a poor, racially-mixed female artist she moved in quite different social circles than Story. Her decision to sculpt the Egyptian queen as a white woman Figure 2: William Wetmore Story, Cleopatra, 1858; this carving 1869, Metropolitan Museum of Art, New York. Margaret Malamud, Martha Malamud 33 dying in agony during the last moments of her suicide shocked and fascinated critics. Both works display a very different understanding of women, the Orient, the Classical past, and the exotic Black other. We understand and contextualize these strikingly different representations of Cleopatra by looking at the comments of contemporary writers and critics. Lewis and her Death of Cleopatra inspired the twenty-first century Black poet Tyehimba Jess, with whose poetic evocation of Lewis and her work we conclude. In the middle of the nineteenth century, when most portrayals were of Cleopatra as a classical Greek beauty, William Wetmore Story boldly gave the famous queen African features. Story, an American emigré artist and “cultural influencer,” was living in Rome on the eve of the American Civil War. While there, he sculpted Cleopatra, which he began in 1858, completed in 1860, and exhibited to great acclaim at the 1862 World Exposition in London. Story was from Boston, where abolitionist sentiments were prominent, and was well aware of racial politics in the United States. Concerned by British support for the American South, he wrote a series of letters from Rome to the British Daily News in December of 1861 in which he denounced the institution of slavery, explained why he was devoted to the Union, and urged British neutrality in the Civil War. His Cleopatra was a provocative abolitionist statement. From the late eighteenth century on, free African Americans faced two pressing tasks: to refute charges that they were racially inferior to white people and to insert themselves into the historical record. ManyAfrican Americans and their supporters argued that there was a clear connection between ancient Africa (Ethiopia and Egypt) and the classical world based on their reading of classical texts and late eighteenth and early nineteenth century world histories. Educated African Americans documented the debt of Greece and Rome to Egyptian civilization, and repeatedly pointed out that Egypt was a major source of the cultural achievements of Greco-Roman an- 34 the petrification of cleopatra tiquity.It was conventional wisdom that Egyptian civilization influenced Greece. What was new and controversial was the assertion of a racial connection between ancient Egyptians and modern African Americans. Abolitionists used this constructed racial history to argue that the magnificent civilization of ancient Egypt and its influences on Greek and Roman culture were proof that African Americans were not racially inferior and therefore fully worthy to be citizens with equal rights in the American Republic.1 By the 1860s it had become a commonplace in American abolitionist circles that antiquity ’s most famous queen was... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 216-223 [Access article in PDF] Notes and Fragments Genre Fiction and "The Origin of the Work of Art" Nancy J. Holland I FIRST, A CONFESSION. Like, I suspect, many of my readers, I am an unpublished fiction writer. Unlike most of the closet fiction writers in academia, however, I write genre fiction. The question that immediately follows is how that writing is related to (...) the intellectual work I do in philosophy.This question, of course, is open to a broad range of answers, from the possibility that the two aren't related at all, to potential Freudian answers it might take years of therapy to unearth. Teaching informs one's life, however, as much as the reverse, and in teaching Martin Heidegger's "The Origin of the Work of Art" to my Metaphysics class last year, I began to understand at least one dimension of the appeal that writing genre fiction has for me as a philosopher.But first, let me explain what I mean by genre fiction. In what follows, I will be referring primarily to four forms of genre fiction that have clear roots in the nineteenth century in Western Europe and North America: two gender-segregated genres, the western and the romance, and two gender-marked genres, science fiction and detective novels. I will be comparing these to two other forms of "popular culture" that also developed in the nineteenth century and have, I would argue, similar relationships to the older, more "legitimate," more elite art forms which they closely resemble: photography 1 and popular music, [End Page 216] especially those forms of popular music such as ragtime, blues, jazz, and rock that are informed by the African-American experience in the United States. 2These "low brow" art forms all appear to have arisen out of the growth of the middle class in developing parts of the world during the nineteenth century and the correlative confluence of greater leisure, greater aggregate prosperity, and higher levels of education across a broader spectrum of society. Further, these art forms all combine the surface appearance of their respective "high brow" correlate arts with the reassurance of repetition that is the cornerstone of the folk arts with which they are also correlated. Each of these forms of popular culture balances itself, then, between a demand for more and more "works of art" (and/or class aspirations based on the appearance of such) and a demand for the familiar in a rapidly changing, materially challenging world.Thus, photography gives us a frozen and thereby purified visual reality, an icon of memory to which we can return at will. The truth it reveals is most often starker than that of folk painting and portraiture, but also gives the appearance of being free from the subjectivity of the artist. Great iconic photographs such as the kiss on V-E day, I have heard it said, become more real than the reality they encapsulated.Popular music similarly combines often amazing musical complexity (which is not unknown, although rarer, in western folk music) with the reassurance of a form that not only repeats itself within a song, but also between songs of the same genre. Thus, blues can be recognized by both the minor chords in its melodies and the characteristic rhyme pattern of its lyrics. Moreover, most western popular music, even to some extent free-form jazz, has a familiar and reassuring beginning-middle-end structure, both melodically and dynamically, that locates a listener immediately within the song's "story-arc." 3This same beginning-middle-end structure is one clear hallmark of genre fiction. Another is repetition. We all immediately know the plot of a detective novel or science fiction adventure: where it will begin, what the key stages of the story will be, and how it will end—not just happily, but with a specific form of reassuring outcome, be it the victory of well-intentioned intelligence over cunning evil or humanity's ability to survive even the most alien (and so most familiar) of threats. At... (shrink)

This book analyzes the sociopolitical sensibilities of Black aesthetics in society by examining the historical and political context in which Black aesthetics emerged; analyzing various Black aesthetic perspectives that speak to social justice; exploring the interpretive conditions necessary to perceive Black aesthetics as a language of social justice.

Buddhism-influenced essays, stories, and reviews by National Book Award winner Charles R. Johnson. This wide and varied collection of essays, reviews, and short stories by the renowned author Charles Johnson offers incisive views on politics, race, and Buddhism. Johnson notes that in his life the two activities that have anchored him and reinforce each other are creative production and spiritual practice. This book is a crystallization of what he has learned during his passage through American literature, the visual arts, (...) and the Buddha dharma. Essays include: "And if Peace Is Their Goal" on the principles of enlightened politics, "The King We Need" on the deep and sophisticated moral philosophy of Dr. Martin Luther King Jr., and why King's teachings and example are important to all Americans, "Why Buddhists Should Vote"--Johnson posits that voting can be seen as a way to reduce suffering, "The Meaning of Barack Obama"--an appreciation of the man who became one of the most historic US presidents, even before his first 100 days were through, "Why Buddhism for Black America Now?"--what Buddhism can offer the African-American community in the post-MLK era. (shrink)

Award-winning poet and critic Kevin Young traces the history of the hoax as a peculiarly American phenomenon--the legacy of P.T. Barnum's 'humbug' culminating with the currency of Donald J. Trump's 'fake news'. Disturbingly, Young finds that fakery is woven from stereotype and suspicion, with race being the most insidious American hoax of all. He chronicles how Barnum came to fame by displaying figures like Joice Heth, a black woman whom he pretended was the 161-year-old nursemaid to George Washington, (...) and 'What Is It?', an African American man Barnum professed was a newly discovered missing link in evolution. Bunk then turns to the hoaxing of history and the ways that forgers, plagiarists, and journalistic fakers invent backstories and falsehoods to sell us lies about themselves and about the world in our own time, from pretend Native Americans like Nasdijj to the deadly imposture of Clark Rockefeller, from the made-up memoirs of James Frey to the identity theft of Rachel Dolezal. This brilliant and timely work asks what it means to live in a post-factual world of 'truthiness' where everything is up for interpretation and everyone is subject to a pervasive cynicism that damages our ideas of reality, fact, and art."--Dust jacket flap. (shrink)

This book is a series of examinations of Black queer cis and transfeminity, a personal and loving homage to "Black femmes poetics of survival during the Trump era and beyond." Tinsley examines contemporary Black femme cultural production: the music of Kelsey Lu and Janelle Monáe; the visual work of Juliana Huxtable; Janet Mock's writing/directing of the TV show Pose, and the creations of Tourmaline; the fashion of Indya Moore; and (F)empower. She is interested in Black femme representations in film, popular (...) music, television, graphic novels, and poetry to conceptualize Black femme as figuration: that is, as a set of consciously, continually rescripted cultural and aesthetic practices that disrupt conventional meanings of race, gender, and sexuality. (shrink)

This essay focuses on the varieties of love in Toni Morrison’s novels. Love in a Morrison novel is always embedded in history, each character’s way of loving inflected by legacies from the ancestral past as well as from his or her personal past. Morrison has said that her novels are didactic. They teach a reader to think anew about love, race and gender. I differentiate in this essay between the early novels, which teach through character and plot and an occasional (...) direct authorial statement, and the later novels, starting with Beloved, which challenge a reader’s preconceptions about love through more subtle structural means. For example, deferred disclosures or gaps in meaning in the later novels draw out a reader’s assumptions about love and then, through a narrative twist, prompt the reader to examine and re-evaluate them. Love comes in a different shape in each later novel, surprising conventional expectations – from love as the deep friendship between young girls in Love to Home’s conception of love as a disruptive force that produces profound change in the lover to the characterization of love in Jazz as something you innovate and recreate each moment. The subtle formal techniques that engage a reader’s own values in an ethical dialogue with the text constitute Morrison’s variation on the tradition of call-and-response central to African American art forms. An overview of love in the first four novels is followed by a close reading of three later novels: Beloved, Home and Jazz. (shrink)

"Charles "Teenie" Harris photographed the events and daily life of African Americans for the Pittsburgh Courier, one of the nation's most influential Black newspapers. From the 1930s to 1970s, Harris created a richly detailed record of public personalities, historic events, and the lives of average people. In 2001, Carnegie Museum of Art purchased Harris's archive of nearly 80,000 photographic negatives, few of which are titled and dated; the archive is considered one of the most important documentations of 20th?century (...) class='Hi'>African American life. The book will serve as the definitive publication on the life and work of Teenie Harris, consisting of three significant essays: Cheryl Finley, assistant professor in the history of art at Cornell University, offers the first thorough analysis of Harris as an artist, situating him within the history of 20th?century African American art as well as American documentary and vernacular photography; Larry Glasco, associate professor of history at the University of Pittsburgh, draws on new research to present a detailed biography of the photographer; and Joe Trotter, professor of history and social justice at Carnegie Mellon University, explores the social and historical context of Harris's photographs. The book will also include a foreword by Deborah Willis, professor at the Tisch School of the Arts at NYU. In addition to comparative illustrations within the essays, the book includes 100 plates of Harris's signature work and a complete bibliography and chronology"--. (shrink)

The verb “to conjure” is a complex one, for it includes in its standard definition a great range of possible actions or operations, not all of them equivalent, or even compatible. In its most common usage, “to conjure” means to perform an act of magic or to invoke a supernatural force, by casting a spell, say, or performing a particular ritual or rite. But “to conjure” is also to influence, to beg, to command or constrain, to charm, to bewitch, to (...) move or convey, to imagine, to visualize, to call to mind, or to remember. —Rachael DeLue 2012, para 1.When we create with our Brown hands, feminine energy, and full spirits, we conjure. To exist, survive, and thrive in these bodies is a continuous act of conjuring. Our walks conjure. Our smiles conjure. Our tears conjure. Our laughs conjure. Our words conjure. Our artworks are conjurings. We, a Black/Filipina-American woman, a Dominican-American, and a Black-American woman, are guided by our solidarity with one another and all other Black and Brown female identifying persons whose raced and gendered subjectivities exist both inside and outside of colonization, white supremacy, and patriarchy. We bring to life our colored imaginations and curiosities, and share them with the world. We are united by our need for safety, autonomy as beings, dissolution of trauma, and desire to ask, “What would happen if I…?” Imaginative, curious Women of Color founded the underground railroad, guided captured Africans and Tainos to the mountains, ignited the Civil Rights Movement, organized laborers and immigrants, birthed the #BlackLivesMatter Movement, conceived the #MeToo Movement, and so much more. Like our kindred counterparts, we have an unrelenting urge to examine, question, wonder, desire, speak to, lead, be curious, and “conjure.” As practicing artists and art educators, our critical arts-based practices are grounded in intersectional feminisms like Womanism, Black Feminist Theory, and Chicana Feminist Theory, which allow us to do these very things. (shrink)

Not too long after photography’s grand debut in 1839, physician and inventor Oliver Wendell Holmes described the new technology as a “mirror with a memory.” What might this phrase mean for the question of African Americans and their relationship to the vicissitudes of photography and the vagaries of memory in particular? Through readings of works of art and social activism that make use of lynching photographs, this essay considers ways in which photography has functioned as a technology of memory (...) for African Americans, what the essay calls critical black memory, and proffers a mode of historical interpretation that both plays upon and questions photography’s documentary capacity.The essay makes two claims specifically. First, the mechanical reproduction of lynching by way of the photograph has been central to the recounting and reconstitution of black political cultures throughout the Jim Crow and post-Civil Rights era. From the usage of lynching photography in pamphlets by early twentieth-century anti-lynching activists, to posters created by mid-century civil rights organizations, to their deployment in contemporary art and popular culture, this archive has been a constitutive element of black visuality more broadly. Second, African American engagements with photography as a “site of memory” suggest a mode of historical interpretation in which African Americans simultaneously critique the “truth-claims” of photography while they mobilize the medium’s documentary capacity to intervene in the classification and subjugation of black life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"New" Media, Art, and Intercultural CommunicationBart Vandenabeele (bio)It is fairly common — but perhaps not altogether innocent — to avoid addressing new media and intercultural aspects of communication in one and the same essay. Here, however, both issues are treated together. I shall investigate, in a perhaps somewhat unusual way, the phenomenon of "new" artistic media and some related issues such as virtual reality, computer and telecommunications technology, and (...) cyberspace. I offer some philosophical remarks, especially of an epistemological kind, that are important to every debate in which terms like multimedia art, "new" media art, and screen based art occur. I argue that the novelty of some changes in the use of artistic media tends to be overemphasized and dramatized. Furthermore, I shall point to the lack of interest in intercultural aspects of artistic communication and to the relevance an intercultural orientation can have for reflection on the phenomenon of so-called "new" media in art.1It has often been claimed that art is the best possible window into another community. Art would be a universal language and contact with works of art supposedly offers the best direct or immediate internal access to another community. This is purported to be a kind of access that cannot possibly be matched by knowledge about the geography, religion, and history. Even John Dewey believes that "au fond, the aesthetic quality is the same for Greeks, Chinese, Americans."2 This idea is surprisingly reminiscent of Clive Bell's "discovery" of Significant Form in so-called primitive art.3 Dewey says thatbarriers are dissolved, limiting prejudices melt away, when we enter into the spirit of Negro or Polynesian art. This insensible melting is far more efficacious than the change effected by reasoning, because it enters directly into attitude."4To this contention one could object in the following way. Immediate contact with for example, Congolese Nkisi nkondi fetish statues (in the museum of [End Page 1] African Art and History in Tervuren), which are bristling with nails are quite shocking to Europeans — such as Joseph Conrad in the Congo.5 Only by acquaintance with facts that are external to the artwork can one get real access to and understanding of them. One has to know that the nails are meant to seal dispute resolutions and that the statues "were considered so powerful that they were sometimes kept outside the village."6 Only when I know this, will my first perception be seriously altered. It is an objection that is often made against the privilege enjoyed by the immediate contact with the senses: knowledge of the "context" can enhance our appreciation of the art of the foreign community.Both the universalist view and the objection are flawed.7 First of all, we have to ask whether we can make such a sharp distinction between internal and external information and, second, whether it is correct to presuppose a typical proper aesthetics to make artistic communication possible. Is not every form of life already the (not fully definable) outcome of conscious or unconscious influence by other forms of life? What would be the so-called "own" internal aesthetics by which we should judge the famous "Turkish" Iznik tiles that reflect especially the Ottoman rulers' interest in Chinese porcelain, or the "Japanese" aesthetics of Zen Buddhism that is the result of a century-long historical interaction between Japanese culture and the new, foreign religion of Buddhism, which traveled from Japan to India via China and Korea? What would be the "typical" English garden, which was realized on the basis of travel reports from the Far East? And what of the Eastern influence on so-called typical Western painters as Matisse, Whistler, and Degas or composers such as Debussy, Messiaen, Ravel, Rimski-Korsakow and Puccini? What is clear is that it is completely unclear what is "own," "typical," or "authentic." Live communities are never isolated islands developing by themselves. It is as impossible to demarcate strictly the "proper" from the "foreign" as it is to find a universal language that would make artistic communication possible in an absolutely definitive way.Just as it is not necessary to share a language to communicate8 — this holds both for people... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"New" Media, Art, and Intercultural CommunicationBart Vandenabeele (bio)It is fairly common — but perhaps not altogether innocent — to avoid addressing new media and intercultural aspects of communication in one and the same essay. Here, however, both issues are treated together. I shall investigate, in a perhaps somewhat unusual way, the phenomenon of "new" artistic media and some related issues such as virtual reality, computer and telecommunications technology, and (...) cyberspace. I offer some philosophical remarks, especially of an epistemological kind, that are important to every debate in which terms like multimedia art, "new" media art, and screen based art occur. I argue that the novelty of some changes in the use of artistic media tends to be overemphasized and dramatized. Furthermore, I shall point to the lack of interest in intercultural aspects of artistic communication and to the relevance an intercultural orientation can have for reflection on the phenomenon of so-called "new" media in art.1It has often been claimed that art is the best possible window into another community. Art would be a universal language and contact with works of art supposedly offers the best direct or immediate internal access to another community. This is purported to be a kind of access that cannot possibly be matched by knowledge about the geography, religion, and history. Even John Dewey believes that "au fond, the aesthetic quality is the same for Greeks, Chinese, Americans."2 This idea is surprisingly reminiscent of Clive Bell's "discovery" of Significant Form in so-called primitive art.3 Dewey says thatbarriers are dissolved, limiting prejudices melt away, when we enter into the spirit of Negro or Polynesian art. This insensible melting is far more efficacious than the change effected by reasoning, because it enters directly into attitude."4To this contention one could object in the following way. Immediate contact with for example, Congolese Nkisi nkondi fetish statues (in the museum of [End Page 1] African Art and History in Tervuren), which are bristling with nails are quite shocking to Europeans — such as Joseph Conrad in the Congo.5 Only by acquaintance with facts that are external to the artwork can one get real access to and understanding of them. One has to know that the nails are meant to seal dispute resolutions and that the statues "were considered so powerful that they were sometimes kept outside the village."6 Only when I know this, will my first perception be seriously altered. It is an objection that is often made against the privilege enjoyed by the immediate contact with the senses: knowledge of the "context" can enhance our appreciation of the art of the foreign community.Both the universalist view and the objection are flawed.7 First of all, we have to ask whether we can make such a sharp distinction between internal and external information and, second, whether it is correct to presuppose a typical proper aesthetics to make artistic communication possible. Is not every form of life already the (not fully definable) outcome of conscious or unconscious influence by other forms of life? What would be the so-called "own" internal aesthetics by which we should judge the famous "Turkish" Iznik tiles that reflect especially the Ottoman rulers' interest in Chinese porcelain, or the "Japanese" aesthetics of Zen Buddhism that is the result of a century-long historical interaction between Japanese culture and the new, foreign religion of Buddhism, which traveled from Japan to India via China and Korea? What would be the "typical" English garden, which was realized on the basis of travel reports from the Far East? And what of the Eastern influence on so-called typical Western painters as Matisse, Whistler, and Degas or composers such as Debussy, Messiaen, Ravel, Rimski-Korsakow and Puccini? What is clear is that it is completely unclear what is "own," "typical," or "authentic." Live communities are never isolated islands developing by themselves. It is as impossible to demarcate strictly the "proper" from the "foreign" as it is to find a universal language that would make artistic communication possible in an absolutely definitive way.Just as it is not necessary to share a language to communicate8 — this holds both for people... (shrink)

Through staged photographs in which she herself is often the lead actor or through appropriation of historical photographs, contemporary African American artist Carrie Mae Weems deconstructs the shaming of the black female body in American visual culture and offers counter-hegemonic images of black female beauty. The mirror has been foundational in Western theories of subjectivity and discussions of beauty. In the artworks I analyze in this article, Weems tactically employs the mirror to engage the topos of shame (...) in order to reject it as a way of seeing the self and to offer a new way of lovingly seeing the self. I use the work of Kelly Oliver, Helen Block Lewis, and bell hooks to articulate the relationships among the mirror, shame, and black female subjectivity in Weems's work. Weems's subjects often reckon with what Oliver calls “social melancholy” as they experience shame while standing before the mirror. However, Weems also shows that by looking again—a critical strategy I explain using Oliver's model of “the loving eye”—her subjects can use the mirror as a corrective to the social shaming gaze and make it a stage for establishing black female subjectivity, a gaze of self-love, and beauty. (shrink)

The verb “to conjure” is a complex one, for it includes in its standard definition a great range of possible actions or operations, not all of them equivalent, or even compatible. In its most common usage, “to conjure” means to perform an act of magic or to invoke a supernatural force, by casting a spell, say, or performing a particular ritual or rite. But “to conjure” is also to influence, to beg, to command or constrain, to charm, to bewitch, to (...) move or convey, to imagine, to visualize, to call to mind, or to remember. —Rachael DeLue 2012, para 1. When we create with our Brown hands, feminine energy, and full spirits, we conjure. To exist, survive, and thrive in these bodies is a continuous act of conjuring. Our walks conjure. Our smiles conjure. Our tears conjure. Our laughs conjure. Our words conjure. Our artworks are conjurings. We, a Black/Filipina-American woman, a Dominican-American, and a Black-American woman, are guided by our solidarity with one another and all other Black and Brown female identifying persons whose raced and gendered subjectivities exist both inside and outside of colonization, white supremacy, and patriarchy. We bring to life our colored imaginations and curiosities, and share them with the world. We are united by our need for safety, autonomy as beings, dissolution of trauma, and desire to ask, “What would happen if I…?” Imaginative, curious Women of Color (WoC) founded the underground railroad, guided captured Africans and Tainos to the mountains, ignited the Civil Rights Movement, organized laborers and immigrants, birthed the #BlackLivesMatter Movement, conceived the #MeToo Movement, and so much more. Like our kindred counterparts, we have an unrelenting urge to examine, question, wonder, desire, speak to, lead, be curious, and “conjure.” As practicing artists and art educators, our critical arts-based practices are grounded in intersectional feminisms like Womanism, Black Feminist Theory, and Chicana Feminist Theory, which allow us to do these very things. (shrink)

_African-American Philosophers_ brings into conversation seventeen of the foremost thinkers of color to discuss issues such as Black existentialism, racism, Black women philosophers within the academy, affirmative action and the conceptual parameters of African-American philosophy.

This is the first book-length project to examine the relationship between blackness, queerness, and hip hop. Using aesthetics as its organizing lens, Hip Hop Heresies attends to the ways that hip hop cultural production in New York City from the 1970s through the first fifteen years of the 21st century produced hip hop cultural products (film, visual art, and music) that offer "queer articulations" of race, gender, and sexuality that are contrary to hegemonic ideas and representations of those categories in (...) hip hop production, as well as in writing about hip hop culture. (shrink)

African-American Philosophers brings into conversation seventeen of the foremost thinkers of color to discuss issues such as Black existentialism, racism, Black women philosophers within the academy, affirmative action and the conceptual parameters of African-American philosophy.

Passionate and rollicking personal and intellectual essays by philosopher Crispin Sartwell. Philosopher, music critic, and syndicated columnist Crispin Sartwell has forged a distinctive and fiercely original identity over the years as a cultural commentator. In books about anarchism, art and politics, Native American and African American thought and culture, Eastern spirituality, and American transcendentalism, Sartwell has relentlessly insisted on an ethos rooted in unadorned honesty with oneself and a healthy skepticism of others. This volume of selected (...) popular writings combines music and art criticism with personal memoir about addiction and rebellion, as well as cultural commentary on race, sexuality, cynicism, and the meaning of life. “Crispin Sartwell deserves to be recognized as the heir to a distinctively American intellectual legacy. Like the American ‘cynics’ he loves—Twain, Bierce, Mencken—he is fiercely individualistic, deeply antiauthoritarian, and slavishly aligned with no creed or academic discipline. He uses his significant erudition not to escape the ordinary or himself, but rather to let loose riches—of insight, suffering, and beauty—through a relentless examination of life, culture, and reality. Sartwell is also, in my opinion, the best philosophical prose stylist of his generation. His writing—crystalline, vivid, and intoxicating—is an uncontrollable substance. And though Sartwell swaggers, provokes, and sometimes infuriates, he does so with a tacit humility and self-scrutiny, which empowers readers to follow his example and convert their own rage into beauty.” — Elizabeth Walden, Bryant University “Crispin Sartwell is the most important philosophical voice of his generation. He has risen into the public consciousness in the last two decades due to his controversial views on social, political, and cultural subjects. Through television appearances, journalism, and blogging, along with his numerous scholarly books, he has made a reputation as a thinker of serious thoughts. Yet, there is a lightness to his world that is irreverent, fun, and entertaining. These essays reflect some of his best writing from the past fifteen years. They are highly readable, but they are also profound reflections on the subjects that will draw many of us into deeper ponderings about the meaning of life, or, more to the point, the meaning of our lives.” — Randall Auxier, author of Time, Will, and Purpose: Living Ideas from the Philosophy of Josiah Royce. (shrink)

A special issue of _The Philosophical Forum_, one of the most prestigious philosophy journals, is now available to a wider readership through its publication in book form. The volume includes twelve essays in three sections-- Philosophical Traditions; the African-American Tradition; and Racism, Identity, and Social Life. Contributors are: K. Anthony Appiah, Kwasi Wiredu, Lucius Outlaw, Leonard Harris, Bernard Boxill, Frank M. Kirkland, Tommy L. Lott, Adrian M.S. Piper, Laurence Thomas, Michele M. Moody-Adams, Anita L. Allen, and Howard McGary. (...) The introduction is by John P. Pittman. (shrink)

DIVA consideration of the performance of Blackness and race in general, in relation to sexuality and critiques of authenticity./div.

“Implicit bias” is a term of art referring to relatively unconscious and relatively automatic features of prejudiced judgment and social behavior. While psychologists in the field of “implicit social cognition” study “implicit attitudes” toward consumer products, self-esteem, food, alcohol, political values, and more, the most striking and well-known research has focused on implicit attitudes toward members of socially stigmatized groups, such as African-Americans, women, and the LGBTQ community.[1] For example, imagine Frank, who explicitly believes that women and men are (...) equally suited for careers outside the home. Despite his explicitly egalitarian belief, Frank might nevertheless implicitly associate women with the home, and this implicit association might lead him to behave in any number of biased ways, from trusting feedback from female co-workers less to hiring equally qualified men over women. Psychological research on implicit bias is relatively recent (§1), but a host of metaphysical (§2), epistemological (§3), and ethical questions (§4) about implicit bias are pressing.[2]. (shrink)

This collection demonstrates the strong influence that humanism and freethought had in developing the history and ideals of black intellectualism. Most people are quick to note the profound influence that religion has played in African-American history: consoling the downtrodden slave or inspiring the abolitionists, the underground railroad, and the civil rights movement. But few are aware of the role humanism played in shaping the black experience: developing the thought and motivating the actions of powerful African-American intellectuals. (...) Section One of this book offers biographical sketches of such prominent black humanists as Frederick Douglass, Cheikh Anta Diop, W.E.B. DuBois, Hubert H. Harrison, and Richard Wright. Section Two features essays by black humanists: Douglass, DuBois, Charles W. Faulkner, Langston Hughes, Zora Neale Hurston, Ishmael Jaffree, Claude McKay, Melvin B. Tolson, and Bruce Wright. Section Three offers the views of contemporary black African humanists: Freda Amakye Ansah, Emmanuel Kofi Mensah, Nkeonye Otakpor, Franz Vanderpuye, and Kwasi Wiredu. Section Four contains interviews conducted by Allen on the subjects of black humanist activism, the Afroasiatic roots of classical civilization, and the Harlem Renaissance with: Martin G. Bernal, Charles Faulkner, Leonard Harris, Norman Hill, and Alaine Locke. (shrink)

This paper seeks to complicate two primary norms within argumentation theory: 1) engaging with one’s interlocutors in a ‘pleasant’ tone and 2) speaking directly to one’s target audience/interlocutor. Moreover, I urge argumentation theorists to explore various cultures’ argumentative norms and practices when attempting to formulate more universal theories regarding argumentation. Ultimately, I aim to show that the two previously mentioned norms within argumentation obscure and misrepresent many argumentative practices within African American Vernacular English—or Ebonics, specifically the art of (...) signifying. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"What Is Philosophy?"The Status of World Philosophy in the ProfessionRobert C. SolomonThe question "What is philosophy?" is both one of the most virtuously self-effacing and one of the most obnoxious that philosophers today tend to ask. It is virtuously self-effacing insofar as it questions, with some misgivings, its own behavior, the worth of the questions it asks, and the significance of the enterprise itself. It is obnoxious when it (...) refuses to question its own behavior but instead takes that same behavior as the exclusive standard to delegitimize any other activity that dares to call itself "philosophy." Thus, for most of this century, Anglo-American and most European philosophers have simply ignored the rich philosophical traditions of Africa, Asia, Latin and Native America, and the rest of the world. Some leading African American and African European philosophers have dismissed "ethnophilosophy" as "not philosophy," presumably to protect their own analytic credentials. Universities as far flung as Singapore, Sierra Leone, and New Delhi have prided themselves on their fidelity to Oxbridge philosophy. It seems that the globalization of free market economics goes with the globalization of one brief moment in philosophy, with similarly devastating effects on local cultures and the rich varieties of human experience.Philosophy might be thought of as made up of two components: critical thinking and passionate vision. But "critical thinking" does not necessarily imply the hermeneutics of suspicion, skepticism, or intellectual paranoia—all too often the trademarks of the bright young professional philosopher. One can be "critical," that is, reflective, while at the same time be committed, even devoted, to an idea or a way of thinking. The emphasis on passionate vision, however, is just as essential, and any philosophy that doesn't include both components just isn't worthy of the name. Without passionate vision, we get that utterly eviscerated focus on forms of argumentation—philosophia minimalia—devoid of "empirical" content (that is to say, content) and, as far as most people are concerned, devoid of any interest. Without critical reflection, we get gullibility and the worst of New Age philosophy, accepting of any kind of nonsense, just because it stirs the passions. But simply to assume that philosophy must be as rigorously self-questioning as modern European and Anglo-American philosophy is a subtle form of ethnic chauvinism. It eliminates from the realm of philosophy not only African ethnophilosophy and Latin and Native American and South Pacific mythology but a good deal of the philosophy of religion, the basis (for better or worse) of the development of Western philosophy over much of the past two thousand years. [End Page 100]I have just withdrawn from a recent dispute, in a respectable and supposedly eclectic philosophy journal, in which my worst fears in this regard were rather bluntly confirmed. I had made the point mentioned above—rather matter-of-factly, I thought—that if (analytic) philosophy dismisses or ignores modes of thinking that are not obviously self-critical and are presented poetically instead of by way of positions to be argued for, then a good deal of the world's philosophy, including a good deal of Western philosophy, would be left out of the arena. The journal's board reacted indignantly, to put it mildly, to the suggestion that anything should count as "philosophy" that was not sufficiently self-critical in just this sense. But what about the millennium or so of religious philosophy in the West? Does anyone believe that thinkers like Anselm, or Alvin Plantiga for that matter, are seriously skeptical of the truth of Christianity, as they go through their admittedly brilliant argumentative routines? For that matter, to what extent is the emphasis on logical form and argument subjected to scrutiny in contemporary analytic philosophy? (As one of the foremost practitioners of that art commented, "Metaphilosophy makes me sick.")Some of the hostility to world philosophy, to be sure, turns on the conflict between philosophy and religion, which may have its origins in ancient and medieval philosophy but emerges full-blown with the Enlightenment and its campaign against "superstition." But many people and a good many cultures do not distinguish between philosophy and religion. If we consider the word "philosophy... (shrink)

Through the back door: the problem of history and the African American philosopher/philosophy -- The problem of philosophy: metaphilosophical considerations -- The search for values: axiology in ebony -- Philosophy of science: African American deliberations -- Mapping the disciplinary contours of the philosophy of religion: reason, faith, and African American religious culture.

This new Encyclopedia of Postmodernism is structured with biographical entries on all the key contributors to the postmodernism debate, including Mikhail Bakhtin, Pierre Bourdieum, Jacques Derrida, Jurgen Habermas and Wittgenstein. Providing an all-encompassing and welcome addition to the field, the Encyclopedia contains entries on foundational concepts of postmodernism which have revolutionized thinking in every intellectual discipline. This new Encyclopedia is the first to provide comprehensive A-Z coverage of the key individuals and concepts of postmodernism. The 300+ entries include: * (...) class='Hi'>African American studies * Roland Barthes * binary opposition * Buddhism * comparative literature * cyberculture * death of God * Gilles Deleuze * desire * digital culture * end of history * globalization * grand narrative * improvisation * jouissance * logocentrism * metalanguage * sadism * theatre arts * trope * visuality * Cornell West * and much more. Fully cross-referenced and indexed, with suggestionsfor further reading. (shrink)

A special issue of The Philosophical Forum , one of the most prestigious philosophy journals, is now available to a wider readership through its publication in book form. The volume includes twelve essays in three sections-- Philosophical Traditions; the African-American Tradition; and Racism, Identity, and Social Life. Contributors are: K. Anthony Appiah, Kwasi Wiredu, Lucius Outlaw, Leonard Harris, Bernard Boxill, Frank M. Kirkland, Tommy L. Lott, Adrian M.S. Piper, Laurence Thomas, Michele M. Moody-Adams, Anita L. Allen, and Howard (...) McGary. The introduction is by John P. Pittman. (shrink)

'The sheer range of West's interests and insights is staggering and exemplary: he appears equally comfortable talking about literature, ethics, art, jurisprudence, religion, and popular-cultural forms.' - Artforum Keeping Faithis a rich, moving and deeply personal collection of essays from one of the leading African American intellectuals of our age. Drawing upon the traditions of Western philosophy and modernity, Cornel West critiques structures of power and oppression as they operate within American society and provides a way of (...) thinking about human dignity and difference afresh. Impressive in its scope, West confidently and deftly explores the politics and philosophy of America, the role of the black intellectual, legal theory and the future of liberal thought, and the fate of African Americans. A celebration of the extraordinary lives of ordinary Americans, Keeping Faithis a petition to hope and a call to faith in the redemptive power of the human spirit. (shrink)