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)

This essay considers the recuperation of beauty as a productive critical strategy in discussions of African American dance. I argue that black performance in general, and African American concert dance in particular, seeks to create aesthetic sites that allow black Americans to participate in discourses of recognition and appreciation to include concepts of beauty. In this, I suggest that beauty may indeed produce social change for its attendant audiences. I also propose that interrogating the notion of (...) beauty may allow for social change among audiences that include dance theorists and philosophers. Through a case-study consideration of work by three African American choreographers, Donald Byrd (b. 1949), Ulysses Dove (1947 – 1996), and Abdel Salaam (b. 1949), I ultimately hope to suggest critical possibilities aligning dance performance with particular aesthetic theory relevant to its documentation and interpretation. (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)

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)

Long touted in literary and historical works, the Mississippi River remains an iconic presence in the American landscape. Whether referred to as ‘Old Man River’ or the ‘Big Muddy,’ the Mississippi River represents imageries ranging from pastoral and Acadian to turbulent and unpredictable. But these imageries – revealed through the cultural production of artists, writers and even filmmakers – did not adequately reflect the experiences of everyone living and working along the river. The African-American community and its (...) relationship to the Mississippi River down the ages is occluded by these discourses. In focusing on this alternate history, namely the African-American experience with the Mississippi River, the overarching framework of this paper will consist of three lenses on the river as: refuge, labor, and cultural icon. From the moment of their arrival, the intersection of their lives with the Mississippi River reveals a history where the river offers freedom, oppression, escape, sustenance, renewal, disease and displacement. From this largely unexplored perspective, distinctions of race and class are exposed and reinforced. Although rivers have long been included in the historical record, whether through a geographical, spiritual, aesthetic or recreational perspective, the juncture where human lives intersect with rivers, constructing memory and identity, remains overlooked despite a plethora of cultural artifacts such as song, prose and poetry that distinguish experiences. These cultural artifacts, in turn, differentiate reciprocal relationships with the river based on race and class. For the African-American community, the Mississippi River alternated between liberator and oppressor, informing the social construct of an identity that was at times lamented, celebrated, demeaned and feared. But how did these linkages with the river not only influence a distinct collective memory but also nurture a culture with certain understandings and perspectives about the river? And if so, what have been their ramifications? Through an examination of folklore, song and first-person accounts, these questions will be addressed as multiple narratives persist, offering a history that makes more explicit the distinctive experiences of the African-American communities in their engagement with the Mississippi River. (shrink)

Explores the interplay between artistic values and social, political, and moral concerns in writings by African American and Native American women.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Tragic Vision of African American ReligionPaul E. CapetzThe Tragic Vision of African American Religion Matthew V. Johnson New York, N.Y.: Palgrave Macmillan, 2010. 189 pp. $75.00Matthew Johnson’s profound book The Tragic Vision of African American Religion sheds new light upon the distinctive nature of African American religion. Adequate interpretation of this topic requires understanding the traumas inflicted upon Africans (...) sold into slavery, their existential predicaments before and after emancipation, and the ongoing plight of their descendants whose psyches have been indelibly scarred by this traumatic history. Johnson avails himself of the resources of philosophical theology, psychoanalytic theory, and literary criticism to argue his thesis that African American religion expresses a tragic vision of reality. Besides providing an illuminating analysis of the traumatic experience underlying this religious vision, Johnson presents a compelling constructive proposal as to the broader implications of his thesis for Christian theology at large.As a student of David Tracy and Langdon Gilkey, Johnson sees the necessity for rigorous philosophical reflection in theology. Because the spirituality of the black church stands in some real tension with the traditional theological categories inherited from Europe, Johnson proceeds with “a phenomenological orientation grounded in a philosophical hermeneutical approach” that allows him to excavate the traumatic experiences informing this spirituality (4). He skillfully uses the concepts of mourning, loss, longing, and desire developed in psychoanalytical theory to probe the significance of trauma for grasping the dynamics of African American spirituality. He engages literary criticism and argues convincingly for a distinction between “tragedy” as a literary genre and the tragic vision it articulates. Indeed, the tragic vision is prior to tragedy. The tragic is not the encounter with meaninglessness per se but “the always already aesthetic representation of the encounter, which preserves its terrible truth in a transfigured vision of reality” (6). This vision affirms life while facilitating “the recognition and embrace of the darker, more fundamental truths of life” (7).Cognizant that other theologians have declared the incompatibility of Christian faith with a tragic vision of reality, Johnson believes otherwise. He insists that the tragic is fundamental to human experience as such, although it is frequently evaded by strategies of foreclosure—including those of Christian theology—that falsify the experience. Yet the distinctive thing about the black religious experience is the way African Americans made the Christian faith [End Page 215] their own by transforming it at a deep spiritual level through their tragic vision. Mildly critical of previous formulations of black theology, Johnson contends that this involved much more than the affirmation that God cares about the sociopolitical liberation of oppressed people. The Christian tragic vision of the black experience offers the possibility of a new basis for “theology in an African American key” (6). Since he understands himself primarily as a Christian theologian, however, Johnson addresses an audience consisting of more than fellow black theologians. He rightly highlights a profound truth that white theologians have largely failed to grasp: the contribution of the black church “transcends the confines of African American culture to speak meaningfully to a Christian faith struggling to remain viable in a meaningful way” (10).James Cone once issued this challenge: “Why don’t white theologians make racism their issue?” White theologians who ponder Johnson’s book will begin to understand the full import of this challenge: by opening ourselves unreservedly to the pain of our black sisters and brothers, we may discover anew the meaning of that genuine humanity to which the gospel summons all people. A theological reformulation of Christian faith as tragic in the light of the traumas of the black experience could occasion a much needed reformation of the white churches in America.Paul E. CapetzUnited Theological Seminary of the Twin CitiesCopyright © 2012 The Society of Christian Ethics... (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)

An emerging body of research comparing body image disturbance and eating problems among African American and white women suggests that there are major ethnic differences in these areas. African American women appear to be more satisfied with their weight and appearance than are white women, and they are less likely to engage in unhealthy weight control practices, yet they are more likely to have high rates of obesity. Drawing on both Black and white feminist literature on (...) eating problems, this article advances three arguments that may account for these differences: Black women may develop a strong positive self-valuation and an alternative beauty aesthetic to resist societal stigmatization, Black women may be less likely to acquire eating disorders due to differences in the cultural construction of femininity in Black communities, and positive body image among Black women may sometimes reflect a defensive need to deny health problems such as compulsive overeating and obesity. (shrink)

In Cameroon, a monumental "statue of liberty" is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the contributors engage (...) with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl's photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans' Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising "morality" plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly "African" aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

In Cameroon, a monumental “statue of liberty” is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the contributors engage (...) with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl’s photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans’ Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising “morality” plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly “African” aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

Those who know anything about black history and culture probably know that aesthetics has long been a central concern for black thinkers and activists. The Harlem Renaissance, the Negritude movement, the Black Arts Movement, and the discipline of Black British cultural studies all attest to the intimate connection between black politics and questions of style, beauty, expression, and art. And the participants in these and other movements have made art and offered analyses that wrestle with clearly philosophical issues. In _A (...) Philosophy of Black Aesthetics_, I propose to identify and explore the most significant philosophical issues that emerge from the aesthetic dimensions of black life. The book will consist of eight short chapters, each of which will discuss a complex of related themes and phenomena. Every chapter will begin with one or two illustrative real-world examples, and then use the complexities of these opening cases to introduce the relevant issues. Many people in several fields have explored various bits of the terrain that I’ll cover. But none has surveyed the entire terrain in the name of aesthetics, and none has conducted this survey from an explicitly philosophical perspective. Setting up the project in this way means that its main conclusions will come in two forms. One kind of conclusion will emerge from the way I frame the issues. The two most important points here are that the field of aesthetics ought to cover more than the study of western fine art, and that the field of black aesthetics allows and requires the sort of comprehensive and philosophical analysis that I’ll offer. Another set of conclusions will emerge from my treatment of the specific issues in each chapter. In each case the aim will be to defend, albeit briefly, some position on the major issues raised in each chapter. (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.

Focusing primarily on the work of Samuel Beckett, Toni Morrison, Wole Soyinka, and J. M. Coetzee, Ato Quayson launches a thoroughly cross-cultural, interdisciplinary study of the representation of physical disability. Quayson suggests that the subliminal unease and moral panic invoked by the disabled is refracted within the structures of literature and literary discourse itself, a crisis he terms "aesthetic nervousness." The disabled reminds the able-bodied that the body is provisional and temporary and that normality is wrapped up in certain social (...) frameworks. Quayson expands his argument by turning to Greek and Yoruba writings, African American and postcolonial literature, depictions of deformed characters in early modern England and the plays of Shakespeare, and children's films, among other texts. He considers how disability affects interpersonal relationships and forces the character and the reader to take an ethical standpoint, much like representations of violence, pain, and the sacred. The disabled are also used to represent social suffering, inadvertently obscuring their true hardships. (shrink)

James Winchester brings the western philosophical tradition into dialog with contemporary African-American thinkers in an attempt to bridge the culture gap in aesthetic judgments.

This chapter begins with a narration of a slave ship's arrival from the Dutch Gold Coast, today's Ghana, to a South American seaport, Suriname, with about 40 blacks. The uprooted Africans used what was at hand, both culturally and materially, to cobble together the beginnings of an African American culture. It appears that these cultures are not so much born as assembled. This introductory chapter attempts to answer four preliminary questions: to paraphrase cultural theorist and sociologist Stuart (...) Hall: what is the black in black aesthetics; in the same spirit: what is the aesthetic in black aesthetics; what good is a philosophy of black aesthetics; and why discuss any of this in terms of assembly. The idea of assembling black aesthetics presupposes that there is a responsible way of appealing to racial blackness. The chapter also indicates the content available in other chapters of the book. (shrink)

I argue that Classical American Pragmatists—Royce, James, Dewey, Perice, Addams, Du Bois, and Locke subscribed to this view and practiced philosophy by focusing on experience and directing a critical eye to major problems in living. Thus Royce and Dewey explored the nature of genuine community and its role in developing a flourishing individual life but also a public, democratic life. Royce and James engaged in a phenomenological analysis of human experience including religious experience developing a rich understanding of human (...) psychological, social, and religious development. Dewey, Royce and Perice applied the lessons of the scientific communal experience to problem solving in everyday life. Dewey explored life’s aesthetic dimensions. Addams, Du Bois and Locke applied philosophy to problems of living with discrimination as an immigrant or an African American. (shrink)

In its comprehensive overview of Alain Locke's pragmatist philosophy this book captures the radical implications of Locke's approach within pragmatism, the critical temper embedded in Locke's works, the central role of power and empowerment of the oppressed and the concept of broad democracy Locke employed.

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)

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)

The Cool-Kawaii: Afro-Japanese Aesthetics and New World Modernity, by Thorsten Botz-Bornstein, analyzes and compares African American cool culture and the Japanese aesthetics of kawaii or cute and characterizes them as expressions set against oppressive homogenizations of a technocratic world. The Cool-Kawaii sheds light on the history and development of both cultures in three main ways: First, both emerge from similar historical conditions; second, both are in search of human dignity and liberation, and finally, both kawaii and African (...) American cool establish a new kind of modernity able to transcend both traditionalism and anti-traditionalist modernity. (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.

The decades following the civil rights and decolonization movements of the sixties and seventies - termed the post-soul era - created new ways to understand the aesthetics of global racial representation. Daphne Lamothe shows that beginning around 1980 and continuing to the present day, Black literature, art, and music resisted the pull of singular and universal notions of racial identity. Developing the idea of 'Black aesthetic time' - a multipronged theoretical concept that analyzes the ways race and time collide in (...) the process of cultural production - she assesses Black fiction, poetry, and visual and musical texts by Paule Marshall, Zadie Smith, Tracy K. Smith, Dionne Brand, Toyin Ojih Odutola, and Stromae, among others. Lamothe asks how our understanding of Blackness might expand upon viewing racial representation without borders - or, to use her concept, from the permeable, supple place of Black aesthetic time. Lamothe purposefully focuses on texts told from the vantage point of immigrants, migrants, and city dwellers to conceptualize Blackness as a global phenomenon without assuming the universality or homogeneity of racialized experience. In this new way to analyze Black global art, Lamothe foregrounds migratory subjects poised on thresholds between not only old and new worlds, but old and new selves. (shrink)

This essay assesses the possibilities for poetic-liturgical compositions, such as requiems, to promote Christian public engagement when legal frameworks are perceived to be inadequate for securing justice. This essay addresses the perception that legal statutes and procedures failed to honor the personhood of two particular African American males and discusses how aesthetic responses have been used to counter the devaluing of their lives. One such response, Marilyn Nelson's poem Fortune's Bones: The Manumission Requiem, questions the law's failure to (...) protect an eighteenth-century enslaved man. Another requiem memorializes Michael Brown after the teen's killing by a police officer in 2014. This essay discusses these particular aesthetic responses and then evaluates the possibilities for the requiem as a Christian practice of civic engagement by appropriating Charles Mathewes's articulation of hopeful citizenship. In cases when the law is perceived to be complicit in devaluing African American personhood, liturgy can be a meaningful Christian response. (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.

For three decades, Angela Y. Davis has written on liberation theory and democratic praxis. Challenging the foundations of mainstream discourse, her analyses of culture, gender, capital, and race have profoundly influenced democratic theory, antiracist feminism, critical studies and political struggles. Even for readers who primarily know her as a revolutionary of the late 1960s and early 1970s she has greatly expanded the scope and range of social philosophy and political theory. Expanding critical theory, contemporary progressive theorists - engaged in justice (...) struggles - will find their thought influenced by the liberation praxis of Angela Y. Davis. _The Angela Y. Davis Reader_ presents eighteen essays from her writings and interviews which have appeared in _If They Come in the Morning, Women, Race, and Class, Women, Culture, and Politics,_ and _Black Women and the Blues_ as well as articles published in women's, ethnic/black studies and communist journals, and cultural studies anthologies. In four parts - "Prisons, Repression, and Resistance", "Marxism, Anti-Racism, and Feminism", "Aesthetics and Culture", and recent interviews - Davis examines revolutionary politics and intellectualism. Davis's discourse chronicles progressive political movements and social philosophy. It is essential reading for anyone interested in contemporary political philosophy, critical race theory, social theory, ethnic studies, American studies, African American studies, cultural theory, feminist philosophy, gender studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Aesthetics in Feminist PerspectiveJulie Van CampAesthetics in Feminist Perspective, edited by Hilde Hein and Carolyn Korsmeyer; xv & 252 pp. Bloomington: Indiana University Press, 1993, $39.95 cloth, $14.95 paper.Has feminism been hijacked by one lock-step agenda, suppressing all dialogue and debate? Far from it, judging from this collection of seventeen essays on feminist aesthetics. The first such collection in English, it includes eleven essays previously published in Hypatia (...) (1990).This well-organized volume offers both broad theoretical considerations and applications to specific art forms, diverse methodological perspectives, and healthy debate among the contributors. The section on “The Nature of Art: Some Feminist Alternatives” considers feminist perspectives as alternatives to traditional concepts of art, motivated by considerations of the art of women. Skepticism abounds in the section on “Interpretation and Point of View” concerning a “universal” or “paradigmatic” female voice in literature, film, and visual art. “Philosophical and Critical Legacies” reveals diverse feminist readings of Kant, Nietzsche, Cartesian metaphysics, and postmodernism.Co-editor Hilde Hein proposes that aesthetics provides a promising road map for feminist philosophy and indeed philosophy generally. Aesthetics has learned to reject foundationalism and essentialism in favor of pluralism, a necessity in the face of the astonishing diversity and ever-changing landscape in contemporary art. This theoretical transition in aesthetics shows how philosophy could fruitfully shed the false security of essentialism to embrace the sometimes raucous pluralism of methods, races, cultures, and genders assaulting all humanities disciplines in recent decades. As co-editor Carolyn Korsmeyer notes, feminist scholarship challenges “the mask of universality and gender-neutrality” (p. vii). [End Page 178]The myth that feminist scholarship is merely thinly veiled political action, devoid of intellectual integrity, is shattered by this collection. Well-represented is the diversity of analytic and European methodologies that enrich contemporary philosophical dialogue. Many of the articles scrutinize the nature of “feminism” itself, as well as appropriate methodologies and questions. The interdisciplinarity of feminist research also is in welcome evidence, with seven essays by scholars from English, African-American studies, music, and psychology.Should feminist art and aesthetics be “nondominative”? Should it “endorse” female experience? Do proposals for “ideal” feminist artistic expression inadvertently retreat to the essentialism and uniformity that feminists have sought to dispel? Should feminists reject the tradition of “formalism” in favor of an approach that re-integrates art with the community and the concerns of daily life? This perspective is widespread today in postmodern thought, but feminist considerations bolster the case made elsewhere for the fall of the so-called elite object.Are there distinctive features that mark the work of female artists, such as group participation, rather than performances for passive audiences? This feature is pervasive in contemporary art, from the happenings of Andy Warhol in the 1960s to the “Messiah” sing-alongs popular for decades. Is feminist art marked by a melding of aesthetic and erotic elements? Surely that is also a trait of the art of most cultures, by men as well as women.These explorations reveal a paradox in today’s feminism. In highlighting female traits (such as the virtues of being caring and nondominating), are women being celebrated, liberated, and freed? Or are they frozen into roles which not all women consider their most important attributes as persons?Female artists and theorists deserve enormous credit for encouraging a re-thinking of the ways in which art is created and understood, but many other forces drive these developments as well. Indeed, some of the harshest critics of analytic philosophy are analytic philosophers steeped in that tradition, both male and female. It seems a pointless chicken-and-egg exercise to wonder if feminists caused this re-thinking or were one of several groups in a happy confluence of re-examination from various perspectives. Fortunately, the issue need not be resolved for scholars and students to appreciate this outstanding volume.Julie Van CampCalifornia State University, Long BeachCopyright © 1995 The Johns Hopkins University Press... (shrink)

This book features writing by 17 authors from Germany and from African and Latin American countries on highly diverse aesthetic phenomena as seen from their own different points of view. The texts in this volume all deal with the imperative of ‘decolonization’: they try to highlight aesthetic strategies for the (re)discovery of unthematized, misappropriated, transcultural and even transcontinental histories and memories and aesthetic practices that are absent from or too little perceived within national consciousnesses. Novels, poems and musical (...) performances from the East African region are analysed as intertwined histories of the Indian Ocean and its different languages. Artworks of the Black Atlantic and perceptions of Africa are discussed from, for example, Brazilian perspectives. Within the German context, decolonisation strategies in exhibition practices in ethnological or art museums developed by Nigerian artists are evaluated; new terms such as ‘dividuation’ are proposed to describe these contemporary composite-cultural entanglements, and so on. A stimulating, wide-ranging and heterogeneous portrait of contemporary interwoven world cultures! (shrink)

This article offers Hegelian readings, based on his theory of fluid identity, of the blues and African-American identity. All identities, even Hegels, should be denied fixed definitions, in favor of fluid ones that allow for change and the sublation of otherness.

The term “dividual” aims to present a critical view of the Western conception of persons and artworks as individuals. It is used in Euro-American anthropology in order to analyze the practical and ethical interferences between single persons and communities mainly in non-Western cultures. It is also used by Gilles Deleuze in Cinema 1. The Movement-Image in order to describe the aesthetic and self-affective character of films: since the filmic images cannot be temporarily fixed and individualized, he calls them “dividual”, (...) much like contemporary plurivocal musical compositions. He reads their articulations as transitions between temporarily varying semiotic combinations; thus, they are not “‘divisible or indivisible’, but ‘dividual.’”(14) Referring to this Deleuzian concept, I want to delve into different films under this aesthetic perspective, exposing their character of mutual allusions and formal adaptations: from a docufiction by Jean Rouch to feature films by Jean-Luc Godard, Med Hondo and Jean-Pierre Bekolo. These films dividuate themselves due to their aesthetic interferences and the curious observation that certain European film styles were “invented” in an African context. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Louise Pascale, “Dispelling the Myth of the Non-Singer: Embracing Two Aesthetics for Singing”Maya HooverLouise Pascale encourages a redefinition of the word "singer" and suggests ways to make it apply to a broader spectrum of people. The problem with the current definition, she believes, is that it is outdated and needs to be changed in order to better embrace the ideals of current society. In order to (...) fully understand the problem and incorporate her suggestions, it is helpful to look at the issue as a symptom of a larger philosophical problem and to examine her proposed aesthetics from a non-philosophical perspective. [End Page 202]A Philosophical Approach to an Ethnographic StudyPascale specifies the current definition of singer as one understood in terms of values set by a white, middle class, American society. She argues that this definition is a direct result of the actions of the church in the 1600s, which has influenced and effected how North Americans (specifically people from the United States) perceive and experience singing. She refers to the manner in which this definition is significantly rooted in history and has only strengthened with time as a "taproot" in music education.Pascale's main argument revolves around the fact that we in the United States have adopted and ascribe to the Western European value system of singing. She notes that in the quest to extract the highest form of singing, we tend to sort out the very best and tell everyone else not to bother. This elitist attitude is a serious problem and she is quite right to point it out. Although there is nothing wrong with classical studies revolving around a canon, we are often taught that anything else is not worthy of study or practice. As a result, we have a very narrow perception of singing due to the guidelines set by the "taproot philosophy," which greatly limits musical expression on many levels.The issue of Western European elitism in the United States is a big one that many scholars and educators like to avoid for fear of offending tradition. In Onika's case, she becomes completely redefined as a non-singer by these elitist constraints. Pascale hints at this concept at other points in her essay, but Onika's story stands out as a blatant example of subjugation.Pascale's story about her own trials in trying to learn about African dance and drumming reinforces the idea of Western elitism. She refers to Christopher Small's idea about the Western value of timing and rhythm, which is linked to "a more logical relationship between pitch and harmony."2 It is important to note that while Pascale was frustrated with her Western background, she was still encouraged by her Ghanaian instructor. She may have felt incompetent, but she was by no means subjugated, as Onika had become.Pascale relates both experiences to the link between culture, society, and the construction of belief systems. However, there is a deeper connection here that deals specifically with American society and its attitude toward those with a different belief system. Looking at other cultures shows how societies can encourage the exploration of their music by giving participants permission to be imperfect and accepting the interest in their culture with grace. This poses a question that is much larger than Pascale's original one, but one that is intricately linked to it: Why do we, as members of American society, continue to perpetuate the subjugation of anyone from outside of our established network of beliefs? [End Page 203] The problem of singers versus non-singers seems only to be a symptom of a much larger illness that is well deserving of a much deeper exploration.The Second Aesthetic from a Scientific Vantage PointPascale explores how the phenomenon of the "non-singer" translates into the music classroom. She argues that there must be a way to maintain the classical tradition while simultaneously allowing everyone to participate, trained or not. There must also be a way to allow every classroom teacher to feel comfortable singing with her/his students, and likewise to allow every student to feel comfortable enough to participate.She suggests incorporating... (shrink)

This article focuses on the relationship between evaluations of beauty and the ethics of living well. Separating these ideas typically involves understating how racism and patriarchy shape wider cultural and aesthetic sensibilities. I counter this tendency by foregrounding the precarity of vulnerable black children and the importance of self‐love in their efforts to flourish. My strategy involves placing Toni Morrison in conversation with Alexander Nehamas and Harry Frankfurt, philosophers who have carefully engaged the topics of beauty and love. By situating (...) aesthetic judgment within ongoing practices of social formation and political contestation, I reveal the importance of linking beauty with practices of self‐regard while also detailing my criticisms of thinkers who downplay their significance. The effect is to position Morrison as an instructive guide for scholars interested in aesthetics, ethics, and politics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching TV, (...) as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (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.

In lieu of an abstract, here is a brief excerpt of the content:A Response to Louise Pascale, “Dispelling the Myth of the Non-Singer: Embracing Two Aesthetics for Singing”Maya HooverLouise Pascale encourages a redefinition of the word "singer" and suggests ways to make it apply to a broader spectrum of people. The problem with the current definition, she believes, is that it is outdated and needs to be changed in order to better embrace the ideals of current society. In order to (...) fully understand the problem and incorporate her suggestions, it is helpful to look at the issue as a symptom of a larger philosophical problem and to examine her proposed aesthetics from a non-philosophical perspective. [End Page 202]A Philosophical Approach to an Ethnographic StudyPascale specifies the current definition of singer as one understood in terms of values set by a white, middle class, American society. She argues that this definition is a direct result of the actions of the church in the 1600s, which has influenced and effected how North Americans (specifically people from the United States) perceive and experience singing. She refers to the manner in which this definition is significantly rooted in history and has only strengthened with time as a "taproot" in music education.Pascale's main argument revolves around the fact that we in the United States have adopted and ascribe to the Western European value system of singing. She notes that in the quest to extract the highest form of singing, we tend to sort out the very best and tell everyone else not to bother. This elitist attitude is a serious problem and she is quite right to point it out. Although there is nothing wrong with classical studies revolving around a canon, we are often taught that anything else is not worthy of study or practice. As a result, we have a very narrow perception of singing due to the guidelines set by the "taproot philosophy," which greatly limits musical expression on many levels.The issue of Western European elitism in the United States is a big one that many scholars and educators like to avoid for fear of offending tradition. In Onika's case, she becomes completely redefined as a non-singer by these elitist constraints. Pascale hints at this concept at other points in her essay, but Onika's story stands out as a blatant example of subjugation.Pascale's story about her own trials in trying to learn about African dance and drumming reinforces the idea of Western elitism. She refers to Christopher Small's idea about the Western value of timing and rhythm, which is linked to "a more logical relationship between pitch and harmony."2 It is important to note that while Pascale was frustrated with her Western background, she was still encouraged by her Ghanaian instructor. She may have felt incompetent, but she was by no means subjugated, as Onika had become.Pascale relates both experiences to the link between culture, society, and the construction of belief systems. However, there is a deeper connection here that deals specifically with American society and its attitude toward those with a different belief system. Looking at other cultures shows how societies can encourage the exploration of their music by giving participants permission to be imperfect and accepting the interest in their culture with grace. This poses a question that is much larger than Pascale's original one, but one that is intricately linked to it: Why do we, as members of American society, continue to perpetuate the subjugation of anyone from outside of our established network of beliefs? [End Page 203] The problem of singers versus non-singers seems only to be a symptom of a much larger illness that is well deserving of a much deeper exploration.The Second Aesthetic from a Scientific Vantage PointPascale explores how the phenomenon of the "non-singer" translates into the music classroom. She argues that there must be a way to maintain the classical tradition while simultaneously allowing everyone to participate, trained or not. There must also be a way to allow every classroom teacher to feel comfortable singing with her/his students, and likewise to allow every student to feel comfortable enough to participate.She suggests incorporating... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching TV, (...) as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (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 article focuses on the experiences of 29 African American teachers in K–12 institutions in Southern California. The article reports on the major themes of the participating teachers’ shared narratives in light of the theory of racial micro-aggression; their responses include evidence that racial micro-aggression during interactions with nonminority organizational members have had a negative impact on their experience. These findings, which are consistent with the neophyte literature, reveal a unique opportunity for scholars to engage in cutting edge (...) research and also suggest the need to integrate training specific to racial micro-aggression in professional development and teacher education programs in order to improve the experience of African American teachers in the future. (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort (...) to remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; "Introduction" by Peg Brand [Weiser] included here. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available on PhilPapers). (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)

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)

African American spirituality provides a rich lens into the heart and soul of the black church experience, often overlooked in the Christian spiritual formation literature. By addressing this lacuna, this essay focuses on three primary shaping qualities of history: the effects of slavery, the Civil Rights Movement under Dr. Martin Luther King's leadership, and the emergence of the Black Church. Four spiritual practices that influence African American spirituality highlight the historical and cultural context of being “forged (...) in the fiery furnace,” including worship, preaching and Scripture, the community of faith and prayer, and community outreach. The essay concludes by recognizing four areas of the lived experiences of African Americans from which the global church can glean: persevering in pain and suffering, turning to God for strength, experiencing a living and passionate faith, and affirming God's intention for freedom and justice to be afforded to every individual. (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)