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Journal articles on the topic 'Philosophy in art and politics'

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Published: 26 July 2024
Last updated: 27 July 2024

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1

Phillips, John W. P. "Art, Politics and Philosophy." Theory, Culture & Society 27, no. 4 (July 2010): 146–60. http://dx.doi.org/10.1177/0263276409349284.

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2

Olkowski, Dorothea. "Heidegger, Art and Politics." International Studies in Philosophy 25, no. 1 (1993): 89–90. http://dx.doi.org/10.5840/intstudphil199325192.

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3

Swanson, Carrie. "Socratic Dialectic between Philosophy and Politics in Euthydemus 305e5-306d1." PLATO JOURNAL 19 (July 15, 2019): 43–90. http://dx.doi.org/10.14195/2183-4105_19_3.

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In the final scene of the Euthydemus, Socrates argues that because the art of speechwriting merely partakes of the two good arts philosophy and politics, it places third in the contest for wisdom. I argue that this curious speech is a reverse eikos argument, directed at the speechwriters own eikos argument for the preeminence of their art. A careful analysis of the partaking relation reveals that it is rather Socratic dialectic which occupies this intermediate position between philosophy and politics. This result entails that Socrates’ peculiar art is only a part of philosophy, and its practitioner only partially wise.
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4

Kim, Dong-Gyu. "The Philosophy for Public Art and Identity Politics." Journal of Koreanology 68 (August 31, 2018): 213–43. http://dx.doi.org/10.15299/jk.2018.08.68.213.

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5

Peperzak, Adriaan. "Appearance, Myth, and Art in Politics." Research in Phenomenology 21, no. 1 (1991): 48–61. http://dx.doi.org/10.1163/156916491x00044.

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6

Kondakov, Igor Vadimovich. "Music versus Politics." Pan-Art 3, no. 1 (January 10, 2023): 78–82. http://dx.doi.org/10.30853/pa20230001.

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This essay presents the situation concerning the music philosophy in the XX century: the factor of politics gradually was established in the paradigm of artistic culture. It is shown that the politics became a permanent violence in relation to art as in relation to life. This permanent violence is a will for power or a clear will for dominating life and art which can move apart and then inextricably intertwine. Thus, the politics appears in her unconventional artistic and aesthetic discourse: being aesthetic in life and artistic in art. In this paper the phenomenon of the origin of the indivisibility and immeasurable formula is characterized. Since then, life and politics cannot do without art which is their mirror as well as art tries to distance itself from society and politics but cannot break free of the shackles of the socio-political context and the relevant pragmatic discourse. This discourse leaves an indelible imprint on everything connected with art and aesthetics.
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7

Ruitenberg, Claudia W. "Art, Politics, and the Pedagogical Relation." Studies in Philosophy and Education 30, no. 2 (December 2, 2010): 211–23. http://dx.doi.org/10.1007/s11217-010-9216-5.

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8

Salem-Wiseman, Jonathan. "Nature, Deception, and the Politics of Art." International Studies in Philosophy 30, no. 1 (1998): 107–20. http://dx.doi.org/10.5840/intstudphil1998301112.

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9

Guogi, Ding. "Art’s Commitment to Liberation in Marcuse’s Philosophy." AM Journal of Art and Media Studies, no. 7 (April 15, 2015): 30–38. http://dx.doi.org/10.25038/am.v0i7.86.

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Art has a liberating function because it stands on the opposite side of a suppressed society; it is deeply connected with the public’s daily life and has an inherent characteristic of “catharsis”, like describing a good society and identifying with freedom. In the eyes of the theorists of the Frankfurt School, its form is what makes “art” art, while the autonomy of art is what realizes the transcendence and detachment of art over and from society and politics in reality by constructing a new and tangible kingdom of art. Artistic form, artistic autonomy, and the liberation of mankind are the integral parts that form art and they constitute all the elements that are needed in the art world. For as long as art exists, it will keep its commitment to truth, happiness, and liberation. This paper examines the inevitable inherent relationship between art and liberation mainly through discussing and studying Marcuse’s theories of art and aesthetics.
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10

Rewers, Ewa. "Świat post-naturalny? Teoretyczne, empiryczne i artystyczne rewizje." Przegląd Kulturoznawczy, no. 4 (58) (2023): 421–40. http://dx.doi.org/10.4467/20843860pk.23.029.19178.

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This article explores approaches to wilderness in contemporary urban spaces and the demarcations drawn through the concepts of nature vs culture, politics vs art, science vs narratives, city vs wild life in urban studies, philosophy and environmental art. The argument about the new forms of wild life, such as charismatic animals and weeds in cites, impacts the way in which we think about the encounters between posthuman philosophy, urban ecology and art. The paper seeks to pose the questions of post-natural world anew, in ways that allow for a resolution of the tension between contrary concept of wilderness and urban practices. It argues that all forms of life (human and wild) are connected, reassembled and exposed both materially and discursive in urban socio-ecological systems. This interconnectedness penetrates all dimensions and scales of urban life and is transferable from urban ecology to environmental art, from philosophy to politics, from popular culture to urban environment.
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11

Wulf, S. J. "Ambivalent romanticism: art and aesthetic insight in philosophy and politics." History of European Ideas 25, no. 6 (November 1999): 275–89. http://dx.doi.org/10.1016/s0191-6599(00)00007-3.

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12

Brugère, Fabienne. "Afterword: An exhibition about hospitality. A more sensitive perception of vulnerability." Crossings: Journal of Migration & Culture 12, no. 1 (April 1, 2021): 379–85. http://dx.doi.org/10.1386/cjmc_00038_1.

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This afterword reflects on the tension between art, politics and philosophy at the thematic core of this Special Issue, ‘Migrants and Refugees Between Aesthetics and Politics’. Brugère calls attention to a recent art exhibition – one that came out of her book with Guillaume Le Blanc, The End of Hospitality – at the Museum of the History of Immigration, in Paris, as a way to frame a conflict between two ideas of hospitality, or the broad ethical gesture to welcome others and the political right that more and more governments are unable to uphold as borders tighten around the globe. The afterword elaborates on the aims of the exhibition, namely, to show ‘a correspondence between art and philosophy on the question of hospitality’. Rather than a mere representation of discourse around migration, the artwork displays a praxis of the imagination, one in which cultural production by and about refugees brings spectators to recognize a shared sense of vulnerability and to question received ideas on migration. In this manner, contemporary art forms become an essential link in the ongoing struggle between ethics and politics.
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13

LEWIS, WILLIAM S. "Art or Propaganda? Dewey and Adorno on the Relationship between Politics and Art." Journal of Speculative Philosophy 19, no. 1 (January 1, 2005): 42–54. http://dx.doi.org/10.2307/25670548.

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14

Lewis, William S. "Art or Propaganda? Dewey and Adorno on the Relationship between Politics and Art." Journal of Speculative Philosophy 19, no. 1 (2005): 42–54. http://dx.doi.org/10.1353/jsp.2005.0005.

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15

Kiloh, Kathy. "Towards an ethical politics." Philosophy & Social Criticism 43, no. 6 (February 26, 2016): 571–98. http://dx.doi.org/10.1177/0191453716631166.

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Jürgen Habermas’ characterization of Adorno’s project as an aestheticization of philosophy continues to influence our reading of his work. In contradiction to Lambert Zuidervaart, who suggests that in order to be understood as politically relevant, Adorno’s philosophy must be supplemented with empirical research, I argue in this article that Adorno’s work contains many of the resources we would need to theorize an ethical politics. First, it both identifies the moral debt carried by the subject and addresses the need for social transformation in order to change this situation. Second, it proposes an ethical comportment of self-relinquishment as a first step towards this reorganization of the social. The self-relinquishment of philosophy to its object is modeled upon aesthetic experience, which, according to Adorno, we must regard as a remorseful atonement for the subject’s domination of the object in its attempt to ‘wrest itself free’ ( Aesthetic Theory, 1997c: 112) of undifferentiated being. By incorporating into philosophical thought the mimetic bodily impulses tamed by aesthetic form, we may engender within ourselves a solidarity with objectivity. Rather than the self-possessing and conservative subject that constitutes its world mentally, Adorno theorizes a subject for whom thinking is a temporalization or a becoming. Thinking produces otherness within the subject itself. In this thinking-as-becoming, we see the beginnings of a highly individuated political subjectivity capable of acting in solidarity with the other. This brings us to the third element within Adorno’s philosophy that can serve us in formulating an ethical politics: the non-violent organizational principle of the modern work of art. In mobilizing the logic of the modern work of art, the autonomous individual is empowered to forge a politics that preserves contradiction in the facilitation of a non-violent relation with others.
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16

Raza, Syed Sami. "Art, Philosophy and Cinematography: A Note on the Aesthetics Beyond Representation and Figuration." Global Digital & Print Media Review V, no. II (June 30, 2022): 53–63. http://dx.doi.org/10.31703/gdpmr.2022(v-ii).06.

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In his book Francis Bacon: The Logic of Sensation, Gilles Deleuze explores certain art techniques in the paintings of Francis Bacon to illuminate the politics of aesthetics. He demonstrates how some of those paintings allow us to move from the problematic field of (political)representation to the conditions of representations and from the field of reason to that of the logic of sensation. He demonstrates this by way of bridging the gap between modern art and philosophy. In my paper, I follow Delueze’s method and try to search for some more artistic techniques in Francis Bacon. Then I draw some parallels between these art techniques with the politics of aesthetics in the film genre by focusing on Tom Tykwer’s 1998 film Lola Rennt.
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17

Berdichevsky, Norman. "Can Art Be Divorced from Politics?" Journal of Information Ethics 14, no. 1 (March 1, 2005): 53–59. http://dx.doi.org/10.3172/jie.14.1.53.

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18

Bestley, Russ. "Editorial." Punk & Post-Punk 13, no. 1 (March 1, 2024): 3–5. http://dx.doi.org/10.1386/punk_00235_2.

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19

INNIS, ROBERT E. "Meaning, Art, and Politics: Dimensions of a Philosophical Engagement." Journal of Speculative Philosophy 19, no. 1 (January 1, 2005): 55–62. http://dx.doi.org/10.2307/25670549.

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20

Innis, Robert E. "Meaning, Art, and Politics: Dimensions of a Philosophical Engagement." Journal of Speculative Philosophy 19, no. 1 (2005): 55–62. http://dx.doi.org/10.1353/jsp.2005.0004.

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21

Erkan, Ekin. "Cinema/politics/philosophy." New Review of Film and Television Studies 18, no. 3 (June 8, 2020): 372–79. http://dx.doi.org/10.1080/17400309.2020.1778158.

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22

Žižek, Slavoj. "Subjective destitution in art and politics: From being-towards-death to undeadness." Enrahonar. An international journal of theoretical and practical reason 70 (March 31, 2023): 69–81. http://dx.doi.org/10.5565/rev/enrahonar.1393.

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Jacques Lacan coined the term “subjective destitution” to describe the concluding moment of a psychoanalytic treatment. This concept can also usefully be applied to art and to politics. In art, subjective destitution can be defined as a passage from being-towardsdeath to undeadness, in other words to the position of the living dead – this passage takes place between Shostakovich’s 14th symphony and his final symphony, the 15th. In politics, subjective destitution designates the passage of a political subject to a radical de-subjectivization, to becoming an object of a political cause.
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23

Shin, Chun-Ho. "Politics as the Art of Mind Cultivation: Political Philosophy of Schiller." Korean Society for the Study of Moral Education 34, no. 1 (March 30, 2022): 163–86. http://dx.doi.org/10.17715/jme.2022.3.34.1.163.

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24

Journal for Politics, Gender and Culture, Identities, and Naum Trajanovski. "The Partisan Counter-Archive: Retracing the Ruptures of Art and Memory in the Yugoslav People’s Liberation Struggle by Gal Kirn; a review by Naum Trajanovski." Identities: Journal for Politics, Gender and Culture 18, no. 1-2 (December 10, 2021): 106–8. http://dx.doi.org/10.51151/identities.v18i1-2.483.

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Author(s): Naum Trajanovski Title (English): A Review of the Partisan Counter-Archive: Retracing the Ruptures of Art and Memory in the Yugoslav People’s Liberation Struggle by Gal Kirn Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 18, No. 1-2 (2021). Publisher: Institute of Social Sciences and Humanities - Skopje Page Range: 106-108 Page Count: 3 Citation (English): Naum Trajanovski, “A Review of the Partisan Counter-Archive: Retracing the Ruptures of Art and Memory in the Yugoslav People’s Liberation Struggle by Gal Kirn,” Identities: Journal for Politics, Gender and Culture, Vol. 18, No. 1-2 (2021): 106-108. Author Biography Naum Trajanovski, Graduate School for Social Research, Institute of Philosophy and Sociology, Polish Academy of Sciences. Naum Trajanovski (Graduate School for Social Research, Institute of Philosophy and Sociology, Polish Academy of Sciences) is a PhD candidate at the GSSR. He was a project co-coordinator at the European Network Remembrance and Solidarity (2017) and a researcher at the Faculty of Philosophy, Ss. Cyril and Methodius University – Skopje (2018-2020). His major academic interests include memory politics in North Macedonia and sociological knowledge transfer in 1960s Eastern Europe. He authored several papers and a monograph, in Macedonian, on the memory politics in the state after 1991.
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25

Winchester, James, and Bell Hooks. "Art on My Mind: Visual Politics." Journal of Aesthetics and Art Criticism 54, no. 4 (1996): 389. http://dx.doi.org/10.2307/431923.

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26

Britton, Celia. "Philosophy, Poetics, Politics." Callaloo 36, no. 4 (2013): 841–47. http://dx.doi.org/10.1353/cal.2013.0197.

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27

Negrin, Llewellyn. "Art and philosophy." Philosophy & Social Criticism 31, no. 7 (November 2005): 801–22. http://dx.doi.org/10.1177/0191453705057304.

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28

Dagognet, François. "A Regional Epistemology with Possibilities for Expansion." Science in Context 9, no. 1 (1996): 5–14. http://dx.doi.org/10.1017/s0269889700002271.

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Philosophy, a discipline without equals, seeks to account for reality, if possible in its entirety. It can be practiced only through the analysis of manifestations as diverse as art, religion, anthropology, politics, etc.
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29

Chernyak, Natalia A. "Badiou’s Platonic gesture and the self-determination of philosophy." Herald of Omsk University 25, no. 3 (December 28, 2020): 72–76. http://dx.doi.org/10.24147/1812-3996.2020.25(3).72-76.

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The article analyzes the philosophical concept of A. Badiou: the problem of reactualization of the Platonic gesture, i. e., the constitution of philosophy as an independent universal doctrine based on the harmonious unity of scientific ideas, art, politics and love. The attempt to construct a new ontology on mathematical grounds (“math”) is evaluated.
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Šuvaković, Miško. "Višak života: teorija i filozofija savremene tranzicijske umetnosti i forme života / Surplus Life: The Theory and Philosophy of Contemporary Transitional Art and Form of Life." AM Journal of Art and Media Studies, no. 1 (January 15, 2012): 9–17. http://dx.doi.org/10.25038/am.v0i1.1.

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Th is text is about understanding theoretically and the philosophically the conditions of thinking and acting in different registers of art, science, technology, and politics in contemporary transitional cultures. In the context of abstract knowledge, the central problem of the following discussion will be to articulate the understanding and presenting of thinking and acting immanent to multiplicity. My intent is to theorise both the immediate and broader contexts of Bio Art within the larger context of concrete knowledge. Bio Art offers an occasion to explore structural potentialities and modifications at various intersections of technology, science, politics, and art in contemporary culture.
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Savchuk, Valery. "How is a philosophy of photography possible?" Filozofija i drustvo 26, no. 4 (2015): 893–901. http://dx.doi.org/10.2298/fid1504893s.

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This paper focuses on the following question: how is philosophy of anything possible? Where lies the boundary of specialisation area beyond which the term ?philosophy? loses not only its strength, but also its meaning? When we talk about specific genre, for example, graphic art or sculpture we use the term ?philosophy? in a broader, metaphorical sense. Why then should philosophy of photography be any different? All of the abovementioned questions are discussed in the present article. Philosophy of photography is, indeed, a legitimate discipline, just as philosophy of language, philosophy of science and technology and philosophy of politics are.
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Banko, Anja. "What does cinema think that nothing but it can think?" Maska 35, no. 200 (June 1, 2020): 68–77. http://dx.doi.org/10.1386/maska_00010_1.

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The article deals with questions of contemporary film theory by explaining and reflecting on the theses as proposed by the American film and literary critic Nico Baumbach in his work Cinema/Politics/Philosophy (Columbia University Press, 2018). Baumbach is able to analyse the questions of what status film has in relation to politics, philosophy and art in a contemporarily relevant way, approaching film studies through reading authors such as Rancire, Badiou and Agamben in dialogue with Althusser, Deleuze and Benjamin. The article focuses on the positioning and meaning of Baumbach’s thought in the contemporary field of film theory. We position the author’s thought as necessarily dependent on historical context and emphasise its potential for further contemplation, especially as regards the fruitful connection of the dominant branches of film theory that understand film in other ways than merely as the ‘seventh art’.
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33

Kruglova, Inna, and Elena Romanova. "Forms of Worldview and Specifics of Philosophy." Ideas and Ideals 12, no. 3-1 (September 23, 2020): 95–107. http://dx.doi.org/10.17212/2075-0862-2020-12.3.1-95-107.

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This article raises the problem of the constancy of philosophy, science, art, religion, and politics as forms of worldview that characterize the state of post-mythological consciousness. In this regard, two tasks are solved. First, we trace the genesis of worldview forms in German classical thought in the context of substantiating the idea of the historicity of the absolute (G. Hegel and F. Schelling). Second, the question is raised about the specifics of philosophy as a form of thinking. The authors compare classical and nonclassical approaches (A. Badiou) to solving problems, the conclusions, they have made, are the following. In modern theories, there is a blurring and loss of objectivity of philosophical knowledge. Despite this, philosophy is invariably given the role of a way of thinking about its time. The classical claims of philosophy to the universal content of truth are canceled. Based on the analysis of the concept of A. Badiou, the specificity of philosophy is revealed in the ability to quickly arrange science, art, religion and politics – as a way to create an ideal space in which access to the event of truth is provided. In this connection, it is proposed to define this concept as “operational” in relation to the nature of philosophical knowledge. Philosophy as a reflexive ability uses the operative time of our consciousness, which constitutes subjectivity. Destroying the mytho-ritual scheme of the unity of consciousness, philosophy sets the spiritual topos in which a person lives after leaving the myth.
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34

Day, Jason K. "Book Review: Emmanuel Alloa, Frank Chouraqui, and Rajiv Kaushik (eds.), Merleau-Ponty and Contemporary Philosophy (Albany: SUNY Press, 2019)." Journal of French and Francophone Philosophy 29, no. 1-2 (December 10, 2021): 198–202. http://dx.doi.org/10.5195/jffp.2021.984.

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Merleau-Ponty and Contemporary Philosophy is an ambitious collected volume of fourteen chapters, accompanied by an epilogue by Jean-Luc Nancy, in which current Merleau-Ponty scholars together aim to demonstrate the urgent relevance of Merleau-Ponty to contemporary philosophy across a range of fields including ontology, epistemology, anthropology, embodiment, animality, politics, language, aesthetics, and art. Divided into four thematic sections, namely, “Legacies”, “Mind and Nature”, “Politics, Power, and Institution” and “Art and Aesthetics”, this collected volume provides a rich resource for Merleau-Ponty scholars who are interested in novel applications and understudied aspects of his thought. It also opens up Merleau-Ponty’s oeuvre to the general reader, presenting many possible entry-ways into the diversity of his work. In my review of Merleau-Ponty and Contemporary Philosophy, I suggest that each of its thematic sections could have been the subject of a separate volume themselves, and that the volume would then perhaps have not suffered from a number of poorly developed lines of argumentation. But I consider that the inclusion of all these thematically diverse sections in a single volume nonetheless presents a forceful display of the wide-ranging relevance of Merleau-Ponty’s work to contemporary philosophy.
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Massumi, Biran. "Activist Philosophy and the Occurent Arts." AM Journal of Art and Media Studies, no. 3 (June 15, 2013): 50–60. http://dx.doi.org/10.25038/am.v0i3.35.

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This text deals with a number of interrelated concepts – from something doing to the bare fact of activity, from bare activity to event and change, from change to potential and the production of the new, from production of the new to process as becoming. But process of becoming is also self-creation, and as such is double. It consists of relational and qualitative dimensions, which are also in their turn political and aesthetic, that is aesthetico-political and speculative-pragmatic. Practices we call politics and practices we call art are all integrally aesthetico-political, and every aesthetico-political activity is integrally speculative-pragmatic, and as such can be approached through the concept of techniques of existence. They are inventive of subjective forms in the activist sense – dynamic unities of events unfolding – so they qualify whatever domain in which their creativity is operative as an occurrent art.
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Byrne, D. N. "Art and Politics in Roger Scruton’s Conservative Philosophy by Ferenc HÖRCHER (review)." Review of Metaphysics 77, no. 1 (September 2023): 149–51. http://dx.doi.org/10.1353/rvm.2023.a906819.

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37

Mullin, Amy. "Feminist Art and the Political Imagination." Hypatia 18, no. 4 (2003): 189–213. http://dx.doi.org/10.1111/j.1527-2001.2003.tb01418.x.

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Activist and political art works, particularly feminist ones, are frequently either dis-missed for their illegitimate combination of the aesthetic and the political, or embraced as chiefly political works. Flawed conceptions of politics and the imagination are responsible for that dismissal. An understanding of the imagination is developed that allows us to see how political work and political explorations may inform the artistic imagination.
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MULLIN, AMY. "ART, POLITICS AND KNOWLEDGE: FEMINISM, MODERNITY, AND THE SEPARATION OF SPHERES." Metaphilosophy 27, no. 1-2 (January 1996): 118–45. http://dx.doi.org/10.1111/j.1467-9973.1996.tb00871.x.

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Mascat, Jamila M. H. "Class and party : Daniel Bensaïd’s philosophy of strategy against the randomization of politics." Soft Power 6, no. 1 (January 1, 2019): 156–79. http://dx.doi.org/10.14718/softpower.2019.6.1.8.

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This article argues for the centrality of the notion of class struggle in both political theory and praxis in order to counter what E. M. Wood, echoing P. Anderson (1983), has referred to as the «randomization of politics» (1986), namely a politics reduced to pure contingency where no causality between the social and the political is allowed. It suggests that class struggle is precisely the lost cause of radical politics, since class struggle operates as a synthetic principle informing a concept of society as a whole and a view of antagonism as a systemic and totalistic instance. Drawing on Daniel Bensaïd’s «philosophy of strategy» and its critical reading of Marx’s class theory (Bensaïd, 1995; 2002; 2011; 2016), the article suggests that class struggle be rethought as a new «strategic universalism» across the international division of labor. Along the lines of Bensaïd’s understanding of politics as a «strategic art» of recommencement (Bensaïd, 1995), it will be argued here that radical politics cannot do without class struggle or without the party
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Large, William. "Blanchot, Philosophy, Literature, Politics." Parallax 12, no. 2 (April 2006): 1–11. http://dx.doi.org/10.1080/13534640600624903.

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41

Dimic, Zoran. "On artistic shaping of citizens’ political gatherings." Filozofija i drustvo 24, no. 3 (2013): 23–33. http://dx.doi.org/10.2298/fid1303023d.

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Following the new reading of Kant?s third critique, which was proposed by Hannah Arendt in her Lectures on Kant?s Political Philosophy, in this paper, the author deals with the function of art in the establishment, organization and profiling of political communities. The focus is primarily on the field of music. The analysis begins with ancient philosophers (Pythagoras, Plato, Aristotle) and continues with the problems which relate to artistic shaping of citizens? lives in modern epoch (Rousseau, Kant, Schiller). The goal of the paper is to show that the philosophy of art and the philosophy of music, could be taken as a political philosophy, precisely because the analysis of these phenomena constantly convinces a close intertwining of politics and aesthetics, i.e. art and power, music and power. As a conclusion, we might say that a general aesthetic sense can be seen as a kind of human organ for public aesthetic gathering of citizens. Music, poetry, visual arts, etc., have become tools for the political shaping of citizens, i.e. the tools of their political life.
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Jenckes. "Intersections of Politics, Philosophy, Aesthetics, and Life in Contemporary Chilean Criticism and Art." CR: The New Centennial Review 20, no. 1 (2020): 23. http://dx.doi.org/10.14321/crnewcentrevi.20.1.0023.

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43

Hansen, James T. "The Relevance of Postmodernism to Counselors and Counseling Practice." Journal of Mental Health Counseling 37, no. 4 (October 1, 2015): 355–63. http://dx.doi.org/10.17744/mehc.37.4.06.

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Postmodernism is a broad intellectual movement that has been changing the way people approach art, music, literature, politics, and philosophy since the late 20th century. This article addresses the impact of postmodern thinking on the practice of counseling and its relevance to counselors' approach to understanding clients and their world.
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Chakrabarti, Arindam. "Introduction: The Problems of Representation across Cultures—Mind, Language, Art, and Politics." Philosophy East and West 71, no. 1 (2021): 4–12. http://dx.doi.org/10.1353/pew.2021.0001.

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45

WINCHESTER, JAMES. "Bell Hooks, Art on My Mind: Visual Politics." Journal of Aesthetics and Art Criticism 54, no. 4 (September 1, 1996): 389–90. http://dx.doi.org/10.1111/1540_6245.jaac54.4.0389.

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46

Antolínez, David. "Friends or Foes of Nonhumans? The Place of Scientific Experts in the Philosophy of Bruno Latour." Journal of Cultural Analysis and Social Change 8, no. 1 (August 10, 2023): 01. http://dx.doi.org/10.20897/jcasc/13529.

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Bruno Latour has long denounced the constraints on political deliberation caused by the alleged impersonal objectivity of scientific discourse. However, throughout his career, the French philosopher has advanced some critiques of the role of scientific experts. With his proposal of the Parliament of Things, Latour expected to redefine the scientific expert as a translator for nonhumans in the general quest of integrating sciences and politics. However, the late Latour re-elaborated this alternative under the light of the new climate regime, which reveals that scientists are no longer able to translate the legion of nonhuman actors bursting into contemporary politics. This paper aims to give a recount of the Latourian assessment of scientific expertise, while also indicating another plausible redefinition of the scientific expert as a teaching figure. This is derived from the vindication of rhetoric and the pedagogical vein that traverse Latourian philosophy. At the end, there will be a review of three specific practices which exemplify that pedagogical role: cartography of controversies, art exhibitions and citizen science.
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Zolotareva, L. R., and Y. A. Zolotareva. "Heritage of al-Farabi in art-culturaland pedagogical understanding." Pedagogy and Psychology 42, no. 1 (March 30, 2020): 196–206. http://dx.doi.org/10.51889/2020-1.2077-6861.25.

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The relevance of the scientific article is due to the significant date of 2020 – the 1150th anniversary of the birth and 1060th anniversary of the death of Abu Nasr Ibn Muhammad al-Farabi-an outstanding thinker-scientist of the East, philosopher, encyclopedic, great humanist. At the world art history classes on the theme «Culture of the Arab-Muslim East», at creative seminars on the history of arts of Kazakhstan, the image of al-Farabi, recreated in the visual arts, and his humanitarian heritage are discussed. Al-Farabi is the author of commentaries on the writings of Aristotle (hence his honorary title of «Second teacher») and Plato. He is credited with the creation of the Otrar library. It should be recalled that in 1975, on a large international scale, Moscow, Alma-Ata and Baghdad celebrated the 1100th anniversary of the birth of al-Farabi. His irreplaceable intellectual heritage: he has works on ethics, politics, psychology, natural science, music, but especially known works on logic and philosophy. The main questions of the article: a brief biographical sketch of al-Farabi, about the artists A. Ismailov, S. Kalmakhanov, K. Azhibekuly, the creation of the image of al- Farabi in their creative heritage.
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48

Bryan, Jenny. "Philosophy." Greece and Rome 68, no. 1 (March 5, 2021): 158–65. http://dx.doi.org/10.1017/s0017383520000339.

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Sara Brill's new book develops her argument for understanding ‘shared life’ as central to Aristotle's ethics and politics. By focusing on this notion of shared life, she seeks to establish the connection between Aristotle's ethical, political, and zoological works in order to ground her emphasis on the essential animality of human society in Aristotle's conception. Her argument turns on a distinction between bios, a ‘way of life’ that we can choose or reject, and zoē, ‘life itself’ (3), and she is committed to establishing the generally unrecognized significance of the latter in Aristotle's ethical thought. The volume is divided into three parts. The first (‘Shared Life in Aristotle's Ethics and Politics’) concentrates on developing an account of Aristotle's concept of ‘shared life’ in the ethical and political works in such a way as to establish the importance of the zoological perspective. Here, Brill argues that shared life is at the heart of many of the central concerns of the Nicomachean Ethics, including his account of friendship. This is not simply sharing of goods or communal living: ‘Because living in its authoritative sense is perceiving and thinking, sharing one's life is sharing in perception and sharing in thinking’ (52). Brill finds a similar focus on shared zoē in the Eudemian Ethics, and the suggestion that our self-awareness and self-concern depend on the presence of others. She further develops her central claim: for all that Aristotle makes repeated assertions of human exceptionality, he also adopts a zoological framework of analysis that locates human friendship within the category of ‘animal attachment’, albeit as a special case. Human society is distinguished from animal society, but primarily as an intensification of the animal, rather than as a rejection of it. As Brill notes, setting up some of the critical analysis found in the third part of the book, her emphasis on community helps to highlight both its fragility and the consequences of exclusion. This is an idea she explains further in her analysis of shared life in the Politics: ‘if Aristotle's ethics show us the most vivid form of shared life, his Politics shows us the conditions of its destruction’ (92). Brill considers two extremes of shared life to be found in the Politics. Aristotle rejects communism for the sake of the philia that lies at the heart of a true community. His account of tyranny, meanwhile, can be understood as an analysis of a polis lacking a meaningful presence of shared life or the common good. The second part of the book concentrates on fleshing out the detail of the zoological perspective at the heart of Brill's argument by focusing on the zoological works in particular. She makes the sensible point that, while Aristotle's zoological works may be inaccurate in biological detail, they nevertheless help us to understand his own thinking about the nature and relationship of intelligence and life. Beginning with the History of Animals, Brill looks for the political in Aristotle's biological, and argues that he conceives of animal sociality in terms of its various manifestations of the political bond of a common task. It is within this context that we should situate even shared human life. This is not to say that humans are not to be distinguished from animals: what marks humans out is the fact that they can choose their way of life (bios). But this choice does not liberate them from the fact of their animality. For this reason, analysis of Aristotle's politics, and of the polis itself, should be informed by an awareness of his zoological sensibility. At times in the detail of Brill's own analysis, this zoological emphasis seems to fade into the background, but her central claim remains that human politics is an intensification of animal sociality, rather than a rejection of it. The third and final part presents an intriguing exploration of intersections between Brill's account of Aristotle's zoē-politics and modern critical theory (her volume is published in the interdisciplinary series Classics in Theory). She first addresses the connection between Aristotle's commitment to private ownership and his eugenics legislation, noting the double mean of tokos as both ‘interest’ and ‘child’. She is particularly interesting on Aristotle's concern with the threat of uncontrolled or excessive reproduction. She then turns to an analysis of Aristotle's account of – and ambivalence towards – the maternal bond as central to his understanding of human communities and, especially, friendship. The two chapters of Part III are particularly compelling; I look forward to seeing further approaches to Aristotle, and ancient philosophy in general, along these lines.
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Wayne, Mike. "Nico Baumbach, Cinema/Politics/Philosophy." Screen 61, no. 3 (2020): 496–99. http://dx.doi.org/10.1093/screen/hjaa037.

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50

Kenny, Celia G. "Law and the Art of Defining Religion." Ecclesiastical Law Journal 16, no. 1 (December 13, 2013): 18–31. http://dx.doi.org/10.1017/s0956618x13000793.

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In the increasingly complex conjunction of law and religion, one of the most crucial questions concerns the privileged place of religion among other convictional positions which are protected under Article 9 of the European Convention on Human Rights. This article argues the need for a trans-disciplinary approach to the question of definitions, importing insights from philosophy, sociology of law and neo-pragmatism. The aim is to elucidate the view that defining is both an art (in the discursive construction of its object) and a form of politics (as a regulative technology, through which the actual flux and complexity of human reality is brought under control). The question of what religion is (the ontological question) should be acknowledged as a jurisprudential red herring.
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