A name is a site of power. This is true in part because of the concrete power—often political, hierarchical, statist, and colonial—that determines who gets to name whom. But for many American Indian philosophies, names also come with their own power
The Importance of Native American Philosophies of Naming for Environmental Justice
A View from Natural Philosophy
of his time. The concept of innovation has no place in natural philosophy. Natural philosophy and innovation are two distinct spheres of activity. The first part of the article presents the meaning of the concept of innovation from its very early
Tomaz Carlos Flores Jacques
African philosophy, as a negritude, is a moment in the postcolonial critique of European/Western colonialism and the bodies of knowledge that sustained it. Yet a critical analysis of its' original articulations reveals the limits of this critique and more broadly of postcolonial studies, while also pointing towards more radical theoretical possibilities within African philosophy. Jean-Paul Sartre's essay 'Black Orpheus', a philosophical appropriation of negritude poetry, serves as a guide for this reflection, for the text reveals the inspiration and wealth of expressions of negritude, as well as their ambiguity. Sartre's essay however also renders possible a further act of re-appropriation that takes us beyond culture and identity-centred readings of African philosophy and postcolonialism, readings whose conceptual and critical potential is far greater than what has hitherto been explored.
This review essay’s title is partly in homage to Arthur Danto’s well-known essay “Philosophy As/And/Of Literature” (Danto 1984). But this title also helps to organize my comments, both appreciative and critical, and it does so by pointing toward a range of issues about philosophy and film that is similar to a range of issues that have been raised about philosophy and literature. Specifically, I would have liked more attention to philosophy and film. But I am quite ready to admit that my own sensibility here may be extremely idiosyncratic and may present nothing that Thomas Wartenberg needs to or even does disagree with. This suggestion about philosophy and film comes at the end of the essay.
Strauss's Critique of Heidegger and the Fate of the 'Quarrel between Philosophy and Poetry'
Strauss's critique of Heidegger's philosophy aims at a recovery of political philosophy, which he saw as threatened by Heidegger's radical historicism; for Strauss, philosophy as a whole could not survive without political philosophy, and his return to the classical tradition of political philosophy, while inspired by the work of Heidegger, was directed against what he saw as the nihilism that was its consequence. Here I wish to examine a dimension of Strauss's critique which, though hinted at, remains neglected or unexplored by Strauss: that is, how the critique of Heideggarian historicism should naturally link with Strauss's frequent attention to the issue of the ancient 'quarrel between philosophy and poetry'. It has often been observed by other commentators that through Heidegger's work, philosophy appears liable to be supplanted by contemporary literature, whether poetry or philosophy. As some of Strauss's explicit statements extend his definition of what falls under the category of 'poetry' in the modern age to contemporary novels and poetry, this aspect of Heidegger should have commanded more of his attention. Endurance of the quarrel between philosophy and poetry becomes through the prism of Strauss's work the confrontation of political philosophy with literature, particularly the novel form. It was not so much the rise of modern, non-teleological natural science that threatened the endurance and dignity of philosophy, then, but the rise of modern literature; the critique of historicism, when viewed in the light of the enduring 'quarrel', should lead one to a consideration of a crucial issue which remained oddly neglected, or was only hinted at, by Strauss.
The following three talks were originally delivered as part of the “Author Meets Critic” session on Thomas E. Wartenberg’s Thinking on Screen: Film as Philosophy (2007)* at the American Philosophical Association Central Division Meeting in Chicago. The session was sponsored by the Society for the Philosophical Study of the Contemporary Visual Arts on 17 April 2008.
Anthropology and the radical philosophy of Antonio Negri and Michael Hardt
The trilogy by Michael Hardt and Antonio Negri, Empire (2000), Multitude (2004), and Commonwealth (2009), is among the major works of political theory to emerge in this century, with specific relevance for anthropological analyses of global power. This introduction provides a synthetic overview of the conflicted encounter between anthropologists (John Kelly, Aihwa Ong, Anna Tsing, and Sylvia Yanagisako) and Hardt and Negri's vision that is staged in this thematic cluster of Focaal. It reviews the anthropologists' three main critiques of the Empire trilogy, the analysis of state and labor, the scale of analysis, and the ethics of global theorizing, which point to an apparent disciplinary rift between global ethnography and radical philosophy. This disciplinary rift is itself characterized differently by anthropologists and Michael Hardt, which I suggest results from different modalities for depicting social dynamics.
This article argues that the moral dimensions of the term 'culture' have been under-theorized in anthropology. The argument stems from a particular reading of the Western philosophy of ethics. Based in economic anthropology, I explore how an understanding of the moral imperative can illuminate differences in processes of accumulation. After a discussion of the concept of morality in philosophy and in recent anthropology, I go on to examine the principles of altruism and reciprocal utility in the light of theories of kinship and of rational choice. I then outline an argument concerning the general form of moral reasoning. According to this argument, kinship classifications function logically to synthesize variable distributions in different societies of two interconnected principles—altruism and reciprocal utility.
Recognition of a right of resistance to oppression clearly helped modern Western polities accept constitutional forms of order. Drawing on Locke's canonical discussion in the Second Treatise, influential Anglo-American political theorists also suggest that the establishment of modern constitutional states required outlawing resistance practices. A francophone perspective, however, raises a problem for such generalizations about modern Western political philosophy and practice: the French “résistance” differs in meaning from the English “resistance” in important ways. Reconstructing the histories of the cognate concepts, I show that “résistance” emerged out of feminized discourses concerning moral conscience and that, as a result, excluding résistance from politics seems implausible, a conclusion that sheds light on the discussion of résistance in the Declaration of the Rights of Man and Citizen. The article closes with the suggestion that, following the Second World War, French understandings of “résistance” may have influenced American politics and thought in unrecognized ways.
Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film
Aesthetics of Film joins Carl Plantinga’s Screen Stories: Emotion and the Ethics of Engagement (2018) and Mark Johnson’s The Aesthetics of Meaning and Thought: The Bodily Roots of Philosophy, Science, Morality, and Art (2018) in the latest wave of