Social movements carry out extensive character work, trying to define not only their own reputations but those of other major players in their strategic arenas. Victims, villains, and heroes form the essential triad of character work, suggesting not only likely plots but also the emotions that audiences are supposed to feel for various players. Characters have been overlooked in cultural analysis, possibly because they often take visual, non-narrative forms. By focusing on characters within movements, we illuminate some cultural dilemmas that (...) both organizers and their opponents face as they try to influence players’ reputations. (shrink)

Heroes, villains, victims, and minions have been the building blocks of moral and political reputations throughout human history. In Public Characters, the authors look at visual images, music, and words to show the techniques by which these characters get constructed. They also trace the impact of these public characters in politics, including the 2016 triumph of Donald J. Trump through his ability to cast opponents as villains and minions.

This is the first modern, annotated and scholarly edition of Jean-Baptiste Du Bos’ _Critical Reflections on Poetry and Painting_, one of the seminal works of modern aesthetics in any language.

James O. Young seeks to explain why we value music so highly. He draws on the latest psychological research to argue that music is expressive of emotion by resembling human expressive behaviour. The representation of emotion in music gives it the capacity to provide psychological insight--and it is this which explains a good deal of its value.

One of the contemporary results of Germany’s memorial conundrum is the rise of its “counter-monuments”: brazen, painfully self-conscious memorial spaces conceived to challenge the very premises of their being. On the former site of Hamburg’s greatest synagogue, at Bornplatz, Margrit Kahl has assembled an intricate mosaic tracing the complex lines of the synagogue’s roof construction: a palimpsest for a building and community that no longer exist. Norbert Radermacher bathes a guilty landscape in Berlin’s Neukölln neighborhood with the inscribed light of (...) its past. Alfred Hrdlicka began a monument in Hamburg to counter—and thereby neutralize—an indestructible Nazi monument nearby. In a suburb of Hamburg, Jochen Gerz and Esther Shalev-Gerz have erected a black pillar against fascism and for peace designed to disappear altogether over time. The very heart of Berlin, former site of the gestapo headquarters, remains a great, gaping wound as politicians, artists, and various committees forever debate the most appropriate memorial for this site.4 4. The long-burning debate surrounding projected memorials, to the Gestapo-Gelände in particular, continues to exemplify both the German memorial conundrum and the state’s painstaking attempts to articulate it. For an excellent documentation of the process, see Topographie des Terrors: Gestapo, SS und Reichssicherheitshauptamt auf dem “Prinz-Albrecht-Gelände,” ed. Reinhard Rürup . For a shorter account, see James E. Young, “The Topography of German Memory,” The Journal of Art 1 : 30. James E. Young is assistant professor of English and Judaic studies at the University of Massachusetts, Amherst. He is the author of Writing and Rewriting the Holocaust: Narrative and the Consequences of Interpretation and The Texture of Memory: Holocaust Memorials and Meaning in Europe, Israel, and America , from which this essay is drawn. He is also the curator of “The Art of Memory,” an exhibition at the Jewish Museum of New York. (shrink)

The problems and the keys to their solutions -- Ontology of artworks -- Copyright and its limits -- Token appropriation -- Pattern appropriation -- Appropriation of artistic elements.

We are immersed within an odorous sea of chemical currents that we parse into individual odors with complex structures. Odors have been posited as determined by the structural relation between the molecules that compose the chemical compounds and their interactions with the receptor site. But, naturally occurring smells are parsed from gaseous odor plumes. To give a comprehensive account of the nature of odors the chemosciences must account for these large distributed entities as well. We offer a focused review of (...) what is known about the perception of odor plumes for olfactory navigation and tracking, which we then connect to what is known about the role odorants play as properties of the plume in determining odor identity with respect to odor quality. We end by motivating our central claim that more research needs to be conducted on the role that odorants play within the odor plume in determining odor identity. (shrink)

Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of (...) aesthetically successful works of art?” and “Is cultural appropriation in the arts morally objectionable?” Part of the highly regarded New Directions in Aesthetics series. (shrink)

Almost all of us would agree that the experience of art is deeply rewarding. Why this is the case remains a puzzle; nor does it explain why many of us find works of art much more important than other sources of pleasure. Art and Knowledge argues that the experience of art is so rewarding because it can be an important source of knowledge about ourselves and our relation to each other and to the world. The view that art is a (...) source of knowledge can be traced as far back as Aristotle and Horace. Artists as various as Tasso, Sidney, Henry James and Mendelssohn have believed that art contributes to knowledge. As attractive as this view may be, it has never been satisfactorily defended, either by artists or philosophers. Art and Knowledge reflects on the essence of art and argues that it ought to provide insight as well as pleasure. It argues that all the arts, including music, are importantly representational. This kind of representation is fundamentally different from that found in the sciences, but it can provide insights as important and profound as available from the sciences. Once we recognise that works of art can contribute to knowledge we can avoid thorough relativism about aesthetic value and we can be in a position to evaluate the avant-garde art of the past 100 years. Art and Knowledge is an exceptionally clear and interesting, as well as controversial, exploration of what art is and why it is valuable. It will be of interest to all philosophers of art, artists and art critics. (shrink)

All forms of beauty create appeal or enticement with moral significance. Sublime beauty draws one into a deep relationship that properly promotes the good and true. Parents tend to experience such beauty in their children, as eloquently described in works such as the 14th-century poem ‘The Pearl’, and they see this even when their children are desperately ill or dying. The experience of beauty in one’s child creates or reinforces the morality of caring. Unfortunately, at the end of modernity, the (...) framing of beauty as only instrumental and subjective generally works against any recognition of dignity or respect for the very small pediatric patient. Practitioners who believe in the intrinsic value and dignity of persons as general concepts should recognize parental drawing toward their children as a particularization of a transcendental value. (shrink)

The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the eighteenth century. It influenced every major aesthetician in the second half of the century, and is the work generally credited with establishing the modern system of the arts: poetry, painting, music, sculpture and dance. Batteux's book is also an invaluable aid to the interpretation of the arts of eighteenth century. And yet there has never been a complete or (...) reliable translation of The Fine Arts into English. Now James O. Young, a leading contemporary philosopher of art, has provided an eminently readable and accurate translation. It is fully annotated and comes with a comprehensive introduction that identifies the figures who influenced Batteux and the writers who were, in turn, influenced by him. This book will be of interest to everyone interested in the arts of the eighteenth century, French studies, the history of European ideas, and philosophy of art. (shrink)

_The Ethics of Cultural Appropriation_ undertakes a comprehensive and systematic investigation of the moral and aesthetic questions that arise from the practice of cultural appropriation. Explores cultural appropriation in a wide variety of contexts, among them the arts and archaeology, museums, and religion Questions whether cultural appropriation is always morally objectionable Includes research that is equally informed by empirical knowledge and general normative theory Provides a coherent and authoritative perspective gained by the collaboration of philosophers and specialists in the field (...) who all participated in this unique research project. (shrink)

Paul Oskar Kristeller famously argued that the modern ‘ system of the arts ’ did not emerge until the mid-eighteenth century, in the work of Charles Batteux. On this view, the modern conception of the fine arts had no parallel in the ancient world, the middle-ages or the modern period prior to Batteux. This paper argues that Kristeller was wrong. The ancient conception of the imitative arts completely overlaps with Batteux’s fine arts : poetry, painting, music, sculpture, and dance. Writers (...) from the sixteenth century on adopted the ancient conception of the imitative arts and anticipated the views of Batteux by 200 years. Batteux simply popularized the rubric ‘fine arts ’. (shrink)

Recent critics of the coherence theory of truth (notably Ralph Walker) have alleged that the theory is incoherent, since its defence presupposes the correctness of the contrary correspondence theory of truth. Coherentists must specify the system of propositions with which true propositons cohere (the specified system). Generally, coherentists claim that the specified system is a system composed of propositions believed by a community. Critics of coherentism maintain that the coherentist’s assertions about which system is the specified system must be true, (...) not because they cohere with a system of beliefs, but because of facts about what a community believes. I argue that coherentists can admit that there are facts about what systems of beliefs communities accept, without being committed to the claim that these facts are the truth conditions of sentences about what communities accept. (shrink)

The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the 18th century. James O. Young presents the first complete English translation of the work, with full annotations and a comprehensive introduction, which illuminate Batteux's continuing philosophical interest.

Some writers have objected to cultural appropriation in the arts on the grounds that it violates cultures’ property rights. Recently a paper by Erich Matthes and another by C. Thi Nguyen and Matthew Strohl have argued that cultural appropriation does not violate property rights but that it is nevertheless often objectionable. Matthes argues that cultural appropriation contributes to the oppression of disadvantaged cultures. Nguyen and Strohl argue that it violated the intimacy of cultures. This paper argues that neither Matthes nor (...) Nguyen and Strohl succeed in showing that cultural appropriation is often objectionable. (shrink)

DUMMETT HAS BEEN CONCERNED WITH SHOWING HOW ONE MIGHT GIVE\nAN ANTI-REALIST ACCOUNT OF RESTRICTED CLASSES OF SENTENCES.\nTHIS PAPER ARGUES THAT IT IS POSSIBLE TO GIVE AN\nANTI-REALIST ACCOUNT OF ALL CLASSES OF SENTENCES. THAT IS,\nIN THE CASE OF NO CLASSES OF SENTENCES DOES TRUTH TRANSCEND\nWHAT CAN BE WARRANTED. THE KEY TO GLOBAL ANTI-REALISM IS\nREPLACING DUMMETT'S EMPIRICISM WITH A COHERENTIST ACCOUNT\nOF WARRANT. THE AUTHOR POINTS OUT THAT COLIN McGINN'S\nARGUMENT AGAINST GLOBAL ANTI-REALISM FAILS.

Recent critics of the coherence theory of truth (notably Ralph Walker) have alleged that the theory is incoherent, since its defence presupposes the correctness of the contrary correspondence theory of truth. Coherentists must specify the system of propositions with which true propositons cohere (the specified system). Generally, coherentists claim that the specified system is a system composed of propositions believed by a community. Critics of coherentism maintain that the coherentist’s assertions about which system is the specified system must be true, (...) not because they cohere with a system of beliefs, but because of facts about what a community believes. I argue that coherentists can admit that there are facts about what systems of beliefs communities accept, without being committed to the claim that these facts are the truth conditions of sentences about what communities accept. (shrink)

This chapter contains section titled: Other Forms of Harm Cultural Appropriation and Harmful Misrepresentation Harm and Accurate Representation Cultural Appropriation and Economic Opportunity Cultural Appropriation and Assimilation Art, Insignia, and Cultural Identity Cultural Appropriation and Privacy.

abstract In a number of contexts one comes across the suggestion that cultures are collective owners of cultural property, such as particularly significant works of art. Indigenous peoples are often held to be collective owners of cultural property, but they are not the only ones. Icelandic culture is said to have a claim on the Flatejarbók and Greek culture is held to own the Parthenon Marbles. In this paper I investigate the conditions under which a culture is the rightful owner (...) of cultural property. I argue against the claims that cultures inherit cultural property. I also argue that a culture's claim to own cultural property is seldom, if ever, founded on either practices employed in the culture or collective production of cultural property. I maintain, however, that the very value of cultural property for some culture can, in some instances, provide the basis for the culture's claim on the property. (shrink)

A good, single volume history of the philosophy of music would be nice to have, but I do not think that the book under review here is it. (Full disclosure: I am.

I thank Tiago Sousa for his thoughtful comments on Young (2020, 2021). I am grateful for the opportunity to revisit Kant’s thoughts on music, which I think I un.

This chapter contains section titled: Harm, Offence, and Profound Offence Examples of Offensive Cultural Appropriation The Problem and the Key to its Solution Social Value and Offensive Art Freedom of Expression The Sacred and the Offensive Time and Place Restrictions Toleration of Offensive Art Reasonable and Unreasonable Offence.

This chapter contains section titled: The Aesthetic Handicap Thesis The Cultural Experience Argument Aesthetic Properties and Cultural Context Authenticity and Appropriation Authentic Appropriation Cultural Experience and Subject Appropriation Appropriation and the Authentic Expression of a Culture.

The ethical principle of respect for autonomy has come into its own In American medicine since World War II as equal in importance to the traditional medicomoral principles of nonmaleficence and beneficence. Respect for autonomy provides the ethical underpinning for the patient's right to exercise an informed choice – whether to consent to or to refuse recommended medical treatment. However, an informed choice demands a certain level of competence. Typical criteria for patient competence to accept or to refuse medical treatments (...) Include ability to make a choice and ability to comprehend the nature of the treatment, as well as the risks and benefits of accepting or refusing the treatment. (shrink)

Many philosophers have claimed that reading literary fiction makes people more virtuous. This essay begins by defending the view that this claim is empirical. It goes on to review the empirical literature and finds that this literature supports the claim philosophers have made. Three mechanisms are identified whereby reading literary fiction makes people more virtuous: empathy is increased when readers enter imaginatively into the lives of fictional characters; reading literary fiction promotes self-reflection; and readers mimic the prosocial behaviour of fictional (...) characters. The paper concludes with a caution: there is a danger that readers could mimic antisocial behaviour displayed in literary fiction. If they do, reading some literary fiction could make readers less virtuous. (shrink)

A bewildering array of accounts of the ontology of musical works is available. Philosophers have held that works of music are sets of performances, abstract, eternal sound-event types, initiated types, compositional action types, compositional action tokens, ideas in a composer’s mind and continuants that perdure. This paper maintains that questions in the ontology of music are, in Rudolf Carnap’s sense of the term, pseudo-problems. That is, there is no alethic basis for choosing between rival musical ontologies. While we have no (...) alethic basis for choosing any ontology of music, pragmatic reasons can be given for favoring certain ontologies of musical works over others. (shrink)

Are aesthetic judgements simply expressions of personal preference? If two people disagree about the beauty of a painting are both judgements valid or can someone be mistaken about the aesthetic value of an artwork? This volume brings together some of the leading philosophers of art and language to debate the status of aesthetic judgements.