In 1677, France took the slave trading island of Gorée located off the coast of Senegal from the Dutch and, less than a decade later, drafted Le Code Noir to formally provide regulations for slave owning practices. This document—created in response to the rapid expansion of the slave economy in French Caribbean possessions made possible by France's position in West Africa—marked the beginning of French involvement in the slave trade. The comparison of French travel narratives written before and after Le (...) Code Noir, shows that, although the descriptions of Sub-Saharan Africa tended to be universally derogatory and Eurocentric, it was not until France became deeply involved in the slave trade that the specific characterization of Africans as lazy emerged. By correlating published descriptions of African laziness with France's growing participation in the slave trade, this paper argues that these portrayals were used to justify slavery to a French public far removed from Africa, Africans, and the ugly realities of the slave trade. (shrink)

A recent movement within political philosophy called luck egalitarianism has attempted to synthesize the right’s regard for responsibility with the left’s concern for equality. The original motivation for subscribing to luck egalitarianism stems from the belief that one’s success in life ought to reflect one’s own choices and not brute luck. Luck egalitarian theorists differ in the decision procedures that they propose, but they share in common the general approach that we ought to equalize individuals with respect to brute luck (...) so that differences in distribution are only a consequence of the responsible choices that individuals make. I intend to show that through the application of its own distributive procedures, the interpersonal luck egalitarian approach actually undermines its original motivation by making the lives of individuals subject to brute luck. I propose two alternative methods that the luck egalitarian could use to prevent the problems suffered by the interpersonal luck egalitarian standard. (shrink)

In this debate-format book, four philosophers--Joshua Glasgow, Sally Haslanger, Chike Jeffers, and Quayshawn Spencer--articulate contrasting views on race. Each author presents a distinct viewpoint on what race is, and then replies to the others, offering theories that are clear and accessible to undergraduates, lay readers, and non-specialists, as well as other philosophers of race.

An introduction to the posthumously published "The Wretched of Middle-Earth: an Orkish Manifesto" by Charles Mills.

This book brings philosophical aesthetics into a broader cultural interest in the fine arts and draws together the classics of the history of aesthetics, the mid-twentieth century or "Analytic" aesthetics, and late-twentieth century or "Continental" post-structuralist "theory.".

Multiculturalism is, by this point, a well-worn topic in social and political philosophy. Still, in what follows, I hope to usefully contribute to the philosophical discussion of multiculturalism by asking and trying to answer some foundational questions about the practical significance of cultural membership. Specifically, I want to investigate the normative concerns associated with the goal of preserving culture. In the first part of this article, I raise questions about the ethics of cultural preservation. Is it a permissible or impermissible (...) goal? If it is permissible, is it obligatory or at least praiseworthy? Does it even make sense to treat the fact that something is part of your culture as the primary reason for valuing or doing it? To what extent should the idea of preserving your culture be seen as in conflict with the valuable orientation of being open to learning from all cultures?In the second part, I consider the politics of cultural preservation, a topic that political p .. (shrink)

This article critically evaluates the cosmopolitan writings of Kwame Anthony Appiah, investigating especially the extent to which he challenges or fails to challenge the problem of Eurocentrism in cosmopolitan discourse. I begin by discussing the way Appiah's construction of his cosmopolitan vision attempts to address criticisms of cosmopolitanism as unable to accommodate the partiality that is an inescapable aspect of human relationships. I relate this issue to Eurocentrism, arguing that the historical integration of the world through European imperialism gives people (...) of color added reason to uphold certain forms of group partiality. I then consider promising points in Appiah's work, in which he can be seen as helping to construct an anti-Eurocentric form of cosmopolitanism, as well as problematic points, in which he shows insufficient regard for the importance of cultural resistance. (shrink)

This article is an introduction to an ancient Egyptian text called The Tale of the Eloquent Peasant and an argument that it ought to be seen as a classic of political philosophy. After contextualizing the tale as part of a tradition of moral and political philosophy in ancient Egypt, I explore the methods by which the text defines the proper roles of political authority and contrast its approach to justifying political authority with the argument from the state of nature so (...) common in modern Western political philosophy. I claim that the tale's argument from dysfunction anticipates the move in contemporary Western political philosophy towards privileging non-ideal over ideal theory. I discuss challenges in translating the key term in the tale – ma'at – in light of the fact that it can be taken to mean ‘justice’ and/or ‘truth’. Finally, I discuss how the irony at the heart of its narrative can lead us to interpret the tale as having either conservative or revolutionary implications for the political system it depicts. (shrink)

The precipitous cliffs, rolling headlands, and rocky inlets of the Big Sur coast of California prompted Robinson Jeffers to extol their wild beauty throughout his long career as a poet. This extraordinary volume brings together Jeffers’s haunting poetry with magnificent photographs of Big Sur by his friend and neighbor, famed photographer Morley Baer.

I argue that the second chapter of W.E.B. Du Bois’s The Souls of Black Folk has been underappreciated as a work of political philosophy, as Du Bois offers us in it a way of understanding what a government is and how to evaluate when a government is good. I relate Du Bois’s account of governmental leadership in that chapter to his critique of Booker T. Washington as a nongovernmental leader in chapter 3 of Souls. While doing this, I also pay (...) attention to Du Bois’s account of democratic debate in chapter 3. (shrink)

A minority of physicists has endorsed some claims made for anomalous effects related to consciousness. A smaller number have attempted experiments to establish the veracity of such claims. The nature of these claims, in particular those for psychokinesis, is reviewed. Most of the experimental work bearing on these claims conducted by professional scientists has not yielded convincing evidence in their support. What are frequently stated to be the most credible claims are not, in fact, persuasive and furthermore the appeals to (...) quantum mechanics by way of explanation are questionable. (shrink)

In The Conservation of Races, Du Bois advocates that African Americans hold on to their distinctiveness as members of the black race because this enables them to participate in a cosmopolitan process of cultural exchange in which different races collectively advance human civilization by means of different contributions. Kwame Anthony Appiah and Tommie Shelby have criticized the position that Du Bois expresses in that essay as a problematic form of racial essentialism. This article investigates how Du Bois’ 1924 book The (...) Gift of Black Folk escapes or fails to escape that criticism. It is easy to worry that the diversity of what Du Bois in this book is willing to treat as a black contribution to the development of America pushes us from the problem of essentialism to the other extreme: a lack of any conceptual constraints whatsoever on what can count as a black gift. I will argue that recognizing the cultivation of historical memory as a form of cultural activity is key to understanding the concept's unity. (shrink)

Review of recent works on the Negritude movement, with critical remarks and interventions.

The philosophical debate concerning political exchange has largely been confined to debating the desirability of vote trading; where individuals can sell their votes or buy votes from others. However, I show that the vote credit systems prevalent in public choice theory entirely avoid the common objections to political exchange that afflict vote trading proposals. Namely, vote credit systems avoid equality concerns and inalienability concerns. I offer an alternative critique to formal mechanisms that encourage political exchange by drawing on the role (...) that impartiality and impartial moral judgements play in democratic and electoral institutions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Still Life Is Really a Moving LifeThe Role of Mirror Neurons and Empathy in Animating Aesthetic ResponseCarol S. Jeffers (bio)IntroductionIn the Western aesthetic canon, the still life enjoys a certain prestige; its place in the museum and on the pages of the art history text is secure. Art aficionados who appreciate the character of Cezanne's apples help to ensure the lofty standing of the still life, as do (...) students who admire the dewdrops still glistening on flowers picked and painted in the nineteenth century. For some students, however, it is difficult to understand such veneration. Despite the coaxing of dedicated art or museum educators, these students find apples nestled among drapery folds or translucent petals in a spring bouquet to be "boring." No matter how compelling the apples, how exquisitely rendered the blossoms, the still life is much too static, offering little more than the lifelessness of inanimate objects.In my experience, even the most unappreciative of students can be persuaded to take a closer look at the inanimate—not by me or any strategies I may have devised but rather by classmates who have chosen still life paintings to serve as their personal metaphors. When shared during the courses I teach, these still lifes and their depicted objects acquire special meanings that are uniquely associated with the individual students who chose them. Reflecting on these class presentations, converted students offered these thoughts: "I related myself with the metaphors and the way my classmates felt"; and "What really stayed with me were the stories and the way my classmates connected with their paintings—how they connected to the art emotionally." Still another wrote: "I really liked the way their presentations went because I got to know [my classmates] a little bit more." Through these connections to still life and other genres, students explored [End Page 31] their concepts of self within a community of others and began to experience the power of empathy.Empathy, typically defined as "the intellectual or emotional identification with another,"1 is a human capacity that, according to the noted neuroscientist Vittorio Gallese, allows us to understand the world of objects as well as the world of others.2 With the recent discovery of the mirror neuron system in the human brain, Gallese and other investigators around the world have identified the neurological basis of empathy.3 Subsequent studies of the remarkable properties of mirror neurons have yielded potent new understandings of the connections between empathy, objects of art and material culture, and intrapersonal relationships among human beings. Interestingly, these twenty-first-century findings tend to confirm a nineteenth-century connection between aesthetics and empathy, or more precisely, Einfuhlung ("in-feeling," or "feeling into"), a term coined by the philosopher Robert Vischer in 1873 to describe the projection of human feeling onto art objects.4 As Vischer himself described this phenomenon, "I transport myself into the inner being of an object and explore its formal character from within, as it were."5These insights, whether gained through the use of state-of-the-art brain imaging technologies or dusty volumes in a German library, have led Gallese to consider some interesting implications, such as, for example, those involving the still life—its bottles, apples, even its brushstrokes—and to claim that "a still life is really a moving life" when understood from the perspective of neuroscience.6 To explore this claim and its relevance to classroom and museum practices, this article examines the relationship between mirror neurons, empathy, and aesthetic response as it developed among preservice teachers who presented metaphorical works of art in two teacher education courses. A brief synopsis of research results highlighting the workings of the mirroring mechanism is presented and then applied to two student presentations: one given by Molly about Cezanne's Still Life with Apples (1893-94) and the other by Deborah about Fantin-Latour's White and Pink Mallows in a Vase (1895). The stories told by Molly, Deborah, and their classmates allow additional insights with implications for art and museum education.Mirror Neurons: Some Research ResultsSome fifteen years ago, what Gallese characterizes as a "strange class" of neurons was discovered, first... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 107-119 [Access article in PDF] Museum as Process Carol S. Jeffers Introduction Today's art museums are committed to completing major expansion and renovation projects, and vigorously carrying out their stated missions. 1 These missions typically are concerned with processes of acquisition, preservation, exhibition, and education. The National Gallery of Art, for example, is dedicated to "preserving, collecting, exhibiting, and fostering the understanding (...) of works of art." 2 Similarly, the Getty Museum at the J. Paul Getty Center seeks to "delight, inspire, and educate the public by acquiring, conserving, studying, exhibiting, and interpreting works of art." 3 Such processes are strategic, of course, and give direction and purpose to the range of programs and services offered by these institutions. Ensuring that visitors are surrounded by works of art, "at the highest quality," these processes also give rise to a particular view of the museum as an "object of reflection, contemplation, and discussion." 4Although unstated, I shall argue that art museums typically have other missions that are actively, if insidiously implemented through processes of representation (re-presentation), socialization, institutionalization, and commodification.The museum functions as a "socializing institution," that both represents and presents cultural assumptions, as well as social and aesthetic values to young and old alike. 5 These processes succeed in establishing an "ideology of aesthetic autonomy — the compartmental conception of fine art that segregates it to the separate realm of the museum." 6 Simultaneously, they present "ideology in material form." 7 The museum itself is a representation that tends to take on an independent and ultimately self-reflecting existence. In a Debordian view, "it is a spectacle, which, in its generality, is a concrete inversion of life, and as such, the autonomous movement of 8 [End Page 107] non-life." Through processes of representation and commodification, the spectacular museum is constructed as a frame that influences the public perception of art and society. Moreover, this ideological frame influences how the public experiences constructs of time and place, and how it comes to know about art in relation to the real world.Today's thriving art museums — and the various processes that deliver both their overt and covert missions — are likely to have a greater impact on society than ever before. With such potential, it seems especially important at this juncture to examine critically the art museum as process; to deconstruct that which has been "constructed as a symbol in Western society since the Renaissance." 9 In undertaking such an examination, then, the first task is to describe current museum impact on the public. Of special concern are questions about what the museum represents to its visitors, particularly to young students and teachers, and how these representations shape constructions of knowledge, conceptions of art, and roles for visitors and artists. Contemporary representations themselves raise questions about the historical context in which they originated, developed, and were carried forward. As a second task, then, this essay will present a historical-critical analysis that integrates several theoretical perspectives on the origins, development, and implications of the Western museum and its various processes. Next, I will consider the possibility and implications of visitor impact on museum processes. This last section includes examples of alternative museum approaches whose mission is implemented through active visitor participation in processes of conversation and community. Collecting and Exhibiting: The Museum as Sacred Grove The museum as a symbol in Western society is apparently recognized and understood as such, even by its youngest members. Children in the United States, Canada, and France, for example, can offer definitions of an art or other museum, and know how to "act and react" within one, even though they may have had extremely limited ornoprior museum experiences. 10 To these children, a museum is a venerable, quiet place, "like the library." 11 When asked, "what is a museum?" children typically respond with: "a place to collect things," or "a big place where lots of people go" to see "old stuff" and "lots of pictures." 12 In general, children seem to view museums as sites for exposition, and as repositories for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 107-119 [Access article in PDF] Museum as Process Carol S. Jeffers Introduction Today's art museums are committed to completing major expansion and renovation projects, and vigorously carrying out their stated missions. 1 These missions typically are concerned with processes of acquisition, preservation, exhibition, and education. The National Gallery of Art, for example, is dedicated to "preserving, collecting, exhibiting, and fostering the understanding (...) of works of art." 2 Similarly, the Getty Museum at the J. Paul Getty Center seeks to "delight, inspire, and educate the public by acquiring, conserving, studying, exhibiting, and interpreting works of art." 3 Such processes are strategic, of course, and give direction and purpose to the range of programs and services offered by these institutions. Ensuring that visitors are surrounded by works of art, "at the highest quality," these processes also give rise to a particular view of the museum as an "object of reflection, contemplation, and discussion." 4Although unstated, I shall argue that art museums typically have other missions that are actively, if insidiously implemented through processes of representation (re-presentation), socialization, institutionalization, and commodification.The museum functions as a "socializing institution," that both represents and presents cultural assumptions, as well as social and aesthetic values to young and old alike. 5 These processes succeed in establishing an "ideology of aesthetic autonomy — the compartmental conception of fine art that segregates it to the separate realm of the museum." 6 Simultaneously, they present "ideology in material form." 7 The museum itself is a representation that tends to take on an independent and ultimately self-reflecting existence. In a Debordian view, "it is a spectacle, which, in its generality, is a concrete inversion of life, and as such, the autonomous movement of 8 [End Page 107] non-life." Through processes of representation and commodification, the spectacular museum is constructed as a frame that influences the public perception of art and society. Moreover, this ideological frame influences how the public experiences constructs of time and place, and how it comes to know about art in relation to the real world.Today's thriving art museums — and the various processes that deliver both their overt and covert missions — are likely to have a greater impact on society than ever before. With such potential, it seems especially important at this juncture to examine critically the art museum as process; to deconstruct that which has been "constructed as a symbol in Western society since the Renaissance." 9 In undertaking such an examination, then, the first task is to describe current museum impact on the public. Of special concern are questions about what the museum represents to its visitors, particularly to young students and teachers, and how these representations shape constructions of knowledge, conceptions of art, and roles for visitors and artists. Contemporary representations themselves raise questions about the historical context in which they originated, developed, and were carried forward. As a second task, then, this essay will present a historical-critical analysis that integrates several theoretical perspectives on the origins, development, and implications of the Western museum and its various processes. Next, I will consider the possibility and implications of visitor impact on museum processes. This last section includes examples of alternative museum approaches whose mission is implemented through active visitor participation in processes of conversation and community. Collecting and Exhibiting: The Museum as Sacred Grove The museum as a symbol in Western society is apparently recognized and understood as such, even by its youngest members. Children in the United States, Canada, and France, for example, can offer definitions of an art or other museum, and know how to "act and react" within one, even though they may have had extremely limited ornoprior museum experiences. 10 To these children, a museum is a venerable, quiet place, "like the library." 11 When asked, "what is a museum?" children typically respond with: "a place to collect things," or "a big place where lots of people go" to see "old stuff" and "lots of pictures." 12 In general, children seem to view museums as sites for exposition, and as repositories for... (shrink)

Review of a recently published collection of the complete writings of Suzanne C ésaire, arguing that it is an important moment for the emerging field of Afro-Caribbean philosophy.

In the Western aesthetic canon, the still life enjoys a certain prestige; its place in the museum and on the pages of the art history text is secure. Art aficionados who appreciate the character of Cezanne's apples help to ensure the lofty standing of the still life, as do students who admire the dewdrops still glistening on flowers picked and painted in the nineteenth century. For some students, however, it is difficult to understand such veneration. Despite the coaxing of dedicated (...) art or museum educators, these students find apples nestled among drapery folds or translucent petals in a spring bouquet to be "boring." No matter how compelling the apples, how exquisitely rendered the blossoms, the still life is .. (shrink)

I ask whether we need African Canadian philosophy and attempt to provide an answer by considering a series of other questions that can be understood as alternative versions of the initial question. I ask (1) whether we need African Canadian philosophers; (2) whether we need philosophy focused on the African Canadian experience; (3) whether we already have African Canadian philosophy; (4) whether anybody of any background can do African Canadian philosophy; and (5) what African Canadian philosophy will do for us. (...) I conclude that we do need African Canadian philosophy. (shrink)

_Contemporary African philosophy in indigenous African languages and English translation._.

Economists and philosophers discuss taxation in the context of the prevailing tax base. This prevailing tax base primarily consists of levies on earned income, capital, and consumption. In the optimal tax literature, economists find that this tax base possesses a problematic tradeoff between equity and efficiency. This tax base is also controversial amongst moral philosophers because it diminishes the principle of labor ownership. I explore a tax base that does not possess these two drawbacks and hence sidesteps problems with the (...) current tax base raised both by optimal tax theorists and moral philosophers. Even partial replacement of the current tax base with the proposed tax base would increase efficiency, improve equity, and preserve labor ownership. (shrink)

Cultural diversity between residents and staff is significant in aged care homes in many developed nations in the context of international migration. This diversity can be a challenge to achieving effective cross‐cultural communication. The aim of this study was to critically examine how staff and residents initiated effective cross‐cultural communication and social cohesion that enabled positive changes to occur. A critical hermeneutic analysis underpinned by Giddens’ Structuration Theory was applied to the study. Data were collected by interviews with residents or (...) their family and by focus groups with staff in four aged care homes in Australia. Findings reveal that residents and staff are capable of restructuring communication via a partnership approach. They can also work in collaboration to develop communication resources. When staff demonstrate cultural humility, they empower residents from culturally and linguistically diverse backgrounds to engage in effective communication. Findings also suggest that workforce interventions are required to improve residents’ experiences in cross‐cultural care. This study challenges aged care homes to establish policies, criteria and procedures in cross‐cultural communication. There is also the challenge to provide ongoing education and training for staff to improve their cross‐cultural communication capabilities. (shrink)

This volume is about searching for fundamental theory in physics which has become somewhat elusive in recent decades. Like a group of blind men investigating an elephant, one physicist postulates the trunk as a hose, another a leg as a tree, the body a wall or barrier, the tail a rope and the ears as a fan. The organizers of the Vigier series symposia strongly believe cross polination by exploring many avenues of seemingly disparate research is key to breakthrough discovery (...) and solicited papers on all areas of physics deemed pertinent in Astrophysics, Cosmology, nuclear physics, quantum theory, electromagnetism, thermodynamics, vacuum field theory and topology. (shrink)

Robinson Jeffers’ dark view of humankind is thought to owe much to Friedrich Nietzsche while his admiration for the beauty of nature has been compared to sentiments expressed by Lucretius in de rerum natura. In many respects, however, the philosopher who stands closest to Jeffers in both thought and personality is the ancient Greek thinker Heraclitus of Ephesus. Jeffers’ extended poem ‘The Double Axe’ makes no fewer than five clear references to Heraclitean ideas: (1) ‘Heraclitus’ Sibyl whose voice reached over (...) ten thousand years’; (2) the opposites ‘winter and summer…rain the drought, and peace and war; (3) ‘the eternal fire-wheel; (4) ‘One existence, one music, one organism, one life, one God: star-fire and rock-strength, the sea’s cold flow/And man’s dark soul; and (5) ‘This divine outer universe is after all not at peace with itself, but full of violent strains and conflicts. The physical world is ruled by opposing tensions.’ -/- . (shrink)