- Submit
-
Browse
- All Categories
- Metaphysics and Epistemology
- Value Theory
- Science, Logic, and Mathematics
- Science, Logic, and Mathematics
- Logic and Philosophy of Logic
- Philosophy of Biology
- Philosophy of Cognitive Science
- Philosophy of Computing and Information
- Philosophy of Mathematics
- Philosophy of Physical Science
- Philosophy of Social Science
- Philosophy of Probability
- General Philosophy of Science
- Philosophy of Science, Misc
- History of Western Philosophy
- Philosophical Traditions
- Philosophy, Misc
- Other Academic Areas
- More
Switch to: References
Citations of:
Do Subaltern Artifacts Belong in Art Museums?
In James O. Young & Conrad G. Brunk (eds.), The Ethics of Cultural Appropriation. Oxford, UK: Wiley‐Blackwell. pp. 235–267 (2009)
Add citations
You must login to add citations.
|
|
|
Cultural appropriation, also called cultural borrowing, has been the topic of much discussion in recent years. Roughly speaking, cultural appropriation happens when someone outside of a cultural or ethnic group takes or uses some object that is characteristic or in some way important to the group without the group’s permission. Individuals who find cultural appropriation unproblematic have often argued that if we express moral criticism of the use of traditional Sami outfits by non-Sami, then we are logically committed to criticize (...) |
|
|
Museums are home to millions of artworks and cultural artifacts, some of which have made their way to these institutions through unjust means. Some argue that these objects should be repatriated (i.e. returned to their country or culture of origin). However, these arguments face a series of philosophical challenges. In particular, repatriation, even if justified, is often portrayed as contrary to the aims and values of museums. However, in this paper, I argue that some of the very considerations museums appeal (...) |
|
|
This two‐part article examines the very limited engagement by philosophers with museums, and proposes analysis under six headings: cultural variety, taxonomy, and epistemology in Part I, and teleology, ethics, and therapeutics and aesthetics in Part II. The article establishes that fundamental categories of museums established in the 19th century – of art, of anthropology, of history, of natural history, of science and technology – still persist. Among them, it distinguishes between hegemonic (predominantly Western) and subaltern (minority or Indigenous) museums worldwide. (...) |
|
|
Discussions of ‘cultural appropriation’ in popular culture suffer from an inherited politics of authenticity and ownership originating in a liberal legal–ethical framework. Here, I use Raymond Williams’s and Stuart Hall’s cultural theory to pinpoint the place at which cultural-appropriation discourse goes wrong – an essentialist and anti- historical notion of colonial encounters. We can overcome these limits through Marxist cultural and historical analysis. Outrage about colonial violence which most often roots appropriation discourse is better understood within the context of an (...) |
|
|
In 2014, Brett Bailey’s Exhibit B site-specific installation created a media storm and protests throughout Europe. One such protest was in London, leading to the cancellation of his show at the Barbican. Consternation caused by art work is not a new phenomenon, and indeed one of the enduring purposes of art is to push the boundaries of acceptability and to show sights that are normally kept hidden from the public gaze. From some of the Impressionists’ exhibits to twentieth century art (...) |
|
|
Do members of cultural groups have special claims to own or control the products of the cultures to which they belong? Is there something morally wrong with employing artistic styles that are distinctive of a culture to which you do not belong? What is the relationship between cultural heritage and group identity? Is there a coherent and morally acceptable sense of cultural group membership in the first place? Is there a universal human heritage to which everyone has a claim? Questions (...) |
|
|
Art is saturated with cultural significance. Considering the full spectrum of ways in which art is colored by cultural associations raises a variety of difficult and fascinating philosophical questions. This curriculum guide focuses in particular on questions that arise when we consider art as a form of cultural heritage. Organized into four modules, readings explore core questions about art and ethics, aesthetic value, museum practice, and art practice. They are designed to be suitable for use in an introduction to philosophy (...) |
PhilPapers logo by Andrea Andrews and Meghan Driscoll.
This site uses cookies and Google Analytics (see our terms & conditions for details regarding the privacy implications). Use of this site is subject to terms & conditions.
All rights reserved by The PhilPapers Foundation
Server: philpapers-web-6d9b7f7c4c-67rzb uwo