Citations of:
Impersonal Value, Universal Value, and the Scope of Cultural Heritage
Ethics 125 (4):999-1027 (2015)
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G.A. Cohen’s value conservatism entails that we ought to preserve some existing sources of value in lieu of more valuable replacements, thereby repudiating maximizing consequentialism. Cohen motivates value conservatism through illustrative cases. The consequentialist, however, can explain many Cohen-style cases by taking extrinsic properties, such as historical significance, to be sources of final value. Nevertheless, it may be intuitive that there’s stronger reason to preserve than to promote certain sources of value, especially historically significant things. This motivates an argument that (...) |
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‘Heritage’ is a concept that often carries significant normative weight in moral and political argument. In this article, I present and critique a prevalent conception according to which heritage must have a positive valence. I argue that this view of heritage leads to two moral problems: Disowning Injustice and Embracing Injustice. In response, I argue for an alternative conception of heritage that promises superior moral and political consequences. In particular, this alternative jettisons the traditional focus on heritage as a primarily (...) |
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This article draws together research from various sub-disciplines of philosophy to offer an overview of recent philosophical work on the ethics of historic preservation. I discuss how philosophers writing about art, culture, and the environment have appealed to historical significance in crafting arguments about the preservation of objects, practices, and places. By demonstrating how it relates to core themes in moral and political philosophy, I argue that historic preservation is essentially concerned with ethical issues. |
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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 (...) |
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Is there something morally wrong with cultural appropriation in the arts? I argue that the little philosophical work on this topic has been overly dismissive of moral objections to cultural appropriation. Nevertheless, I argue that philosophers working on epistemic injustice have developed powerful conceptual tools that can aid in our understanding of objections that have been levied by other scholars and artists. I then consider the relationship between these objections and the harms of cultural essentialism. I argue that focusing on (...) |
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The past is deeply important to many of us. But our concern about history can seem puzzling and needs justification. After all, the past cannot be changed: we can help the living needy, but the tears we shed for the long dead victims of past tragedies help no one. Attempts to justify our concern about history typically take one of two opposing forms. It is assumed either that such concern must be justified in instrumental or otherwise self-centered and present-centered terms (...) |
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Journal of Social Philosophy, EarlyView. |
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When a symbol is a marker of a primary bearer of value and, secondarily, a bearer of value itself, then it has symbolic value. Philosophers have long been suspicious of symbolic values, often regarding them as illusory or irrelevant. I suggest that arguments against symbolic values either overgeneralize or else require premises that can only be supported if the normative significance of some symbolic considerations is presupposed. Humans need symbols to represent identity facts to themselves and others. Symbolic values thereby (...) |
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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 (...) |
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