Near the middle of his first discussion with Lysis, Socrates asks an odd question—he asks if Lysis’ mother lets him play with her loom or touch her woolworking tools (208d1-e2). It is one of many odd questions, of course, but it is odd nonetheless. Odd, and also funny: it is the one of just two comments in the book that makes Lysis laugh. This question, I argue, reveals the profound depth of Socrates’ inquiry about Lysis’ views about himself and his (...) loved ones. Indeed, the challenge is so profound that at first the only response is laughter. One aspect is a challenge to certain ideals of masculinity, and so I briefly discuss Athenian conceptions of gender and masculinity, along with some Platonic questioning of these conceptions. Reading the Lysis through the lens of gender reveals not only the continued relevance of such a lens, but also the intensity of Socrates’ work, which calls into question basic social structures and markers of identity, like gender, in its pursuit of a liberatory turn to philosophy. We gain insight into his challenge to Athenian understanding of masculinity by observing the way that Socrates’ argumentation undermines much of it, and we more fully appreciate Socrates’ arguments if we see that they intend to subvert gendered expectations. The setting of the dialogue, the questions Socrates asks, and the responses from Lysis all reinforce that what is at stake in the text is Lysis’ character, including his masculinity. (shrink)

In this paper, I begin with an account of the initial distinction between likenesses and appearances, a distinction which may resemble the difference between sophists and philosophers. That distinction first arises immediately after the puzzling appearance of the noble sophist, who seems to occupy an odd space in between sophist and philosopher. In the second section, I look more closely at the noble sophist, and on what that figure might tell us about images and the use of images. I also (...) attempt to use the insights provided by the noble sophist in an investigation of the kind of images that Plato the author produces. This raises the question of the general notion of image as it appears in the Sophist, and especially of the dual nature of all images, which in turn invites reflection on certain features of the examination of being and non-being late in the dialogue. Finally, I return to the deception inherent in images, and I argue that this dialogue does not present the possibility of completely honest images. Nevertheless, I hope to show that some uses of deceptions and images are better than others. (shrink)

George Yancy's Backlash is a book about American racism. It is the story of what often happens when blacks dare to challenge whiteness on its hubris, or on its appallingly obvious hypocrisy. It is the story of the anger and violence that often arises in the white American in the aftermath of such a challenge, generating in him or her a need to humiliate and destroy the source of the diminished (and fragile) white sense of self. Racism is not personal, (...) Backlash evidences. It is a manifestation of a deeply racist society. Backlash succeeds as a powerful phenomenological account of what racism (still) looks (and feels) like in The Land of the Free. (shrink)

George Yancy's interview with Alison Bailey addresses what it means for Whites to be "privilege-cognizant but metaphysically comfortable.” .

George Yancy writes that he edited White on White/Black on Black in order “to get white and Black philosophers to name and theorize their own raciated identities within the same philosophical text. … My aim was to create a teachable text, that is, to create a text whereby readers will be able to compare and engage critically the similarities and differences found within and between the critical cadre of both white philosophers and Black philosophers” (7-8). White on White/Black on Black (...) collects together essays by fourteen philosophers—seven identified as white, seven Black—who explore, by turns, their identities, the natures of whiteness and Blackness, and conceptualizations of race more generally. (shrink)

Aesthetic evaluations of human bodies have important implications for moral recognition and for individuals’ access to social and material goods. Unfortunately, there is a widespread aesthetic disregard for non-white bodies. Aesthetic evaluations depend on the aesthetic properties we regard objects as having. And it is widely agreed that aesthetic properties are directly accessed in our experience of aesthetic objects. How, then, might we explain aesthetic evaluations that systematically favour features associated with white identity? Critical race philosophers, like Alia Al-Saji, Mariana (...) Ortega, Paul C. Taylor, and George Yancy, argue that this is because the perception of racialized bodies is affected by the social structures in which they are appreciated. The aim of this paper is to propose how social structures can affect aesthetic perception. I argue that mental imagery acquired through the interaction with aesthetic phenomena structures the perception of non-aesthetic properties of bodies, so that aesthetic properties consistent with racist stereotypes are attributed to individuals. (shrink)

Durante as últimas décadas, pesquisas empíricas em psicologia social têm mostrado uma influência significativa de vieses implícitos sobre o modo como pessoas negras são percebidas e categorizadas. Ainda não é claro, no entanto, que a mesma metodologia possa ser empregada para aferir a presença de vieses implícitos na percepção espacial. O objetivo deste artigo será argumentar que a percepção do espaço é também racialmente enviesada, embora não no mesmo sentido pressuposto por grande parte da psicologia empírica. De acordo com a (...) presente proposta, vieses implícitos serão entendidos como hábitos perceptuais corporificados. Tais hábitos são moldados por categorias raciais e podem tomar a forma do que chamaremos de “expansividade branca”, em que o espaço é percebido em termos de expansão e permissibilidade. Essa permissibilidade, no entanto, é uma marca de privilégio e não de competência, constituindo-se em uma percepção racialmente enviesada do espaço. Confrontar a racialidade implícita desses espaços demanda o que o filósofo George Yancy chama de “de-suturação”, uma abertura afetiva e epistêmica que expõe a ilusão de neutralidade do espaço e a reconceitualiza como opressora para os não-brancos que ocupam esses mesmos espaços. (shrink)