This article examines some aspects of the entanglement between aesthetic injustice and epistemic injustice, paying special attention to how aesthetic injustice can be resisted in the classroom. The article brings into conversation Boal’s notion of aesthetic injustice with Rancière’s work on the overlapping of aesthetics and politics to suggest that a truly democratic education must work on the level of senses, so that students learn how to identify and resist aesthetic injustice (...) in their everyday lives. Specifically, it is argued that the democratic potential of education is inextricably linked to resisting aesthetic and epistemic injustice in practice. The main point of the article is that resistance to aesthetic injustice in the classroom operates as an instance of politics that mobilizes struggle against oppression. In this sense, the nature of political work conducted in democratic education is to undo the oppressive distribution of the senses. (shrink)

Our aesthetic judgments are embedded in and shaped by unjust social orders. But can our aesthetic judgments themselves—“this is beautiful; that is not”—be unjust? This article argues that they can. Admitting that this is so does not require us to be unduly revisionary with respect to our concept of justice. Rather, the thought that aesthetic judgments are unjust flows naturally from familiar egalitarian constraints.

In business as elsewhere, “ugly people” are treated worse than ”pretty people.” Why is this so? This article investigates the ethics of aesthetic injustice by addressing four questions: 1. What is aesthetic injustice? 2. How does aesthetic injustice play out? 3. What are the characteristics that make people being treated unjustly? 4. Why is unattractiveness (considered to be) bad? Aesthetic injustice is defined as unfair treatment of persons due to their appearance as (...) perceived or assessed by others. It is plays out in a variety of harms, ranging from killing (genocide), torture, violence, exclusion (social or physical), discrimination, stigmatization, epistemic injustice, harassment, pay inequity, bullying, alienation, misrecognition, stereotyping, and to prejudice. The characteristics that make people treated unjustly are (lack of) attractiveness, averageness, proportion, and homogeneity. Furthermore, prejudice, psychological biases, logical fallacies, and unwarranted fear of disease are some reasons why unattractiveness is (considered to be) bad. In sum, this study synthesizes insights from a wide range of research and draws attention to aesthetic injustice as a generic term for a form of injustice that deserves more systematic attention. Having a definition, description, and explanation of the concept makes it easier to target the problems with aesthetic injustice. As the business world is an arena of ubiquitous aesthetic injustice business ethics can take the lead in identifying, explaining, and addressing the problem. (shrink)

There are many aesthetic cultures, and groups with different aesthetic cultures can come in contact with one another, sometimes resulting in conflict. An aesthetic injustice is a failure of policies in large scale social arrangements to manage the contact well and avoid conflict. This book articulates and defends the cosmopolitan theory of aesthetic injustice: a large scale social arrangement is aesthetically unjust when and only when it harms people in their capacities as aesthetic (...) agents, thereby subverting interests in the value diversity and social autonomy of aesthetic cultures. It contrasts aesthetic injustice with related phenomena. It presents three cases studies of the aesthetic injustice in cultural appropriation, ideals of bodily beauty, and access to aesthetic resources for disabled people. (shrink)

Some lines of poetry rhyme to certain readers and not to others because of how their words are pronounced in different accents. And because the accent in which a person speaks is tied in significant ways to aspects of their social identity (such as their age, race, gender, and class), some poems rhyme in the voices of the privileged and not in the voices of the disadvantaged. This paper argues that appreciators can incur aesthetic harms when they are excluded (...) from participating in aesthetic goods that are more fully available to others, and that these harms can constitute aesthetic injustices when they are part of a wider pattern of socio-economic hardship. Poems that embody objectionable gatekeeping practices can thus perpetuate aesthetic injustice. (shrink)

This article argues that the aesthetics of the oppressed—a series of artistic practices elaborated by Augusto Boal (1931-2009) that comprises the theatre of the oppressed, the rainbow of desire technique, and legislative theatre—utilizes art in order to resist epistemic injustice and promote democratic freedom.

This submission explores the concept of aesthetic justice pedagogy, and advocates on behalf of it. In contrast to aesthetic injustice, which denotes any harm done to a person’s aesthetic capacities, aesthetic justice pedagogy aims at facilitating the development of students’ imagination, perception, and feelings, wherein narrative and story-making are prime locations to contest coloniality and oppression. We emphasize the practice of this philosophy, refusing to see it as only as metaphor or theory. In our attempt (...) to build a praxis of philosophy, education, and art, we lean upon diverse thinkers such as Augusto Boal, John Dewey, Paulo Freire, and Ursula K. Le Guin. We maintain that aesthetic justice pedagogy requires spaces of liberation whereby initiates can practice, rehearse, and perform new realities and create counter-narratives through various modalities of story-writing. Boal’s Aesthetics of the Oppressed, Dewey’s understanding of dramatic rehearsal, Freire’s work in Culture Circles, and Le Guin’s critique of the father tongue combine art, re-storying, and imagination in ways that are unique to the traditional practices of arts education. We conclude by reemphasizing the liberatory ways in which practice (aesthetic work that is done alone), rehearsal (art work with others), and performance (imagination’s accomplishment) come to identify unique qualities and practices of an aesthetic justice pedagogy. (shrink)

A disturbing economic reality confronts consumers today: thousands of farm workers are enslaved in U.S. agricultural fields, forced to work without pay amid deplorable conditions and under the constant threat of violence. If structural economic injustices perpetuate modern‐day agricultural slavery, then it is necessary to promote consumer practices that resist these abusive dynamics. But a consumption‐oriented strategy does not necessarily restore either personal agency or communal relations damaged by agricultural trafficking. This essay proposes a framework for aesthetic solidarity that (...) cultivates affective bonds necessary for building communities of resistance characterized by mutuality, equality, and participation. (shrink)

Open Access: This article argues for an aesthetic approach to resisting oppression based on judgments of bodily unattractiveness. Philosophical theories have often suggested that appropriate aesthetic judgments should converge on sets of objects consensually found to be beautiful or ugly. The convergence of judgments about human bodies, however, is a significant source of injustice, because people judged to be unattractive pay substantial social and economic penalties in domains such as education, employment and criminal justice. The injustice (...) is compounded by the interaction between standards of attractiveness and gender, race, disability, and gender identity. -/- I argue that we should actively work to reduce our participation in standard aesthetic practices that involve attractiveness judgments. This does not mean refusing engagement with the embodiment of others; ignoring someone’s embodiment is often a way of dehumanizing them. Instead, I advocate a form of practice, aesthetic exploration, that involves seeking out positive experiences of the unique aesthetic affordances of all bodies, regardless of whether they are attractive in the standard sense. I argue that there are good ethical reasons to cultivate aesthetic exploration, and that it is psychologically plausible that doing so would help to alleviate the social injustice attending judgments of attractiveness. -/- This essay was the winner of the 30th Anniversary of the American Society for Aesthetics Feminist Caucus Committee Feminist Research Essay prize in 2020. (shrink)

By challenging the state and corporate prerogatives to distinguish between “good” and “bad” development, social movements by and in support of inhabitants of Rosia Montana (Transylvania) are subverting prevailing perceptions about Central and Eastern Europe (CEE)’s liberal path of development illustrating its injustice in several ways that will be detailed in this article under the heading “inhibitions of political economy” or Balkanism. The significance of the “Save Rosia Montana” movement for post-communism is that it invites post-communist subjects to reflect (...) and revise their perception about issues such as communism, capitalism and development and to raise questions of global significance about the fragile edifice of justice within the neo-liberal capitalist economy. However, r esistance to injustice (and implicitly affirmations of other senses of justice) is an ambiguous discursive practice through which Rosieni make sense as well as partake their sense of Rosia Montana. The movement brings about a public dispute which may be compared with a differend : (in Lyotard’s words), a conflict that cannot be confined to the rules of “cognitive phrases,” of truth and falsehood. This article argues that while post-communist events of “subjectification” are unstable and thus, are to be viewed aesthetically, this same ambiguous multiplication of political subjectivity may facilitate the creation of social spaces for imagining alternative possibilities of development. (shrink)

This article argues that political injustices can arise from the distribution and character of our sexual desires and that we can be held responsible for correcting these injustices. It draws on a conception of structural injustice to diagnose unjust patterns of sexual attraction, which are taken to arise when socio-structural processes shaping the formation of sexual desire compound systemic domination and capacity-deprivation for the occupants of a social position. Individualistic and structural solutions to the problem of unjust patterns of (...) sexual attraction are assessed in the context of racialised sexual aversion, racial fetishism, and the desexualisation of people with disabilities. While both forms of intervention can help in principle, some of the advantages of structural approaches are laid out. A schema for assigning political responsibilities for addressing this injustice is proposed, with some limits identified to the kinds of state and social responses that are justified. Finally, the status of the merely aesthetically unappealing is considered, with a relational egalitarian approach concluding that they are subject to structurally unjust patterns of sexual desire only when exposed to oppression or second-class citizenship as a result. (shrink)

For decades, aesthetics has been subjected to a variety of critiques, often concerning its treatment of beauty or the autonomy of art. Collectively, these complaints have generated an anti-aesthetic stance prevalent in the contemporary art world. Yet if we examine the motivations for these critiques, Michael Kelly argues, we find theorists and artists hungering for a new kind of aesthetics, one better calibrated to contemporary art and its moral and political demands. Following an analysis of the work of Stanley (...) Cavell, Arthur Danto, Umberto Eco, Susan Sontag, and other philosophers of the 1960s who made aesthetics more responsive to contemporary art, Kelly considers Sontag's aesthetics in greater detail. In _On Photography_ (1977), she argues that a photograph of a person who is suffering only aestheticizes the suffering for the viewer's pleasure, yet she insists in _Regarding the Pain of Others_ (2003) that such a photograph can have a sustainable moral-political effect precisely because of its aesthetics. Kelly considers this dramatic change to be symptomatic of a cultural shift in our understanding of aesthetics, ethics, and politics. He discusses these issues in connection with Gerhard Richter's and Doris Salcedo's art, chosen because it is often identified with the anti-aesthetic, even though it is clearly aesthetic. Focusing first on Richter's Baader-Meinhof series, Kelly concludes with Salcedo's enactments of suffering caused by social injustice. Throughout _A Hunger for Aesthetics_, he reveals the place of critique in contemporary art, which, if we understand aesthetics as critique, confirms that it is integral to art. Meeting the demand for aesthetics voiced by many who participate in art, Kelly advocates for a critical aesthetics that confirms the limitless power of art. (shrink)

This paper develops insights from Foucault and Lyotard to examine the Darfur crisis and the transformative potential of spaces of alterity. We show that Foucault’s quest for an aesthetics of existence is an attempt to found an alternative form of ethics based on wakefulness, sensibility, and suspicion on the part of the subject. In the final part of the paper we link this idea to Lyotard’s sensibility of the sublime. We show how aesthetic sensibility can be transformed in a (...) political sensibility which bears witness to political injustices that result from the incommensurability of different genres of discourse. We illustrate this point using aesthetic representations of Darfur. (shrink)

With this nuanced and interdisciplinary work, political theorist Mihaela Mihai tackles several interrelated questions: How do societies remember histories of systemic violence? Who is excluded from such histories' cast of characters? And what are the political costs of selective remembering in the present? Building on insights from political theory, social epistemology, and feminist and critical race theory, Mihai argues that a double erasure often structures hegemonic narratives of complex violence: of widespread, heterogeneous complicity and of "impure" resistances, not easily subsumed (...) to exceptionalist heroic models. In dialogue with care ethicists and philosophers of art, she then suggests that such narrative reductionism can be disrupted aesthetically through practices of "mnemonic care," that is, through the hermeneutical labor that critical artists deliver—thematically and formally—within communities' space of meaning. Empirically, the book examines both consecrated and marginalized artists who tackled the memory of Vichy France, communist Romania, and apartheid South Africa. Despite their specificities, these contexts present us with an opportunity to analyze similar mnemonic dynamics and to recognize the political impact of dissenting artistic production. Crossing disciplinary boundaries, the book intervenes in debates over collective responsibility, historical injustice, and the aesthetics of violence within political theory, memory studies, social epistemology, and transitional justice. (shrink)

In this paper, I discuss the importance of practices of disidentification and imagination for democratic progress and change. To this end, I bring together certain aspects of Stanley Cavell’s and Richard Rorty’s reflections on democracy, aesthetics, and morality with Jacques Rancière’s account of the importance of appearance for democratic participation. With Rancière, it can be shown that any public–political order always involves the possibility (and often the reality) of exclusion or oppression of those who “have no part” in the current (...) order through a particular order of perceptibility, and that democratic action, therefore, requires rupturing acts of political agency on the part of self-proclaimed political actors through which disidentifications and constructions of difference against such existing orders become possible. With Cavell and Rorty, in turn, it can be shown that these rupturing moments, in order to actually become politically effective, require a responsive disposition and a willingness to engage in practices of imagination on the part of those who occupy dominant positions on existing orders, insofar as they must acknowledge the expression of others’ sense of injustice. The upshot of my discussion is that a comprehensive account of the aesthetic dimension of democratic politics must simultaneously address the interruption of political action on the one hand and responsiveness on the other, and that Rancière and the neo-pragmatists Rorty and Cavell complement each other insofar as they illuminate the blind spots of their respective approaches. (shrink)

The aim of the present text is to offer an interpretation of Eyal Weizman’s_concept of forensic aesthetics, demonstrating how this approach reveals the ways in which the aesthetic perception of violence, trauma, and decomposition of human dwelling can be transformed in the current digital optical war regime. Forensic aesthetics tries to grasp a_forensic sensibility as both an aesthetic and political practice, requiring individuals to become sensitive to violence and be able to comprehend and experience the affects of disintegration, (...) trauma, and despair that are characteristic of the experience of the survivor. The environment, dwelling, and architecture are not only inert observers, but rather have become material witnesses of crimes, violence, and destruction of various dwellings inhabited by various species. The application of digital technologies in forensic aesthetics carries a strong ethical appeal to avoid injustice. Traces and fragments of evidence, as well as multiple videos and images, are synchronized and recomposed within digital architectural environments and dwellings, as an optical and interpretative tool that shapes a new type of aesthetics. (shrink)

The main objective of this article is to reflect on the way in which a certain neoliberal logic and rationality have become common-sense and to contemplate the possibility of a different aesthetic. The tone or mood of this piece draws on recent work on atmosphere, affect and complexity, which will be used to explore the theme of neoliberalism within the context of the university. In the course of this discussion, I will consider questions such as: how could a different (...) aesthetic influence the university as public space; the curriculum and academic community and friendship? How could a different aesthetic respond to epistemic, ontological and, inherently tied to them, spatial injustice? (shrink)

The main objective of this article is to reflect on the way in which a certain neoliberal logic and rationality have become common-sense and to contemplate the possibility of a different aesthetic. The tone or mood of this piece draws on recent work on atmosphere, affect and complexity, which will be used to explore the theme of neoliberalism within the context of the university. In the course of this discussion, I will consider questions such as: how could a different (...) aesthetic influence the university as public space; the curriculum and academic community and friendship? How could a different aesthetic respond to epistemic, ontological and, inherently tied to them, spatial injustice? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 74-92 [Access article in PDF] John Dewey's Aesthetic Ecology of Public Intelligence and the Grounding of Civic Environmentalism Herbert Reid and Betsy Taylor "[The problem is] that of recovering the continuity of esthetic experience with normal processes of living." John Dewey, Art as Experience "This is not a protest. Repeat. This is not a protest. This is some kind of artistic expression. (...) Over." --A call that went out on Metro Toronto police radios on May 16, 1998, the date of the first Global Street Party. Quoted from Naomi Klein, No LogoThis paper argues for the importance of John Dewey's aesthetic philosophy to recent efforts to cultivate civic environmentalism while critiquing narrowly conservationist environmentalisms. We call for a strong version of civic environmentalism oriented towards holistic integration of ecological [End Page 74] concerns into all aspects of social, political, economic, and cultural life. Such a civic environmentalism argues that it is not enough to strive to preserve enclaved 'wilderness' or 'biodiversity' (as important as that is). It argues also for fundamental changes in the political and economic status quo, because ecological havoc is understood to be integrally linked with the structural forces that are increasing inequality and weakening democratic publics. Strengthening of the civic commons is integral to protection of the environmental commons. If the environmental commons are the substantive goods in common which are the sustaining grounds of life, the civic commons are the institutions, collective memories, social networks, and skills that enable and inspire individuals to engage with each other in stewarding the common good. Such collective labor for the larger good requires some form of collective imagination which enables awareness of self and other (human or non-human) as inherently valuable. But beyond this, it requires perceptual and social infrastructures that nurture the ability to see self and other as emergent from and dependent on the supra-individual matrix that supports both life and individual. Central to such civic labor, is a non-dualistic understanding of individual/matrix. Such a non-dualistic understanding of self/other-in-matrix is central to political and ecological imaginations that are decentered from ethnic, species, class, gender, or other forms of domination and solipsism.John Dewey's work as a whole is a powerful call for such a non-dualistic understanding of individual-in-matrix, and few have better understood its connections to democracy. But, it is in his philosophy of art that Dewey describes most specifically the central importance of the aesthetic dimension of public culture to overcoming crippling dualisms of Western modernity that vitiate participatory engagement- individual/world, nature/culture, ends/means, leisure/work, art/science, aesthetic/ordinary. His writings on art have not been much utilized in the philosophical work for civic environmentalism. This paper argues for their relevance to its key goal of overcoming the segmentation of life ushered in by modernity and buttressed by these dualisms.We first give an overview of recent theories of civic environmentalism and the crises it engages of inequality, injustice, technocracy, corporatization, and the pervasive assault on place and thinning of public participation. Second, we look at the implications of Dewey'saesthetic ecology for an "environmentalism of daily life" that challenges the false dualisms of neo-liberalism and of technocratic professionalism that undermine place-based [End Page 75] forms of life and knowledge. Third, we draw on Dewey's aesthetic philosophy to suggest ways to rebuild democratic public space at the nexus of body, place, and commons. Finally, we briefly outline key philosophical questions that have emerged in our ethnographic and political study of Appalachian grassroots activisms, and that embody this sort of placed, democratic mobilization to protect the civic and environmental commons. American Environmentalism: Crisis and Challenge Toward the end of the last decade, veteran New York Times journalist and now independent writer Philip Shabecoff set out to engage "a broad spectrum of thoughtful and informed people within and without the environmental movement." His Earth Rising: American Environmentalism in the 21st Century offers a very... (shrink)

This article adopts Edwina Sandys’ Christa as a hermeneutical lens through which to expose new dimensions about the interplay between aesthetics and redemption in the Christian tradition. Contemporary theological aesthetic discourses have ignored ugliness and its causes, especially the patriarchal ways in which Christian tradition has been used to sanctify violence against women. The issue of gender injustice takes on a heightened significance in light of recent claims surrounding the beauty of the cross. As a subversive aesthetic (...) feminist representation, Christa exposes the patriarchal dimensions of such constructions and calls for a new vision of aesthetics – one that begins with women’s experiences of suffering and salvation. (shrink)

Memory, mother of the Muses by Zeus, has nurtured culture for nearly three millennia while her nemesis, forgetfulness, has been demonized as an agent of destruction. In the modern age, however, memory has grown increasingly burdensome, opening the way for a more positive assessment of forgetfulness. Nietzsche praises animals for an inability to remember that preserves their innocence and happiness, and Freud documents the discontents of a civilization that cannot forget. ;In tracing the recent development of these issues, the dissertation (...) focuses primarily on Walter Benjamin, Hans Blumenberg, and Thomas Pynchon. Benjamin and his anguished "angel of history" show the destructive psychological effects of trying to use human memory as a secular form of redemption. Blumenberg's philosophy of history makes it possible to trace memory's responsibility for redemption to the modern age's inflated notion of the subject. Blumenberg's work also emphasizes the importance of metaphor and narrative in mediating and creating historical understanding, and this aesthetic distance weakens memory's redemptive relation to the past. Pynchon's protagonists, too, find that their desire to make historical meaning fully present is overshadowed by their fear of such presence. By reconciling themselves to a profane aesthetic distance from the past, Blumenberg and Pynchon redeem themselves from the melancholy engendered by an overly ambitious memory. ;Thus the dissertation attempts to recover a more modest and less oppressive memory by understanding it as a way to distance rather than redeem past injustices. This reconception of the function of memory helps establish an equilibrium between the pensive memory of Benjamin's "angel of history" and the innocent oblivion of Nietzsche's animals. ;In addition to the three major figures named in the title, the dissertation devotes sections and excursuses to Friedrich Nietzsche, Sigmund Freud, Ernst Cassirer, Martin Heidegger, Virginia Woolf, Ernst Robert Curtius, Elie Wiesel, Primo Levi, Michel Foucault, and Thomas Kuhn. Translations of two essays by Blumenberg, "Pensiveness" and "Being--A MacGuffin," and a comprehensive Blumenberg bibliography are included as appendices. (shrink)

In the history of Chinese philosophy, Mozi calls music a “waste of resources,” considering it an aristocratic extravagance that does not benefit the everyday people. In its defense, Confucians highlight music’s moral and metaphysical qualities, arguing that music aids in moral cultivation and that music’s form mimics the structure of reality. The aim of this paper is to show that Korean philosophers provide yet another reason to think music is important. Music, and art in general, was used to express a (...) national identity at a time Korean philosophers were beginning to develop their own aesthetic consciousness in the seventeenth and eighteenth centuries. A cultural movement called Joseonpoong (조선풍), “Joseon wind”, marked a shift away from Sinocentrism and towards Korea’s own unique value and practices. The new attempt to justify art’s value apart from its relationship to morality or metaphysics set Joseon thinkers apart from their Chinese predecessors. Using art for identity expression allowed the Koreans to reconceive art’s value while Sinocentric cosmological and cultural views were being challenged with the introduction of western knowledge. Art also became a tool for reversing hermeneutic injustice as new artistic practices and standards allowed the Koreans to meaningfully engage with previously neglected aspects of their lived lives. (shrink)

In his extensive private manuscripts, Jeremy Bentham used same-sex male intimacy as a philosophical test-case for the full political and social enfranchisement of women, colonized and enslaved persons, and sexual nonconformists. Bentham argued that oppression in law, philosophy, religion, and literature were all based on aesthetic hierarchies that refused to acknowledge differences of taste in sensory pleasure, including sexual pleasure. In Uncommon Sense, Carrie Shanafelt reads Bentham's sexual nonconformity papers as an argument for the toleration of aesthetic difference (...) as the foundation for egalitarian liberty. Shanafelt challenges the common image of Bentham as a dehumanizing calculator or an eccentric projector, instead showing Bentham at his most intimate, outraged by injustice and desperate for the end of discriminatory violence. (shrink)

This essay focuses on certain norms of Western opera, most notably the long-standing practice of excluding those who possess unattractive voices from leading roles in opera productions. Aging voices are sometimes accepted, but otherwise the institution of Western opera reflects and reinforces the common social bias against people with unattractive voices. Resistance to casting ugly voices in leading opera roles is an overlooked category of the marginalization and silencing of a whole class of voices in the performing arts. I consider (...) arguments that might be given in support of continuing this practice, but I argue that they fail. Current practice merits ethical censure, both for the selection process that is part of the means of production and, especially, for the attitude that the audience is prompted to deploy in engaging with the drama. (shrink)

In this paper, I look to draw novel connections between critiques of drill and epistemic injustice by addressing the question of whether the critical scrutiny of drill constitutes an epistemic injustice. I argue that these critiques constitute two types of epistemic injustice: testimonial injustice and contributory injustice. We see testimonial injustice in how courts and police do not give credibility to drill artists’ testimonies about the storylike nature of their songs, and these credibility deficits (...) are based in racist stereotypes about black criminality and believability. We see contributory injustice in how courts and police, through wilful ignorance, see drill music as violent and criminal rather than expressive and fictional – as drill artists do – which thwarts drill artists’ ability to contribute to shared knowledge. (shrink)

The Repeal campaign articulated new and transformative relationships between law, reproduction and the political in Ireland. During the campaign, ordinary people took ownership of and participated in mutual teaching and critique of law on a wide scale. Art, along these lines, was often used to document and archive the injustices worked by the 8th Amendment. However, art also became a means of imagining law otherwise. In this piece, I use Jacques Rancière’s work on the relationship between aesthetics and politics to (...) analyse artistic contributions to feminist legal discourses associated with Repeal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Martin Luther and Buddhism: The Aesthetics of SufferingPaul O. IngramMartin Luther and Buddhism: The Aesthetics of Suffering. By Paul S. Chung. Eugene, OR: Wipf and Stock Publishers, 2002. 434 pp.As a member of the Lutheran community (Evangelical Lutheran Church in America), I am struck by the fact that Lutheran theologians—referred to as "teaching theologians" when employed by Lutheran seminaries—seem little interested in religious pluralism in general and interreligious (...) dialogue in particular. There are important exceptions, of course, one being Donald Luck of Trinity Lutheran Seminary in Ohio. And the most intense and coherent dialogue between Christians and Muslims now taking place in the United States is located at Luther Seminary in St. Paul, Minnesota. But by and large, Lutheran theology seems unengaged with the realities of religious pluralism. Rather than dialogue, "missionology" is the focus of most Lutheran theological encounter with the world religions, which means that most Lutheran conversation with religious pluralism is best characterized as monologue.It's different for most Lutherans sitting in the pews of local congregations. Most lay persons understand that they must live their faith contextualized by their religiously plural neighborhoods. Lutheran laity are interested the religious practices and worldviews of their neighbors because they are in contact with their neighbors everyday. They desire to meet and know the religious "other" not as "other," but as fellow human beings seeking to live in community. My distinct impression, gained [End Page 235] from teaching adult education courses in local congregations (mostly Lutheran and other mainline denominations), is that Christian lay people are usually miles ahead of their pastors, denominational leaders, and teaching theologians in their encounter with the realities of religious pluralism and their desire for dialogue. For these reasons, Paul S. Chung's book, Martin Luther and Buddhism, is important, and I hope it will be the beginning of specifically Lutheran dialogue with the Buddhist tradition. Again, as a Lutheran, I can only say, "It's about time."Chung's goal is twofold: (1) engaging in critical dialogue with the theology of Martin Luther, and (2) Asian pluralistic theology of religions. Specifically, the author, himself a Korean Lutheran pastor and theologian, places Luther's theology of the Cross in dialogue with Buddhist understanding of suffering (duh.kha). His thesis is that what Christianity and Buddhism have in common is their understanding of suffering, albeit each tradition having different approaches and "solutions" to universal suffering. Accordingly, rereading Luther's theology of the Cross in dialogue with Buddhism's take on suffering, its causes, and its resolution is the center of Chung's hermeneutical approach to Luther.Surely, Chung is on the right track. Buddhism's focus on the experience of universal suffering and its resolution is one of its defining features. Chung's reason for placing Luther's theology of the Cross in dialogue with Buddhism lies mainly in the fact that Luther focused on the suffering of God on the cross incarnated in the suffering of the historical Jesus, which he placed in direct contrast to the "theology of glory" of medieval scholastic theology. Chung's claim is that Luther's understanding of divine suffering is a "liberation theology" that needs be contextualized by contemporary struggle for social, economic, ecological, and women's liberation from systemic structures of injustice. Because justice issues are not religion-specific, Luther's theology of the Cross in socially engaged dialogue with Buddhism should be a source of liberation for both Christians and Buddhists.Chung's work stands in a long line of Asian Christians seeking to translate Christian teachings and practices into the religious traditions foundational to Asian cultures, in Chung's case Korean Buddhism and, to some degree, Confucianism. One immediately thinks of Aloysius Pieris's dialogue with Buddhism in Sri Lanka, Seiichi Yagi and Masaaki Honda's appropriation of Mahayana doctrines in their attempts to relate Christian faith to Japanese cultural experience, or Raimundo Panikkar's interpretation of Christian faith through the lenses of Hinduism and Buddhism. All ofthese theologians note that Anglo-European intellectual and cultural traditions are not easily translatable into Asian cultural experience. Because Western forms of Christian tradition are foreign to Asian cultural values... (shrink)

The systematic examination of the visual depiction of nonhuman animals by humans, and the representation of nonhuman animal imagery is an opportunity to observe varying degrees of anthropocentrism in the manner in which the nonhuman animal is represented. The investigation we present ventures beyond the traditional scope of post-modern human alterity and suggests that an Otherness status should be extended to encompass both the human animal and the nonhuman animal. An important motivation for seriously considering nonhuman animal experience is the (...) biological similarities shared by human animals and nonhuman animals. Many perspectives toward the nonhuman animal have ignored such similarities, and this in turn results in the infliction of much trauma and injustice on nonhuman animals. We argue that the visual representation of nonhuman animals has the potential, to a substantial degree, to affect the general human understanding of and interactions with all nonhuman animals, and with positive, neutral, and negative implications for all involved. In other words, it really matters how we represent animals. (shrink)

Very few writers have had such an impact on their culture as Alexander Solzhenitsyn on Soviet society in the ‘60s and ‘70s Recently published documents from the KGB archives show the problem he posed to the Soviet leadership—not because he was the only one to point out the massive falsehood and injustice of Soviet society but primarily due to the scathing power of his artistic diagnosis. Many of Solzhenitsyn’s writings in fictional, autobiographical, and publicistic genres can helpfully be understood (...) in terms of Plato’s struggle in the Athens of his day for a “remembering” or anamnesis of what it is to be a human being, a human society, and the cosmos as transparent for divinity. That struggle, even though Plato doesn’t use the word “amnesia”, was against the refusal to remember. The Austrian writer Heimito von Doderer called that refusal the Apperzeptionsverweigerung or refusal to perceive. Here we’ll explore Solzhenitsyn’s work in terms of his struggle to remember over against the ideological “refusal to perceive” in the three fundamental dimensions of personal, social and historical existence. Solzhenitsyn expands Mikhail Bakhtin’s understanding of “polyphonic” characterization as a key technique for articulating his diagnosis of Soviet totalitarianism. The discussion will instantiate what can be seen as his understanding of personal amnesia and anamnesis in Cancer Ward, his exploration of social amnesia and anamnesis in In the First Circle, and his treatment of historical amnesia and anamnesis in The Red Wheel and The Gulag Archipelago. (shrink)

Aesthetic preferences and practices vary widely between individuals and between cultures. How should aesthetics proceed if we take this fact of aesthetic diversity, rather than the presumption of aesthetic universality, as our starting point? How should we theorize the cultural origins and cultural basis of aesthetic diversity? How should we think about the value and normativity of aesthetic diversity? In an effort to model what the turn toward diversity might look like in aesthetic inquiry, (...) each author defends a different account of aesthetic diversity, and they engage in a collective dialogue about these issues. (shrink)

The culturally pervasive tendency to identify aspects of the body as aesthetically imperfect harms individuals and scaffolds injustice related to disability, race, gender, LGBTQ+ identities, and fatness. But abandoning the notion of imperfection may not respect people’s reasonable understandings of their own bodies. I examine the prospects for a practice of aesthetic assessment grounded in a notion of the body’s function. I argue that functional aesthetic assessment, to be respectful, requires understanding the body’s functions as complex, malleable, (...) and determined by the projects and interests of the person whose body it is. Aesthetically relevant functions, on this account, are determined neither by the body’s status as organism nor by cultural assumptions about how bodies should function or be used. (shrink)

My engagement with Dotson’s essay begins with an overview of first- and second-order epistemic exclusions. I develop the concept of an "unlevel knowing field." I use examples from the epistemic injustice literature, and some of my own, to highlight the important distinction she makes between reducible and irreducible forms of epistemic oppression. Next, I turn my attention to her account of third-order epistemic exclusions. I offer a brief explanation of why her sketch of at this level makes an important (...) contribution to the literature on epistemic injustice. In closing I suggest that Dotson’s account of third-order epistemic exclusions has a cognitive bend that limits the resources she might use for bringing about change, and suggest opening up the conversation to include affective, aesthetic or mystical resources. (shrink)

In this paper, I identify and provide an explanation for a heretofore unrecognized puzzle in feminist aesthetics and the philosophy of horror. Many horror movie fans have an aversion to rape scenes. This is puzzling because genre fans are not equally bothered by the depiction of other types of violence and cruelty. I argue that we can make sense of this selective aversion by appeal to the notion of ‘distance’, which philosophers of horror use to explain why people are attracted (...) to horror movies in the first place. When we consume horror, we ‘distance’ ourselves from the scary things depicted, which allows other mechanisms to kick in that lead to overall enjoyment. I argue that ‘distance’ often collapses when viewers are confronted with depictions of rape because rape is common in real life and a gendered form of violence that is implicated in social injustice. (shrink)

-/- In the prime years of Hegel’s philosophical career, Prussia made progressive reforms to childhood education. Hegel had long supported reform. In his early Stuttgart Gymnasium Valedictory Address (1788), he had advocated for a public interest in widespread public education as a means for developing the children’s potential. Like Wilhelm von Humboldt, Hegel believed in education’s power to promote individual development (Bildung) as a path of freedom, which is achieved largely by expanding the student’s linguistic capacity since language, as Humboldt (...) understands it, is “the formative organ of thought [das bildende Organ des Gedanken]”. By combining Humboldt’s insights on language (especially his discussion of the power of Sanskrit) with themes in Hegel’s Science of Logic, I will demonstrate that the mind’s power to make judgments is a forward movement that can be arrested by epistemic injustice. Humboldt’s reflections on linguistic flowering and the factors that might impede it can help us understand epistemic injustice as an interference in linguistic cognitive mediation. -/- . (shrink)

Rewilding is positioned as ‘post’-conservation through its emphasis on unleashing the autonomy of natural processes. In this paper, we argue that the autonomy of nature rhetoric in rewilding is challenged by human interventions. Instead of joining critique toward the ‘managed wilderness’ approach of rewilding, however, we examine the injustices this entails for keystone species. Reintroduction case studies demonstrate how arbitrary standards for wildness are imposed on these animals as they do their assigned duty to rehabilitate ecosystems. These ‘Goldilocks’ standards are (...) predicated on aesthetic values that sanction interventions inconsistent with the premise of animal sovereignty. These include culling, relocations and sterilizations of animals that demonstrate the kind of autonomy championed in rewilding rhetoric. Drawing from Donaldson and Kymlicka’s framework for political animal categories, we conclude by arguing that rewilding needs to re-position itself in one of two ways. Either it should align itself more closely to mainstream conservation and embrace full animal sovereignty without Goldilocks conditions, or it should commit to taking full responsibility for reintroduced animals, including supplementary feeding and care. (shrink)

Adorno's essay “On Jazz” of 1936 sees jazz as a commodity in the culture industry and as merely a perverted form of symbolic revolt against social injustice. This assessment is often echoed in his later work referring to jazz. He consequently fails to respond to the detail of the dynamic and rapid development of jazz in the twentieth century. This failure can be seen as a result of some of his assumptions about philosophical approaches to music. Adorno's focus on (...) “what jazz is really saying in social terms” is part of his aim to construct “social theory by dint of the explication of aesthetic right and wrong in the heart of the [musical] objects.” Aesthetic judgment is therefore given priority over attempts to understand the practice of jazz in relation to its social and political contexts. The significance of cultural forms like jazz as expressions of social tensions and resistance to oppression is thus neglected. At the same time, jazz's significance as a model of modern expressive sociality, which has played a role in resistance to oppression of Black Americans, can be productively analyzed using other aspects of Adorno's approach to modern music. Adorno himself, though, largely fails to do this. (shrink)

The article examines the political challenge and significance of forgiveness as an indispensable response to the inherently imperfect and tragic nature of political life through the lens of the existential, narrative-inspired judging sensibility. While the political significance of forgiveness has been broadly recognized in transitional justice and reconciliation contexts, the question of its importance and appropriateness in the wake of grave injustice and suffering has commonly been approached through constructing a self-centred, rule-based framework, defining forgiveness in terms of a (...) moral duty or virtue. Reliant on a set of prefabricated moral standards, however, this approach risks abstracting from the historical, situated condition of human political existence and thus arguably stands at a remove from the very quandaries and imperfections of the political world, which it purports to address. Against this background, this article draws on Albert Camus’s and Hannah Arendt’s aesthetic, worldly judging sensibility and its ability to kindle the process of coming to terms with the absurd, and perhaps unforgivable character of reality after evil. As an aptitude to engage the world in its particularity, plurality and contingency rather than seeking to subdue and tame it under prefabricated standards of thought, namely, worldly judgement is able to reveal how past tragedies have arisen from the ambiguity of human engagement in the world and thereby also elicit the distinctly human capacities of beginning anew and resisting such actions in the future. As such, I suggest, it is well-suited to bring into clearer focus and confront the main political challenge and significance of forgiveness: how to acknowledge the seriousness of the wrongs committed, yet also enable the possibility of a new beginning and restore among former enemies the sense of responsibility for the shared world. (shrink)

Documentary has undergone a marked revival in recent art, following a long period in which it was a denigrated and unfashionable practice. This has in part been led by the exhibition of photographic and video work on political issues at Documenta and numerous biennials and, since the turn of the century, issues of injustice, violence and trauma in increasing zones of conflict. Aesthetically, documentary is now one of the most prominent modes of art-making, in part assisted by the linked (...) transformation and recuperation of photography and video by the gallery and museum world. Unsurprisingly, this development, along with the close attention paid to photojournalism and mainstream documentary-making in a time of crisis, has been accompanied by a rich strain of theoretical and historical writing on documentary. This anthology provides a definitive historical context for documentary, exploring its roots in modernism and its critique under postmodernism; it surveys current theoretical thinking about documentary; and it examines a wide range of work by artists within, around or against documentary through their own writings and interviews. (shrink)

This is the first book to outline a basic philosophy of ecology using the standard categories of academic philosophy: metaphysics, axiology, epistemology, aesthetics, ethics, and political philosophy. The problems of global justice invariably involve ecological factors. Yet the science of ecology is itself imbued with philosophical questions. Therefore, studies in ecological justice, the sub-discipline of global justice that relates to the interaction of human and natural systems, should be preceded by the study of the philosophy of ecology. This book enables (...) the reader to access a philosophy of ecology and shows how this philosophy is inherently normative and provides tools for securing ecological justice. The moral philosophy of ecology directly addresses the root cause of ecological and environmental injustice: the violation of fundamental human rights caused by the inequitable distribution of the benefits and costs of industrialism. Philosophy of ecology thus has implications for human rights, pollution, poverty, unequal access to resources, sustainability, consumerism, land use, biodiversity, industrialization, energy policy, and other issues of social and global justice. This book offers an historical and interdisciplinary exegesis. The analysis is situated in the context of the Western intellectual tradition, and includes great thinkers in the history of ecological thinking in the West from the natural sciences, social sciences and humanities.​ Keller asks the big questions and surveys answers with remarkable detail. Here is an insightful analysis of contemporary, classical, and ancient thought, alike in the ecological sciences, the humanities, and economics, the roots and fruits of our concepts of nature and of being in the world. Keller is unexcelled in bridging the is/ought gap, bridging nature and culture, and in celebrating the richness of life, its pattern, process, and creativity on our wonderland Earth. Holmes Rolston, III University Distinguished Professor, Colorado State University Author of A New Environmental Ethics: The Next Millennium for Life on Earth Mentored by renowned ecologist Frank Golley and renowned philosopher Frederick Ferré, David Keller is well prepared to provide a deep history and a sweeping synthesis of the "idea of ecology"—including the metaphysical, epistemological, and ethical aspects of that idea, as well as the scientific. J. Baird Callicott University Distinguished Research Professor, University of North Texas Author of Thinking Like a Planet: The Land Ethic and the Earth Ethic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 327 Tragic Vision and Divine Compassion: A Contemporary Theodicy. By WENDY FARLEY. Louisville, Kentucky: Westminster/John Knox Press, 1990. 150 pp. Wendy Farley sets herself an ambitious task in her book. She is dissatisfied with past theodicies, which account for evil and suffering as punishment for sin, as counterpoints in a larger aesthetic cosmic harmony, as means of purification and formation of character, or something that will (...) be as compensated for by other-worldly vindication and reward. These four theories may explain some forms of evil and suffering, but in the face of " radical suffering " they are " unable to exorcise the demons that whisper that life is futile, suffering is meaningless, and the cosmos an empty and evil void " (p. 22). By " radical suffering " Farley means that kind of suffering which debases and destroys the human dignity of the sufferer: " Radical suffering pinches the spirit of the sufferer, numbing it and diminishing its range. The distinctiveness of radical suffering does not lie in its intensity or its injustice but its power over the sufferer" (p. 54). Radical suffering drives the person to self-loathing and despair and therefore destroys her or his capacity to resist it. Despite its massive destructive power radical suffering is not rare; it occurs in familial, cultural, poli· tical, and economic relations under the forms of, e.g., child abuse, sexism, racism, violation of human rights, poverty, and starvation. To account for radical suffering, Farley proposes that (a) one place suffering rather than sin at the center of the problem of evil; (b) one replace the notion of a primordial fall with that of tragedy; (c) one repudiate the idea of divine omnipotence in favor of that of divine compassion (pp. 12-13). The second and third proposals are captured in the title of the book, " Tragic Vision and Divine Compassion." Farley's first proposal leads one to expect that she would do away with the notion of sin altogether, hut this is not the case. Strangely, she devotes a good deal of attention to sin, describing it as " catastrophic because it introduces chaos and disharmony into history " (p. 43). She sees sin as (self)-deception, callousness, bondage, and guilt (pp. 4451 ). Whereas traditional theology perceives a causal link between sin and suffering, the logic of Farley's alternative proposal entails her locating the origin of suffering elsewhere, namely, the tragic character of human existence: "... tragic vision locates the possihilirty of suffering in the conditions of existence and in the fragility of human freedom " (p. 29). A tragic vision of life does not, Farley claims, rationalize (radical) 3~8 BOOK REVIEWS suffering, nor is it atheistic. It recognizes, honestly and bluntly, that " the conditions of finite existence include conflict and fragility " (p. 31). Multiplicity ·and' variety enrich creation hut they inevitably lead to division and.separation; relationships warm the heart hut they must include some and exclude others; values sometimes conflict, such as mercy and justice; embodiment allows us to enjoy the pleasures of life but it leads to decay and death. Even human freedom, Farley points out, is infected with fragility caused by anxiety and desire: "Freedom is the tragic flaw of human existence, at once the stamp of its greatness and its destruction " ·(p. 37). What should one do in face of inevitable suffering? One must have compassion. Farley takes compassion to mean an enduring disposition horn of sympathetic knowledge of another person's suffering leading to love (which is a liberation from egocentrism that enables one to care for others) and working for justice (especially removing social in· justice). In contrast to dominating power, compassion empowers the sufferers to speak and act in their own defenses. It rejects the tempta· tion of passivity before evil and the use of violence to overthrow it. Rather, it empowers sufferers to resist evil. For Farley, God's power must he understood as compassion or love. As a noncoercive form of power, divine love (a) creates a tragic world in which radical suffering is inevitable and (b) because of suffering redeems it. Hence, divine compassion is both creative and redemptive. But why does God go through this seemingly redundant exercise? Why doesn't God create... (shrink)

Spirituality and Dialectics is a passionate and rigorous argument against nihilism and a manifesto for the party of meaning and hope. It demonstrates how we can ground principles of meaning and value, against the aesthetic and intellectual hegemony of the enlightenment—culminating most currently through postmodernity, as a basis for the critique of all present injustice. What emerges is a vision of a new social order that permits the full development of human social capacities.

Many voices and stories have been systematically silenced in interpersonal conversations, political deliberations and historical narratives. Recalcitrant and interrelated patterns of epistemic, political, cultural and economic marginalisation exclude individuals as knowers, citizens, agents. Two questions lie at the centre of this article, which focuses on the epistemically – but also politically, culturally and economically – dominant: How can we sabotage the dominant’s investment in their own ignorance of unjust silencing? How can they be seduced to become acute perceivers of others’ (...) experiences of oppression and reckon with their own participation in it? Situated at the intersection between political theory, aesthetics and epistemology, this article contributes a so-far-unexplored suggestion: that certain literary works create epistemic friction between shared, entrenched prejudices on the one hand, and representations of epistemic exclusion or authority, on the other. Their power to illuminate ideational, moral and experiential limitations makes them valuable tools in problematising, rendering visible and dislocating epistemic injustice, as well as other marginalisations it intersects with. To advance this argument, the article relies on insights from aesthetics, unpacking fiction’s multidimensional epistemic potential. Audre Lorde exemplifies literary works’ ability to seductively sabotage bias and provide audiences with prosthetic visions of unfamiliar experiences of marginalisation. (shrink)

Carl Schmitt, the author of such books as Political Theology and The Crisis of Parliamentary Democracy, was one of the leading political and legal theorists of the twentieth century. His critical discussions of liberal democratic ideals and institutions continue to arouse controversy, but even his opponents concede his uncanny sense for the basic problems of modern politics. Political Romanticism is a historical study that, like all of Schmitt's major works, offers a fundamental political critique. In it, he defends a concept (...) of political action based on notions of good and evil, justice and injustice, and attacks the political passivity entailed by the romanticization of experience. The book has three strands. The first is an attack on received notions of the origins of the Romantic Movement. Schmitt argues that this movement represents a secularization, subjectification, and privatization in which God is replaced by the emancipated, private individual of the bourgeois social order. The second is an assault on political romanticism that includes a broader attack on the new European bourgeoisie, which Schmitt characterizes as the historical bearer of the movement. The third strand is a defense of political conservatism and a refutation of the view that political romanticism is intrinsically linked with romanticism. Here Schmitt argues that the political romantic is tied not to positions but to aesthetics, and can therefore as easily become a Danton as a Frederick the Great. Guy Oakes's introduction places the book in historical context and also suggests its continuing relevance through his discussion of the latest outcropping of political romanticism in the late 1960s, intriguingly brought out in his example of Norman Mailer as a political romantic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 170-174 [Access article in PDF] A Buddhist History of the West: Studies In Lack. By David R. Loy. Albany: State University of New York Press, 2002. 244 pp. The religious and philosophical situation of our time seems polarized between resurgent fundamentalisms and a cosmopolitan awareness bridging heretofore separated traditions. Even a few decades ago the notion of a dialogue between East and West was a (...) novelty in which demarcated traditions and cultures (say the Buddhist East and the Christian West) experimented with attempts to find a common language to speakacross the boundaries between their respective identities. In such a context,"Western Buddhists" were those pilgrims of the counterculture who "went East" in search of some civilizational and spiritual other; the West, abjected to the realm of soulless scientism or outdated religious authoritarianism, was left behind. The situation is different at the beginning of the twenty-first Christian century. The dialectical complexities, both inwardly in the soul or mind of seekers, and outwardly in the strange twists of contemporary history, emerge to forbid any simple assessments of what can be left behind or indeed what the use can be of what seekers have found in the "non-West." People of Western background begin to realize and consciously address the [End Page 170] karmic-historical presuppositions of their search, which continue to constitute a kind of historical unconscious to the formulation of any possible "Western Buddhisms." Meanwhile, while fundamentalists of many backgrounds posit "clashes of civilizations" that assume an absoluteness of traditional distinctions, cosmopolitans realize that, for all the particularity of their respective starting points, the global situation is inextricably a shared one. In such a context, what canWestern Buddhist intellectuals, cognizant of their own starting points but having learned some things along the Way that are perhaps of universal relevance, speak to our common condition?The "Buddhist History of the West" that David Loy provides is less a historical narrative of the events constitutive of the societies descending from Greco-Roman civilization through European epochs and American empire into the age of globalization than a form of psychoanalytic anamnesis of those societies' cultural constructions of reality. Loy's psychoanalytic interpretive frame is composed of Buddhist insight into the human mind's deep-seated grasping for solidity and certainty in the face of a reality fundamentally characterized by impermanence and ungroundedness (the "Lack" of the subtitle, our simultaneous awareness of death, impermanence, andontological emptiness and the ego's wish for eternal selfhood in an endless but impossibly fulfilling world). Loy's Buddhism is combined with the existential psychology of Ernest Becker and the revisionist Freudianism of Norman O. Brown called on as Western resources for the spiritual therapeutics "the West" seems to need as it enters the third Christian millennium both triumphant and in despair of any meaning to accompany its economic and pop-cultural hegemony.Seven anamnestic chapters take us through twenty-five hundred years of Western cultural constructions, from the Greek and Roman philosophical inquiries into Freedom, a kind of origin-tale of Humanism seen as a "religious" (religion for Loy being the way humans attempt to answer the problem of Lack as if to ground our groundlessness) vision of meaning as the development of human capacities for rational thought, through the intertwining of classical and Christian constructions in medieval and Renaissance periods, through the Protestant Reformation into the political and ideological space of modernity, culminating in a vision of the globalizing West as purveying a "Religion of the Market," an ironically meaningless (centered on the symbolic code for Value—Money—as a displacement of Value itself) system of meaning. This last, our contemporary situation, would perhaps be simply a problem of aesthetic tastelessness (American pop culture performing the dissolution of all surviving traditional sacred orders following the description of capitalism by Marx as causing "all that is sacred" to "melt into air") were it not for the massive social injustice and environmental devastation it structurally produces. Loy's therapeutic vision, following the Buddhist deconstruction of the demarcated "self" and Becker and Brown's cultural-historical or collective... (shrink)

Biblical prophetic writings display an unexplained interweaving of anti-idolatry themes with social justice themes. This article offers a link between these ethical foci by appealing to Thorstein Veblen's philosophical economics. Veblen and his more recent followers such as Fred Hirsch argue that upper classes glorify valueless expenditures and activities (conspicuous consumption and leisure) as a means of signaling predatory status. Veblen further theorizes that this process can manifest itself in religious practices and language, appearing when a deity is honored through (...) pointless aesthetics or through portrayal as a predatory entity. This article argues that such a depiction of the deity as predatory, or as worshipped through positional (wasteful) goods, is integral to idolatry, at least as the prophets framed it. Because the hallmark of social injustice is predation by an elite group upon another group, Veblen's paradigm provides a conceptual pathway between the prophet's opposition to idol worship and their disgust with powerful oppressors. Selected texts from Isaiah, Amos, and Jeremiah provide examples of this connection. (shrink)

Antigone’s afterlives in Ireland have always enacted critical gestures of social protest and mourning that expose the fundamental fragility of human rights caught up in the symbolic conflict between oppressors and oppressed. This paper seeks to explore the scope of rereading certain Irish figurations of Antigone – the exemplary text of European humanism – through a posthumanist lens that unveils new and radical understandings of modern injustices, legal fissures, and capitalist insinuations of an “inhuman politics” against proletarian minorities in twentieth-century (...) Irish society in transnational contexts. The possibilities of a posthumanist theorization of Antigone at the intersection with gender, class, and human rights, reflect the connecting threads, political, aesthetic, and critical, between two texts: an early twentieth-century anonymous poem titled “The Prison Graves” dedicated to Irish human rights activist and revolutionary Roger Casement and an unpublished play-version of Antigone by Aidan C. Mathews in 1984, dedicated to René Girard. Written and produced as a critique of systematic institutional violence and neoliberal capitalist oppression during the epoch of the anti-revolutionary zeitgeist, the myth of Antigone shifts its dialectic from the nationalist nostalgia of “The Prison Graves” to the play-version of the Cold War era to reciprocate a counter-protest against the passing of the Irish Justice Bill. Antigone is reimagined as a hypochondriac resident of the slums of the proletariat and a member of a degenerate acting troupe. Her classical (mythical), aristocratic (white, European, Western) figure has become a posthuman commodity: a proletarian actor now, she performs the same role for millennia in a post-nuclear contaminated prison state in Thebes/Dublin. Peteokles is a bourgeois-turned-rebel mediary; Polyneikes is remembered as a communist terrorist who has been airbrushed from the records of the police state; a bibliophile Ismene religiously reads Aleksandr Solzhenitsyn’s The Gulag Archipelago, and the Chorus is the real state oppressor. (shrink)