By Paul C. Taylor
Black is Beautiful identifies and explores the main major philosophical concerns that emerge from the cultured dimensions of black lifestyles, offering a long-overdue synthesis and the 1st prolonged philosophical therapy of this significant subject.
- The first prolonged philosophical remedy of an immense topic that has been virtually totally missed by way of philosophical aesthetics and philosophy of art
- Takes a huge step in assembling black aesthetics as an item of philosophical study
- Unites components of scholarship for the 1st time – philosophical aesthetics and black cultural concept, dissolving the limitation of both learning philosophy, or learning black expressive culture
- Brings quite a lot of fields into dialog with each other– from visible tradition reports and artwork background to analytic philosophy to musicology – generating collectively illuminating techniques that problem many of the simple suppositions of each
- Well-balanced, up to date, and wonderfully written in addition to artistic and insightful
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Extra info for Black is beautiful : a philosophy of black aesthetics
First, I will say little about the years of reaction that the key moments below spawned, or about the numerous interracial connections that enabled and enriched much of this history. Second, the story I’ll tell takes place against the backdrop of monumental political and economic changes, from imperial warfare through cold wars to terror wars, from mercantilist globalization through struggles over industrial democracy to post‐industrial globalization. All of this must be kept in mind, but for now also kept in the background, for reasons of space.
13 To the extent that this book offers an argument in race theory, it draws heavily on an account that I work out in more detail elsewhere. See Paul C. Taylor, Race: A Philosophical Introduction, 2nd ed. (Cambridge: Polity, 2013), especially Chapters 1–3. assembly, not birth 29 14 W. E. B. Du Bois, Dusk of Dawn: Autobiography of a Race Concept (1940; New York: Transaction, 1982), 153. 15 This is a slightly non‐standard usage of “racialism,” based on a principled objection to the standard approach championed by Appiah, Mallon, and others.
At this stage, stretching more or less from the late eighteenth century to the late nineteenth, African‐descended people used performances and aesthetic objects in European styles and settings not just to make meaning, but also to demonstrate to a skeptical world their capacity for culture and, hence, for civilization. Following in the footsteps of figures like Alexander Crummell, many people in this period uncritically accepted European ideas about African savagery, and were convinced that the benighted dark masses had to be “improved” – that is, civilized – by the better, more cul tured, more “Europeanized” (or modern, or Christianized) members of the group.
Black is beautiful : a philosophy of black aesthetics by Paul C. Taylor