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Academic Insights for the Thinking World
This March, the OUP Philosophy team are celebrating Women in Philosophy. Throughout time, women have had to fight for their place in history, academia, and the philosophy discipline. To honour their contributions, we will be highlighting women and their achievements in the field of philosophy all throughout Women’s History Month.
Humanism doesn’t get much good press these days. In many circles it comes accompanied by an adjective—secular—and a diatribe: A war of philosophy and of what defines morality is being fought daily in the media, judicial benches and legislative halls across the Western world. On one side stand fundamentalist Protestantism and conservative Catholicism and on the other side secular humanism.
The recent resurgence of virtual reality (VR) has seen an exciting period of innovation in the format, as developers explore the fresh new possibilities that it brings. VR differs from the video games you might play on a standard television in that the head-mounted display engulfs the visual field, producing a more immersive sensory experience. In VR, not only can you see a virtual environment, but you can also turn your head to look around it.
This March, in recognition of Women’s History Month, the OUP Philosophy team will be celebrating Women in Philosophy. The philosophy discipline has long been perceived as male-dominated, so we want to recognize some of the incredible female philosophers from both the past and the present.
Frank Wilczek famously wrote: “A recurring theme in natural philosophy is the tension between the God’s-eye view of reality comprehended as a whole and the ant’s-eye view of human consciousness, which senses a succession of events in time. Since the days of Isaac Newton, the ant’s-eye view has dominated fundamental physics. We divide our description of the world into dynamical laws that, paradoxically, exist outside of time according to some, and initial conditions on which those laws act.
“These were some of the original questions in biblical archaeology that intrigued the earliest pioneers of the field. They still resonate today but are far from being answered.” In the following excerpt from Biblical Archaeology: A Very Short Introduction, Eric H. Cline explains the interests of biblical archaeologists, and explores the types of questions that those in the field set out to answer.
With every generation comes difficult and contested times that shape history. In the United States, where we are experiencing one of the most divided society in decades, the sentiment feels omnipresent and pervasive. For women and those of nonconforming gender, the issues at stake are even more expansive than the gun laws, environmental concerns, or tax reforms that are on the minds of our citizens.
On 23 February this year, the American journal Science published an article by an international group of scientists and prehistorians. It presented a series of dates obtained from layers of calcite that had formed on top of drawings in three Ice-Age-decorated caves in Spain: La Pasiega in the north, Maltravieso in the centre, and Ardales in the south. The results—c. 64-66,000 years ago—are so early that it makes it certain that Neanderthals must have made these markings on cave walls.
The historical record of women making music extends back as far as the earliest histories and artifacts of musical performance. For example, artwork from Ancient Greece and Rome suggest that women’s choruses were featured in rituals and festivals. And throughout Chinese imperial history the courts, civil and military officials and wealthy households employed women to sing, dance, and play musical instruments.
In his recent post, “Declining Exposure to Religious Diversity” (24 January), Jeremy Bauer-Wolf notes some striking results of a survey conducted by the Interfaith Youth Core of more than 7,000 students at 122 American colleges and universities. The survey measures the extent of their interfaith experiences on campus, and tracks developments in their attitudes toward religious diversity.
The revival of Chicago, the 1975 Bob Fosse musical, has been playing on Broadway and around the world for more than two decades, and is now the longest running American musical in Broadway history. That’s quite a turnaround from its original production. In 1975, Chicago had the bad luck to open the same season as A Chorus Line, and its cynical depiction of 1920s Windy City murder and corruption didn’t connect with audiences like the earnest, striving dancers who put their lives on the line for a chance at Broadway gold.
Not long ago, a colleague was setting up a meeting and suggested bringing along spouses to socialize after the business was done. Not getting a positive reply, she emailed: “I’m getting a lack of enthusiasm for boring spouses with our meeting.” A minute later, a second, clarifying email arrived indicating that she “meant boring as a verb not an adjective.” She had spotted the ambiguity in the first message.
The most recent publication by leading theorists Michael Tenzer and Pieter van den Toorn brings to the fore issues relating to the analysis of African music. Well known for work on Balinese music and for championing the new movement towards analysis of world music, Tenzer here indulges a long-standing interest in African music by exploring deep parallels between two compositions: a beautifully elusive flute-and-voice piece recorded in 1966 by Simha Arom and Genevieve Taurelle and given the title Hindehu; and Nhemamusasa, a standard item from the Shona mbira repertoire recorded by Paul Berliner in 1977.
The process of ‘creating order’ through categorisation has always constituted an essential part of our social progress because of its measurable functionality. Vocal categorisation has been no exception, but given that all singing voices are unique – the musical equivalent of fingerprints – any attempt at fitting them neatly into categories ought to generate a clear justification for how this might benefit the art as well as the performer.
Narcissister is a Brooklyn based artist whose work includes performance, dance and activism as essential elements. She continues the tradition of second wave feminist artists, such as Adrian Piper, Lorraine O’Grady, Carolee Schneemann, etc., who challenged the status quo in their examination of gender roles, sexuality and equal rights. Narcissister wears a trademark vintage mask in most works, obscuring her identity and provoking the viewer to think of the artist as an “everywoman” rather than about an individual experience.
The history of emotions has emerged as one of the fastest growing areas of historical study in recent years, no doubt helped by the fact that almost all historical topics have emotional aspects. Joanna Innes discusses newly established centres, publications, and the establishment of intellectual bridges between various subjects in furthering the promotion of this field of study.