{"product_id":"cultural-appropriation-and-the-arts-isbn-9781405176569","title":"Cultural Appropriation and the Arts","description":"Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. \u003cbr\u003e \u003cul\u003e \u003cli\u003eCultural appropriation is a pervasive feature of the contemporary world (the Parthenon Marbles remain in London; white musicians from Bix Beiderbeck to Eric Clapton have appropriated musical styles from African-American culture)\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eYoung offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eTackles head on the thorny issues arising from the clash and integration of cultures and their artifacts\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eQuestions considered include: “Can cultural appropriation result in the production of aesthetically successful works of art?” and “Is cultural appropriation in the arts morally objectionable?”\u003cbr\u003e \u003c\/li\u003e \u003cli\u003ePart of the highly regarded New Directions in Aesthetics series\u003c\/li\u003e \u003c\/ul\u003e  Preface. \u003cp\u003e\u003cb\u003eChapter One: What is Cultural Appropriation?:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eArt, Culture, and Appropriation.\u003c\/p\u003e \u003cp\u003eTypes of Cultural Appropriation.\u003c\/p\u003e \u003cp\u003eWhat is a Culture?.\u003c\/p\u003e \u003cp\u003eObjections to Cultural Appropriation.\u003c\/p\u003e \u003cp\u003eIn Praise of Cultural Appropriation.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Two: The Aesthetics of Cultural Appropriation:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eThe Aesthetic Handicap Thesis.\u003c\/p\u003e \u003cp\u003eThe Cultural Experience Argument.\u003c\/p\u003e \u003cp\u003eAesthetic Properties and Cultural Context.\u003c\/p\u003e \u003cp\u003eAuthenticity and Appropriation.\u003c\/p\u003e \u003cp\u003eAuthentic Appropriation.\u003c\/p\u003e \u003cp\u003eCultural Experience and Subject Appropriation.\u003c\/p\u003e \u003cp\u003eAppropriation and the Authentic Expression of a Culture.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Three: Cultural Appropriation as Theft:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eHarm by Theft.\u003c\/p\u003e \u003cp\u003ePossible Owners of Artworks.\u003c\/p\u003e \u003cp\u003eCultures and Inheritance.\u003c\/p\u003e \u003cp\u003eLost and Abandoned Property.\u003c\/p\u003e \u003cp\u003eCultural Property and Traditional Law.\u003c\/p\u003e \u003cp\u003eCollective Knowledge and Collective Property.\u003c\/p\u003e \u003cp\u003eOwnership of Land and Ownership of Art.\u003c\/p\u003e \u003cp\u003eProperty and Value to a Culture.\u003c\/p\u003e \u003cp\u003eCultures and Intellectual Property.\u003c\/p\u003e \u003cp\u003eSome Conclusions about Ownership and Appropriation.\u003c\/p\u003e \u003cp\u003eThe Rescue Argument.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Four: Cultural Appropriation as Assault:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eOther Forms of Harm.\u003c\/p\u003e \u003cp\u003eCultural Appropriation and Harmful Misrepresentation.\u003c\/p\u003e \u003cp\u003eHarm and Accurate Representation.\u003c\/p\u003e \u003cp\u003eCultural Appropriation and Economic Opportunity.\u003c\/p\u003e \u003cp\u003eCultural Appropriation and Assimilation.\u003c\/p\u003e \u003cp\u003eArt, Insignia, and Cultural Identity.\u003c\/p\u003e \u003cp\u003eCultural Appropriation and Privacy.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Five: Profound Offence and Cultural Appropriation:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eHarm, Offence, and Profound Offence.\u003c\/p\u003e \u003cp\u003eExamples of Offensive Cultural Appropriation.\u003c\/p\u003e \u003cp\u003eThe Problem and the Key to its Solution.\u003c\/p\u003e \u003cp\u003eSocial Value and Offensive Art.\u003c\/p\u003e \u003cp\u003eFreedom of Expression.\u003c\/p\u003e \u003cp\u003eThe Sacred and the Offensive.\u003c\/p\u003e \u003cp\u003eTime and Place Restrictions.\u003c\/p\u003e \u003cp\u003eToleration of Offensive Art.\u003c\/p\u003e \u003cp\u003eReasonable and Unreasonable Offence.\u003c\/p\u003e \u003cp\u003eConclusion: Responding to Cultural Appropriation.\u003c\/p\u003e \u003cp\u003eSumming Up.\u003c\/p\u003e \u003cp\u003eSupporting Minority Artists.\u003c\/p\u003e \u003cp\u003eEnvoy.\u003c\/p\u003e \u003cp\u003eBibliography of Works Cited and Consulted.\u003c\/p\u003e \u003cp\u003eIndex\u003c\/p\u003e  \u003cp\u003e“Cultural Appropriation and the Arts, by James O. Young, provides an analytical, comprehensive overview of ethical and aesthetic issues concerning cultural appropriation.”  (\u003ci\u003eJournal of Cult Economy\u003c\/i\u003e, 25 March 2011)\u003c\/p\u003e \u003cp\u003e“Young tackles an ambitious subject in this book. Culture, appropriation, and art, the keywords in the book's title, are all notoriously difficult to define. Young does not dedicate his book to defining these terms. Instead he clarifies family resemblances of these concepts, which he uses to make a case against cultural appropriation generally and the incorporation of cultural appropriation in the arts specifically. Recommended.” (\u003ci\u003eChoice\u003c\/i\u003e, November 2008)\u003c\/p\u003e \u003cp\u003e“The chief virtue of the book, [is] the conceptual clarifications Young brings to this diffuse topic, in particular the basic distinctions among types of appropriation.” (\u003ci\u003eNotre Dame Philosophical Reviews\u003c\/i\u003e)\u003c\/p\u003e \u003cp\u003e\"This book could only have come about through many years of travel and scholarly investigation. It is a valuable introduction for those not familiar with the literature on this interesting subject. Cultural Appropriation and the Arts will become the standard work in this field for many years to come, and undergraduates could gain every bit as much from its interesting examples and clear arguments as graduate students and professionals can.\" \u003ci\u003e(Phil Jenkins, Journal of Aesthetics and Art Criticism, vol. 67, no.)\u003c\/i\u003e\u003c\/p\u003e \u003cb\u003eJames O. Young\u003c\/b\u003e is Professor and Head of the Department of Philosophy, University of Victoria. He has published extensively on philosophy of language and philosophy of art. His previous books include \u003ci\u003eGlobal Anti-realism\u003c\/i\u003e (1995) and \u003ci\u003eArt and Knowledge\u003c\/i\u003e (2001), and he is editor (with Conrad Brunk) of \u003ci\u003eThe Ethics of Cultural Appropriation \u003c\/i\u003e(Blackwell, 2008).  Cultural appropriation is a pervasive feature of the contemporary world. The Parthenon Marbles remain in London. Works of art from indigenous cultures are held by many metropolitan museums. White musicians from Bix Beiderbeck to Eric Clapton have appropriated musical styles from African-American culture. From North America to Australasia, artists have appropriated motifs and stories from aboriginal cultures. Novelists and filmmakers from one culture have taken as their subject matter the lives and practices of members of other cultures.\u003cbr\u003e \u003cp\u003e\u003cbr\u003e \u003c\/p\u003e \u003cp\u003eThe practice of cultural appropriation has given rise to important ethical and aesthetic questions: Can cultural appropriation result in the production of aesthetically successful works of art? Is cultural appropriation in the arts morally objectionable? These questions have been widely debated by anthropologists, archaeologists, lawyers, art historians, advocates of the rights of indigenous peoples, literary critics, museum curators and others. At root, however, these questions are philosophical questions. Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise.\u003c\/p\u003e  \"Thank goodness for James O. Young! Finally someone has cut through the cant associated with cultural appropriation, weighed the issues with care and a keen eye for irony, and clarified the ethical limits of intercultural borrowing. This concise, accessible book will be a bracing tonic for anyone interested in the global art market, cultural property, and dilemmas of social justice in a world of disappearing borders.\"\u003cbr\u003e –\u003ci\u003eMichael F. Brown\u003c\/i\u003e, Williams College, author of Who Owns Native Culture?\u003c!--end--\u003e   \u003cp\u003e\"Young's offers a measured and sensitive analysis of the moral and aesthetic issues raised by cultural appropriation. He praises responsible cultural appropriation and distinguishes this from cultural appropriation that amount to theft and assault or that cause profound offense. An interesting contribution to a topic that has not received the attention from aestheticians that it deserves.\"\u003cbr\u003e –\u003ci\u003eStephen Davies\u003c\/i\u003e, The University of Auckland\u003cbr\u003e \u003c\/p\u003e \u003cp\u003e\"Here at last is a philosophical work that cuts through the precious nonsense and rhetoric written about the kinds of appropriation bound to occur when the arts of one people bump up against the arts of another. James O. Young is acutely sensitive to the political sentiments that cloud these issues, but completely clear and rigorous in his analysis. In its incisiveness and honesty, Cultural Appropriation and the Arts is a major contribution to cross-cultural aesthetics.\"\u003cbr\u003e –\u003ci\u003eDennis Dutton\u003c\/i\u003e, University of Canterbury, New Zealand\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989012234469,"sku":"NP9781405176569","price":112.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781405176569.jpg?v=1761782428","url":"https:\/\/k12savings.com\/products\/cultural-appropriation-and-the-arts-isbn-9781405176569","provider":"K12savings","version":"1.0","type":"link"}