By Paul C. Taylor

Black is Beautiful identifies and explores the main major philosophical matters that emerge from the cultured dimensions of black existence, offering a long-overdue synthesis and the 1st prolonged philosophical therapy of this important subject.

  • The first prolonged philosophical therapy of a huge topic that has been nearly solely overlooked via philosophical aesthetics and philosophy of art
  • Takes an enormous 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 hindrance of both learning philosophy, or learning black expressive culture
  • Brings a variety of fields into dialog with each other– from visible tradition reviews and paintings heritage to analytic philosophy to musicology – generating together illuminating methods  that problem a number of the uncomplicated suppositions of each
  • Well-balanced, updated, and wonderfully written in addition to creative and insightful

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Extra resources for Black is beautiful : a philosophy of black aesthetics

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20 assembly, not birth Philosophy and the black aesthetic In addition to its role in a project of retroactive self‐provisioning, this study can provide some benefit to the traditions that it aspires to bring together. The benefits to black aesthetics may be more elusive than the benefits to ­philosophy, since that tradition – as evidenced in the work of people like Fred Moten, Michele Wallace, and Houston Baker – has had fewer qualms about entering into conversation with the western philosophical canon.

The relationship between mainstream aesthetic theory and black aesthetics may be less clear, but two possibilities have recommended themselves to me. The first is a kind of comparative meta‐aesthetics. This study will rely here and there on views about descriptive and normative issues, but it will do the bulk of its work in the theoretical register. The comparative approach takes its cues from the tradition that equates aesthetic inquiry with the philosophy of art. From this perspective, we can bring new resources to bear on the familiar questions of mainstream analytic aesthetics.

Shades of Black (Durham, NC: Duke University Press, 2005), 1. 3 Hall 4. 4 Hall 4. This is a Marxian version of an idea that we can find in many post‐Enlightenment traditions, from romanticism to Hegelianism and pragmatism, though it registers in these other traditions under other descriptions. 6 Hall 4. 7 Hall 4. 8 Hall 4. ” Here I will part company with him, as I am less interested, for now, in the fractures than in coherence, and in depicting this coherence philosophically. 9 Tommie Shelby, We Who Are Dark (Cambridge, MA: Harvard University Press, 2005).

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