Showing posts with label political philosophy. Show all posts
Showing posts with label political philosophy. Show all posts

Monday 30 March 2020

Making the Case for Multiculturalism



Posted by Keith Tidman

Multiculturalism and ‘identity politics’ have both overlapping and discrete characteristics. Identity politics, for example, widens out to race, ethnicity, gender, age, sexual orientation, national origin, language, religion, disability, and so forth. Humanity’s mosaic. It’s where, in a shift toward pluralism, barriers dissolve — where sidelined minority groups become increasingly mainstreamed, self-determination acquires steam, and both individual and group rights equally pertain to the ideal.

This situation is historically marked by differences between those people who, on one hand, emphasise individual rights, goods, intrinsic value, liberties, and well-being, where each person’s independence stands highest and apart from cultural belonging. And, on the other hand, the communitarians, who emphasise a group perspective. Communitarians regard the individual as ‘irreducibly social’, to borrow Canadian philosopher Charles Taylor’s shorthand.

The group perspective subordinately depends on society. This group perspective needs affirmation, addressing status inequality, with remedies concentrated in political change, redistributive economics, valuing cultural self-worth, and other factors. Communitarians assign primacy to collective rights, socialising goods, intrinsic value, liberties, and well-being. In other words, civic virtue — with individuals freely opting in and opting out of the group. Communitarians and individualists offer opposed views of how our identities are formed. 

But the presumed distinctions between the individual and community may go too far. Rather, reality arguably comprises a coexistent folding together of both liberal individualism and communitarianism in terms of multiculturalism and identity. To this point, people are capable of learning from each other’s ideas, customs, and social behaviour, moving toward an increasingly hybrid, cosmopolitan philosophy based on a new communal lexicon, fostering human advancement.

The English writer (and enthusiastic contributor to Pi’s sister publication, The Philosopher) G. K. Chesterton always emphasised the integrity of this learning process, cautioning:

‘We have never even begun to understand a people until we have found something that we do not understand. So long as we find the character easy to read, we are reading into it our own character’.

Other thinkers point out that cultures have rarely been easily cordoned off or culturally pristine. They contend that groups have always been influenced by others through diverse means, both malign and benign: invasion, colonialism, slavery, commerce, migration, flow of ideas, ideologies, religions, popular culture, and other factors. The cross-pollination has often been reciprocal — affecting the cultural flashpoints, social norms, and future trajectories of both groups.

Globalisation only continues to hasten this process. As the New Zealand philosopher of law Jeremy Waldron puts it, commenting on the phenomenom of cultural overlap:

‘We live in a world formed by technology and trade; by economic, religious, and political imperialism and their offspring; by mass migration and the dispersion of cultural influences’.

How groups reckon with these historical influences, as groups become more pluralistic, deserves attention, so that change can happen more by design than chance.

After all, it’s a high bar to surmount the historic balkanisation of minority cultures and to push back against the negativism of those who trumpet (far too prematurely) multiculturalism’s failure. The political reality is that societies continue to reveal dynamically moving parts. Real-world multiculturalism is, all the time, coalescing into new shapes and continuing to enrich societies.

Multiculturalism in political philosophy involves acknowledging and understanding the fact of diverse cultural moorings in society and the challenges they pose in terms of status, equality, and power — along with remedies. Yet, in this context, the question recurs time and again: has the case really been made for multiculturalism?

The American philosopher John Searle, in the context of education, questions the importance of ‘Western rationalistic tradition’ — where what we know is ‘a mind-independent reality . . . subject to constraints of rationality and logic’. Adding: ‘You do not understand your own tradition if you do not see it in relation to others’.

Charles Taylor, however, sees multiculturalism differently, as an offshoot of liberal political theory, unhampered by heavily forward-leaning ideology. This aligns with postmodernist thinking, distrusting rationalism as to truth and reality. The merits of scepticism, criticism, subjectivism, contextualism, and relativism are endorsed, along with the distinctiveness of individuals and minority groups within society.

Advocates of multiculturalism warn against attempts to shoehorn minority groups into the prevailing culture, or worse. Where today we see rampant nationalism in many corners of the world — suppressing, tyrannizing, and even attempting to stamp out minority communities — eighty years ago Mahatma Gandhi warned of such attempts:

‘No culture can live if it attempts to be exclusive’.

Monday 6 November 2017

Picture Post #30 The Great Debate



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl and Martin Cohen

The first televised U.S. Presidential debate, 1960
      
This cozy scene is, in fact, a screenshot of the first ever U.S. Presidential debate which was televised, attracting a great audience. (Even at this time, 90% of households in the U.S. had  televisions. Black and white ones, of course.)

Presidential debates are often more about how candidates 'look' on the screen, than on what they say. Even more than newspaper photographs, the television screen distinguishes firmly - and often cruelly - between the telegenic and the rest. And one of the novelties of the 1960 Presidential campaign was the introduction to a newly televised public  of polite, staged exchanges between the nominees.

On the left is John F. Kennedy, 'JFK' and on the right is Richard M. Nixon, 'Tricky Dickie', as he was unkindly later known. The scene is the CBS studios in Chicago and the date is September 26, 1960.

The first thing that is striking about this image is how homely it all is - truly the CBS studio could be, if not someone's front room, certainly the seminar at the local college - and the whole effect is refreshingly amateurish, with the debate moderator's feet poking out from underneath the flap of his desk. Indeed 'Tricky Dicky' looks awkward and uncomfortable, squirming in his seat, while JFK seems much more at home.

It's a homely feature too that everyone is sitting - rather than standing behind lecterns - as this immediately changes the tone of a debate, rendering the human animal less aggressive and more consensual.

The election was very close but likely the TV appearance favored Kennedy who became the nation's youngest President and first Catholic ever elected to the office.


Today's TV studio’s are all about technological sophistication and electronic screens are likely the background. The more spectacular, the better. A lot of distraction. At least here, in this sepia image, the human being is shown as such, no fancy tricks in that regard. But of course, the real tricks are weaved psychologically, then and now. Did, in those days, to see the future president in this setting, make them seem closer to ‘normal’ people in a certain way - or even more exceptional?


Monday 3 October 2016

Picture Post #17 The Mask



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl and Martin Cohen

The headquarters of Mussolini's Italian Fascist Party, 1934 via the Rare Historical Photos website
The curious thing about this image is that it looks so much like an over-the-top film set. The dictator looks down on the hurrying-past public, from the facade of the Party HQ. Which in this case is imaginatively, yet also somehow absurdly, covered in graffiti - in the original sense of writing or drawings that have been scribbled, scratched, or painted. The 'Si, si, si' is of course Italian for 'Yes', which is actually not so sinister. The occasion was the the 1934 elections, in which Italians were called to vote either For or Against the Fascist representatives on the electoral list. Indeed, the facade was not always covered up like that.

In 1934, Mussolini had already ruled Italy for 12 years, and the election had certain fascistic features: there was only one party - the fascist one - and the ballot slip for 'Yes' was patriotically printed in the colours of the Italian flag (plus some fascist symbols), while 'No' was in fine philosophical sense a vote for nothing, and the ballot sheet was empty white.

The setting of the picture is the Palazzo Braschi in Rome, and the building was the headquarters of the Fascist Party Federation - which was the local one, not the national, Party headquarters.

According to the Fascist government that supervised the vote, anyway, the eventual vote was a massive endorsement of Il Duce with the Fascist list being approved not merely by 99% of voters but by 99.84% of voters!

But back to the building. Part of Mussolini’s and his philosopher guru, Giovanni Gentile's, grand scheme was to transform the cities into theatrical stages proclaiming Fascist values. Italian fascism is little understood, and was not identical to the later Nazi ideology - but one thing it did share was the belief in totalitarian power. As George Orwell would later portray in his dystopia, 1984, in this new world 2+2 really would equal five if the government said so. Si!


Monday 18 April 2016

Is Political Science Science?

Leviathan frontispiece by Abraham Bosse
Posted by Bohdana Kurylo
Is political science science? The political philosophy of Thomas Hobbes would seem to present us with a test case par excellence. Claiming that his most influential work, Leviathan, was through and through scientific, Hobbes wrote, ‘Science is the knowledge of consequences, and dependence of one fact upon another.’  His work, he judged, was founded upon ‘geometrical and physical first principles of matter and motion’, combined with logical deductions of the human sciences, psychological and political.
Through his scientific researches, Hobbes came to hold a pessimistic view of human nature, which he called the ‘state of nature’, the ‘Natural Condition of Mankind’: a ruinous state of conflict. Paradoxically, he considered that such conflict arose from equality and rationality. Possessing limited resources, a rational man would try to take as much as possible for himself. At the same time, others would need to do the same, as a defensive measure. The likeliest outcome was ‘war of every man against every man’, where law and justice have no place. Such a life, he famously wrote, would be ‘solitary, poor, nasty, brutish, and short’.

Hobbes proposed, therefore, a contract between the people and the Sovereign, as a means of creating peace by imposing a single, sovereign rule. It is the fear of punishment, he wrote, that preserves peace and unity, and ties people to the ‘performance of their Covenants’. Following his logic, individuals are likely to reach the conclusion that a social contract is the best alternative to their natural condition, so surrendering their liberties and rights.

On the surface of it, Hobbes' logic seems compelling, his deductions persuasive, his arguments admirable. Nonetheless, for a number of reasons, it is questionable that his analysis of human nature was truly scientific.

Monday 22 February 2016

Machiavelli’s Understanding of the Art of Politics

Posted by Bohdana Kurylo
Can Niccolò Machiavelli’s political philosophy be compared with a dance?
Niccolò Machiavelli, who is often regarded as the founder of modern political science, is generally deemed a propagator of cruelty and immorality. Yet while he broke with the conventional language of politics in his day – based upon Christian values and a Ciceronian belief that a prince achieved glory through virtue – it is more appropriate to think of him as a pragmatist who introduced a greater realism to political philosophy. More important still, it was Machiavelli’s creative interpretation that helped him convert politics into scientific art which could be applied in everyday practice.

In The Prince, Machiavelli offered a pragmatic approach to politics which, rather than focusing on moral values, combined the importance of skill and prudence. Inspired by the success of the Roman State, Machiavelli thought of history as being cyclical – as he thought, too, of political issues. His understanding of politics thus came with an interest in history and statecraft, and he drew his conclusions from historical examples of agents. This contributed to his pessimism in regard to human nature and morality. Therefore, his most famous work, The Prince, which shuns the received views, Christian and Ciceronian – in fact warns against them – states that a successful ruler should act according to the circumstances, whereas being ‘good’ will lead to his downfall.

It could be claimed that Machiavelli sought to justify vices when speaking of the conflict between morality and reality. However, as the political philosopher Leo Strauss rightly suggests, it would be unfair to echo ‘the old-fashioned and simple opinion according to which Machiavelli was a teacher of evil’. As an example, when making an analysis of Agathocles of Sicily, who came to power with wicked cruelty, Machiavelli clearly condemned his actions and stated that ‘one cannot call it virtú to kill one’s citizens, betray one’s friends, to break one’s word, to be without mercy, without religion’. In addition, Strauss remarks that many extreme statements of Machiavelli were not intended to be taken seriously, but rather had the pedagogic intention of freeing ‘young’ princes from effeminacy. In the view of professor of politics Maurizio Viroli, he did not ‘construct a new language’, but provided a new, more pragmatic assessment of the art of politics.

Monday 28 December 2015

Understanding the Geneva Convention

“No physical or mental torture may be inflicted on prisoners of war
to secure from them information of any kind whatever.” – Article 17,
Geneva Convention Relative to the Treatment of Prisoners of War ”




A poem by Chengde Chen 

Yugoslavia, sometime in World War II. A refugee family in Serbia

Understanding the Geneva Convention


We are enemies –
why can we kill in war but allow no torture?

Does physiology regard death better than pain –
the struggle for survival is a race to the end?
Or philosophy holds ends higher than means –
loving God requires rushing to heaven?
Anyone who can prove either of these
proves Geneva is larger than the world; otherwise,
aren’t the Conventions like the RSPCA of carnivores –
protection ensures slaughtering only the undamaged?

This humanitarian law, solemn and noble as it is,
is just a desperate supplement to a Platonic maxim.
Although “only the dead have seen the end of war”,
let’s conduct barbarity in the most civilised manner –

seeing the gaps between battles as peace, or the seconds
between drawing the sword and striking as kindness.
War, however, has to be the war animal’s way of life –
no matter how we pursue “off-battlefield humanity”.
Part-time animals are animals still, hence a red cross
to acknowledge the bloodiness of humanitarianism!

Words can’t redeem the mountains of white bones,
because ideals can’t domesticate genes.
Our ability to idealise ourselves
can only deepen the tragedy of civilisation.

Oh, the ever extending ripples of Lake Geneva,
you are not leisure waves by wind flirting with water,
but man’s unending hopelessness about human nature.
If you aren’t the longest sighs of the hopeless,
you must be the deepest sadness of the sighs.



Chengde Chen is the author of Five Themes of Today: philosophical poems. Readers can find out more about Chengde and his poems here