What is Western philosophy? The established narrative of 'our' intellectual tradition begins with classical Greek reason: championed by Socrates, Plato and Aristotle, revived and perfected in...Show moreWhat is Western philosophy? The established narrative of 'our' intellectual tradition begins with classical Greek reason: championed by Socrates, Plato and Aristotle, revived and perfected in Enlightenment rationalism and empiricism, to culminate in the modern European canon of Kant, Frege or Nietzsche. Conspicuously absent are any 'Middle Eastern' sources, notably Arabic and Persian philosophy. 'Islamic golden age' Aristotelians are often seen as babysitting rationality during a supposed mediaeval 'Christian dark age'. But the original impact on contemporary thought by the likes of al-Ghazali (d.1111) or Suhrawardi (d.1191) is ignored. Analysing this conspicuous absence reveals a deep binary structure in the narrative. Our canon is in fact made universally valid by excluding everything deemed mystical and arbitrary: Eastern religious thought. All religious traditions — especially Islam — represent this non-Western un-philosophy, simultaneously 'foreign' and 'archaic'. To recover our proper intellectual history, beyond this colonialist binary, we can employ a provocative redefinition: North-Atlantic (modern European) philosophy as "Far Western", and all broadly Mediterranean (Greco-Judaic and Islamo-Christian) philosophy as "Middle Western". This foregrounds the relations within the West, further suggesting its interdependence with all philosophies, including Sino-Indic ones.Show less
This thesis is in the field of contemporary art in a globalized context in relationship to the changing idea of ‘internationalism’, and intends to discover how the art agent, the Dutch art gallery,...Show moreThis thesis is in the field of contemporary art in a globalized context in relationship to the changing idea of ‘internationalism’, and intends to discover how the art agent, the Dutch art gallery, functions in the process of mediation among artists, collectors, and other art members. This thesis presumes that global awareness somehow only remains in the realm of theoretical debates, or at the most in the knowledge domain of galleries, and this has yet to be extended to practice. Since many galleries would say they work internationally, and this thesis would like to start from this point: what kind of 'internationalism' are we indicating when talking about 'being international'? This thesis bases partly on the study of Olav Velthuis (2013) on the 'home bias' of Amsterdam art galleries, and aims to examine why under this condition there is still a group of Dutch galleries devoting themselves to working closely with international artists rather than local ones. Literature reviews on the globalization in relation to contemporary art exhibition, quantitative research on the data derived from each selected gallery's website of this research, and four face-to-face interviews with the gallery owners are the three main approaches to tackle this issue. The debates on the dominance of Eurocentrism and Western-centrism are incorporated into the last chapter of compound analysis, functioning as the lens to view this 'Occidental-internationl' tendency in the scene of Dutch contemporary art gallery.Show less
