Moral Dimensions of Power: An annotated syllabus

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We are quite familiar with many of the obvious ways in which power operates: a campus police officer confiscates a case of beer, a professor assigns grades, one boxer defeats another, someone lifts a heavy object, a commuter avails herself of a secret shortcut, and the like. Are these forms of power “the same”? Who has power? Are there constraints on what one may do with one’s power, however it is constituted? This is the subject matter of my course, “Moral Dimensions of Power.”

Overview of the course

I’ve taught several versions of this course since 2002 or so. Its first incarnation was as “The Moral Dimensions of Wealth and Power,” which was a surprisingly popular course.1 Much of the same material appeared as “Social Philosophy” at Pitt-Johnstown and as “Moral Dimensions of Power” at Washington and Lee. This syllabus reflects the totality of material that I’ve taught plus some material that I’ve been interested in and had queued up but lacked the time to use.

The course covers themes I’ve been exploring in my (unpublished) scholarly work during the last few years: determining the extent and manner in which power, institutions, and norms create persons. The class has three sections:

  1. Philosophical analyses of power: accounts of power provided by Friedrich Nietzsche and Michel Foucault.
  2. Applications of these analyses: examining the how the insights of Nietzsche and Foucault play out in various contexts. Topics that we look at include wealth, gender, race, ability, size, discourse, classrooms, and software distribution.
  3. Understanding transgression: in the shortest of the three sections, we start to think about how one might go about resisting morally problematic institutions and forms of power.

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Philosophy & Film: an annotated syllabus

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In the last few decades, there has been an increase in interest in using film (and popular culture, more generally) to teach philosophy. In addition, there has been some effort to use film and popular culture in philosophical work, and there have been philosophically-minded film makers. Given my own obsessive consumption of popular culture and philosophy, a “Philosophy & Film” course was all but inevitable.

Overview of the course

The course began as a series of conversations with David Magill; at the time, we were both at Pitt-Johnstown, and we thought it would be great to team teach a course on this material. Although that course never came to fruition, the courses brought together as a composite in this syllabus eventually did.

The class has three major sections:

  1. Philosophy through film: how have film makers explored traditional questions in or highlighted problems from the history of philosophy? Topics in this section include: truth, knowledge, mindedness, and personal identity.
  2. Social thought through film: how film can illustrate, reinforce, and critique norms of femininity, masculinity, and race?
  3. Film as literary pursuit: how does a mass medium like film stand up to analysis using standard tools from literary analysis? Topics in this section include the nature of adaptation, satire, authorship, and the morality of cinematic representations.

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