Eddie Malone
Biographic Data
| ID | 653203 |
|---|---|
| NAME | Eddie Malone |
| GIVEN NAMES | Eddie |
| FAMILY NAME | Malone |
| SIGNATURE | MALONE E |
| AFFILIATIONS | Lone Star College |
| ORCID | 0000-0002-8516-6207 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
The problem of genre explosion
Genre discourse is widespread in appreciative practice. It should be no surprise then, that philosophers of art have also been interested in genre and in genres. However, in their accounts, philosophers have so far focused on capturing all of the categories of art that we think of as genres and have focused less on ensuring that only the categories we think are genres are captured by those theories. Each of these theories populates the world with…
Popular music and art-interpretive injustice
It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we …
The Ontology and Aesthetics of Genre
Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x is the genre of that work). A work can be good a…
Country Music and the Problem of Authenticity
In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre's notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of th…
Long-Lost Brothers: How Nihilism Provides Bigger Thomas and Biggie Smalls With a Soul
This article builds on scholarship that already links Native Son’s protagonist Bigger Thomas to real-life gangsta rappers such as Biggie Smalls and Tupac Shakur. James Baxter Peterson calls Biggie Smalls a “Bigger figure.” In other words, the persona/character created by the popular, deceased rapper was a kind of literary descendant of Bigger Thomas in the sense that he’s an echo of the “bad nigger” character type presented so memorably in Native…
Country Music and the Problem of Authenticity
In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre's notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of th…
The Ontology and Aesthetics of Genre
Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x is the genre of that work). A work can be good a…
Long-Lost Brothers: How Nihilism Provides Bigger Thomas and Biggie Smalls With a Soul
This article builds on scholarship that already links Native Son’s protagonist Bigger Thomas to real-life gangsta rappers such as Biggie Smalls and Tupac Shakur. James Baxter Peterson calls Biggie Smalls a “Bigger figure.” In other words, the persona/character created by the popular, deceased rapper was a kind of literary descendant of Bigger Thomas in the sense that he’s an echo of the “bad nigger” character type presented so memorably in Native…
Country Music and the Problem of Authenticity
In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre's notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of th…
The Ontology and Aesthetics of Genre
Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x is the genre of that work). A work can be good a…
The problem of genre explosion
Genre discourse is widespread in appreciative practice. It should be no surprise then, that philosophers of art have also been interested in genre and in genres. However, in their accounts, philosophers have so far focused on capturing all of the categories of art that we think of as genres and have focused less on ensuring that only the categories we think are genres are captured by those theories. Each of these theories populates the world with…
Popular music and art-interpretive injustice
It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we …
Sociology (5 works) · Aesthetics (4 works) · Epistemology (4 works) · Philosophy (4 works) · Art (3 works) · Literature (3 works) · Computer Science (2 works) · Law in Society and Culture (2 works) · Music History and Culture (2 works) · Psychology (2 works)