Diversity Reading List

Summary: In this short selection, Keeshig-Tobias (Ojibway) raises questions about representation and authenticity in fiction about Native people written by non-Native authors. With reference to certain Native belief systems, she contextualizes why the telling of a story could be viewed as theft in a way that might seem counter-intuitive to a liberal Western audience.

Publisher’s Note: In May of this year I had the opportunity to give several talks on the topic of nihilism. Initially I intended to focus on the three themes of Nietzsche, Dostoevsky, and Buddhism. When I was twenty, the fig­ures of Nietzsche and Dostoevsky burned a lasting impression deep into my soul-as I suppose they may still do to many young people even today-and the tremors I experienced at that time have con­tinued to make my heart tremble ever since. The final theme, of Buddhist "emptiness," came to capture my interest more gradu­ally. The connections among these three topics are not merely arbi­trary or external. The nihilism that Dostoevsky plumbed so deeply has important connections with that of Nietzsche, as a number of critics have pointed out; and Nietzsche considers what he calls Eu­ropean nihilism to be the European form of Buddhism. Even though there may be in Nietzsche a radical misunderstanding of the spirit of Buddhism, the fact that he considered it in relation to ni­hilism shows how well attuned he was to the real issue. It was con­siderations such as these that inclined me toward these three themes in my discussion of nihilism.

Publisher’s Note:

Decolonizing Universalism develops a genuinely anti-imperialist feminism. Against relativism/universalism debates that ask feminists to either reject normativity or reduce feminism to a Western conceit, Khader's nonideal universalism rediscovers the normative core of feminism in opposition to sexist oppression and reimagines the role of moral ideals in transnational feminist praxis.

Publisher’s Note: As a botanist, Robin Wall Kimmerer has been trained to ask questions of nature with the tools of science. As a member of the Citizen Potawatomi Nation, she embraces the notion that plants and animals are our oldest teachers. In Braiding Sweetgrass, Kimmerer brings these lenses of knowledge together to show that the awakening of a wider ecological consciousness requires the acknowledgment and celebration of our reciprocal relationship with the rest of the living world. For only when we can hear the languages of other beings are we capable of understanding the generosity of the earth, and learning to give our own gifts in return.

Abstract: In this blogpost, King introduces the distinction between high art/highbrow and low art/lowbrow things both in terms of historical and social underpinnings. However King suggests that the distinction need not be cashed out simply in terms of what kinds of objects we choose to experience (e.g. fine wines vs. beer), but should also be understood in terms of the mode of appreciation or engagement we choose or endorse when experiencing certain objects. For instance, we can have a higbrow mode of appreciation towards an object usually considered lowbrow (and vice versa).

Publisher’s Note:

The relation between philosophy and language in Africa seems to favor the languages of written expression to the detriment of the languages of "oraural" expression. Concretely, this has meant not only the exclusive use of Arabic and European languages in the philosophies in Africa, but also the assumption that philosophy is only possible in, with, and through written languages. This article argues that change is long overdue, and that African languages should play significant roles in both the exploration of the past and in contemporary and future philosophical inquiries in Africa. In other words, the real problem is not so much to determine how far philosophy is compatible or incompatible with specific languages and with language as a whole, or vice versa, as to discern what role African languages should play within the framework of the past, contemporary, and future philosophies in Africa. For if colonial experiences obliged Africans to confront this predicament without success, the contention here is that Africans cannot continue to philosophize sine die in European languages and according to European models of philosophy as if African languages cannot provide and play the same roles. Today more than before, both the lettered and "oraural" traditions of Africa invite Africans to practice self-reliance in such matters.

Publisher's Note: This is the first comprehensive account of Kant's cosmopolitanism, highlighting its moral, political, legal, economic, cultural, and psychological aspects. Contrasting Kant's views with those of his German contemporaries, and relating them to current debates, Pauline Kleingeld sheds new light on texts that have been hitherto neglected or underestimated. In clear and carefully argued discussions, she shows that Kant's philosophical cosmopolitanism underwent a radical transformation in the mid 1790s and that the resulting theory is philosophically stronger than is usually thought. Using the work of figures such as Fichte, Cloots, Forster, Hegewisch, Wieland, and Novalis, Kleingeld analyzes Kant's arguments regarding the relationship between cosmopolitanism and patriotism, the importance of states, the ideal of an international federation, cultural pluralism, race, global economic justice, and the psychological feasibility of the cosmopolitan ideal. In doing so, she reveals a broad spectrum of positions in cosmopolitan theory that are relevant to current discussions of cosmopolitanism.

Abstract: This essay explicates and evaluates the roles that fetal metaphysics and moral status play in Rosalind Hursthouse's abortion ethics. It is motivated by Hursthouse's puzzling claim in her widely anthologized paper Virtue Ethics and Abortion that fetal moral status and (by implication) its underlying metaphysics are in a way, fundamentally irrelevant to her position. The essay clarifies the roles that fetal ontology and moral status do in fact play in her abortion ethics. To this end, it presents and then develops her fetal metaphysics of the potential and actual human being, which she merely adumbrates in her more extensive treatment of abortion ethics in her book Beginning Lives. The essay then evaluates her fetal ontology in light of relevant research on fetal neural and psychological development. It concludes that her implied view that the late-stage fetus is an actual human being is defensible. The essay then turns to the analysis of late-stage abortions in her paper and argues that it is importantly incomplete.

Publisher's note: Feminist approaches to art are extremely influential and widely studied across a variety of disciplines, including art theory, cultural and visual studies, and philosophy. Gender and Aesthetics is an introduction to the major theories and thinkers within art and aesthetics from a philosophical perspective, carefully introducing and examining the role that gender plays in forming ideas about art. It is ideal for anyone coming to the topic for the first time. Organized thematically, the book introduces in clear language the most important topics within feminist aesthetics:

• Why were there so few women painters?
• Art, pleasure and beauty
• Music, literature and painting
• The role of gender in taste and food
• What is art and who is an artist?
• Disgust and the sublime.

Each chapter discusses important topics and thinkers within art and examines the role gender plays in our understanding of them. These topics include creativity, genius and the appreciation of art, and thinkers from Plato, Kant, and Hume to Luce Irigaray and Julia Kristeva. Also included in the book are illustrations from Gaugin and Hogarth to Cindy Sherman and Nancy Spero to clarify and help introduce often difficult concepts. Each chapter concludes with a summary and further reading and there is an extensive annotated bibliography. Carolyn Korsmeyer's style is refreshing and accessible, making the book suitable for students of philosophy, gender studies, visual studies and art theory, as well as anyone interested in the impact of gender on theories of art.

Introduction: For some time my own interests in aesthetics and in feminism appeared to run parallel yet mutually exclusive courses, but it seems to me now that philosophical aesthetics and feminist views of culture have begun to dovetail and to share certain concerns and orientations. Philo sophical aesthetics is not by and large taking note of this, however, and in the first section of this essay I argue that feminist perspectives pro vide a vantage from which the appearance of breakdown in unified theorizing can be seen to have an underlying order and pattern.2 Thus at first I shall emphasize a potential harmony be tween feminist critiques and recent directions in aesthetics. Then in the second section I shall focus on one of the subjects that has all but dropped from view in the reshuffling of the oretic concerns: aesthetic appreciation or plea sure. I argue that this concept is urgently in need of reexamination, a need that is especially evi dent when we consider feminist alternatives to the traditional idea of aesthetic pleasure.

Summary: Korsmeyer argues that although genuineness (or authenticity) is not a perceptual property, it is still an aesthetically relevant property for cultural artifacts, an argument that she locates in the relationship between age and the sense of touch. She thus offers a potential explanation for a common ntuition about the nature and value of authenticity in the Western tradition.

Summary: Korsmeyer's account of disgust and the role it plays in art appreciation starts with a treatment of what she calls the "paradox of aversion" - the apparent incompatibility between humans' disposition to seek pleasure and their frequent voluntary exposure to unpleasant and even painful art-related experiences. Korsmeyer's provisional solution to the paradox is based on the realization that pleasure is not an emotion but rather "an intense absorption in an object that induces us to continue rather than halt an experience." This opens the possibility that the pleasure we take from a work of art retains a cognitive element such that we gain unique insight from what would, outside of the art context, have given us pain. Korsmeyer speaks of an "aesthetic conversion" whereby disgust and fear are transfigured into vehicles of absorption, and thus become aesthetically pleasurable. Since disgust and its magnetic force are of material interest to performance artists and their critics, Korsmeyer's treatment of the paradox of aversion helps re-contextualize an important art historical issue.

Abstract: In this essay I analyze some conceptual difficulties associated with the demand that global institutions be made more democratically accountable. In the absence of a world state, it may seem inconsistent to insist that global institutions be accountable to all those subject to their decisions while also insisting that the members of these institutions, as representatives of states, simultaneously remain accountable to the citizens of their own countries for the special responsibilities they have towards them. This difficulty seems insurmountable in light of the widespread acceptance of a state-centric conception of human rights, according to which states and only states bear primary responsibility for the protection of their citizens' rights. Against this conception, I argue that in light of the current structures of global governance the monistic ascription of human rights obligations to states is no longer plausible. Under current conditions, states are bound to fail in their ability to protect the human rights of their citizens whenever potential violations either stem from transnational regulations or are perpetrated by non-state actors. In order to show the plausibility of an alternative, pluralist conception of human rights obligations I turn to the current debate among scholars of international law regarding the human rights obligations of non-state actors. I document the various ways in which these obligations could be legally entrenched in global financial institutions such as the WTO, the IMF and the World Bank. These examples indicate feasible methods for strengthening the democratic accountability of these institutions while also respecting the accountability that participating member states owe to their own citizens. I conclude that, once the distinctions between the obligations to respect, protect and fulfill human rights are taken into account, no conceptual difficulty remains in holding states and non-state actors accountable for their respective human rights obligations.

Abstract: In this essay, I analyze the cosmopolitan project for a new international order that Habermas has articulated in recent publications. I argue that his presentation of the project oscillates between two models. The first is a very ambitious model for a future international order geared to fulfill the peace and human rights goals of the UN Charter. The second is a minimalist model, in which the obligation to protect human rights by the international community is circumscribed to the negative duty of preventing wars of aggression and massive human rights violations due to armed conflicts such as ethnic cleansing or genocide. According to this model, any more ambitious goals should be left to a global domestic politics, which would have to come about through negotiated compromises among domesticated major powers at the transnational level. I defend the ambitious model by arguing that there is no basis for drawing a normatively significant distinction between massive human rights violations due to armed conflicts and those due to regulations of the global economic order. I conclude that the cosmopolitan goals of the Habermasian project can only be achieved if the principles of transnational justice recognized by the international community are ambitious enough to cover economic justice.

Abstract: Many have argued that certain statues or monuments are objectionable, and thus ought to be removed. Even if their arguments are compelling, a major obstacle is the apparent historical value of those commemorations. Preservation in some form seems to be the best way to respect the value of commemorations as connections to the past or opportunities to learn important historical lessons. Against this, I argue that we have exaggerated the historical value of objectionable commemorations. Sometimes commemorations connect to biased or distorted versions of history, if not mere myths. We can also learn historical lessons through what I call repudiatory honouring: the honouring of certain victims or resistors that can only make sense if the oppressor(s) or target(s) of resistance are deemed unjust, where no part of the original objectionable commemorations is preserved. This type of commemorative practice can even help to overcome some of the obstacles objectionable commemorations pose against properly connecting to the past.