Diversity Reading List

Abstract: The aim of this paper is to propose a new approach to the question of meaning in life by criticizing Thaddeus Metz's objectivist theory in his book Meaning in Life: An Analytic Study. The author proposes the concept of 'the heart of meaning in life,' which alone can answer the question, 'Alas, does my life like this have any meaning at all?' and demonstrates that 'the heart of meaning in life' cannot be compared, in principle, with other people's meaning in life. The answer to the question of 'the heart of meaning in life' ought to have two values, yes-or-no, and there is no ambiguous gray zone between them.This concept constitutes the very central content of meaning in life.

Publisher’s Note: Upward mobility through the path of higher education has been an article of faith for generations of working-class, low-income, and immigrant college students. While we know this path usually entails financial sacrifices and hard work, very little attention has been paid to the deep personal compromises such students have to make as they enter worlds vastly different from their own. Measuring the true cost of higher education for those from disadvantaged backgrounds, Moving Up without Losing Your Way looks at the ethical dilemmas of upward mobility—the broken ties with family and friends, the severed connections with former communities, and the loss of identity—faced by students as they strive to earn a successful place in society. Drawing upon philosophy, social science, personal stories, and interviews, Jennifer Morton reframes the college experience, factoring in not just educational and career opportunities but also essential relationships with family, friends, and community. Finding that student strivers tend to give up the latter for the former, negating their sense of self, Morton seeks to reverse this course. She urges educators to empower students with a new narrative of upward mobility—one that honestly situates ethical costs in historical, social, and economic contexts and that allows students to make informed decisions for themselves. A powerful work with practical implications, Moving Up without Losing Your Way paves a hopeful road so that students might achieve social mobility while retaining their best selves.

Abstract: In this book the author assesses the main trends of recent aesthetics and makes two important philosophical claims: one, that there are genuine (that is, true and demonstrable) judgments of taste, and two, that there are no principles or laws of taste. In a penetrating and insightful defense of these theses, Mothersill addresses the question of their compatibility and develops the contrast between aesthetic and ethical reasoning and between beauty and the sublime.

Abstract: The Democratic Paradox is a collection of essays by the Belgian political theorist Chantal Mouffe, published in 2000 by Verso Books. The essays offer further discussion of the concept of radical democracy that Mouffe explored in Hegemony and Socialist Strategy, co-authored by Ernesto Laclau.

Summary: A rejoinder to the claim that mimesis is unimportant in Indian art and aesthetics. Dave-Mukherji seeks to decolonize Indian aesthetics from its internalized Western ethnocentrism, according to which mimesis belongs to the domain of Western art and aesthetics, and open new, non-binary terrain for comparative aesthetics. She seeks to revive the complex theory of visual representation theorized in ancient Indian art treatises, particularly the concept of anukrti, a term she considers cognate to mimesis.

Abstract: In a study of 205 leader–follower pairs, we investigated the impact of the leader’s values and empathy on followers’ perception of transformational leadership and the effect of transformational leadership on followers’ values and empathy. The moderating effect of leader–follower relationship duration on the effect of transformational leadership on followers’ values and empathy was also investigated. We found that the leader’s values were related to transformational leadership and transformational leadership was related to followers’ values. Over time, the relationship between transformational leadership and followers’ empathy and values became stronger

Summary: The concept of disidentification is Muñoz' way of capturing the subversion of the token identities assigned by dominant cultural discourse. While this subversion is a common everyday practice for most members of minoritized groups, Muñoz contends that it is in art where it could achieve the political weight that leads to social change. One of the examples Muñoz uses is of gay Latino artist Felix Gonzalez-Torres whose work resists the dominant "representational economy" - it is not explicitly inflected towards and/or recognizable within the traditional symbolic parameters of sexual or ethnic marginalization. In fact, Muñoz sees Gonzalez-Torres' art as exemplary of "tactical misrecognition," i.e. the intentional obfuscation of pre-constituted identification. Performance art is the most natural medium for such misrecognition.

Abstract: In 2008 and 2015, South Africa’s most deadly and violent xenophobic attacks erupted. Dozens of people were killed and thousands displaced. The dominant storyline in the media and the academy cast the figure of the migrant as the perpetual victim of xenophobia and as the ultimate Other. There was not enough emphasis on nuancing that statement to indicate that it is not all migrants who run the risk of deadly xenophobia even though xenophobia is pervasive across all South African socioeconomic classes. Deadly attacks only took place in specific microspaces, or Cultural Time Zones (CTZs). Those living in the CTZ of the informal settlement (shanty town) were most vulnerable. Migrants in economically privileged CTZs like the wealthy suburbs do not typically become victims of xenophobic violence. In this paper, I attempt to examine the relationship between (micro)space and migrant experience. Through an analysis of South African cities as a cluster of radically different CTZs where language, skin color, race/ethnicity, education, socioeconomic class, etc. function in different ways to impact the migrant experience, I try to uncover the nuanced reasons why working-class migrants who work and live in socioeconomically deprived CTZs may experience violent xenophobia, while middle-class professionals, especially those from Western countries, often enjoy high levels of xenophilia. This chapter employs the philosophy of Cultural Time Zone theory to explain this paradox and explore how some migrants are considered culturally “closer” to the South African Self, while some are viewed as culturally more “distant” Others.

Abstract: Many feminists of color have demonstrated the need to take into account differences among women to avoid hegemonic gender-essentialist analyses that represent the problems and interests of privileged women as paradigmatic. As feminist agendas become global,  there is growing feminist concern to consider national and cultural differences among women. However, in attempting to take seriously these cultural differences, many feminists risk replacing gender-essentialist analyses with culturally essentialist analyses that replicate problematic colonialist notions about the cultural differences between "Western culture" and "non-Western cultures" and the women who inhabit them (Narayan 1998). Seemingly universal essentialist generalizations about "all women" are replaced by culture-specific essentialist generalizations that depend on totalizing categories such as "Western culture,' "non-Western cultures," "Indian women," and "Muslim women." The picture of the "cultures" attributed to these groups of women remains fundamentally essentialist, depicting as homogeneous groups of heterogeneous peoples whose values, ways of life, and political commitments are internally diverge.

Introduction: Let’s set the stage. In 2016, ProPublica released a ground-breaking investigation called Machine Bias. You’ve probably heard of it. They examined a criminal risk prediction tool that’s used across the country. These are tools that claim to predict the likelihood that a defendant will reoffend if released, and they are used to inform bail and parole decisions.

Introduction: An article in The Chronicle of Higher Education of June 30, 1993, reported, “Two decades after it began redefining debates” in many other disciplines, “feminist thinking seems suddenly to have arrived in economics.” Many economists, of course, did not happen to be in the station when this train arrived, belated as it might be. Many who might have heard rumor of its coming have not yet learned just what arguments are involved or what it promises for the refinement of the profession. The purpose of this essay is to provide a low-cost way of gaining some familiarity.

Abstract: What could ground normative restrictions concerning cultural appropriation which are not grounded by independent considerations such as property rights or harm? We propose that such restrictions can be grounded by considerations of intimacy. Consider the familiar phenomenon of interpersonal intimacy. Certain aspects of personal life and interpersonal relationships are afforded various protections in virtue of being intimate. We argue that an analogous phenomenon exists at the level of large groups. In many cases, members of a group engage in shared practices that contribute to a sense of common identity, such as wearing certain hair or clothing styles or performing a certain style of music. Participation in such practices can generate relations of group intimacy, which can ground certain prerogatives in much the same way that interpersonal intimacy can. One such prerogative is making what we call an appropriation claim. An appropriation claim is a request from a group member that non-members refrain from appropriating a given element of the group’s culture. Ignoring appropriation claims can constitute a breach of intimacy. But, we argue, just as for the prerogatives of interpersonal intimacy, in many cases there is no prior fact of the matter about whether the appropriation of a given cultural practice constitutes a breach of intimacy. It depends on what the group decides together.

Abstract: Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art's powers to capture subtlety and emotion. In particular, art can serve as the vessel for group emotions, by making emotional content sufficiently public so as to be the object of a group commitment. Art enables groups to guide themselves with values too subtle to be codified.

Introduction: In the field of art history, the white Western male viewpoint, unconsciously accepted as the viewpoint of the art historian, may - and does - prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones. In revealing the failure of much academic art history, and a great deal of history in general, to take account of the unacknowledged value system, the very presence of an intruding subject in historical investigation, the feminist critique at the same time lays bare its conceptual smugness, its meta-historical naivete. At a moment when all disciplines are becoming more self-conscious, more aware of the nature of their presuppositions as exhibited in the very languages and structures of the various fields of scholarship, such uncritical acceptance of 'what is' as 'natural' may be intellectually fatal. Just as Mill saw male domination as one of a long series of social injustices that had to be overcome if a truly just social order were to be created, so we may see the unstated domination of white male subjectivity as one in a series of intellectual distortions which must be corrected in order to achieve a more adequate and accurate view of historical situations.

Abstract: Seven landmark essays on women artists and women in art history - brings together the work of almost twenty years of scholarship and speculation.