Diversity Reading List

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From the Publisher: The history of philosophy has not done women justice: you’ve probably heard the names Plato, Kant, Nietzsche and Locke – but what about Hypatia, Arendt, Oluwole and Young? The Philosopher Queens is a long-awaited book about the lives and works of women in philosophy by women in philosophy. This collection brings to centre stage twenty prominent women whose ideas have had a profound – but for the most part uncredited – impact on the world. You’ll learn about Ban Zhao, the first woman historian in ancient Chinese history; Angela Davis, perhaps the most iconic symbol of the American Black Power Movement; Azizah Y. al-Hibri, known for examining the intersection of Islamic law and gender equality; and many more. For anyone who has wondered where the women philosophers are, or anyone curious about the history of ideas – it's time to meet the philosopher queens.

Publisher's Note: The first comprehensive treatment of environmental philosophy, going beyond ethics to address the philosophical concepts that underlie environmental thinking and policy-making today

• Encompasses all of environmental philosophy, including conservation biology, restoration ecology, sustainability, environmental justice, and more
• Offers the first treatment of decision theory in an environmental philosophy text
• Explores the conceptions of nature and ethical presuppositions that underlie contemporary environmental debates, and, moving from theory to practice, shows how decision theory translates to public policy
• Addresses both hot-button issues, including population and immigration reform, and such ongoing issues as historical legacies and nations' responsibility and obligation for environmental problems
• Anchors philosophical concepts to their practical applications, establishing the priority of the discipline's real-world importance

Summary: This paper argues that prostitution and other markets in women's sexual labor are not necessarily morally wrong. Satz argues that such markets are morally wrong to the extent that they reinforce the vast social inequalities between men and women. Satz discusses a number of approaches to understanding the wrongness of markets in women's sexual labor, including an economic approach, an essentialist approach, and an egalitarian approach. Ultimately, she critiques the economic and essentialist approach as insufficient, favoring the egalitarian approach. Lastly, Satz discusses the question of decriminalization, arguing in favor of legislation concerning markets in women's sexual labor only to the extent that those laws promote gender equality.

Abstract: This paper examines the morality of kidney markets through the lens of choice, inequality, and weak agency looking at the case for limiting such markets under both non-ideal and ideal circumstances. Regulating markets can go some way to addressing the problems of inequality and weak agency. The choice issue is different and this paper shows that the choice for some to sell their kidneys can have external effects on those who do not want to do so, constraining the options that are now open to them. I believe that this is the strongest argument against such markets.

Abstract: The view that lying is morally worse than merely misleading is a very natural one, which has had many prominent defenders. Nonetheless, here I will argue that it is misguided: holding all else fixed, acts of mere misleading are not morally preferable to acts of lying, and successful lying is not morally worse than merely deliberately misleading. In fact, except in certain very special contexts, I will suggest that – when faced with a felt need to deceive – we might as well just go ahead and lie.

Abstract: The art work cannot be identified simply with a physical object, there has been an emphasis on the importance of theory context, and convention and a corresponding de-emphasis of the importance of the physical object for the identification of a work. In the hurry to abandon the object and to adopt theory as the means of identifying the art work, the importance of the object in that identification has sometimes been underestimated.

Abstract: This examination of the concept “work of art” has been prompted by the desire to find a starting point for aesthetic inquiry which, to begin with at any rate, will arouse no dispute. A claim for general agreement such as Clive Bell's: “The starting point for all systems of aesthetics must be the personal experience of a pecular emotion”, is countered by I. A. Richards's “the phantom aesthetic state”, and any attempt to claim “beauty” as the central concept is straightway confused by the varied contexts in which “beauty” and “beautiful” may function. We hear much more often of a beautiful stroke in cricket than in painting, and many of our moral judgments have an aesthetic flavour. An action may be bold, dashing, mean, underhanded, unimaginative, cringing, fine, as well as right or wrong. Aesthetic adjectives and adverbs may occur in any context, and part of our job is to separate out the various uses and establish their inter-relationships.

Publisher's Note: Have we become beauty-blind? For two decades or more in the humanities, various political arguments have been put forward against beauty: that it distracts us from more important issues; that it is the handmaiden of privilege; and that it masks political interests. In On Beauty and Being Just Elaine Scarry not only defends beauty from the political arguments against it but also argues that beauty does indeed press us toward a greater concern for justice. Taking inspiration from writers and thinkers as diverse as Homer, Plato, Marcel Proust, Simone Weil, and Iris Murdoch as well as her own experiences, Scarry offers up an elegant, passionate manifesto for the revival of beauty in our intellectual work as well as our homes, museums, and classrooms.

Scarry argues that our responses to beauty are perceptual events of profound significance for the individual and for society. Presenting us with a rare and exceptional opportunity to witness fairness, beauty assists us in our attention to justice. The beautiful object renders fairness, an abstract concept, concrete by making it directly available to our sensory perceptions. With its direct appeal to the senses, beauty stops us, transfixes us, fills us with a “surfeit of aliveness.” In so doing, it takes the individual away from the center of his or her self-preoccupation and thus prompts a distribution of attention outward toward others and, ultimately, she contends, toward ethical fairness.

Scarry, author of the landmark The Body in Pain and one of our bravest and most creative thinkers, offers us here philosophical critique written with clarity and conviction as well as a passionate plea that we change the way we think about beauty.

Abstract: I want to suggest that the notion of the suspension of disbelief cannot coherently be used to explain or account for our reactions to fictional characters and events, and that in any case it is unnecessary to the solution of the alleged paradox. I take fiction here to cover art works in which a story is told, presented or represented, i.e. novels, short stories, plays, certain kinds of painting and sculpture and dance-any works in fact is connection with which it makes sense to speak of characters appearing and events taking place in them.

Introduction: One of the least controversial aspects of the highly provocative project that was early conceptual art was its wholesale rejection of the modernist paradigm. For artists adhering to the conceptual approach, modernism's loyalty to the notions of beauty, aesthetic sensation, and pleasing form, represented a commitment to obsolete artistic axioms.' Art, it was argued, should be purged of expressivist or emotivist aims; it was to '[free] itself of aesthetic parameters' and embrace an altogether different ontological platform. On this line, a conceptual artwork was taken to be 'a piece: and a piece need not be an aesthetic object, or even an object at all' (Binkley 1977: 265). In contrast to modernism, then, conceptual art set itself, from its very beginning, a distinctively analytic agenda by proposing to revise the kind of thing an artwork can be in order to qualify as such, and pronouncing aesthetics 'conceptually irrelevant to art' (Kosuth 1969). It is in view of this that conceptual art, to use the words of some of its most prominent exponents, can be understood as 'Modernism's nervous breakdown' (Art - Language 1997).