Abudu, Kenneth U. , Imafidon, Elvis. Epistemic Injustice, Disability, and Queerness in African Cultures
2020, In: Imafidon, E. (ed.) Handbook of African Philosophy of Difference. Cham: Springer, 393-409
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Added by: Björn FreterAbstract: Perception, representations, and knowledge claims about disability and queerness vary across societies and cultures. In African cultures negative knowledge claims and representations of disability and queerness create a perception of the disabled and queer that are not only detrimental to such persons in African societies but arguably undermine the work of understanding difference and tolerance in general. These negative claims raise some epistemological questions, such as: how do Africans come to know about disability and how are such knowledge claims validated within African communities? Against this backdrop, this chapter critically examines the epistemology of disability and queerness in African traditions. It shows that the epistemic authoritarianism found in African epistemology leads to an epistemic injustice that contributes immensely to the discrimination against disabled and queer beings as reflected in many cultural practices across the continent of Africa. The chapter argues that knowledge claims about disability and queerness in Africa emerge mainly from neglect, superstition, myth, and, above all, ignorance.Comment:Ahmed, Sara. Queer Phenomenology: Orientations, Objects, Others. Chapter 2: “Sexual Orientation”2006, In Queer Phenomenology: Orientations, Objects, Others, New York: Duke University Press, pp. 65-107
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Abstract: Focusing on the "orientation" aspect of "sexual orientation", Ahmed examines what it means for bodies to be situated in space and time. Bodies take shape as they move through the world directing themselves toward or away from objects and others. Being "orientated" means feeling at home, knowing where one stands, or having certain objects within reach. Orientations affect what is proximate to the body or what can be reached. A queer phenomenology, Ahmed contends, reveals how social relations are arranged spatially, how queerness disrupts and reorders these relations by not following the accepted paths, and how a politics of disorientation puts other objects within reach, those that might, at first glance, seem awry.Comment (from this Blueprint): This paper is especially stimulating if students earlier on the course also read the text by Ahmed on the week on race, as much of "A phenomenology of whiteness" informs Queer phenomenology. This specific chapter, however, focuses on sexual orientation, and discusses some of Merleau-Ponty's philosophy. Ahmed's article may also be required reading for those exploring a distinctly phenomenological approach to sexuality and could be read in alongside Díaz-León's chapter, which follows in the analytic tradition, for a broader range of 'styles' of discussion of sexual orientation in philosophy.Byrd, Jodi. What’s Normative Got to Do with It?: Toward Indigenous Queer Relationality2020, Social Text, 38 (4 (145)): 105–123.
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Added by: Sonja Dobroski and Quentin PharrAbstract: This article considers the queer problem of Indigenous studies that exists in the disjunctures and disconnections that emerge when queer studies, Indigenous studies, and Indigenous feminisms are brought into conversation. Reflecting on what the material and grounded body of indigeneity could mean in the context of settler colonialism, where Indigenous women and queers are disappeared into nowhere, and in light of Indigenous insistence on land as normative, where Indigenous bodies reemerge as first and foremost political orders, this article offers queer Indigenous relationality as an additive to Indigenous feminisms. What if, this article asks, queer indigeneity were centered as an analytic method that refuses normativity even as it imagines, through relationality, a possibility for the materiality of decolonization?Comment: available in this BlueprintDembroff, Robin, Wodak, Daniel. He/She/They/Ze2018, Ergo: An Open Access Journal of Philosophy, 5(14): 371 - 406.
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Added by: Andrea Blomqvist, Contributed by: Rory WilsonAbstract: In this paper, we defend two main claims. The first is a moderate claim: we have a negative duty to not use binary gender-specific pronouns he or she to refer to genderqueer individuals. We defend this with an argument by analogy. It was gravely wrong for Mark Latham to refer to Catherine McGregor, a transgender woman, using the pronoun he; we argue that such cases of misgendering are morally analogous to referring to Angel Haze, who identifies as genderqueer, as he or she. The second is a radical claim: we have a negative duty to not use any gender-specific pronouns to refer to anyone, regardless of their gender identity. We offer three arguments in favor of this claim (which appeal to concerns about inegalitarianism and risk, invasions of privacy, and reinforcing essentialist ideologies). We also show why the radical claim is compatible with the moderate claim. Before concluding, we examine common concerns about incorporating either they or a neologism such as ze as a third-person singular gender-neutral pronoun. These concerns, we argue, do not provide sufficient reason to reject either the moderate or radical claim.Comment: This text can be used as a companion piece to other texts on the metaphysics of gender or to introduce students to transgender / nonbinary identities. Dembroff and Wodak give a good overview of the importance of pronouns as well as the contemporary pronoun debate between they and ze for those with little to no prior background. This paper is good for debate over its radical claim.Hovey, Jaime. Picturing Yourself: Portraits, Self-Consciousness, and Modernist Style2006, in: A Thousand Words. Portraiture, Style, and Queer Modernism, Columbus: Ohio State University Press.
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Added by: Hans MaesSummary: Focuses on the modernist literary portrait in general and on Wilde's novel in particular. Also contains multiple references to painted portraits. Argues that queer modernist portraits concentrate on dynamic aspects of style and personality, presenting both the sitter's style and personality and the personality of the artist who renders her. Explores how style becomes another vehicle where a dangerous homosociality can be reduced into a manifestation of the merely particular (and vice versa).Comment: Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Oscar Wilde, The Picture of Dorian Gray (1890)
Cleverly framed as a story about a portrait within a portrait, and written by Wilde in part to demonstrate to his artistic nemesis James McNeil Whistler the superiority of writing to painting, Dorian serves to illustrate the central thesis of Hovey's study. Interweaves reflections on Wilde's personal style, his style as an author, the style of the painter and of the painting, the style of the characters in the book, and queer modernist style in general. Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Oscar Wilde, The Picture of Dorian Gray (1890)
Cleverly framed as a story about a portrait within a portrait, and written by Wilde in part to demonstrate to his artistic nemesis James McNeil Whistler the superiority of writing to painting, Dorian serves to illustrate the central thesis of Hovey's study. Interweaves reflections on Wilde's personal style, his style as an author, the style of the painter and of the painting, the style of the characters in the book, and queer modernist style in general.
Muñoz, José Esteban. Performing Disidentifications1999, In: Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota. 1-34.-
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Added by: Rossen VentzislavovSummary: 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.Comment: Best used in classes on sexual or ethnic marginalisation, and the social and political function of art, as well as on the social and political context of art.Can’t find it?Contribute the texts you think should be here and we’ll add them soon!
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