Diversity Reading List

Abstract: Confucius frequently employs the term xin 信 in the Analects. The frequency of his usage suggests that xin has a significant place within his ethics. The main aim of this article is to offer an account of the roles played by xin within Confucius' ethics. To have a clear understanding of these roles, however, one needs first to understand what Confucius encompasses within his notion of xin. The article begins by delineating the Confucian conception of xin, as presented in the Analects. The notion of xin is often taken to be isomorphic with the notion of trust. I argue that Confucius' notion of xin does not quite map onto the notion of trust as usually understood in contemporary Western contexts. To understand better what Confucian xin amounts to, I compare and contrast the Confucian conception of xin with contemporary Western accounts of trust by Baier, McLeod, and Mullin. This comparison helps elucidate what xin is as well as how xin relates to morality. With this in hand, the roles that Confucius ascribes to xin in social and political contexts are then delineated.

Abstract:

In this essay, Weil undertakes a meditation on the idea of “reading”, which she thinks can shed new light on a diverse range of conceptual and experiential “mysteries”, especially with respect to our existential responses to the world. A central concern is how we ascribe meaning and respond to phenomena. She argues that, for the most part, our reading of the world and the things in it are immediate, not subject to “interpretation”, at least as this is regularly conceived. Further, Weil says, our readings of the world are invariably tied to particular kinds of valuation, of ethical assessment and orientation, which appear to us as both obvious and immediate. This immediacy of reading, however, does not entail that our readings cannot be changed or challenged—only that such a change or challenge requires a particular kind of labor.

Content: This text focuses on identifying distinctive features of African art. First, African art is virtually always functional and although it can be enjoyed intrinsically, it is rarely created for its own sake. It is a part of the social and political structure and cannot be understood without an understanding of this structure. The function of such art is to ‘veil social functions’: communicate that there exist secrets available to those initiated without communicating those secrets to everyone. Wingo further focuses on masks and dance as examples of African art which are experienced in specific, culturally embedded ways. He offers detailed descriptions and a theoretical analysis of various artistic and cultural practices, showing the uniqueness of the experiences they afford and arguing that they cannot be experienced or understood without a prior immersion in the culture they are part of.

Content: Wingo contrasts the traditional Western approaches to art classification with some African traditions in which what gives art its status is the social context in which it is situated, the community that art creates. He reviews some of the ways in which art is approached in those cultures, focusing on its functional, everyday character and sensual nature. Art is not meant for disinterested intellectual contemplation, but for sense experience, and should have the capacity to really move its audience. Similarly, the forms of African art are often different, including mask and costume making and dance. Wingo offers an overview of ways in which such works can be embedded in other cultural practices, and discusses how they are commonly perceived and approached.

Publisher’s Note:

What can philosophy contribute to African culture? What can it draw from it? Could there be a truly African philosophy that goes beyond traditional folk thought? Kwasi Wiredu tries in these essays to define and demonstrate a role for contemporary African philosophers which is distinctive but by no means parochial. He shows how they can assimilate the advances of analytical philosophy and apply them to the general social and intellectual changes associated with 'modernisation' and the transition to new national identities. But we see too how they can exploit traditional resources and test the assumptions of Western philosophy against the intimations of their own language and culture. The volume as a whole presents some of the best non-technical work of a distinguished African philosopher, of importance equally to professional philosophers and to those with a more general interest in contemporary African thought and culture.

Abstract:

Wiredu argues for a conceptual decolonization. This means, "[o]n the negative side, avoiding or reversing through a critical conceptual self-awareness the unexamined assimilation in our thought (that is, in the thought of contemporary African philosophers) of the conceptual frameworks embedded in the foreign philosophical traditions that have had an impact on African life and thought. And, on the positive side, I mean exploiting as much as is judicious the resources of our own indigenous conceptual schemes in our philosophical meditations on even the most technical problems of contemporary philosophy. But I cite it first because the necessity for decolonization was brought upon us in the first place by the historical superimposition of foreign categories of thought on African thought systems through colonialism.« (Wiredu 1992, 22) »This superimposition has come through three principal avenues. The first one is the avenue of language.« (Wiredu 1992, 22) The second one is religion and the third one politics."

Abstract:

Since Zhuangzi laments the human obsesssion with being right, he would be highly amused at the scholarly obsession with being right on the meaning of his text, especially on the matter of whether he ultimately believed in a right versus wrong. The fact is that he invites our obsession by raising the question and then refusing to answer it. In chapter two, we are invited to take a stance above the debating Confucians and Mohists. What one shis 是 the other feis 非 (what is 'right' for one is 'not right' for the other); what one feis the other shis. Argument is powerless to declare a victor. Zhuangzi asks, "Are there really shi and fei, or really no shi and fei?".

Abstract: Plato claims that representational art is dangerous because of its deceptive nature. He thinks that those who indulge too much in imitation will eventually have problems differentiating between imitation and reality. Aristotle, on the other hand, believes that indulging oneself in imitation (specifically theatrical tragedy) is healthy if the experience produces a catharsis - which would help one function better in real life. There has been a long-standing debate between these two positions on representation, both of them still having different strengths even when applied to contemporary situations. Ancient theories often hold special value when they continue to help us understand current issues, but what would Plato make of an IMAX film? Would Aristotle claim the same kind of catharsis could result from virtual reality, as a tragedy presented on the stage in ancient Greece? In what follows, I will use the theories of Plato and Aristotle as a foundation, and then move on to describe the changing nature of representation in order to explain how different kinds of media can affect our understanding of representation and our responses to it. Plato and Aristotle introduced the difficult moral and epistemological questions that result from the differentiation between reality and mimesis, or representation. Although there are still problems in explaining our real reactions to represented events, one aspect of the problem has changed significantly in the 20thcentury: the media through which the fictions or representations are presented. The changing nature of the media of fictional discourse calls for a reexamination of the theory we employ in understanding these experiences. In order to understand what effect the changing nature of the media has on these experiences, I will explore two other topics that will help clarify both the problems and the solutions. First, the changing concepts of what count as 'mimetic' and what count as 'fictional' need to be clarified in order that we know the kinds of discourses with which we are dealing. The Greek term mimesis, however, needs to be unpacked into the current terminology to account for the different aspects of representation, narrative, and fiction. Second, I will provide a general explanation of how fiction affects its readers according to current aesthetic theory as compared to ancient theory. Having dealt with these preliminary concerns, I will then argue that the changing nature of the media of representation changes the explanations of our experiences of fiction, which have been accounted for by earlier theory. I will argue further that these responses may in fact be more dependent upon the quality of the narrative structure of the fiction than the mode or media through which it is presented.

Abstract: This paper offers a comparison between Navajo conceptions of law and justice based on the community's experiences to those of Anglo-european law and justice.

Publisher's Note: Despite the turbulent times in which he lived, the Buddhist priest Kenkō met the world with a measured eye. As Emperor Go-Daigo fended off a challenge from the usurping Hojo family, and Japan stood at the brink of a dark political era, Kenkō held fast to his Buddhist beliefs and took refuge in the pleasures of solitude. Written between 1330 and 1332, Essays in Idleness reflects the congenial priest's thoughts on a variety of subjects. His brief writings, some no more than a few sentences long and ranging in focus from politics and ethics to nature and mythology, mark the crystallization of a distinct Japanese principle: that beauty is to be celebrated, though it will ultimately perish. Through his appreciation of the world around him and his keen understanding of historical events, Kenkō conveys the essence of Buddhist philosophy and its subtle teachings for all readers. Insisting on the uncertainty of this world, Kenkō asks that we waste no time in following the way of Buddha. In this fresh edition, Donald Keene's critically acclaimed translation is joined by a new preface, in which Keene himself looks back at the ripples created by Kenkō's musings, especially for modern readers.

Summary: Saito presents the moral dimension of Japanese aesthetics in terms of two design principles: respect for the quintessential, innate characteristics of things and honor and responsiveness to human needs. She analyzes the sensitivity to objects and people at work in a wide range of Japanese arts and crafts, including garden design, haiku, painting, pottery, and food, emphasizing that the cultivation of a moral attitude toward things is often practiced through aesthetic means.

Publisher's Note: Zeami (1363-1443), Japan's most celebrated actor and playwright, composed more than thirty of the finest plays of no drama. He also wrote a variety of texts on theater and performance that have, until now, been only partially available in English. Zeami: Performance Notes presents the full range of Zeami's critical thought on this subject, which focused on the aesthetic values of no and its antecedents, the techniques of playwriting, the place of allusion, the training of actors, the importance of patronage, and the relationship between performance and broader intellectual and critical concerns. Spanning over four decades, the texts reflect the essence of Zeami's instruction under his famous father, the actor Kannami, and the value of his long and challenging career in medieval Japanese theater. Tom Hare, who has conducted extensive studies of no academically and on stage, begins with a comprehensive introduction that discusses Zeami's critical importance in Japanese culture. He then incorporates essays on the performance of no in medieval Japan and the remarkable story of the transmission and reproduction of Zeami's manuscripts over the past six centuries. His eloquent translation is fully annotated and includes Zeami's diverse and exquisite anthology of dramatic songs, Five Sorts of Singing, presented both in English and in the original Japanese.

Publisher’s Note:

Translating to 'an investigation', this is the first of two 17th century ethical and rational treatises from present-day Ethiopia. Zera Yacob (Zär'a Ya'eqob, Wärqe) is most noted for his philosophy surrounding the principle of harmony. He asserted that an action's morality is decided by whether it advances or degrades overall harmony in the world. While he did believe in a deity, whom he referred to as God, he criticised several sets of religious beliefs. Rather than deriving beliefs from any organized religion, Yacob sought the truth in observing the natural world. In Hatata, Zera Yacob applied the idea of a first cause to produce a proof for the existence of God, thus proposing a cosmological argument. "If I say that my father and my mother created me, then I must search for the creator of my parents and of the parents of my parents until they arrive at the first who were not created as we [are] but who came into this world in some other way without being generated." However, the knowability of God does not depend on human intellect, but "Our soul has the power of having the concept of God and of seeing him mentally. God did not give this power purposelessly; as he gave the power, so did he give the reality." Yacob's work was continued in a second Hatata by his pupil and patron's son, Walda Heywat (Wäldä Hewat).

Publisher’s Note: A reliable translation and commentary of the core chapters of the Zhuangzi by a leading scholar.

Publisher’s Note: This is one of the standard and often-cited translations of the full text of the Zhuangzi