Diversity Reading List

Comment:

Comment: Offers a short review od the philosophy of race, the pitfalls of liberalism, why liberalism cannot solve racism, the situation in Germany

Comment (from this Blueprint): Published in 1963, this essay offers a scathing attack on the racist history of America and its contemporary present in the 1960s. The text provides a trenchant critique of the way racism has shaped, and continues to shape, relations between whites and blacks in American society by suggesting that whites are trapped by a history they refuse to acknowledge – thereby making them unable to conceive of black Americans as their fellow co-citizens. Thus, for Baldwin, it is imperative that whites are made to recognise this history, as a failure to do so will inevitably result in an outbreak of violence. It is a compelling narrative of various quotidian as well as extraordinary incidents interwoven with local and international political causes and repercussions.

Comment (from this Blueprint): Two things should be noted in this paper. First, many have discussed the importance of stopping or blocking the harm of objectionable commemorations. This paper goes a step further and discusses the importance of “answering” the wrong done by these monuments. Second, the paper engages with a “negative” emotion, namely, contempt, that is present at both racist monuments and the effort to confront them. It allows us to see the legitimate role this negative emotion may play in the struggle for equality: contempt can be apt towards inapt contempt expressed through racist monuments. It also nicely spells out the potential practical implications of taking this negative emotion seriously.

Comment: Frames debates about racist monuments (e.g., Confederate or colonialist monuments), categorizes arguments for and against removal. Suitable for an intro-level course.

Comment: This text serves as both a clear introduction to the history of punishment and imprisonment in the United States, as well as a clear introduction to phenomenological method. Portions of the text on the experience of social death in solitary confinement would make excellent additions to introductory courses on prisons and punishment. Some chapters would also be fitting on classes concerning race and mass incarceration.

Comment: The single best short introduction to the subject, for use in any context that requires quick acquaintance with these ideas and thinkers of the African context.

Comment (from this Blueprint): This film depicts a historical biopic of African American female mathematicians working at NASA in the 1960s, focusing on the story of Katherine Johnson. In it, the plot depicts struggles with racism and sexism, as well as the impacts of the move from human calculation to the use of computers.

Comment: Written in an engaging way, this paper invites the reader to re-evaluate some common assumptions about art from different cultures. Exposing the prevalent Western approach to African art as racialised, it can be a great tool in making students understand both the structural-societal, as well as own biases in approaching other cultures. Ngzewu defends a powerful thesis: that ‘the West’s conception of art and creativity presupposes white racial hegemony.’ She exposes the way in which Western art is tacitly assumed to be a yardstick against which all is measured, and the Westerners have become the ‘purveyors of knowledge’ who apply this yardstick to decide whether works of other cultures are art, all without any need to consult the creators of those works, or to revise own concept of art. As such, the paper can be very empowering to some students, while also being very uncomfortable to others – teaching it might require some skill in leading the discussion in a constructive way. The import of Ngzewu’s argumentis that while racism and white domination rest on the assumption of cognitive and moral superiority of white people, the approach to African art she criticises serves to reinforce this assumption. This can inspire further class discussion on the importance and value of aesthetics. Best used before assigning other texts on non-Western art, which should all be read in light of Ngzewu’s criticism. Written in an engaging way, this paper invites the reader to re-evaluate some common assumptions about art from different cultures. Exposing the prevalent Western approach to African art as racialised, it can be a great tool in making students understand both the structural-societal, as well as own biases in approaching other cultures. Ngzewu defends a powerful thesis: that ‘the West’s conception of art and creativity presupposes white racial hegemony.’ She exposes the way in which Western art is tacitly assumed to be a yardstick against which all is measured, and the Westerners have become the ‘purveyors of knowledge’ who apply this yardstick to decide whether works of other cultures are art, all without any need to consult the creators of those works, or to revise own concept of art. As such, the paper can be very empowering to some students, while also being very uncomfortable to others – teaching it might require some skill in leading the discussion in a constructive way. The import of Ngzewu’s argumentis that while racism and white domination rest on the assumption of cognitive and moral superiority of white people, the approach to African art she criticises serves to reinforce this assumption. This can inspire further class discussion on the importance and value of aesthetics. Best used before assigning other texts on non-Western art, which should all be read in light of Ngzewu’s criticism.

Comment (from this Blueprint): In this short, seminal piece, Keisha Ray argues that bioethics needs to address issues of health and well-being of Black individuals. She applies Beauchamp and Childress’s famous four principles of bioethics to a particular issue: the disproportionate maternal mortality rate of Black women in the United States. Ray argues bioethics must incorporate the lens of Black bioethics, if the discipline is to remain relevant.