Topic: Social Philosophy -> Class
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Collins, Patricia Hill. Black Feminist Epistemology
2007, In Craig J. Calhoun (ed.), Contemporary Sociological Theory. Blackwell. pp. 327.

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Added by: Clotilde Torregrossa, Contributed by: Corbin Covington
Abstract: US black feminist thought reflects the interests and standpoint of its creators. Indeed, White men have control over knowledge. And, Black women's ideas have been controlled by White men interpretation of the world. This means that Black feminist thought can best be viewed as subjugated knowledge.
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Collins, Patricia Hill. Defining black feminist thought
1997, In Linda J. Nicholson (ed.), The Second Wave: A Reader in Feminist Theory. Routledge.

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Added by: Clotilde Torregrossa, Contributed by: Corbin Covington
Introduction: ... A definition of Black feminist thought is needed that avoids the materialist position that being Black and/or female generates certain experiences that automatically determine variants of a Black and/or feminist consciousness. Claims that Black feminist thought is the exclusive province of African-American women, regardless of the experiences and worldview of such women, typify this position. But a definition of Black feminist thought must also avoid the idealist position that ideas cna be evaluated in isolation from the groups that create them. Definitions claiming that anyone can produce and develop Black feminist thought risk obscuring the special angle of vision that Black women bring to the knowldege production process.
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Collins, Patricia Hill. Social Inequality, Power, and Politics: Intersectionality and American Pragmatism in Dialogue
2012, Journal of Speculative Philosophy 26 (2):442-457.

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Added by: Clotilde Torregrossa, Contributed by: Corbin Covington
Introduction: June Jordan (1992) had her eye set on an understanding of freedom that challenged social inequality as being neither natural, normal, nor inevitable. Instead, she believed that power relations of racism, class exploitation, sexism, and heterosexism were socially constructed outcomes of human agency and, as such, were amenable to change. For Jordan, the path toward a reenvisioned world where 'freedom is indivisible' reflected aspirational political projects of the civil rights and Black Power movements, feminism, the antiwar movement, and the movement for gay and lesbian liberation. These social justice projects required a messy politics of taking the risks that enabled their participants to dream big dreams.
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Cooper, Leonie. Joe Corré, Son of Malcolm McLaren and Vivienne Westwood, On Why He’s Burning His £5 Million Punk Collection
2016, NME, 18th March 2016

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Added by: Quentin Pharr and Clotilde Torregrossa
Abstract:
This week [18th March 2016], Joe Corré, son of punk provocateurs Malcolm McLaren and Vivienne Westwood proved that rebellion runs in the family. In response to the ongoing Punk London year of events, gigs, films, talks, exhibits, celebrating 40 years of punk – which Joe claims has been endorsed by the Queen – has announced his plans to burn his £5 million collection of punk memorabilia this November 26, on the 40th anniversary of the release of the Sex Pistols’ ‘Anarchy In The UK’. NME visited Joe at his London HQ to find out more.
Comment (from this Blueprint): This news item is an interview with Joe Corré, son of British fashion designer Vivienne Westwood and Malcolm McLaren, former manager of the Sex Pistols. In response to the 2016 events celebrating '40 years of Punk' in London, Corré announced he would burn his collection of punk artefacts, estimated to be worth £5 million (he did end up burning it on a barge on the Thames). In this interview, Corré discusses how the punk aesthetic has been appropriated by the very people and institutions that the punk movement was against - the establishment. For Corré, his collection is only worth £5 million because of the mainstream appropriation that punk has undergone - for him these items are worthless, they barely even have sentimental value. But equally, Corré, a very wealthy man himself (he co-founded the lingerie brand Agent Provocateur and sold it to private equity for £60 million), has come under fire for his decision to burn the items rather than give them to charity. As such, this piece is an interesting case study that illustrates the mechanics of class appropriation of fashion as discussed by Crane. But it can also be discussed in reference to the People's History Museum virtual exhibition from week 6, as perhaps Corré's judgement that these items are not worthy of preservation and display is itself clouded by class privilege.
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Crane, Diana. Diffusion Models and Fashion: A Reassessment
1999, The Annals of the American Academy of Political and Social Science, 566: 13-24.

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Added by: Quentin Pharr and Clotilde Torregrossa
Abstract:
Large-scale diffusion processes such as those affecting fashionable clothing are difficult to study systematically. This article assesses the relevance of top-down as compared to bottom-up models of diffusion for fashion. Changes in the relationships between fashion organizations and their publics have affected what is diffused, how it is diffused, and to whom. Originally, fashion design was centered in Paris; designers created clothes for local clients, but styles were diffused to many other countries. This highly centralized system has been replaced by a system in which fashion designers in several countries create designs for small publics in global markets, but their organizations make their profits from luxury products other than clothing. Trends are set by fashion forecasters, fashion editors, and department store buyers. Industrial manufacturers are consumer driven, and market trends originate in many types of social groups, including adolescent urban subcultures. Consequently, fashion emanates from many sources and diffuses in various ways to different publics.
Comment (from this Blueprint): Fashion has always been a subject of great interest for sociologists, but only recently for philosophers. In this selection, Crane offers an overview of how fashions/styles/trends have traditionally been thought to spread among and affect the relations between different social groups, but also notes several shortcomings of the existing models. Overall, she ends up concluding that fashion has a number of sources and diffuses in various ways. But, for our purposes, what is particularly important about this selection is in how she casts fashion's diffusion as guided by differential perceptions of class and status and who wants to consume what sorts of fashion, based on those perceptions. Existing models, despite their shortcomings, present a helpful way of understanding various phenomena, including: appropriation, targeted advertizing, class and status signalling, and so on.
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Crenshaw, Kimberlé. Mapping the Margins: Intersectionality, Identity Politics, and Violence Against Women of Color
1991, Stanford Law Review 43(6): 1241-1299.

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Added by: Rossen Ventzislavov
Summary: The concept of intersectionality is Crenshaw's rich contribution to our embattled understanding of identity politics. To illustrate the danger of traditional identity groupings, Crenshaw turns our attention to the complexity of inhabiting two such distinct categories at the same time as a black woman. While it is true that a black woman can hardly be considered essentially black (on account of the primacy of men of color over women of color) or essentially a woman (on account of the primacy of white women over non-white ones), intersectionality does not aim to dismantle these general categories altogether. Instead, it seeks to introduce an ethical and political pragmatics of identity. The way Crenshaw proposes this should be done in the case of black women is by treating the two inherent identity categories - black and female - conjunctively rather than disjunctively as it has always been done. The resulting approach promises to improve our sense of the reality of "social location" and is thus of great value to all agents and processes of social health and justice.
Comment: Assigning this text is best in classes on women's rights and identity politics. It will be particularly useful in inspiring discussions on different types of discrimination affecting different groups, and the relations between them.
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Davis, Angela. Women, Race and Class
1981, New York: Vintage

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Added by: Anne-Marie McCallion
Publisher's Note: A powerful study of the women's liberation movement in the U.S., from abolitionist days to the present, that demonstrates how it has always been hampered by the racist and classist biases of its leaders. From the widely revered and legendary political activist and scholar Angela Davis.
Comment: This text would be useful for courses which touch upon Black Feminism, intersectionality, Slavery or the history of feminism.
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Davis, Angela. Women, Race, and Class
1981, Random House.

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Added by: Anne-Marie McCallion
Publisher’s Note:

Angela Davis provides a powerful history of the social and political influence of whiteness and elitism in feminism, from abolitionist days to the present, and demonstrates how the racist and classist biases of its leaders inevitably hampered any collective ambitions. While Black women were aided by some activists like Sarah and Angelina Grimke and the suffrage cause found unwavering support in Frederick Douglass, many women played on the fears of white supremacists for political gain rather than take an intersectional approach to liberation. Here, Davis not only contextualizes the legacy and pitfalls of civil and women’s rights activists, but also discusses Communist women, the murder of Emmitt Till, and Margaret Sanger’s racism. Davis shows readers how the inequalities between Black and white women influence the contemporary issues of rape, reproductive freedom, housework and child care in this bold and indispensable w

Comment: Angela Davis is an American political activist, philosopher, academic and author. She is a professor at the University of California and a longtime member of the Communist Party USA. She is also a founding member of the Committees of Correspondence for Democracy and Socialism (CCDS) and the author of over ten books on class, feminism, race, and the US prison system. Women, Race and Class is a Marxist feminist analysis of gender, race and class. The third book written by Davis, it covers U.S. history from the slave trade and abolitionism movements to the women's liberation movements which began in the 1960s. In this chapter, Davis examines and describes the unwritten history of black women slaves and their legacies.
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Dhanda, Meena. Philosophical Foundations of Anti-Casteism
2020, Proceedings of the Aristotelian Society. 120 (1): 71-96.

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Added by: Suddha Guharoy and Andreas Sorger
Abstract:

The paper begins from a working definition of caste as a contentious form of social belonging and a consideration of casteism as a form of inferiorization. It takes anti-casteism as an ideological critique aimed at unmasking the unethical operations of caste, drawing upon B. R. Ambedkar’s notion of caste as ‘graded inequality’. The politico-legal context of the unfinished trajectory of instituting protection against caste discrimination in Britain provides the backdrop for thinking through the philosophical foundations of anti-casteism. The peculiar religio-discursive aspect of ‘emergent vulnerability’ is noted, which explains the recent introduction of the trope of ‘institutional casteism’ used as a shield by deniers of caste against accusations of casteism. The language of protest historically introduced by anti-racists is thus usurped and inverted in a simulated language of anti-colonialism. It is suggested that the stymieing of the UK legislation on caste is an effect of collective hypocrisies, the refusal to acknowledge caste privilege, and the continuity of an agonistic intellectual inheritance, exemplified in the deep differences between Ambedkar and Gandhi in the Indian nationalist discourse on caste. The paper argues that for a modern anti-casteism to develop, at stake is the possibility of an ethical social solidarity. Following Ambedkar, this expansive solidarity can only be found through our willingness to subject received opinions and traditions to critical scrutiny. Since opposed groups ‘make sense’ of their worlds in ways that might generate collective hypocrisies of denial of caste effects, anti-casteism must be geared to expose the lie that caste as the system of graded inequality is benign and seamlessly self-perpetuating, when it is everywhere enforced through penalties for transgression of local caste norms with the complicity of the privileged castes. The ideal for modern anti-casteism is Maitri formed through praxis, eschewing birth-ascribed caste status and loyalties.

Comment (from this Blueprint): This is a brilliant introductory essay to the problem of casteism which plagues not only Indian societies in India, but also the diaspora abroad. The essay provides a nuanced perspective of how we must understand caste (both in its concept and its practice), introduces us to the 20th century debates which were ongoing alongside the freedom struggle against the Raj, and links the caste debate to the debates around it in contemporary British politics. It is a novel attempt to unearth the philosophical underpinnings of the movement against caste oppression. The timing of the essay seems apposite, given the current political situation in India and its impact in the politics of the countries where Indians constitute a sizeable population.
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Du Bois, W.E.B.. Criteria of Negro Art
1926, The Crisis, 32: 290-297

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Added by: Quentin Pharr and Clotilde Torregrossa
Abstract:
Published in The Crisis of October 1926, DuBois initially spoke these words at a celebration for the recipient of the Twelfth Spingarn Medal, Carter Godwin Woodson. The celebration was part of the NAACP's annual conference and was held in June 1926.
Comment (from this Blueprint): In this selection, Du Bois discusses the nature of aesthetic value, how black artists have been historically excluded from creating it for false and racist reasons, and what role black artists actually have to play in creating beauty. Firstly, he establishes an expansive conception of aesthetic value. Secondly, he sets out various examples of how black artists have been historically excluded from producing art in general and art which portrays "blackness" more specifically. And lastly, he sets out a vision for the arts which not only includes black artists, but also recognizes the aesthetic and political value of their work for creating fair and equal societies where beauty is ever present and sought. It will help readers to understand the costs and wrongs that come with exclusionary practices in the production of aesthetic objects.
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