Diversity Reading List

Abstract: Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, against (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features.

Abstract:
Publisher: How We Fight: Ethics in War contains ten groundbreaking essays by some of the leading philosophers of war. The essays offer new perspectives on key debates including pacifism, punitive justifications for war, the distribution of risk between combatants and non-combatants, the structure of 'just war theory', and bases of individual liability in war.

Abstract: Most people believe that it is sometimes morally permissible for a person to use force to defend herself or others against harm. In Defensive Killing, Helen Frowe offers a detailed exploration of when and why the use of such force is permissible. She begins by considering the use of force between individuals, investigating both the circumstances under which an attacker forfeits her right not to be harmed, and the distinct question of when it is all-things-considered permissible to use force against an attacker. Frowe then extends this enquiry to war, defending the view that we should judge the ethics of killing in war by the moral rules that govern killing between individuals. She argues that this requires us to significantly revise our understanding of the moral status of non-combatants in war. Non-combatants who intentionally contribute to an unjust war forfeit their rights not to be harmed, such that they are morally liable to attack by combatants fighting a just war.

Abstract:
This paper argues that public statues of persons typically express a positive evaluative attitude towards the subject. It also argues that states have duties to repudiate their own historical wrongdoing, and to condemn other people’s serious wrongdoing. Both duties are incompatible with retaining public statues of people who perpetrated serious rights violations. Hence, a person’s being a serious rights violator is a sufficient condition for a state’s having a duty to remove a public statue of that person. I argue that this applies no less in the case of the ‘morally ambiguous’ wrongdoer, who both accomplishes significant goods and perpetrates serious rights violations. The duty to remove a statue is a defeasible duty: like most duties, it can be defeated by lesser-evil considerations. If removing a statue would, for example, spark a violent riot that would risk unjust harm to lots of people, the duty to remove could be outweighed by the duty not to foreseeably cause unjust harm. This would provide a lesser-evil justification for keeping the statue. But it matters that the duty to remove is outweighed, rather than negated, by these consequences. Unlike when a duty is negated, one still owes something in cases of outweighing. And it especially matters that it is outweighed by the predicted consequences of wrongful behaviour by others.

Summary: Fusco's text chronicles the preparation, performance, and public reception of an artwork - "Two Undiscovered Amerindians" - she created in collaboration with Guillermo Gómez-Peña in 1992. The performance was intended as a critique of the contemporary artworld, whose shallow redemptive multiculturalism often sidelined important issues of racial difference and racialized aesthetic perception. It consisted of the two artists spending three days in a golden cage presented, in the manner of live ethnographic spectacles of the not so distant colonial past, as members of an exotic and newly discovered island nation in the Gulf of Mexico. Fusco contends that otherness is always performative and, as such, has held the entire history of performance art - from the Dadaists to the present day - captive. The resulting frequent gestures of appropriation, condescension and erasure discredit the social and intercultural consciousness most performance artists see themselves as representing. Ironically, the strange journey the "Two Undiscovered Amerindians" project has travelled has plentifully confirmed the iniquities the two artists set out to expose.

Abstract:
Animal ethics committees (AECs) appeal to utilitarian principles in their justification of animal experiments. Although AECs do not grant rights to animals, they do accept that animals have moral standing and should not be unnecessarily harmed. Although many appeal to utilitarian arguments in the justification of animal experiments, I argue that AECs routinely fall short of the requirements needed for such justification in a variety of ways. I argue that taking the moral status of animals seriously—even if this falls short of granting rights to animals—should lead to a thorough revision or complete elimination of many of the current practices in animal experimentation.

Abstract:
I argue that cultural practices that harm animals are not morally defensible: Tradition cannot justify cruelty. My conclusion applies to all such practices, including ones that are long-standing, firmly entrenched, or held sacred by their practitioners. Following Mary Midgley, I argue that cultural practices are open to moral scrutiny, even from outsiders. Because animals have moral status, they may not be harmed without good reason. I argue that the importance of religious or cultural rituals to adherents does not count as a sufficiently good reason to harm or kill animals, since rituals are inherently symbolic, and cultures are able to adapt and change, making adherence to cruel traditions unnecessary.

Summary: Provides a close reading of formal portraits of people with disabilities. Focuses on the fundamental elements of traditional portraiture: frame, pose, costume, likeness. Central argument: a conservative representational genre can act in the service of a progressive politics. Through framing, pose, costume, and likeness portraits accord dignity, authority, and symbolic capital to disabled subjects.

Summary: Tamar Gendler argues that, for those living in a society in which race is a salient sociological feature, it is impossible to be fully rational: members of such a society must either fail to encode relevant information containing race, or suffer epistemic costs by being implicitly racist.

Abstract: The article has two aims. First, to show that a version of luck egalitarianism that includes relational goods amongst its distribuenda can, as a matter of internal logic, account for one of the core beliefs of relational egalitarianism. Therefore, there will be important extensional overlap, at the level of domestic justice, between luck egalitarianism and relational egalitarianism. This is an important consideration in assessing the merits of and relationship between the two rival views. Second, to provide some support for including relational goods, including those advocated by relational egalitarianism, on the distribuenda of justice and therefore to put in a good word for the overall plausibility of this conception of justice. I show why relational egalitarians, too, have reason to sympathise with this proposal.