Diversity Reading List

Publisher's Note: Norms in the Wild takes a unique look at social norms, answering questions about diagnosis (how can we tell that a shared practice is a social norm?), measurement (how do we measure expectations and preferences?), and change (which tools can we adopt to effect norm change?). The theories developed in the book are brought to life by examining real-life cases of norm creation and abandonment, the rationale behind policy interventions, and how change can be spearheaded by various types of trendsetters, be they individuals, groups, or the media. By exploring how a range of problems, from poor sanitation to child marriage, can be addressed, the book shows how social norms can have a causal impact on collective behavior, and which interventions may succeed in creating new norms or abandoning harmful ones. In laying the theoretical groundwork for implementing social changes in a contextually sensitive and empirically based way, it also diagnoses why some less culturally attuned attempts to eliminate negative practices have failed.

Summary: Bishop offers a critique of "relational aesthetics" - an approach to installation art that originated in the 1990's and whose main proponent and interpreter was Nicolas Bourriaud. Bourriaud's chief claim is that the art movement in question promotes intersubjective relationships (between artist and audience members and among audience members alike) and privileges social and political cohesion over other possible aspects of the aesthetic experience. While Bishop finds this ethos applicable to the work of the artists Bourriaud chooses to discuss (Rikrit Tiravanija, Liam Gillick etc.), she finds it difficult to reconcile relational aesthetics with the realities and concerns of the larger artworld. Antagonism is for Bishop just as viable a driving force in the making and appreciation of art as are social cohesion and intersubjective togetherness. Furthermore, as the history of early performance art and its reception shows, what makes art difficult, and thus politically important, is precisely the tensions that the makers and theorists of relational aesthetics attempt to quell.

Abstract:
Philosophy in Africa has for more than a decade now been dominated by the discussion of one compound question, namely, is there an African philosophy, and if there is, what is it? The first part of the question has generally been unhesitatingly answered in the affirmative. Dispute has been primarily over the second part of the question as various specimens of African philosophy presented do not seem to pass muster. Those of us who refuse to accept certain specimens as philosophy have generally been rather illogically said also to deny an affirmative answer to the first part of the question. In a paper presented at the International Symposium in Memory of Dr William Amo, the Ghanaian philosopher who taught in German universities in the early part of the eighteenth century, Professor Odera Oruka identified four trends, perhaps more appropriately approaches, in current African philosophy

Abstract:
African feminisms emerge out of a heterogeneous context. Because Africa's globalization has been ongoing for centuries now, African women pay a steep price for it, all while the patriarchal order remains firmly in place. The many African feminisms, however, cannot be boiled down to "gender" or a "gendered approach", since that word does not mean much if it is not being applied to a set of facts. Indeed, it seems that "gender" serves to unravel the causes of the inequalities, injustices and harms that women must face. While there is, among African women, a desire to throw off the colonial yoke by thinking of ourselves through the paradigms of a pre-colonial past, it is also worrisome that theoretical reflection is often too far away from the situations in which most African women find themselves. A language barrier separates African feminists from one another.

Abstract:
This paper explores the mutations of the domestic bonds in contemporary Africa. Tanella Boni argues that the economic and social globalization led to a transformation of familial relations. These changes have forced a redefinition of the nature of positions and relationships within families. The desire to cope with these changes has led to the implementation of adaptive strategies, producing familial entities characterized by more complex relationships but still retaining their hierarchical structures and inequalities.

Abstract:
This is how one Native American presents her interpretation of the indigenous understanding of nature. As we will see in this article, many Native Americans present similar understandings. Their reciprocal relationships with nature permeated every aspect of life from spirituality to making a living and led to a different way of seeing the world, what they might call a more “environmental” way of seeing the world. But is this a true picture? Increasingly there has been debate over the nature of the Native American’s relationship to the land, both past and present. This article will examine this debate and the way in which Native Americans view nature.

Diversifying Syllabi: Bordo claims that the recent increase in women with Anorexia is a symptom of the “central ills” of our culture. Bordo discusses three sources of this “cultural illness” which leads to anorexia: the dualist axis, the control axis, and the gender/power axis. She spends the bulk of the paper discussing each “axis” or problematic component of society which is reflected back to us in the increasing diagnosis of anorexia. These “psychopathogolgies” are expressions of the culture, she claims.

Abstract: In this paper we argue that society should make available reliable information about parenting to everybody from an early age. The reason why parental education is important (when offered in a comprehensive and systematic way) is that it can help young people understand better the responsibilities associated with reproduction, and the skills required for parenting. This would allow them to make more informed life-choices about reproduction and parenting, and exercise their autonomy with respect to these choices. We do not believe that parental education would constitute a limitation of individual freedom. Rather, the acquisition of relevant information about reproduction and parenting and the acquisition of self-knowledge with respect to reproductive and parenting choices can help give shape to individual life plans. We make a case for compulsory parental education on the basis of the need to respect and enhance individual reproductive and parental autonomy within a culture that presents contradictory attitudes towards reproduction and where decisions about whether to become a parent are subject to significant pressure and scrutiny.

Abstract: I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” a future that unfortunately rests upon the same outdated foundation as the concept “art.”.

Abstract: This is basically a paper about artistic evaluation and how multiple interpretations can give rise to inconsistent and conflicting meanings. Images like Joel-Peter Witkin's First Casting for Milo (2004) challenge the viewer to look closely, understand the formal properties at work, and then extract a meaning that ultimately asks, Is the model exploited or empowered? Is Karen Duffy, pictured here, vulnerable and "enfreaked" or is she potentially subversive, transgressive, and perhaps self-empowered? I will offer an argument in agreement with artist/author/ performer Ann Millett-Gallant that favors the latter interpretation, but will augment and complicate the issue by also introducing a pointed question or two taken from a recent analysis by Cynthia Freeland on objectification. I judge the works by photographer Joel-Peter Witkin to be representations of disabled persons who are empowered through agency and pride, but I also worry about the risk of multiple, conflicting interpretations on the part of viewers who do not, or cannot, entertain such enlightened readings. Like second wave feminist views about pornography that depicted women in demeaning ways, or feminist critiques of Judy Chicago's The Dinner Party , Witkin's photos can be judged as potentially offensive. But they are also objects of beauty - both in terms of aesthetic properties (they are magnificent studies in black and white, shadows, the human body, with many classical references) and because of the feeling of beauty and pride felt by the posers, who become performers of their own beauty and pride. I argue that beauty trumps offensiveness. Pride wins. But I'm not sure that everyone will agree.