Diversity Reading List

Abstract: This chapter develops a point made in preceding chapters that autonomy, although socially grounded, has an individualizing dimension — a dimension that is defend against the worries of critics. The main thesis is that: at the same time that we embrace relational accounts of autonomy, we should also be cautious about them. Autonomy increases the risk of disruption in interpersonal relationships. While this is an empirical and not a conceptual claim about autonomy, nevertheless, the risk is significant and its bearing on the value of autonomy is therefore empirically significant. It makes a difference in particular to whether the ideal of autonomy is genuinely hospitable to women.

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:

This essay is not about what love is. It is about what self-ascriptions of love do. People typically self-ascribe romantic love when a nexus of feelings, beliefs, attitudes, values, commitments, experiences, and personal histories matches their conception of romantic love. But what shapes this conception? And (how) can we adjudicate amongst conflicting conceptions? Self-ascriptions of love do not merely describe the underlying nexus of attitudes and beliefs. They also change it. This essay describes how conceptions of love affect romantic experience. I limn distinctions between love and obsessive infatuation and explore ways language can cultivate queer romantic preferences. Since conceptions of love are shaped, often implicitly, by terms available in one’s linguistic community, the resulting nexus of concepts and conceptions manifests linguistic luck. I suggest ways we might sculpt the language of love to better understand—and change—ourselves. Love can help us flourish and so can our “love” language.

Abstract:
Moral encroachment holds that the epistemic justification of a belief can be affected by moral factors. If the belief might wrong a person or group more evidence is required to justify the belief. Moral encroachment thereby opposes evidentialism, and kindred views, which holds that epistemic justification is determined solely by factors pertaining to evidence and truth. In this essay I explain how beliefs such as ‘that woman is probably an administrative assistant’—based on the evidence that most women employees at the firm are administrative assistants—motivate moral encroachment. I then describe weaknesses of moral encroachment. Finally I explain how we can countenance the moral properties of such beliefs without endorsing moral encroachment, and I argue that the moral status of such beliefs cannot be evaluated independently from the understanding in which they are embedded.

Abstract:
In this introductory chapter to "The Routledge Companion of Feminist Philosophy", Garry, Khader and Stone examine the different applications of feminist philosophy outside political philosophy, as well as the different questions concerning this subdiscipline, other than the impact of gender in society and the injustices arising from it. While doing so, the editors advocate for a revision of the history of feminist thought in philosophy that takes a more intersectional approach, an approach that fully considers the role played by authors belonging to a minority group(s). This short chapter provides a quick overview of two very important questions. A first question is how the use of feminist approaches can enrich different more mainstream areas in philosophy, including philosophy of mind, philosophy of science and metaphysics, but also question the philosophical canon. A second question is how considering the voices that are underrepresented in the philosophical canon, including female and non-binary philosophers, but also, non-Western traditions, can shift our understanding of mainstream philosophical issues.

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:

I argue that, in the currently gender‐unjust societies a basic income would not advance feminist goals. To assess the impact of a social policy on gender justice I propose the following criterion: a society is gender‐just when the costs of engaging in a lifestyle characterized by gender‐symmetry (in both the domestic and public spheres) are, for both men and women, smaller or equal to the costs of engaging in a gender‐asymmetrical lifestyle. For a significant number of women, a basic income would increase the costs of leading gender‐symmetrical lifestyles because it would make it easier for both women and men to pursue gender‐unjust preferences. I argue that preference satisfaction is distinct from justice. I conclude by showing why a basic income would lead to further privatisation of caregiving, and I outline the negative effects this would have on women.

Summary: Goldberg provides a richly illustrated historical account of the intimate connection between identity and performance art. Starting from the feminist art of the 1960's, the recognition and assertion of identity was a fundamental bid for social visibility. The next frontier was social recognition, which concerned ethnic and sexual minorities as much as it did women. The final frontier - political equality - is one that is still out of reach. Still, according to Goldberg, performance art continues to chart new territories of identification. In fact, while at the outset performance art used early feminist writing as inspiration, Goldberg recognizes a gradual reversal - today's feminists are as likely to chart new philosophical directions as they are to follow the exploratory charge of their performance art counterparts.

Abstract:
In this article, Gonzalez-Arnal challenges Susan James' embodied conception of personal identity by analysing transexual narratives. According to Gonzalez-Arnal, James' account cannot fully capture the experience of transexual persons since they describe the continuity of their personal (but also gender) identity despite significant changes in their bodies. Gonzalez-Arnal examines how other two theories of personal identity, a reductionist and a dualist one, might provide a better picture of the transexual narratives. After concluding that none the reductionist nor the dualist account does much better than an embodied view of personal identity, Gonzalez-Arnal proposes an improvement to James' view that accommodates transexual experiences, namely, acknowledging the integration of the "inner" self and other's perception of one's body in shaping one's "outer self".

Introduction: The concept of artistic freedom, like that of academic freedom, is as potent as it is slippery. Its indeterminacy may in fact lend the concept some power, since it can be uncritically applied to many different kinds of situations involving artists and their creations. Philosopher Paul Crowther has observed that the prevailing conception of artistic freedom is essentially negative in character: it is based 'purely on the absence of ideological or conceptual restraint.' There is a widespread art-world intuition that the creative freedom of the artist should be given virtually absolute precedence in decisions about the creation, exhibition, and treatment of artworks. As a recent controversy involving Swiss artist Christoph Buchel and the Massachusetts Museum of Contemporary Art (Mass MoCA) shows, the dominant conception of artistic freedom also entails freedom from financial and logistical constraints such as museum budgets and exhibition deadlines. In this particular case, the artist and his supporters argued that the museum violated his artistic freedom by attempting to display his unfinished and abandoned artwork against his wishes. As with the Tilted Arc controversy in the 1980s, this case raises provocative questions about the nature of artistic freedom as 'artistic' as it comes into conflict with the needs and interests of the institutions that pay for, exhibit, and, in Mass MoCA's case, construct the work.