Diversity Reading List

Abstract: Epistemic oppression refers to persistent epistemic exclusion that hinders one's contribution to knowledge production. The tendency to shy away from using the term 'epistemic oppression' may follow from an assumption that epistemic forms of oppression are generally reducible to social and political forms of oppression. While I agree that many exclusions that compromise one's ability to contribute to the production of knowledge can be reducible to social and political forms of oppression, there still exists distinctly irreducible forms of epistemic oppression. In this paper, I claim that a major point of distinction between reducible and irreducible epistemic oppression is the major source of difficulty one faces in addressing each kind of oppression, i.e. epistemic power or features of epistemological systems. Distinguishing between reducible and irreducible forms of epistemic oppression can offer a better understanding of what is at stake in deploying the term and when such deployment is apt.

Abstract: Although epistemic values have become widely accepted as part of scientific reasoning, non-epistemic values have been largely relegated to the "external" parts of science (the selection of hypotheses, restrictions on methodologies, and the use of scientific technologies). I argue that because of inductive risk, or the risk of error, non-epistemic values are required in science wherever non-epistemic consequences of error should be considered. I use examples from dioxin studies to illustrate how non-epistemic consequences of error can and should be considered in the internal stages of science: choice of methodology, characterization of data, and interpretation of results.

Summary: Doyle investigates the emotional dimensions of aesthetic experience in the context of controversial performance art practices. She focuses on sentimentality because it sits at the extreme end not only of the emotional spectrum but also, as a negative, on the art critical radar. Critics' charge against the sentimental is twofold - it enables vicarious experience at the expense of its direct counterpart and it gives a platform to the inauthentic. Furthermore, the overwhelming critical consensus is that the personal itself, manifested in sentimentality or otherwise, is inherently suspect. Emotion is thus framed as detrimental to "serious" art. It is also, and even more damagingly, feminized and drained of its political charge. To counter these assumptions, Doyle uses specific art-historical examples which reveal the richness and importance of emotional interest in the way art is made and experienced.

Editor's Note: Ethics: The Fundamentals explores core ideas and arguments in moral theory by introducing students to different philosophical approaches to ethics, including virtue ethics, Kantian ethics, divine command theory, and feminist ethics. The first volume in the new Fundamentals of Philosophy series. Presents lively, real-world examples and thoughtful discussion of key moral philosophers and their ideas. Constitutes an excellent resource for readers coming to the subject of ethics for the first time.

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.

Abstract:
Although feminist authors and publications abound in other disciplines on the continent, professional African philosophy is overwhelmingly male dominated, with a conspicuous absence of feminist and gender themes. To redress the situation, du Toit and Coetzee consider the choice between applying globally dominant feminist frameworks to issues and debates in the African context or outright immersion in the masculine field of African philosophy in order to open up spaces for feminist questions in dialogue with indigenous worldviews and philosophical positions. In this chapter the authors focus on the second option, in line with recent calls to more authentically contextualize philosophical practice on the continent. The chapter examines the themes of sexual agency and motherhood. Grounded in this way, African feminist philosophy emerges as a potentially powerful source of critique and partner in dialogue with the more established strands of feminist thought.

Abstract:
This article represents a response to ‘the problem of women and African philosophy’, which refers mainly to the absence of strong women’s and feminist voices within the discipline of African philosophy. I investigate the possibility that African women are not so much excluded from the institutionalized discipline of philosophy, as preferring fiction as a genre for intellectual expression. This hypothesis can be supported by some feminists who read the absolute prioritisation of abstraction and generalization over the concrete and the particular as a masculine and western oppressive strategy. Attention to the concrete and the unique which is made possible by literature more readily than by philosophy, could thus operate as a form of political resistance in certain contexts. If fiction is currently the preferred form of intellectual expression of African women, it is crucial that the community of professional philosophers in a context like South Africa should come to terms with the relevance of such a preference for philosophy’s self-conception, and it should work to make these intellectual contributions philosophically fruitful. In the process, we may entertain the hope that philosophy itself will move closer to its root or source as ‘love of wisdom’.

Abstract:
A comprehensive collection of classic texts, contemporary interpretations, guidelines for activists, issue-specific information, and materials for environmentally-oriented religious practice. Sources and contributors include Basho, the Dalai Lama, Thich Nhat Hanh, Gary Snyder, Chögyam Trungpa, Gretel Ehrlich, Peter Mathiessen, Helen Tworkov (editor of Tricycle), and Philip Glass.

Summary: Eaton and Gaskell argue that museums are "instruments of power," and then ask whether it is permissible for them to display the cultural heritage of peoples who have been subordinated. Ultimately, they argue that despite a series of arguments to the contrary, the display of "subaltern" artifacts is not just permissible, "but advantageous to all interested parties." They make the argument by posing and responding to four central objections to this position.

Abstract: This article outlines the issues addressed by feminist philosophy of art, critically surveys major developments in the field, and concludes by considering directions in which the field is moving.