Diversity Reading List

Abstract:

Published in French in 1990, this book is among the later conceptualizations of postcolonial and racial relations. Glissant (1928–2011) is a novelist, and his attention to politics operates through an interest in linguistics: studying creole languages, he exposes how colonized people transformed the tool of the master, leading to the creation of a new, creolized culture and expression. He reads the long-term effects of the slave trade, where people were forcibly taken from their cultural and linguistic milieu an put in another one, characterized by an extremely violent relation of subjection. In this context, he elaborates the notion of antillanité, as a French West Indies description of the unpredictable linking and blending of cultures and languages, extending and specifying the idea of négritude found in Césaire and Senghor in the 1930s. This complex analysis leads to two seemingly contradictory concepts: first, his idea of opacity argues in favor of untranslatability and of irreducible yet non-hierarchical differences. Second, his poetics of relation leads to an understanding of identity as an extension of the connection to the other. From there, he sketches a new definition of culture, taking into account power dynamics, which is also a departure from the idea of authenticity or autochtony. Against a binary reading of colonialist relations of power, Glissant explores the formation of identities through the process of creolization, where a new language is invented as a mean of resistance, thus undermining any possibility for a pure, uniform identity.

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.

Summary: In this brief historical note, Goldberg outlines the artistic response to the political upheavals of the 1960's. The general spirit of civic disillusionment offered the best conditions for the re-evaluation of art and its supporting social institutions. Not surprisingly, a new animosity emerged towards the objects of art and their claim to aesthetic pleasure. The farthest possible opposite, which many artists readily embraced, was found in conceptual art, which prioritized ideas, relations and experiences over traditional aesthetic categories. Goldberg sees performance art as a potent embodied application of these new artistic concerns, and thus as a rightful heir to conceptual art. Furthermore, each sub-genre of performance art - from body art to live sculpture to discussions and performative scripts - retains a conceptual core that finds its roots in that decade of strife and controversy.

Summary: Goldberg sees the human body in performance art as a transmitter of erotics, gender tensions, cultural norms and political deviations. While two of the notable early works of performance art featured fully clothed male artists using naked female bodies (Yves Klein's Anthropometries of the Blue Period from 1960 and Piero Manzoni's Living Scupture from 1961), the work of female artists like Shigeko Kubota and Yoko Ono addressed the gender imbalance soon after. Goldberg sees the recognition of the body as "prime, raw material" as one of the central accomplishments of performance art. Through numerous examples she demonstrates how this notion enabled a spectrum of physical signification - from regarding the human body as a mere lump of undifferentiated flesh to capitalizing on its biological intricacies. Because of the irreducible intimacy of shared bodily experience, all creative choices along this spectrum - from the disquietingly erotic, to the anachronistically ritualistic, to the viscerally sacrificial - have affected the way we see art and the world around us.

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".

Abstract:
The Jains are those who consider that the teaching of the omniscient Jinas is the expression of the eternal essential nature of the universe. The only extant teaching is that of Mahāvīra (traditional dates 599–527/510 BCE, in Magadha, South of modern Bihar), the last Jina of the current cosmic period. In their practice, Jaina renunciants follow a rigorous method towards salvation, in which a non-violent way of life, the renunciation from a worldly ego, the dissociation of self and non-self, and a gradual purification of the self towards unobstructed knowledge, become as many different facets of the same effort to access to a superior order of being in which each self manifests its true nature. This path came to involve structured monastic and lay communities; sets of practices—ritual and devotional acts, ascetic practices, rules of life; as well as conceptions of the world deposited in canonical and post-canonical corpuses, in systematic treatises, or in narrative literature. Jaina Philosophy is the set of philosophical investigations developed by thinkers as they appear in these different corpuses (Malvania & Soni 2007; Potter & Balcerowicz 2013, 2014). While several trends can be observed from the canonical period to modern thinkers via the mystics, the following principles are shared: Jaina metaphysics is an atomist and dualist conception of the world, it focuses on the nature of the self, on that of karmic matter, as well as on their principles of association. Jaina ethics consists of practices focused on non-violence, non-absolutism and non-attachment, which aim to disentangle the self and karmic matter and which help one to reach omniscience. Besides, Jaina philosophers are particular renown for developing a realist epistemology centered on “many-sidedness”. Jaina philosophy is composed in Ardhamāgadhī, Jaina Māhārāṣṭrī, Śaurasenī, Sanskrit, Apabhraṃśa, Braj Bhāṣā, Kannada, Tamil, Gujarati, Hindi, to quote only the main languages. This entry provides Sanskrit terms only, because Sanskrit became the lingua franca of philosophical inter-doctrinal discussions in South Asia at the turn of the common era.

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.

Summary: Survey article on feminist epistemology and its intersection with social epistemology. Includes discussion on topics such as the historical development of feminist epistemology as well as on epistemic injustice and the epistemology of ignorance.

Abstract: Some photographs, more than mere representations, are ethical commands, calling us to respond to human suffering. Photos of Abu Graib, like iconic photos of Vietnam, called us to a posture of care, and confronted us with ourselves, with our national domination, and with how we represent ourselves to the world. This article, drawing on Kittay (1999), Butler (2004), and Levinas (1961, 1974, 1985), attempts to untangle the relation among care, domination, and representation. Implications for philosophers and journalists are suggested.

Abstract:
In this chapter I argue that we have a human right to livelihood. Although some economic rights have been defended under a human rights framework, such as freedom of occupation and the right to an adequate standard of living, the right to livelihood requires a separate defense. We have a livelihood when we are able to exercise some control over how we generate income and accumulate wealth. I argue that this control is good in itself, and that it leads to two further goods, social contribution esteem and a sense of self-provision. Beyond its being a right per se, having a livelihood also fulfills Joseph Raz’s conditions for being a constitutional right, insofar as it is a right that can be fairly and effectively protected through legal mechanisms, and for being a human right, insofar as it a right that can be suitably enforced through a system of international law.