Diversity Reading List

Abstract:

This essay argues that Simone Weil appropriates Marx's notion of labor as life activity in order to reposition work as the site of spirituality. Rather than locating spirituality in a religious tradition, doctrine, profession of faith, or in personal piety, Weil places it in the capacity to work. Spirit arises in the activity of living, and more specifically in laboring—in one's engagement with materiality. Utilizing Marx's distinction between living and dead labor, I show how Weil develops a critique of capital as a “force” that disrupts the individual's relation to her own work by reducing it to the mere activity of calculable “production.” Capital reduces labor to an abstraction and thereby uproots human subjectivity, on a systemic scale, from its connection to living praxis, or what Weil calls spirituality. Life itself is exchanged for a simulacrum of life. In positioning living labor as spiritual, Weil's work offers a corrective to these deadening practices.

Abstract: Representationalist solutions to the qualia problem are motivated by two fundamental ideas: first, that having an experience consists in tokening a mental representation; second, that all one is aware of in having an experience is the intentional content of that representation. In particular, one is not aware of any intrinsic features of the representational vehicle itself. For example, when you visually experience a red object, you are aware only of the redness of the object, not any redness or red quale of your experience. You are aware of outer red without being aware of inner red. According to the representationalist, the phenomenal character of your experience is just (an element of) the intentional content of your representation. In effect, inner red just is outer red. For her part, the defender of qualia, or anyway the defender of qualia who will figure in the present discussion, grants that experiencing a red object involves mentally representing it, and that when you have such an experience you are aware of its intentional content. But she denies that that intentional content exhausts your awareness. The defender of qualia (call her 'Quale') contends that your mental vehicle is itself mentally or phenomenally red, and that in addition to the outer redness of the object, you are aware of this inner redness, the intrinsic phenomenal character of your representational vehicle. Thus, contra the representationalist (call him 'Rep'), you are not aware of the content of your representation without being aware of its intrinsic features

Abstract:
There are some long-standing social issues that imperil Black Americans' relationship with health and healthcare. These issues include racial disparities in health outcomes (Barr 2014), provider bias and racism lessening their access to quality care (Sabin et al. 2009), disproportionate police killings (DeGue, Fowler, and Calkins 2016), and white supremacy and racism which encourage poor health (Williams and Mohammed 2013). Bioethics, comprised of humanities, legal, science, and medical scholars committed to ethical reasoning is prima facie well suited to address these problems and influence solutions in the form of policy and education. Bioethics, however, so far has shown only a minimal commitment to Black racial justice.

Back Matter: This comprehensive text examines the history, significance, and philosophical dimensions of sport. Introduction to the Philosophy of Sport is organized to reflect the traditional division of philosophy into metaphysical, ethical, and sociopolitical issues, while incorporating specific concerns of today's athletic world, such as cheating, doping, and Title IX, where they are applicable. This approach provides students with a basic understanding of the philosophy of sport as a whole and better equips them to investigate specific issues. Introduction to the Philosophy of Sport is not only an outline of the discipline and a summary of much of its pioneering work, but also an invitation for students to join the conversation by connecting it to their own athletic experience.

Publisher's Note: The Blackwell Guide to Medical Ethics is a guide to the complex literature written on the increasingly dense topic of ethics in relation to the new technologies of medicine. Examines the key ethical issues and debates which have resulted from the rapid advances in biomedical technology Brings together the leading scholars from a wide range of disciplines, including philosophy, medicine, theology and law, to discuss these issues Tackles such topics as ending life, patient choice, selling body parts, resourcing and confidentiality Organized with a coherent structure that differentiates between the decisions of individuals and those of social policy

Abstract: Some claims about poems are uncontroversial: that a poem is composed in dactylic hexameter, as in Homer's epics, or in iambic pentameter, as in Shakespeare's sonnets, or in no particular traditional meter, as in most of e. e. cummings's work; that it rhymes following an abab pattern or that it does not; that it is very long, very short, or any length in between; that it employs sophisticated diction, archaic language, or common everyday words; that its similes and metaphors are novelor clich ?e. Such claims may easily be ascertained by those able to count syllables, those able to distinguish the stressed syllables from the unstressed dones, and those familiar with the varieties of poetic meter; by those able to tell whether two or more words sound alike; by those able to distinguish different text lengths; by those able to recognize when words are of the garden-variety kind. Except for familiarity with the kinds of poetic meter, 'those' are most of us. We may call these 'base,' 'lower level,' or 'structural' properties. At another level of description, poems may be tightly knit, unified, balanced, heavy and somber, light and jolly, and so on. The attributions in this case are still descriptive, but an evaluative judgment may be embedded in them, or it may be typically taken to be embedded, or intended to be embedded, in them. That is, a positive or negative valence may sometimes accompany the judgment that a poem is unified and balanced: one may find it good or bad in virtue of those characteristics (though one may also find it good or bad regardless of those characteristics). Further, justifications of why a poem is unified, balanced, and so on are made by reference to the qualities specified at the first level of description: it is unified because all the parts fit well together in some manner. We may call these 'aesthetic attributions'; as Jerrold Levinson puts it, here we have 'an overall impression afforded, an impression that cannot simply be identified with the structural properties that underpin it.' At a third level still, and in part in virtue of facts at the previous two levels, poems may be beautiful, terrific, or horrendously bad: here we have wholly evaluative attributions, or aesthetic judgments properly so-called. Note how there isan inverse proportion in informative value be-tween base properties and aesthetic judgments: base properties are informative about a work ('is in iambic pentameter') but not aesthetically evaluative and thus not aesthetically informative; aesthetic evaluations ('is beautiful') are aesthetically informative, but tell us nothing about the specific characteristics of a work. Aesthetic attributions fall in the middle also in that they may retain some of the informative value of either extreme: they may be somewhat structurally informative and some what aesthetically informative ('unified'). If it is true that these three levels are at once distinguishable and intrinsically related, some questions one may ask are: How are they related? How is our perception of a set of words arranged in a certain cadence and with breaks visually or aurally marked related to our perceiving in the mor attributing to them a certain set of aestheticqualities? How do we go from characteristics such as 'has lines of eighteen syllables, where a marked syllable is followed by two unmarked ones throughout' to 'is tightly knit' to 'is beautiful'? In other words, how do we move from purely descriptive attributes to aesthetic and evaluative ones? Anyone may count syllables, and most of us can more or less tell when a syllable is stressed relative to another that precedes or follows it. We may likewise be able to judge whether a metaphor is unusual or not simply by recalling whether we have heard anything like it in the past, or how unlike each other the terms of comparison are. That assessment may be accompanied by approval or disapproval; in itself it need not express either ('That's a novel metaphor: it is awful' is a perfectly sensible statement). Finally, when we move to 'beautiful' and 'moving,' we are making a judgment of taste: our approval is embedded in those terms. My concern in what follows is with the move from lower-level perceptual qualities to the attribution of aesthetic qualities. I am not concerned with how we go from there to an overall aesthetic evaluation. In my proposal, I question the much discussed wisdom handed down to us by Frank Sibley. I am referring to Sibley's famous claim, defended in 'Aesthetic Concepts' and related articles, that we are never, in any art form, warranted in making the (logical) jump from the description of non aesthetic properties to the ascription of aesthetic ones. In his words, Sibley claimed that 'there are no non aesthetic features which serve in any circumstances as logically sufficient conditions for applying aesthetic terms.' We cannot, for instance, go from 'employ[s] bright colors' to 'is lively and vigorous,' the way we can go from 'unmarried male' to 'bachelor' or from 'enclosed figure with four equal sides and four right angles' to 'square.' Surely we cannot, but why should anyone have thought otherwise? Aesthetic qualities are qualities, not concepts. As an attribute, 'graceful' more closely resembles 'hot' than it does 'square.' There is no reason to expect a one-to-one relationship between base properties and aesthetic attributions, but there is good reason to expect that a range of properties is clearly associated with a range of attributions, just as a range of temperatures is associated with feeling cold. Sibley also claimed that no particular base property or set thereof is necessary for any given aesthetic concept to apply. This is because things may have the same aesthetic quality for different reasons: 'one thing is graceful because of these features, another because of those, and so on almost endlessly.' I do not question whether Sibley's claims are defensible when it comes to vases, paintings, sculptures, or sonatas; indeed, his view is compelling as a general rule. However, it seems to me that some varieties of poetry provide, not an exception to Sibley's rule - I am not claiming logical entailments here, nor do I think any- one could - but evidence for what may be called a 'defeasible guarantee.' In at least some kinds of formal poetry, there is a sense in which a description in nonaesthetic terms sometimes ought to suffice, in virtue of what we may call 'psychoaesthetic' associations between the perception of formal features and felt aesthetic qualities, for the attribution of an aesthetic quality. Accordingly, my first goal in what follows is to show in what way I think it is sufficient and to provide some examples in support of that connection. I hope that from this it emerges that Sibley was wrong to hold that unless their relationship is a logicoconceptual one, no base properties ever suffice to warrant the ascription of an aesthetic quality.

Abstract: In light of the enormous variety of poetic traditions we find around the world and across the ages, any attempt at finding a defining feature of poetry that would encompass all and only poems would seem to be in vain. What can Stabat Mater, Beat poetry, Shakespeare's sonnets, Goethe's Faust, and Japanese haiku possibly have in common? At-tempts to provide positive accounts, with necessary or sufficient reasons for what counts as a poem, often meet with the counterexamples that human creativity is wont to produce. Consider these excerpts from two twentieth-century poems. Are there any commonalities between the Georgian poet Galaktion Tabidze's 'Without Love' and the Mexican Octavio Paz's 'The Poet'? [transliterated:]usi Kvarulodmze ar sufevs ts-is kamaraze,sio ar dahqris, T-Ke ar krtebasasixarulod...El hombre es el alimento del hombre. El saber no es dis-tinto del so ?nar, el so ?nar del hacer. La poes ??a ha puestofuego a todos los poemas. Se acabaron las palabras, seacabaron las im ?agenes. Abolida la distancia entre el nom-bre y la cosa, nombrar es crear, e imaginar, hacer.1Aside from being literary texts, at first glance the similarities are hard to find. Even line breaks, a feature we typically associate with poetry, are ab-sent in Paz's prose poem. Neither is there a rhyme scheme in it as we find in the Georgian example(abca), which also combines the rhymes with specific line lengths. The passage from Paz's poem is filled with metaphors ('Man is the food of man,' 'to name is to create'), whereas Tabidze's has no metaphors (though there is imagery in it: 'the sun does not shine in the heavenly spheres'). In view of such dissimilarities, even those who are most familiar with the art form have shied away from drawing strict boundaries between poetry and other types of verbal art. Thus Robert Pinsky, a former laureate poet, says he 'will be content...to accept a social, cultural definition of poetry: poetry is what a bookstore puts in the section of that name.'2It barely needs remarking that such a definition is inappropriate on many levels; I will note only that it leads to a regress that, while not infinite, would likely land us back precisely at the doors of people like Pinsky himself, that is, poets, inasmuch as bookstores follow rather than create the categories under which they sort their books. In a recent article, Robert Pierce examined six contenders for a defining criterion of poetry: rhythm, imagery, beauty, unity, strangeness or playfulness, and ineffability of meaning.3None of these, he argues, does the job of separating poetry from other literary arts: there is no 'essential core of meaning' of the word 'poetry,' nor a 'clearly delimited entity that is poetry' according to Pierce.4While rhythm, imagery, and so forth may be typical features found in poems, none of them is necessary or sufficient for a text to count as one. Rather, he says: 'What the term 'poetry' refers to is a group of publicly visible things in the social world that we call 'poems.''5Hence all we can do is see what these things are and learn to use the term on the basis of how newly encountered texts resemble them. I will not review Pierce's arguments for a family-resemblance approach to poetry here. I agree with him that none of the features he considers passes muster as a characteristic all and only poems must have. Nevertheless, even if we fail to find a feature intrinsic to poems that will set them apart from other forms of literature, we may still be able to accomplish our definitional goal on the basis of a relational feature. I will rather argue for a historically-grounded poetic intention, one that I believe will provide us with the necessary and sufficient conditions for a satisfactory definition of poetry. If my definition is right, it will in addition provide a partial explanation for what is the ubiquitous characteristic of all poetries of the world - the use of repetition devices.

Publisher's Note: Human genomes are 99.9 percent identical—with one prominent exception. Instead of a matching pair of X chromosomes, men carry a single X, coupled with a tiny chromosome called the Y. Tracking the emergence of a new and distinctive way of thinking about sex represented by the unalterable, simple, and visually compelling binary of the X and Y chromosomes, Sex Itself examines the interaction between cultural gender norms and genetic theories of sex from the beginning of the twentieth century to the present, postgenomic age. Using methods from history, philosophy, and gender studies of science, Sarah S. Richardson uncovers how gender has helped to shape the research practices, questions asked, theories and models, and descriptive language used in sex chromosome research. From the earliest theories of chromosomal sex determination, to the mid-century hypothesis of the aggressive XYY supermale, to the debate about Y chromosome degeneration, to the recent claim that male and female genomes are more different than those of humans and chimpanzees, Richardson shows how cultural gender conceptions influence the genetic science of sex. Richardson shows how sexual science of the past continues to resonate, in ways both subtle and explicit, in contemporary research on the genetics of sex and gender. With the completion of the Human Genome Project, genes and chromosomes are moving to the center of the biology of sex. Sex Itself offers a compelling argument for the importance of ongoing critical dialogue on how cultural conceptions of gender operate within the science of sex.

Abstract: In this paper I argue for a view of groups, things like teams, committees, clubs and courts. I begin by examining features all groups seem to share. I formulate a list of six features of groups that serve as criteria any adequate theory of groups must capture. Next, I examine four of the most prominent views of groups currently on offer - that groups are non-singular pluralities, fusions, aggregates and sets. I argue that each fails to capture one or more of the criteria. Last, I develop a view of groups as realizations of structures. The view has two components. First, groups are entities with structure. Second, since groups are concreta, they exist only when a group structure is realized. A structure is realized when each of its functionally defined nodes or places are occupied. I show how such a view captures the six criteria for groups, which no other view of groups adequately does, while offering a substantive answer to the question, 'What are groups?'

Introduction: The nonidentity problem focuses on the obligations we think we have in respect of people who, by our own acts, are caused both to exist and to have existences that are, though worth having, unavoidably flawed – existences, that is, that are flawed if those people are ever to have them at all. If a person’s existence is unavoidably flawed, then the agent’s only alternatives to bringing that person into the flawed existence are to bring no one into existence at all or to bring a different person – a nonidentical but better off person – into existence in place of the person whose existence is flawed. If the existence is worth having and no one else’s interests are at stake, it is unclear on what ground morality would insist that the choice to bring the one person into the flawed existence is morally wrong. And yet at the same time – as we shall see – it seems that in some cases that choice clearly is morally wrong. The nonidentity problem is the problem of resolving this apparent paradox. The problem raises the question whether the (usually significant) good that an agent confers along with existence counterbalances the (usually limited) bad that an agent confers along with any unavoidably flawed existence in such a way that our existence-inducing act (usually) will be deemed permissible. And if it isn’t – if we think instead that obligations are left unsatisfied despite the good that comes with existence – is the moral of the story that moral obligation extends beyond what we must do for people? If we agree, in other words, that it is our obligation to create additional good, is it enough that we create additional good for each and every existing and future person? Or does the nonidentity problem show that our focus should instead be on creating additional good for the universe? As we query how to evaluate existence-inducing acts for their moral permissibility – as well as outcomes or possible futures or worlds, for their moral betterness against still other worlds – we find that some of our most deeply held intuitions regarding the nature and structure of morality are thrown into doubt.