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Added by: Björn Freter
Abstract: In 2008 and 2015, South Africa’s most deadly and violent xenophobic attacks erupted. Dozens of people were killed and thousands displaced. The dominant storyline in the media and the academy cast the figure of the migrant as the perpetual victim of xenophobia and as the ultimate Other. There was not enough emphasis on nuancing that statement to indicate that it is not all migrants who run the risk of deadly xenophobia even though xenophobia is pervasive across all South African socioeconomic classes. Deadly attacks only took place in specific microspaces, or Cultural Time Zones (CTZs). Those living in the CTZ of the informal settlement (shanty town) were most vulnerable. Migrants in economically privileged CTZs like the wealthy suburbs do not typically become victims of xenophobic violence. In this paper, I attempt to examine the relationship between (micro)space and migrant experience. Through an analysis of South African cities as a cluster of radically different CTZs where language, skin color, race/ethnicity, education, socioeconomic class, etc. function in different ways to impact the migrant experience, I try to uncover the nuanced reasons why working-class migrants who work and live in socioeconomically deprived CTZs may experience violent xenophobia, while middle-class professionals, especially those from Western countries, often enjoy high levels of xenophilia. This chapter employs the philosophy of Cultural Time Zone theory to explain this paradox and explore how some migrants are considered culturally “closer” to the South African Self, while some are viewed as culturally more “distant” Others.Imafidon, Elvis. Alterity, African Modernity, and the Critique of Change2020, In: Imafidon, E. (ed.) Handbook of African Philosophy of Difference. Cham: Springer, 171-189-
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Added by: Björn Freter, Contributed by: Björn Freter
Abstract: A large chunk of the existing literature on African modernity understood here as African experience largely defined and influenced by her contact with the West or foreign cultures has mainly described the modern experience in African spaces as a predicament, an unfortunate distortion of the pre-modern status quo or systems in Africa. In this chapter I intend to explore a perspective for understanding and appreciating the description of the African experience of the West as a predicament, one founded on alterity and difference. I argue that the primary basis for understanding the claim that African modernity is a predicament is to understand the ways in which the one mode of thought or cultural orientation (African) was radically alien from, and different from, the other mode of thought or cultural orientation (Western). Specific cases of alterity between both cultures include moral values, system of education, religion, ontologies, and knowledge production and cognition systems. The African experience of the West could easily become a predicament because the former’s experience of the latter was under compulsion and the latter refused to accept and respect the otherness of the former, but rather painted it as nothing of worth. To explore this line of thought, I begin by examining important texts in the description of the African experience of the West as a predicament. I then proceed to show that these texts can best be understood as emanating from the difficulties that were associated in coping with the difference and changes that came with African contact with the West. I conclude that difference can be a positive force and easy to accept if it is willfully understood and assimilated, but it can become a negative force and a source of frustration if it is imposed on the other by the self or vice versa.Comment:
Izibili, Matthew A. . African Arts and Difference2020, In: Imafidon, E. (ed.) Handbook of African Philosophy of Difference. Cham: Springer, 205-215-
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Added by: Björn Freter, Contributed by: Björn Freter
Abstract: In this chapter, I examine the role African art play in the institutionalization of difference in African traditions. I am particularly interested in how aesthetic signs and symbols or other forms of art are employed by persons of an African culture to differentiate themselves or set themselves apart from other persons within the same culture or other cultures. Such forms of art of interest here include modes of dressing, tribal marks, hairstyles, and nonverbal signs of communication. I assert in this chapter that these aesthetic forms of difference are in some way institutionalized into the fabric of culture that they are taken by members of the society as objective givens and often not subject to questioning. Hence the othering is sustained and maintained through time. I also argue that these forms of differences sustained through art often promote inequality and preferential treatment of the self over and above the other. A case in mind is the preferential treatment of female folks from the royal family as against those who are not from the royal family, a difference clearly made visible through art.Comment:
Imafidon, Elvis. Africa and the Unfolding of Difference: An Introduction2020, In: Imafidon, E. (ed.) Handbook of African Philosophy of Difference. Cham: Springer, 1-11-
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Added by: Björn Freter, Contributed by: Björn Freter
Abstract: This chapter provides introductory comments or preliminary remarks to the Handbook of African Philosophy of Difference. It begins by defending the claim that difference stands under as the foundation of the unfolding of African philosophy as an academic discipline and the unfolding of many lived experiences in African spaces both in Africa and in the Diaspora. Hence, African philosophy of difference is a critical reflection on the place of difference in the African experience. The chapters in this handbook thus explore various and specific aspects of such lived experiences and the roles difference or alterity play in their unfolding. The handbook is thus divided into five sections with each section exploring key aspects of the importance of difference in the understanding of the African experience. The first section provides conceptualizations of difference in African thought. The second section explores various aspects and provides critical comments on the question of racism, particularly the institutionalized racial discrimination by whites against blacks due to racial differences. The third section examines some key issues emerging from the role difference plays in the unfolding of African experiences such as epistemological issues, the language issue, the role of art in the institutionalization of difference, and moral issues. The fourth section explores the important roles that difference plays in questions of disability, gender, and the non-human other. The last section examines how difference plays key roles in the unfolding of lived experiences in specific African places such as the experience of xenophobia in South Africa, the Skolombos in Calabar, Nigeria, and the land distribution question in Zimbabwe. The chapter concludes that this handbook is an important contribution to alterity discourse in African philosophy not because it exhausts the issues involved, but because it provided a robust discussion that would provoke further reflections and discussions.Comment:
Tangwa, Godfrey B.. Bioethics: An African perspective1996,-
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Added by: Clotilde Torregrossa, Contributed by: Clotilde Torregrossa
Abstract: In this paper I have attempted to open a window on an African approach to Bioethics - that of the Nso' of the Bamenda Highlands of Kamerun - from the vantage position of someone who has familiarity with both African and Western cultures. Because of its scientific-cum-technological sophistication and its proselytising character, Western culture, as well as Western systems of thought and practice, have greatly affected and influenced other cultures, particularly African culture. But Western culture, systems of thought and practice, have been highly impervious and immune to influences from other cultures, philosophies, systems of thought and practice, even where these might have been salutary and enriching to Western culture and systems. What I have here termed Nso' eco-bio-cummunitarianism clearly indicates a viable alternative world-view within which some of the bioethical perplexities and controversies of today might be more satisfactorily resolved than within a Western framework. I have further attempted to show, by way of example, how within such a world-view, abortion and suicide, for instance, would be disapproved of while euthanasia, in its etymological purity, is approved ofComment:
Tangwa, Godfrey B.. Elements of African Bioethics in a Western Frame2010, Langaa RPCIG, Cameroon-
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Added by: Clotilde Torregrossa, Contributed by: Jonathan Wolff
Abstract: For millennia, Africans have lived on the African continent, in close contact with the diversities of nature: floral, faunal and human; and in so doing they have developed cultures, values, attitudes and perspectives to the problems, ethical and otherwise, that have arisen from the existential pressures of their situation. The problem, however, is that such values and perspectives do not necessarily form coherent ethical theories. Theory-making is a second order activity requiring a certain amount of leisure and comfort which the existential conditions of life on the African continent have not easily permitted in the retrospect-able past. The elements of African bioethics are to be found in its cultural values, traditions, customs and practices. These are research-able, highlight-able and usable by those who would. The bioethical problems of our current global existential situation are such that all possible solutions, no matter their provenance, ought to be tried. Western culture has far too loud a voice combined with deaf ears in contemporary ethical discourse. But it should never be forgotten that other cultures have their own word to say and that alternative values, ways of thinking and practices exist, and attempt should always be made to bring these out and to highlight them, if they could possibly contribute to the satisfactory solution of a global problem. This book brings together various papers on bioethical issues and problems, written at different times, some previously published, each of which attempts to bring out some African elements, perspective or concern. The African narrative style predominates through these essays but their framing conforms, more or less, to the Western paradigm for presenting academic issues.Comment: Could be used in 'global bioethics' classes.
Appiah, Kwame Anthony. Akan and Euro-American Concepts of the Person2004, In Lee M. Brown (ed.), African Philosophy: New and Traditional Perspectives. Oxford University.-
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Added by: Chris Blake-Turner, Contributed by: Simon Fokt
Abstract: This essay explores the theories of the person within Western and Akan traditions. It identifies six obstacles to theory comparison. It argues that there may be no non-question begging way of comparing theories since these theories themselves play key roles in understanding how each is to be used.
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Amijee, Fatema. The Role of Attention in Russell’s Theory of Knowledge2013, British Journal for the History of Philosophy 21 (6):1175-1193.-
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Added by: Chris Blake-Turner, Contributed by: Dominic Alford-Duguid
Abstract: In his Problems of Philosophy, Bertrand Russell distinguished knowledge by acquaintance and knowledge of truths. This paper argues for a new interpretation of the relationship between these two species of knowledge. I argue that knowledge by acquaintance of an object neither suffices for knowledge that one is acquainted with the object, nor puts a subject in a position to know that she is acquainted with the object. These conclusions emerge from a thorough examination of the central role played by attention in Russell's theory of knowledge. Attention bridges the gap between knowledge by acquaintance and our capacity to form judgements about the objects of acquaintance.Comment:
Nzegwu, Nkiru. African Art in Deep Time: De‐race‐ing Aesthetics and De‐racializing Visual Art2019, Journal of Aesthetics and Art Criticism 77 (4): 367-378.-
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Added by: Simon Fokt
Abstract: In two essays in the ART/Artifact(1988) exhibition catalog, white American museum curator Susan Vogel and white American philosopher Arthur Danto pronounce that Africans do not distinguish between art and nonart. Although seemingly objective empirical statements, their assertions about Africa and its art are racially based ruminations of a white supremacist worldview. I argue that in theorizing within the category of race they produced racialized aesthetics that commit the Eurocentric fallacy of upholding systemic racist objectives. I argue that (1) their assertions fail to be about African art, but about hegemony and power; (2) as the longest enduring artistic activity of humanity, African art is an important check to racialized aesthetics; (3) art is produced outside the category of race and from a critically conscious awareness of the world; and (4) art bespeaks creativity and presupposes the artistic and moral values of a culture in the manipulation and transformation of physical reality.
Comment: Written in an engaging way, this paper invites the reader to re-evaluate some common assumptions about art from different cultures. Exposing the prevalent Western approach to African art as racialised, it can be a great tool in making students understand both the structural-societal, as well as own biases in approaching other cultures. Ngzewu defends a powerful thesis: that ‘the West’s conception of art and creativity presupposes white racial hegemony.’ She exposes the way in which Western art is tacitly assumed to be a yardstick against which all is measured, and the Westerners have become the ‘purveyors of knowledge’ who apply this yardstick to decide whether works of other cultures are art, all without any need to consult the creators of those works, or to revise own concept of art. As such, the paper can be very empowering to some students, while also being very uncomfortable to others – teaching it might require some skill in leading the discussion in a constructive way. The import of Ngzewu’s argumentis that while racism and white domination rest on the assumption of cognitive and moral superiority of white people, the approach to African art she criticises serves to reinforce this assumption. This can inspire further class discussion on the importance and value of aesthetics. Best used before assigning other texts on non-Western art, which should all be read in light of Ngzewu’s criticism. Written in an engaging way, this paper invites the reader to re-evaluate some common assumptions about art from different cultures. Exposing the prevalent Western approach to African art as racialised, it can be a great tool in making students understand both the structural-societal, as well as own biases in approaching other cultures. Ngzewu defends a powerful thesis: that ‘the West’s conception of art and creativity presupposes white racial hegemony.’ She exposes the way in which Western art is tacitly assumed to be a yardstick against which all is measured, and the Westerners have become the ‘purveyors of knowledge’ who apply this yardstick to decide whether works of other cultures are art, all without any need to consult the creators of those works, or to revise own concept of art. As such, the paper can be very empowering to some students, while also being very uncomfortable to others – teaching it might require some skill in leading the discussion in a constructive way. The import of Ngzewu’s argumentis that while racism and white domination rest on the assumption of cognitive and moral superiority of white people, the approach to African art she criticises serves to reinforce this assumption. This can inspire further class discussion on the importance and value of aesthetics. Best used before assigning other texts on non-Western art, which should all be read in light of Ngzewu’s criticism.
Howard-Snyder, Frances. Divine Freedom2017, Topoi 36(4): 651-656.-
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Added by: Emily Paul
Abstract: In 'Divine Freedom,' I argue that morally significant incompatibilist freedom is a great good. So God possesses morally incompatibilist freedom. So, God can do wrong or at least can do worse than the best action He can do. So, God is not essentially morally perfect. After careful consideration of numerous objections, I conclude that this argument is undefeated.Comment: Useful for a unit on divine freedom with an intermediate level Philosophy of Religion course - would suit as the primary reading for this, as it gives a great overview and is relatively short, and also presents the central arguments in the debate over divine freedom: the alleged tension between incompatibilist freedom, and the thought that God always chooses the best possible action. It could be good to spend a whole seminar discussing how this tension is created, why it's problematic, and whether it can be resolved.
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Myambo, Melissa Tandiwe . Class Identity, Xenophobia, and Xenophilia. Nuancing Migrant Experience in South Africa’s Diverse Cultural Time Zones
2020, In: Imafidon, E. (ed.) Handbook of African Philosophy of Difference. Cham: Springer, 465-488
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