Diversity Reading List

Comment:

Comment (from this Blueprint): The papers in this volume were foundational for the post-colonial debate on African language.

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.

Comment (from this Blueprint): A general introduction into African philosophy and ethics with a focus on the role of non-human animal life in African philosophy, explaining that in in indigenous African thought, humans are not understood as animals, but as a class of their own superior to the class of animals.

Comment: A good way of responding to Hegel's denigrating views of Africans and Enlightenment racism more generally. Could be used in a class on philosophy and colonialism, or the global reception of German idealism.

Comment (from this Blueprint): This book compares Socrates to Ọ̀rúnmìlà, an 'Orisha' or an important sprit in Yoruba. Both Socrates and Orunmila undertook their philosophy orally and passed their teachings and thinking onto students. Oluwole therefore challenges the western assumption that African philosophy does not have a long-standing on deep tradition.

Comment (from this Blueprint): This text offers a practical approach to translation from English to isiZulu. It proposes two translation techniques, i.e., explicitation and amplification that are able to help translators to improve the quality of their translations. It has been included because it enables students to have a clear idea of the state of the art in the field of translation practices from English to an indigenous language, i.e., isiZulu.

Comment: Excellent account of an economist about how mixed methods allow her to answer the questions that purely econometric ones wouldn't allow her to.

Comment (from this Blueprint): This article explores the theme of African philosophy that is generally expressed in European languages. Some African philosophers want to propose a renaissance of the traditional body of thought, even if some acknowledge that African languages face issues in expressing some philosophical ideas. African philosophers are continuing to write in European languages due to some historical conditions (e.g., colonialism) that are responsible for the weakness of regional languages on the international scene. One of the main issues is that neither efforts have been made yet to develop a corpus of African philosophical terminology nor Western philosophical books have been translated into African languages. The major questions of the article focus on whether it is possible to write philosophy in African languages and analyse the role of African languages in the development of African thought. The author considers the usage of African languages in African philosophy, the use of African languages in the four major branches of African philosophy and finally, she considers African languages that serve as a tool for African philosophy.

Comment (from this Blueprint): Rettová offers an overview of the concepts of "African philosophy" and "Afrophone philosophies", helping the reader grasp these concepts. Moreover, part of the paper aims to look at the Swahili-speaking societies and how they are influenced by Western philosophy. The discussion involves considering the late works of Euphrase Kezilahabi.