Diversity Reading List

Comment: Appropriate for a course on logical paradoxes. Makes a natural foil to a reading defending the inclosure schema. Familiarity with sequent calculus, and with the Liar and Curry paradoxes, is required.

Comment (from this Blueprint): Orientalism is a classic text in postcolonial theory which successfully brought out the politics of ‘othering’. It shows how the ‘Orient’ was constructed by delineating it from the supposedly morally, culturally and politically advanced (and superior) ‘Occident’. The book is not so much about the East as much as it is about how the Orient was ‘produced’ by the imperial masters of Europe and America and perceived as the ‘other’ to the rest of the ‘civilized’ world. The author traces and examines various literary and political sources which originated and perpetuated Orientalism. The abstract gives an overview of the argument and introduces the reader to the rest of the book.

Comment: The selection of texts by Davies, Akkach, and Chinn, with a part of Davies’ reply in the end, are particularly interesting. These present an interesting tension, with Akkach and (somewhat less overtly) Chinn, criticising Davies for adopting a Western-centric attitude to studying and conceptualising art of other cultures. It can be useful to consider this in the context of Nikiru Ngzewu, ‘African Art in Deep Time: De-race-ing Aesthetics and De-racializing Visual Art’, asking to what extent the present discussion is similar to her criticism of Vogel and Danto. Given that Davies is offering a reply to the criticisms, this could offer an opportunity for a debate-style class design. The texts, and especially Davies’ reply, invite a further reflection: can one ever understand, conceptualise, or analyse the products (art?) of another culture, without doing so using the conceptual frameworks of one’s own culture in ways that are problematic? If yes, how could this be done? If not, should we just never attempt it? What role do power structures and imbalances play in such attempts? The selection of texts by Davies, Akkach, and Chinn, with a part of Davies’ reply in the end, are particularly interesting. These present an interesting tension, with Akkach and (somewhat less overtly) Chinn, criticising Davies for adopting a Western-centric attitude to studying and conceptualising art of other cultures. It can be useful to consider this in the context of Nikiru Ngzewu, ‘African Art in Deep Time: De-race-ing Aesthetics and De-racializing Visual Art’, asking to what extent the present discussion is similar to her criticism of Vogel and Danto. Given that Davies is offering a reply to the criticisms, this could offer an opportunity for a debate-style class design. The texts, and especially Davies’ reply, invite a further reflection: can one ever understand, conceptualise, or analyse the products (art?) of another culture, without doing so using the conceptual frameworks of one’s own culture in ways that are problematic? If yes, how could this be done? If not, should we just never attempt it? What role do power structures and imbalances play in such attempts?

Comment: This paper would work well as a secondary/overview reading in a course on medieval ethics, with a section on mysticism, focusing on mystic women or comparing different religious traditions (such as Christian and Islamic). For example, the course could focus on the topics of virtue and happiness, including the views of St. Augustine, Aquinas, Avicenna, Maimonides, and women mystics (such as Mechthild of Magderburg).

Comment: A great chapter to use when teaching about theodicies, especially because it can be hard to find non-Christian theodicies in mainstream Philosophy of Religion literature. The laboratory analogy is particularly interesting, and it could be good to have a couple of seminar questions relating specifically to the strength of this analogy.

Comment: This paper provides a clear discussion of the core principles of expressivism. Moreover, it engages with classic objections (e.g. the Frege-Geach problem) and develops the neo-expressivist proposal as a response. It is an accessible starting point for neo-expressivism and as such both suitable for meta-ethics and epistemology courses discussing expressivist positions.

Comment: This text can be useful in three ways. Firstly, it introduces and discusses some anti-essentialist arguments. Secondly, it draws attention to some common characteristics of different definitions – their focus on necessary and sufficient conditions. Finally, it claims that looking for the essence of art is possible and more important from mere classification. All of these can inspire interesting discussions, though it will be worth pointing out that Lorand’s arguments are more controversial than she makes them seem.

Comment: This is a different way of incorporating what seems attractive about expressivism without losing the semantic advantages of cognitivism. It draws upon resources from the philosophy of language.