Diversity Reading List

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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: This book offers a feminist discussion of various theories of justice, arguing that they should include a more comprehensive account on issues related to the formation and functioning of families. In teaching, it is particularly useful as a critique of Rawls' theory.

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Comment: I would use this piece to accompany any teaching on John Rawls and his political philosophy. It provides some good summary of a number of different feminist critiques of Rawls and his responses to them, as well as providing new ideas for why Rawls still misses the mark. It can be a good basis for discussion on a number of different feminist criticisms of Rawls' philosophy.

Comment: A rich text that explains the role of complaints - and, more broadly, disappointment, regret, and sadness - in the moral life. Especially good for challenging the idea that the moral life will insulate a person from such negative affects. Also points out the tendency of some moral philosophers to downplay certain aspects of human beings when constructing their ideals.

Comment: This paper could be usefully coupled with the Ivanhoe paper it criticizes, but it does a good job of summarizing that view and so can also stand on its own. It's an especially useful example of how to apply Confucian principles to a vexed contemporary moral issue. It also provides a good model of a Confucian-inspired philosopher criticizing another on grounds internal to that tradition, which can be used to dispel the thought that Confucian particularism leads to an "anything goes" approach to moral problems.

Comment: This book provides a philosophical take on what it means to be civil in a modern, diverse, and radically changing social and political landscape. While the author draws on ancient Chinese philosophers to make her case, the argument is nonetheless firmly rooted in contemporary philosophical questions and in doing so, remains attentive to the particular social and ethical problems that frequently arise in modern conversation and disagreement. The book is highly readable and accessible for non-academic, non-philosophical audiences, and is written in a casual, engaging style that relies on anecdotes and stories to illustrate its points and claims. At the same time, it presents a clear and rigorous philosophical argument, and draws on many academic sources as well. The book, therefore likely spans a broad range of uses. For example, it might be used in a reading group or specialised course focusing on interpersonal ethics, political bias and polarization, or even a more interdisciplinary course (straddling, say, political science, sociology, and philosophy) looking at post-2016 politics and social landscape in America.