Diversity Reading List

Abstract: A long and scholarly piece by Eva Kitt Wah Man covers the history of Chinese conventions governing female 'beauty' from Confucius through Maoism to the present day. Classical manuals provide highly specific requirements forc ourtesans and concubines. The shrunken, pulpy appendages produced by foot-binding practiceswere regarded as the most sexually stimulating features of the female body. In 1949, following the inauguration of the Communist regime, women were expected to shun ornament and make-up, to have short hair, wear party uniforms, and to look as much like men as possible. The ideal for the contemporary Chinese woman is quite a lot like the ideal for the courtesan of tradition, but the de-tails are drawn from western fashion magazines. Wah believes that such liberation, although it has its advantages, is mainly nominal and fosters confusion. She writes: 'Although Chinese women today are developing new self-confidence, they do not seem to be aware of the fact that one can be-come a slave of the fashion industry, which merely repeats the bodily constraints of past times in a new form' (p. 194). [review by Mary Mothersill, 2001 - Journal of Aesthetics and Art Criticism 59 (2):211-214.] Feminist Review volume 75, pages145-147, 2003)

Abstract: What is it like to be a bat? This is one of the most famous questions ever asked in the history of consciousness studies. First posed in 1950 it was made famous in a 1974 paper of that name by American philosopher Thomas Nagel. Nagel argued that understanding how mental states can be neurons firing inside the brain is a problem quite unlike understanding how water canbe H2O, or how genes can be DNA. 'Consciousness is what makes the mind-body problem really intractable,' he said (Nagel, 1974: 435; 1979:165), and by consciousness he meant subjectivity. To make this clear he asked 'What is it like to be a bat?'. Do you think that your cat is conscious? Or the birds outside in the street? Perhaps you believe that horses are conscious but not worms, or living creatures but not stones. We shall return to these questions (Chapter 12) but here let's consider what it means to say that another creature is conscious. If you say that the stone is not conscious you probably mean that it has no inner life and no point of view; that there is nothing it is like to be the stone. If you believe that the neighbour's vicious bloodhound, or the beggar you passed inthe subway, is conscious, then you probably mean that they do have a point of view; there is something it is like to be them. As Nagel put it, when we say that another organism is conscious we mean that 'there is something it is like to be that organism . . . something it is like for the organism' (1974: 436); 'the essence of the belief that bats have experience is that there is something that it is like to be a bat' (ibid.: 438). This is probably the closest we can come to a definition of consciousness - that consciousness is subjectivity, or 'what it is like to be . . .'. Here we must be careful with the phrase 'what it is like . . .'. Unfortunately there are at least two meanings in English. We might say 'this ice cream tastes like rubber' or 'lying on a beach in the sun is like heaven'. In this case we are comparing things, making analogies, or saying what they resemble. This is not what Nagel meant. The other meaning is found in such questions as: What is it like to work at McDonald's? What is it like to be able to improvise fugues at the keyboard?...to be someone inconceivably more intelligent than yourself?...to be a molecule, a microbe, a mosquito, an ant, or an ant colony? (Hofstadter and Dennett, (1981: 404-5), pose many more such provocative questions.) In other words, what is it like from the inside? Now, imagine being a bat. A bat's experience must be very different from that of a human. For a start the bat's sensory systems are quite different, which is why Nagel chose the bat for his famous question. Bats' brains, lives and sensesare well understood (Akins, 1993; Dawkins, 1986). Most use either sound or ultrasound for echolocation. That is, they detect objects by emitting rapid high-pitched clicks that bounce off any objects in the vicinity and then measuring the time taken for the echo to return. Natural selection has found ingenious solutions to the many interesting problems posed by echolocation. Some bats cruise around emitting clicks quite slowly so as not to waste energy, but then when they are homing in on prey or approaching a potential danger, they speed up. Many have mechanisms that protect their ears from the loud blastof each click and then open them to receive the faint echo. Some use the Doppler shift to work out their speed relative to prey or other objects. Others sort out the mixed-up echoes from different objects by emitting downward-swooping sounds. The echoes from distant objects take longer to come back and therefore sound higher than the echoes from nearer objects. In this way we can imagine that a whole bat world is built up in which higher sounds mean distant objects and lower sounds mean nearer objects. What would this be like? According to Oxford biologist Richard Dawkins (1986; see Profile, Chapter 10), it might be like seeing is for us. We humans do not know, or care, that colour is related to wavelength or that motion detection is carried out in the visual cortex. We just see the objects out there in depth and colour. Similarly the bat would just perceive the objects out there in depth, and perhaps even in some batty, sonar, version of colour. Living in this constructed world would be what it is like to be the bat. But can we ever know what it would really be like for the bat? As Nagel pointed out, the question is not answered by trying to imagine that you are a bat. This will not do. It is no good hanging upside down in a darkened room, making little clicks with your tongue and flapping your arms like wings. Perhaps if you could magically be transformed into a bat you would know. But even this won't do. For if you were a bat, the bat in question would notbe an ordinary bat - what with having your memories and your interest inconsciousness. But if you became an ordinary bat then this bat would have no understanding of English, no ability to ask questions about consciousness, and could not tell us what it was like. So we cannot know what it is like to be a bat even if we believe that there is something it is like to be a bat. Nagel's question clarifies the central meaning of the term 'consciousness'. It is what the American philosopher Ned Block (1995) calls 'phenomenal consciousness' or phenomenality. He explains that 'Phenomenal consciousness isexperience; what makes a state phenomenally conscious is that there is something 'it is like' to be in that state.' He distinguishes this from 'access consciousness', which is 'availability for use in reasoning and rationally guiding speech and action' (Block, 1995: 227). We will return to this distinction (Chapter 18), and consider issues to do with availability, but 'phenomenal consciousness' is what this book is all about. So what is it like to be you now? Everything I have said so far implies that there is, uncontroversially, something it is like to be you now - that the problems only begin when you start asking about what it is like to be someone orsomething else. But is this right? A thoroughly sceptical approach would meanquestioning even this. I urge you to do this chapter's 'Practice' and become a little more familiar with what it is like to be you.

Abstract: Plato claims that representational art is dangerous because of its deceptive nature. He thinks that those who indulge too much in imitation will eventually have problems differentiating between imitation and reality. Aristotle, on the other hand, believes that indulging oneself in imitation (specifically theatrical tragedy) is healthy if the experience produces a catharsis - which would help one function better in real life. There has been a long-standing debate between these two positions on representation, both of them still having different strengths even when applied to contemporary situations. Ancient theories often hold special value when they continue to help us understand current issues, but what would Plato make of an IMAX film? Would Aristotle claim the same kind of catharsis could result from virtual reality, as a tragedy presented on the stage in ancient Greece? In what follows, I will use the theories of Plato and Aristotle as a foundation, and then move on to describe the changing nature of representation in order to explain how different kinds of media can affect our understanding of representation and our responses to it. Plato and Aristotle introduced the difficult moral and epistemological questions that result from the differentiation between reality and mimesis, or representation. Although there are still problems in explaining our real reactions to represented events, one aspect of the problem has changed significantly in the 20thcentury: the media through which the fictions or representations are presented. The changing nature of the media of fictional discourse calls for a reexamination of the theory we employ in understanding these experiences. In order to understand what effect the changing nature of the media has on these experiences, I will explore two other topics that will help clarify both the problems and the solutions. First, the changing concepts of what count as 'mimetic' and what count as 'fictional' need to be clarified in order that we know the kinds of discourses with which we are dealing. The Greek term mimesis, however, needs to be unpacked into the current terminology to account for the different aspects of representation, narrative, and fiction. Second, I will provide a general explanation of how fiction affects its readers according to current aesthetic theory as compared to ancient theory. Having dealt with these preliminary concerns, I will then argue that the changing nature of the media of representation changes the explanations of our experiences of fiction, which have been accounted for by earlier theory. I will argue further that these responses may in fact be more dependent upon the quality of the narrative structure of the fiction than the mode or media through which it is presented.

Abstract: CRITICS and philosophers of art often appeal to the idea that works of art are particulars. As Mr. Stuart Hampshire says in a passage representative of this sort of appeal, " He (the artist) did not set himself to create Beauty, but some particular thing ". But although being a particular is plainly supposed to be an important fact about works of art, the criterion of particularity to be invoked in this connection is not always clear. I do not mean to suggest that the way out of this difficulty in identifying particular works of art is obvious or that there must be some single answer which will be uniformly satisfactory in connection with each, of the arts. In short, it seems to me that although the search for analogous type-token distinctions may bring fewer returns in connection with some arts than with others, it will hardly ever entirely fail to be worth the effort. A stagger- ing amount of work needs to be done, but it does not seem to me unduly sanguine to say that in this direction the prospects for some interesting philosophical generalizations are tolerably good.

Abstract: A thesis that is rarely stated but often assumed in art criticism and aesthetics concerns the inseparability of form and content in art. The thesis of inseparability states that (1) it is impossible to have the same content in two different forms; and (2) it is impossible to have the same form in two different contents. 1 Clearly, the thesis needs elucidation in terms of a plausible account of the distinction between form and content. It also needs to be considered whether the inseparability of form and content motivates a theory of art or, less ambitiously, identifies an important criterion in an account of art. 2 The inseparability thesis is traditionally associated with formalism, which, as a general theory of art, has been widely condemned. Nevertheless, formalism is currently making a comeback in particular philosophies of the arts - notably, philosophy of music and philosophy of film.3 Sophisticated formalism in relation to both music and film allows for the aesthetic relevance of other features of the work besides form while recommending a structural focus for aesthetic appreciation. If the assumption that formalism is no longer relevant to our under- standing of the arts involves a major oversight, then the inseparability thesis cannot be ignored just because of its traditional association with formalism. But even if one persisted in this oversight, it does not warrant ignoring the importance of the inseparability thesis for the thesis bears no necessary relation to any theory of art, including a formalist one. In what follows, I consider whether the inseparability thesis is compatible with aesthetic cognitivism, the view that art is valuable in part because it can give us nontrivial knowledge. Ultimately, I argue that the two are compatible because there are ways of learning from art that depend on the inseparability of form and con- tent. Given the long and tangled history of the debate over the possibility and value of learning from art, it is supremely important to recognize, finally, such compatibility. Against defenders of aesthetic cognitivism, skeptics and critics have regularly resorted to brandishing the inseparability thesis, defiantly claiming that you cannot expect to learn about the world from art if you cannot 'get to' a work's content unaffected by style and medium. Here the assumption is that the kind of aesthetic transformation that grounds the inseparability of form and con- tent precludes either the practicality or the aesthetic significance of looking to art for real-life insight in the form of facts, principles, or new perspectives. If the compatibility I defend is really there, however, we can expect insight through such transformation. As we shall see, art serves as a primary means for gaining insight of a rare and valuable kind. In what follows, I begin by outlining the preliminaries of the contemporary debate between aesthetic cognitivists and aesthetic anti-cognitivists.4 Then I employ three strategies for elucidating the thesis of inseparability: I identify a particular account of form and content as the one invoked by the thesis, I show that the thesis does not motivate a theory of art in order to circumvent standard criticisms against the thesis as a necessary and sufficient condition of art status, and I explore the ways inseparability influences our understanding of representational art. Armed with a proper understanding of inseparability, I then consider its relation to the debate over aesthetic cognitivism. This involves laying out the assumption that inseparability precludes the aesthetic relevance of learning from art. Finally, I challenge this assumption by outlining two kinds of insight that depend on inseparability. The point is not that such insight can only be gained from art but that it is most readily and relevantly gained from art because of the aesthetic value of inseparability.

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 of

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.

Abstract: Goals for adding philosophy to the school curriculum centre on the perceived need to improve the general quality of critical thinking found in society. School philosophy also provides a means for asking questions of value and purpose about curriculum content across and between subjects, and, furthermore, it affirms the capability of children to think philosophically. Two main routes suggested are the introduction of philosophy as a subject, and processes of facilitating philosophical discussions as a way of establishing classroom 'communities of inquiry'. This article analyses the place of philosophy in the school curriculum, drawing on three relevant examples of school curriculum reform: social studies, philosophy of science and Kura Kaupapa Māori.

Publisher's Note: Justice, Gender and the Politics of Multiculturalism explores the tensions that arise when culturally diverse democratic states pursue both justice for religious and cultural minorities and justice for women. Sarah Song provides a distinctive argument about the circumstances under which egalitarian justice requires special accommodations for cultural minorities while emphasizing the value of gender equality as an important limit on cultural accommodation. Drawing on detailed case studies of gendered cultural conflicts, including conflicts over the 'cultural defense' in criminal law, aboriginal membership rules and polygamy, Song offers a fresh perspective on multicultural politics by examining the role of intercultural interactions in shaping such conflicts. In particular, she demonstrates the different ways that majority institutions have reinforced gender inequality in minority communities and, in light of this, argues in favour of resolving gendered cultural dilemmas through intercultural democratic dialogue.

Abstract:
Article: The article examines the idea of multiculturalism in contemporary political philosophy. It considers the variety of justifications for multiculturalism, including communitarian, liberal egalitarian, anti-domination, and historical injustice arguments. It then surveys a number of critiques of multiculturalism. It concludes by discussing concerns about political backlash and retreat from multiculturalism in the Western liberal democratic countries.