Diversity Reading List

Abstract:
From Wikipedia: The Ācārāṅga Sūtra, the foremost and oldest Jain text (First book c. 5th–4th century BCE; Second book c. Late 4th–2nd century BCE),[1] is the first of the twelve Angas, part of the agamas which were compiled based on the teachings of 24th Tirthankara Mahavira. The existing text of the Ācārāṅga Sūtra which is used by the Śvetāmbara sect of Jainism was recompiled and edited by Acharya Devardhigani Kshamashraman, who headed the council held at Valabhi c. 454 CE. The Digambaras do not recognize the available text, and regard the original text as having been lost in its original form. The Digambara text, Mulachara is said to be derived from the original Ācārāṅga Sūtra and discusses the conduct of a Digambara monk.

Content: The authors present ‘the paradox of porn’: pornography seems to score very highly on various evaluative criteria which make art good (e.g. ability to elicit strong emotions), and has features similar to great art (e.g. ‘Brechtian’ acting, idealisation of the human body), yet is rarely consider art. They proceed to discuss some arguments for the exclusivist thesis, suggesting that they ‘reflect a limited knowledge of or experience with pornography’ (168). A review of various types of non-mainstream porn leads them to claim that the division between pornography and art is a false dichotomy. Section 3 revisits the paradox, offering an analysis of various reasons which could lead to so little porn being (considered) art. After rejecting most of the common arguments, the authors suggest that a great majority of porn is not art for purely contingent reasons: very few pornographers even try to pursue that possibility. But pornography has the potential to be great art, and section 4 explores the ways in which it could.

Publisher’s Note:
Uqalurait presents a comprehensive account of Inuit life on land and sea ice in the area now called Nunavut, before extensive contact with southerners. Drawing on a broad range of oral history sources - from nineteenth-century exploration accounts to contemporary community-based projects - the book uses quotes from over three hundred Inuit elders to provide an 'inside' view of family life, social relations, hunting, the land, shamanism, health, and material culture. For the first time, the reader encounters Inuit culture and traditional knowledge through the voices of people who lived the life being described. Based on a larger research project developed under the guidance of six Inuit from across Nunavut, Uqalurait consists of thousands of quotations organised thematically into cohesive chapters. The book describes the seasonal rounds of four different groups, capturing the fact that while Inuit across Nunavut had much in common, there was also much to distinguish them from each other, living as they did in many small groups of people, each with its own territory and identity. Given the recent creation of Nunavut and the current focus of attention on the Arctic due to climate change, Uqalurait is a timely source of insight from a people whose values of sharing and respect for the environment have helped them to live contentedly for centuries at the northern limit of the inhabitable world.

Abstract:
This "Tending Nature" special features multiple perspectives and voices from Indigenous communities across California who are striving to keep the practices of their heritage alive. From coming-of-age rituals, seasonal food harvests, basket weaving and jewelry making, the documentary shares how traditional practices can be protected and maintained as a way of life for future generations.

Abstract:
This short documentary tells the story of Marie Wilcox, the last fluent speaker of the Wukchumni language, and the dictionary she created to keep her language alive. For Ms. Wilcox, the Wukchumni language has become her life. She has spent more than twenty years working on the dictionary and continues to refine and update the text. Through her hard work and dedication, she has created a document that will support the revitalization of the Wukchumni language for decades to come. Along with her daughter, Jennifer Malone, she travels to conferences throughout California and meets other tribes who struggle with language loss. Ms. Wilcox’s tribe, the Wukchumni, is not recognized by the federal government. It is part of the broader Yokuts tribal group native to Central California. Before European contact, as many as 50,000 Yokuts lived in the region, but those numbers have steadily diminished. Today, it is estimated that fewer than 200 Wukchumni remain.

Summary: Vergine's account of the formative years of performance art takes stock of the many innovative strategies artists developed for re-engaging the human body. One of the crucial dimensions of this reengagement is the positioning of one's body in physical proximity with others. This happens in art through the bodily negotiation of basic dichotomies such as nature/artifice, ethos/pathos, agency/abandon, publicity/privacy, mortality/immortality etc. Vergine sees objects, and the body's undifferentiated objecthood, as active participants in the performative communication and communion between artist and audience. These forms of togetherness stand or fall on the intensity of all parties' affective investment, but they are also equally affected by the level of intellectual mutuality an art work occasions. According to Vergine, the demand for intelligent analysis and deep understanding that performance art places on its audience is balanced out by the artists' bodily presence. For her the artist's body does not serve merely as a mechanical expedient. It also "contributes to the life of consciousness and memory in a psycho-physical parallelism of processes that assume meaning and relief only when they are connected."

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.

Report Summary: Rarely has a Māori river claim been so persistently maintained as that of the Whanganui people. Uniquely in the annals of Māori settlement, the country’s longest navigable river is home to just one iwi, the Atihau-a-Paparangi. It has been described as the aortic artery, the central bloodline of that one heart. The Atihau-a-Paparangi claim to the authority of the river has continued unabated from when it was first put into question. The tribal concern is evidenced by numerous petitions to Parliament from 1887. In addition, legal proceedings were commenced as early as 1938, in the Māori Land Court, on an application for the investigation of the title to the riverbed. From there the action passed to the Māori Appellate Court in 1944, the Māori Land Court again in 1945, the Supreme Court in 1949, to a further petition and the appointment of a Royal Commission in 1950, to a reference to the Court of Appeal in 1953, to a reference to the Māori Appellate Court in 1958 and to a decision of the Court of Appeal in 1962. This may represent one of the longest set of legal proceedings in Māori claims history, yet in all those proceedings, it is claimed, the principles of the Treaty of Waitangi had no direct bearing. Nor did the matter rest there for the court hearings were followed by further petitions and investigations, and in more recent times, Atihau-a-Paparangi were again involved in the Catchment Board inquiry on minimum river flows in 1988 and in the Planning Tribunal and High Court hearings on the same matter in 1989, 1990 and 1992.

Publisher’s Note:

Translating to 'an investigation', this is the second of two 17th century ethical and rational treatises from present-day Ethiopia. Walda Heywat (Wäldä Hewat) continued the work of his mentor, Zera Yacob (Zär'a Ya'eqob, Wärqe), and expanded on it, turning it into more of a practical guide. Hatata (II) is considered to be more in line with more traditional views in its approach to topics such as marriage and abortion. However, where as Zara Yacob's ideas were relatively individualistic, Walda Heywat was particularly known for his social ethics. In his writing, he states, "God did not create me only for myself, but placed me in the midst of other created [men] who are equal to me." He also adds, “Man cannot come to existence, grow and serve by himself without the help of other men."

Summary: Walsh and Lopes argue that some appropriation can be beneficial and productive: in particular, the appropriation of elements of dominant culture by members of culturally marginalized groups. They explore this idea through discussion of such appropriative artwork by a number of contemporary First Nations artists, which they argue challenges "the assumed alignment of appropriator with oppressor and appropriatee with victim"(227).