Diversity Reading List

Abstract: Daoism, a Dao based and inspired teaching and practice, has been considered to be the philosophy of yielding in Chinese intellectual history. One important aspect of yielding is being rou 柔—soft, gentle, supple—which the Daodejing couples with the feminine. Not surprisingly, then, the female and femininity have enormous significance for Laozi and Daoism. To highlight this unique philosophical aspect of Daoism, this chapter will place femininity/the feminine/the female center stage to investigate Daoist thought and its possible contribution to feminist thought in a contemporary global setting. In this chapter I promote a somewhat female consciousness of Dao, or a Daoist female consciousness, which may expand, support, or alter feminist assumptions about femininity/the feminine/the female. The overarching focal point of this understanding lies in a depiction of the female and femininity as a cosmic force, a way of knowing, and a strategy for leading a flourishing life. The main points are that Dao does not govern actually existing gender relations—or, at least, that the social and political reality of gender relations is not modeled on Dao, because the patriarchy is not Dao. Highlighting the female or feminine aspect of Dao, or Dao as becoming female, is a feminist intervention, using resources from within classical Daoist thought in order to re-imagine or reconfigure gender for our time.

Introduction: Mary Wollstonecraft (1759-1797) is established in the popular imagination as the “first feminist,” but another philosopher provided a systematic analysis of women’s subjugated condition and a call for female education nearly a century before Wollstonecraft’s A Vindication of the Rights of Woman (1792). Mary Astell’s (1666-1731) A Serious Proposal to the Ladies, for the Advancement of their True and Greatest Interest by a Lover of Her Sex, Parts I and II (1694, 1697) is a philosophical text that argues that women are in an inferior moral condition compared to men, analyses the causes of this problem, and presents a two-part remedy.

Abstract: Confucius frequently employs the term xin 信 in the Analects. The frequency of his usage suggests that xin has a significant place within his ethics. The main aim of this article is to offer an account of the roles played by xin within Confucius' ethics. To have a clear understanding of these roles, however, one needs first to understand what Confucius encompasses within his notion of xin. The article begins by delineating the Confucian conception of xin, as presented in the Analects. The notion of xin is often taken to be isomorphic with the notion of trust. I argue that Confucius' notion of xin does not quite map onto the notion of trust as usually understood in contemporary Western contexts. To understand better what Confucian xin amounts to, I compare and contrast the Confucian conception of xin with contemporary Western accounts of trust by Baier, McLeod, and Mullin. This comparison helps elucidate what xin is as well as how xin relates to morality. With this in hand, the roles that Confucius ascribes to xin in social and political contexts are then delineated.

Abstract: Can an ordinary viewer ever experience art - particularly politically charged, socially relevant art - in a neutral, detached, and objective way? The familiar philosophical notion of disinterestedness has its roots in eighteenth century theories of taste and was refined throughout the twentieth century. In contrast, many contemporary theorists have argued for what I call an 'interested approach' in order to expand beyond the traditional emphasis on neutrality and universality. Each group, in effect, has argued for the value of a work of art by excluding the other's approach. This essay will consider the legacy of the concept of disinterestedness for contemporary aesthetic theory in light of challenges posed by postmodern skepticism regarding the possibility of disinterestedness, and by the difficulties involved in appreciating political art with a disinterested attitude. My principal examples of political art will be drawn from feminist art. Unlike traditional philosophers, I will advocate that an interested stance toward art is, at times, inevitable and appropriate. I will so argue that not only feminist art- and by extension political art of all kinds - can be experienced disinterestedly, but that it should be. As a position inconsistent with both traditionalists and feminist critics of tradition, my recommendation of both disinterestedness and interestedness affords what I take to be the fullest and fairest experience of a work of art.

Publisher’s Note:
In Plato's Republic, Socrates contends that philosophers make the best rulers because only they behold with their mind's eye the eternal and purely intelligible Forms of the Just, the Noble, and the Good. When, in addition, these men and women are endowed with a vast array of moral, intellectual, and personal virtues and are appropriately educated, surely no one could doubt the wisdom of entrusting to them the governance of cities. Although it is widely—and reasonably—assumed that all the Republic’s philosophers are the same, Roslyn Weiss argues in this boldly original book that the Republic actually contains two distinct and irreconcilable portrayals of the philosopher. According to Weiss, Plato’s two paradigms of the philosopher are the "philosopher by nature" and the "philosopher by design." Philosophers by design, as the allegory of the Cave vividly shows, must be forcibly dragged from the material world of pleasure to the sublime realm of the intellect, and from there back down again to the "Cave" to rule the beautiful city envisioned by Socrates and his interlocutors. Yet philosophers by nature, described earlier in the Republic, are distinguished by their natural yearning to encounter the transcendent realm of pure Forms, as well as by a willingness to serve others—at least under appropriate circumstances. In contrast to both sets of philosophers stands Socrates, who represents a third paradigm, one, however, that is no more than hinted at in the Republic. As a man who not only loves "what is" but is also utterly devoted to the justice of others—even at great personal cost—Socrates surpasses both the philosophers by design and the philosophers by nature. By shedding light on an aspect of the Republic that has escaped notice, Weiss’s new interpretation will challenge Plato scholars to revisit their assumptions about Plato’s moral and political philosophy.

Abstract: This new introduction to a philosophical classic draws on the reinterpretations of Descartes' thought of the past twenty-five years. Catherine Wilson examines the arguments of Descartes' famous Meditations, revealing how he constructs a theory of the mind, body, nature, and God from a premise of radical uncertainty. She discusses in detail the historical context of Descartes' writings and their relationship to early modern science, and at the same time she introduces concepts and problems that define the philosophical enterprise as it is understood today.

Summary: Argues that ancient sculptural images of Mesopotamia, while non-naturalistic, should be regarded as portraits. The title is a reference to Nelson Goodman's shifting of the question 'What is art?' to 'When is art?' in his book Ways of World-Making.

Publisher's Note: G. E. M. Anscombe’s Intention is a classic of twentieth-century philosophy. The work has been enormously influential despite being a dense and largely misunderstood text. It is a standard reference point for anyone engaging with philosophy of action and philosophy of psychology. In this Routledge Philosophy GuideBook, Rachael Wiseman situates Intention in relation to Anscombe’s moral philosophy and philosophy of mind considers the influence of Aquinas, Aristotle, Frege, and Wittgenstein on the method and content of Intention adopts a structure for assessing the text that shows how Anscombe unifies the three aspects of the concept of intention considers the influence and implications of the piece whilst distinguishing it from subsequent work in the philosophy of action Ideal for anyone wanting to understand and gain a perspective on Elizabeth Anscombe’s seminal work, this guide is an essential introduction, useful in the study of the philosophy of action, ethics, philosophy of psychology and related areas.

Abstract:

Since Zhuangzi laments the human obsesssion with being right, he would be highly amused at the scholarly obsession with being right on the meaning of his text, especially on the matter of whether he ultimately believed in a right versus wrong. The fact is that he invites our obsession by raising the question and then refusing to answer it. In chapter two, we are invited to take a stance above the debating Confucians and Mohists. What one shis 是 the other feis 非 (what is 'right' for one is 'not right' for the other); what one feis the other shis. Argument is powerless to declare a victor. Zhuangzi asks, "Are there really shi and fei, or really no shi and fei?".

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.