Diversity Reading List

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Abstract: This chapter employs the relevant ethical phenomenologies of Buber, Lévinas, Kierkegaard, and Nietzsche as well as the philosophical psychoanalysis of Lacan to examine the moral good of difference and to determine the rationale of treating either self or other as more deserving of good. Difference and otherness are not synonymous. Following the Socratic style of dialogue, the chapter emerges from a conversation with a Zulu man who perceives the author as a privileged, white, female South African other due to the failure of the self to understand the actual difference of the other. There also seems, the author acknowledges, to be a pre-existing and fundamental moral value in regard to relating with and comprehending the other as both self-like and necessarily not-self, a moral value emerging from the Christian overdetermination of many South Africans including the Zulu man – the author is, again, “other” (not privileged, not white, not South African, and not Christian). To this end, Levitical and Deuteronomic texts are invoked as a shared philosophical basis for understanding the difference between self and other. From these analyses, the chapter shows that we other violently, when we do not understand our difference. But when we take time to stop and reflect and listen, we can reach agreement that we are completely different in a positive sense – a strategic rethinking of “otherness.” This important and essential form of difference is theorized in the chapter as “m/othering,” illustrating the original forming of identity on which we tend to base perceptions of the other. Difference is shown to be not only desirable but possibly imperative for cultural growth.

Abstract: Can a performance be analysed as a textual practice? Starting from this question, the article tries to describe the effets du sens (meaning effects) of some of the work of Marina Abramović, a Serbian performer and visual artist. From the 1970s, when the so-called body art emerged as a visual genre, offering the artist's body as a naked site of inscription, up to the present, when performing has become a more playful and direct transmission of energy between the doer and the viewer, the work of Abramović represents an effective and powerful example of the body-as-a-text in which subjectivity can be re-expressed and reinvented through the transformations of the relation between time and space. In the strong relationship created between the performer and the audience, what is enacted is a translation–transduction of material and cognitive meanings that results in a redefinition of a subjective and, simultaneously, collective experience of identity.

Abstract: Article: Epistemologists generally think that genuine warrant that is available to anyone must be available to everyone who is exposed to the relevant causal inputs and is able and willing to properly exercise her rationality. The motivating idea behind this requirement is roughly that an objective view is one that is not bound to a particular perspective. In this paper I ask whether the aperspectivality of our warrants is a precondition for securing the objectivity of our claims. I draw upon a Sellarsian account of perception in order to argue that it is not; rather, inquirers can have contingent properties and perspectives that give them access to forms of rational warrant and objective knowledge that others do not have. The universal accessibility of reasons, on my account, is not a precondition for the legitimacy of any actual warrant, but rather a regulative ideal governing inquiry and communication