A common claim in the philosophy-of-race literature is that the unearned benefits of whiteness can by themselves burden their recipients with special antiracist obligations, i.e., that these benefits can impose duties unilaterally, without the mediation of their recipients’ wills, and that these duties go beyond our general antiracist duties, which derive from our common liberal-democratic citizenship and shared humanity. I will argue against this claim, though I acknowledge that there may be duties that follow from these benefits when they are (...) combined with the affirmation or assertion of, assent to, or even mere acquiescence in white identity. Without such ratification, however, there will be no basis for either special white duties or a distinctively white guilt. (shrink)

This paper begins by taking seriously former slave and abolitionist Frederick Douglass’ response in his What to the Slave is the Fourth of July? to systematic violence and oppression. He claims that direct argumentation is not the ideal mode of resistance to oppression: “At a time like this, scorching irony, not convincing argument, is needed.” I will focus on a few elements of this playful mode of resistance that conflict with the more straightforward strivings for abstract, universal, objective, convergent, absolute (...) thinking that champions reason over emotion, logic over narrative, and science over lived experience. In contrast, the type of protest employed by people like Douglass can utilize aesthetics and logic, playfulness and seriousness, emotion, even anger, and reason. Douglass provides examples of humorous, sincere parrhesia, oscillating between the lexicon of the dominant sphere and the critical reflection from a trickster on the margins. This will require an analysis of Michel Foucault’s conception of parrhesia: courageous truth-telling in the face of powerful people or institutions. It is a study of humor in the parrhesiastes, an element I think neglected by Foucault. I argue that the humorous parrhesiastes offers a mode of resistance which can subvert oppressive power structures that perpetuate injustice, revealing the fact that humor can be integral in courageous truth-telling. (shrink)

My purpose in this text is to offer a general roadmap for navigating most current debates in the metaphysics of social categories regarding what sort of fact it is for a person to inhabit one social category or another—for example, what makes a person Mexican, or gay, or rich. With this goal in mind, I propose classifying the debating positions into three broad camps: common sense theories, socio-historical accounts, and performative theories. I characterise their main differences, identifying the main challenges (...) and achievements of each. I show that for persons well integrated into their categories, the differences between these three broad camps are minuscule, yet become crucial when we try to account for people not so well integrated. Then, I sketch a pluralist proposal that reconciles the three camps I have identified, while doing justice to the challenges presented by interstitial phenomena such as mestizaje, transition, passing, migration, etc. (shrink)

As belief in the reality of race as a biological category among U.S. anthropologists has fallen, belief in the reality of race as a social category has risen in its place. The view that race simply does not exist—that it is a myth—is treated with suspicion. While racial classification is linked to many of the worst evils of recent history, it is now widely believed to be necessary to fight back against racism. In this article, I argue that race is (...) indeed a biological fiction, but I critique the claim that race is socially real. I defend a form of anti‐realist reconstructionism about race, which says that there are no races, only racialized groups—groups mistakenly believed to be races. I argue that this is the most attractive position about race from a metaphysical perspective, and that it is also the position most conductive to public understanding and social justice. (shrink)

Race theorists have been unable to reach a consensus regarding the basic historical question, “is ‘race’ modern?” I argue that this is partly because the question itself is ambiguous. There is not really one question that race scholars are answering, but at least six. First, is the concept of race modern? Second, is there a modern concept of race that is distinct from earlier race concepts? Third, are “races” themselves modern? Fourth, are racialized groups modern? Fifth, are the means and (...) methods associated with racialization modern? And sixth, are the meanings attached to racialized traits modern? Because these questions have different answers, the debate about the historical origins of “race” cannot be resolved unless they are distinguished. I will explain the ways in which “race” is and is not modern by answering these questions, thereby offering a resolution to a seemingly intractable problem. (shrink)

I argue that what’s so bad (qua film fiction) about the cinematic practice of actor-character race-mismatching—be it the historically infamous and intuitively repugnant practice of blackface or one of its more contemporary kin—is that the extent to which film-fictions employ such practices is typically the extent to which such film-fictions unrealistically depict facts about race. More precisely, I claim that race-mismatching film fictions—understood as a species of unrealistic fiction—are prima facie inconsistent fictions with the capacity to mislead their audiences about (...) certain morally relevant actual-world states-of-affairs and thus, prima facie aesthetically, epistemically, and morally defective. (shrink)

Marguerite Clark as Topsy in Uncle Tom’s Cabin (1918). Charlton Heston as Ramon Miguel Vargas in Touch of Evil (1958). Mizuo Peck as Sacagawea in Night at the Museum (2006). From the early days of cinema to its classic-era through to the contemporary Hollywood age, the history of cinema is replete with films in which the racial (or ethnic) background of a principal character does not match the background of the actor or actress portraying that character. I call this actor-character (...) race-mismatching. In this paper, I mainly explore whether a coherent and plausible account can be given of race-matching in terms of purely aesthetic considerations, i.e., an account that absent moral considerations can nevertheless coherently and productively answer the following questions: can race-mismatching itself ever be an aesthetic defect of a film, and if so, under what conditions can race-mismatching be such an aesthetic defect. I claim that once we have in place a precise account of the nature of race-matching, it becomes clear that films for which race-mismatching appears to constitute an aesthetic defect are actually films with which properly engaging requires audiences to satisfy inconsistent epistemic conditions. In such cases, I claim, race mismatching constitutes an aesthetic defect for the film-fiction because—in virtue of the inconsistency underwritten by the race-mismatching—that film-fiction undermines the very uptake it prescribes. I then argue that if what’s defective about race-mismatching aesthetically is predicated on something being defective about race-mismatching epistemically, then if there is nothing in principle defective about race-mismatching epistemically, then so too for mismatching aesthetically (and so too for mismatching morally). From this I conclude that reasons stemming only from race-matching/mismatching itself lack the normative force sufficient to warrant the claim that film-fictions ought not race-mismatch. (shrink)

This paper examines Steve Biko’s distinction between black and non-white as a project in the “amelioration” of social concepts and categories. Biko himself—it has been persuasively argued by Mabogo More and Lewis Gordon—writes in the tradition of existential phenomenology. More and Gordon explore Biko’s continuity with Frantz Fanon, and in this paper I draw on their interpretations, attempting to complement and elaborate on these continuities. I also, however, attempt to show how Biko moves beyond Fanon in crucial ways, solving problems (...) that Fanon confronted. By examining Fanon’s and Biko’s categories in light of recent work in social metaphysics, I explore the ways Biko attempts to transform an existing set of oppressive social categories in the world into new social categories. (shrink)