Imagining Epistemic Justice
Trayvon Martin is dead. He died with a can of iced tea and a bag of Skittles in his possession. This seventeen-year-old black man was shot on February 27, 2012, in a gated townhouse community near Orlando by a male block captain who was not black and who had a handgun in his possession. Trayvon was in the community with his father visiting friends and left briefly for a “snack run” to the 7-Eleven.
The Relevance of Credibility Excess in a Proportional View of Epistemic Injustice: Differential Epistemic Authority and the Social Imaginary
This paper defends a contextualist approach to epistemic injustice according to which instances of such injustice should be looked at as temporally extended phenomena (having developmental and historical trajectories) and socially extended phenomena (being rooted in patterns of social relations). Within this contextualist framework, credibility excesses appear as a form of undeserved epistemic privilege that is crucially relevant for matters of testimonial justice. While drawing on Miranda Fricker's proportional view of epistemic justice, I take issue with its lack of attention to the role that credibility excesses play in testimonial injustices. I depart from Fricker's view of the relation between credibility excesses and credibility deficits, and I offer an alternative account of the contributions that undeserved epistemic privileges make to epistemic injustices. Then, through the detailed analysis of To kill a mockingbird, I elucidate the crucial role played by the social imaginary in creating and sustaining epistemic injustices, developing an analysis of the kind of social blindness produced by an oppressive social imaginary that establishes unjust patterns of credibility excesses and deficits.
PLEASURE, POWER, AND THE PURSUIT OF COMMUNISM: SOVIET YOUTH AND STATE-SPONSORED POPULAR CULTURE DURING THE EARLY COLD WAR, 1945-1968
art, with certain students accused of “showing political immaturity, failing to understand the Party’s positions on art.” This episode constituted part of a broader crackdown on abstract art by the Khrushchev administration from late 1962, precipitated the the Soviet leader’s derision of such art forms in December 1962 at the Manege exhibit. Such instances demonstrate the limitations of the top-level promotion of youth grassroots initiative, as the Khrushchev leadership reigned in youth autonomy when it threatened to go beyond the boundaries of the permissible. The dates cited above have particular resonance, since both 1957-58 and 1962-63 represent two periods when those at the top of the Party hierarchy moved away from pursuing a more pluralistic, tolerant policy course, due to anxiety inspired by both sharpening Cold War hostilities and domestic developments. In these periods, official rhetoric censured what it labeled as 639 TsAOPIM, f. 635, op. 13, d. 546, ll. 56-57. This is likely related to criticism of the Party associated with the fallout from the Secret Speech and the Hungary invasion. For more, see Polly Jones, “From the Secret Speech to the Burial of Stalin: Real and Ideal Responses to De-Stalinization,” in Jones ed., The Dilemmas, 41-63. 640 TsAOPIM, f. 6083, op. 1, d. 52, ll. 166-67. 641 Susan E. Reid, “In the Name of the People: The Manege Affair Revisited,” Kritika 6.4 (Fall 2005): 673716. 642 On these anxieties, see Dobson, Khrushchev’s Cold Summer, 156-88.