Foundational theories of epistemic justice, such as Miranda Fricker's, have cited literary narratives to support their case. But why have those narratives in particular provided the resource that was needed? And is cultural production always supportive of epistemic justice? This essay collection, written by experts in literary, philosophical, and cultural studies working in conversation with each other across a range of global contexts, expands the emerging field of epistemic injustice studies.
The essays analyze the complex relationship between narrative, aesthetics, and epistemic (in)justice, referencing texts, film, and other forms of cultural production. The authors present, without seeking to synthesize, perspectives on how justice and injustice are narratively and aesthetically produced.
This volume by no means wants to say the last word on epistemic justice and creative agency. The intention is to open out a productive new field of study, at a time when understanding the workings of injustice and possibilities for justice seems an ever more urgent project.
Author(s): Sarah Colvin, Stephanie Galasso
Publisher: Routledge
Year: 2022
Language: English
Pages: 242
City: New York
Cover
Half Title
Title Page
Copyright Page
Table of Contents
List of contributors
Acknowledgments
Introduction: Changing the story? Epistemic shifts and creative agency
PART I: On the promise and peril of stories
1 Narratives, social justice, and the common good
2 Divine justice, epistemic crisis, storytelling
3 ‘The notation of a silent lament’: Hermeneutical injustice and Judith Schalansky’s An Inventory of Losses
PART II: Uncovering injustice
4 Representational epistemic injustice: Disavowing the ‘other’ Africa in the imaginative geographies of Western animation films
5 Farmers’ self-representations and agency: Protest music in the agitations against India’s farm laws
6 The postmigrant critique of the Bildungsroman and the epistemic injustice of the educational system in Deniz Ohde’s Scattered Light
PART III: Literary strategies of resistance
7 The ludic impulse: Race narratives ‘at play’ in Toni Morrison’s Playing in the Dark and Zoë Wicomb’s Playing in the Light
8 Narrative pilgrimage and chiastic knowledge. Olivia Wenzel’s 1000 Coils of Fear and Sharon Dodua Otoo’s Ada’s Room
9 Tell the truth but tell it slant: Mo Yan’s aesthetics of indirection
Index
