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by waterhouse
1933 days ago
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> I think what a lot of the commenters are missing is that this article, and statements like "If I must revise my teaching to conform to a popular view of inclusivity that I do not share" have an impact on not just his research, but also sends a message to his students: that he doesn't whether they feel safe being there matters, and that they don't deserve to have representation in studied works. You're making a jump there: from whether Kunin's class covers works from authors with certain demographics, to whether his students feel safe. The character sequence "saf" doesn't appear in either of Kunin's articles. I think if it had been conveyed to him that his students' feeling of safety depends on his choice of curriculum, then he would have mentioned this argument (he'd probably call it absurd but I expect he'd mention it). His impression was: "That way, students from underrepresented minority communities will see themselves reflected in the readings. The students will feel included, and empowered to succeed, when they read works by writers who look like them." Do you think it's really true that a significant number of students were feeling unsafe as a result of curriculum choices, and if so, why hadn't Kunin heard of it? |
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To my understanding (and as a disclaimer, I advocate strongly for it), "inclusivity" in general means making an environment safe for people of marginalized backgrounds. So to me, his declaration that inclusivity as a value ought to be up for debate seems to indicate he doesn't think it's a top priority that students of marginalized backgrounds feel welcome in his classroom.
Is that a jump? A bit, but it's based on seeing similar situations play out in other areas.
But the choice of curriculum was to my second point: I think students deserve the chance to study a wide variety of history and literary viewpoints, including when feasible some from backgrounds similar to theirs. There has been tons of literature written by black authors, written by women, written by LGBTQ folx. Often times those works have been, in the past, deliberately destroyed (like the Institut für Sexualwissenschaft) or not considered for publication (George Elliot choosing a pseudonym to publish outside romance), which is a significant component to why there are so many more white men authors historically.
If you teach a course where all the literature you choose is from white men, you really limit what history you are teaching, and you can subtly reinforce that others may not be welcome to succeed in literature. Inclusivity asks us to consider those implications and pick some variety of authors--there are many great writers of so many different backgrounds to choose from.