This paper sets out to put Kenneth Burke’s thought on language as representative of symbolic action into conversation with Aimé Césaire’s epic poem, Cahier d’un retour au pays natal. The paper is divided into three main sections that set the stage for Burke and Césaire’s work to converse. The first section lays out an overview of Kenneth Burke’s thought on language paying particular attention to his definition of man, understanding of symbolism and symbolic action, and thoughts on poetry and poetics. (...) The second section provides a working history of African philosophy, the Négritude movement, Césaire as a philosopher, politician, and poet, and provides an overview of main themes and intentions present in Cahier. The third section works to put Burke and Césaire into conversation by using Burke’s understanding of symbolic action and his notion of order and identification to examine key passages from Césaire’s Cahier. The paper works to present an informative and textured engagement between the work of Kenneth Burke and Aimé Césaire. (shrink)

In _Between Gaia and Ground_ Elizabeth A. Povinelli theorizes the climatic, environmental, viral, and social catastrophe present as an ancestral catastrophe through which that Indigenous and colonized peoples have been suffering for centuries. In this way, the violence and philosophies the West relies on now threaten the West itself. Engaging with the work of Glissant, Deleuze and Guattari, Césaire, and Arendt, Povinelli highlights four axioms of existence—the entanglement of existence, the unequal distribution of power, the collapse of the event as (...) essential to political thought, and the legacies of racial and colonial histories. She traces these axioms' inspiration in anticolonial struggles against the dispossession and extraction that have ruined the lived conditions for many on the planet. By examining the dynamic and unfolding forms of late liberal violence, Povinelli attends to a vital set of questions about changing environmental conditions, the legacies of violence, and the limits of inherited Western social theory. _Between Gaia and Ground_ also includes a glossary of the keywords and concepts that Povinelli has developed throughout her work. (shrink)

This article traces Aimé Césaire’s engagement with Marxism through the concept of alienation, which is central to the Marxist-Hegelian tradition. The idea of restoring human creative powers, which take on an alien character under particular historical conditions, deeply shaped Césaire’s analysis of French colonial assimilation, which compelled the Black colonized subjects to identify with French bourgeois culture instead of taking revolutionary action against capitalism. Situating Césaire within the intellectual milieu of interwar Paris, this piece draws out his links with the (...) Marxist intellectual group called the Philosophies, which first published Marx’s 1844 Manuscripts in France in 1929, and with Alexandre Kojѐve’s Marxian reading of Hegel. The concern with alienation would persist in Césaire’s later writings in the 1950s and the 1960s, where the concept is engaged through a theory of culture, defined as the creative life of a collectivity. This theory supplies the conceptual basis for Césaire’s idea of “tropical Marxism,” which he discusses during his trip to Cuba in 1968. Tropical Marxism emphasized the necessity for colonized peoples to integrate Marxism creatively to the particular conditions of their societies and opposed any alien top-down impositions of the doctrine by European communists. By situating Césaire in a Marxist-Hegelian intellectual genealogy, we glean a crucial component of his thinking, going beyond his affiliation with surrealism and his experience with the French Communist Party. We also come to see alienation as a rich concept belonging to the tradition of anticolonial political theorizing. (shrink)

The place of Glissant’s philosophy of decolonisation in relation to Fanon and Césaire has been theorised by some authors, but the emphasis has not been placed on the fact that Glissant refers to both his predecessors as examples of the absence of a link between the two tactics of resistance – un détour [a tactical diversion] and un retour [a return]. For Glissant, both Césaire and Fanon are still diverters and not properly producers of a new reality, of a real (...) Caribbean territory and history. Thus, following previous analyses by commentators, but departing from them (or adding a new layer, the layer of spatiality that should be combined with a traditional analysis of temporality), this chapter defends the idea that Glissant locates his decolonial thought between Césaire and Fanon: it neither advocates a reconstruction that points to a past located elsewhere (Africa), nor recommends the rejection and replacement of the here/now with a different, unknown spatiality and temporality. For Glissant, the locus of resistance is located in the present and in the possibilities of decolonisation already contained in the Caribbean, although concealed and understated. This chapter begins by showing what is, according to Glissant, the necessary conjunction between the different tactics of resistance, then focuses on some of Césaire’s and Fanon’s texts in order to show why they do not offer this necessary link. The final section comes back to Glissant to analyse the notion of l’antillanité as the possibility of truly focusing on a here/now as a multilayered strategy of resistance. (shrink)

Aimé Césaire’s Discourse on Colonialism is central to the project of decoloniality. It is a critical reflection on the European civilization project that gives expression to the disenchantment with European modernity that began to be felt in many places after the Second World War. This essay describes the overcoming of Cartesian reason through the “decolonial gift,” which makes possible an opening toward transmodernity, an alternate response or pathway in view of the declining geo-political and epistemological significance of Europe and the (...) United States. (shrink)

The essay explicates Aimé Césaire’s contribution to the discipline of African philosophy, which ironically, is unknown to many scholars within African philosophy, especially in Anglophone Africa. In his Return to my Native Land, Césaire introduced two new concepts: “négritude” and “return”. These would later turn out to be crucial to the discourse on African identity and African philosophy. In his Discourse on Colonialism, Césaire raised two very closely related objections against Placide Tempels’ Bantu Philosophy. His first dissatisfaction was that Tempels (...) merely followed Lévy-Bruhl and his adherents by proposing another point of view in support of the misguided theory of the prelogical. Secondly, in so doing, his aim was nothing more than to make a presentation of an argument insupport of European imperialism and colonialism. His Discourse on Colonialism, therefore, set the ground for later criticisms that were levelled against ethnophilosophy as an approach to African philosophy. Keywords: Négritude, Return, Thingification, Ethnophilosophy, Philosophic sagacity. (shrink)

This paper aims to read together Julietta Singh’s Unthinking Mastery and Suzanne Césaire’s The Great Camouflage in order to uncover the narrative spaces in Césaire’s work that can be fruitful for unthinking mastery. I identify four connected themes in Césaire’s work. Surrealism, rejection of doudou-ism and the natural disaster explicitly reject the construction of the Caribbean as one exoticized place and mechanisms of categorization. The only stable identity of the Caribbean is its instability. The figure of the plant-human adds to (...) this and transcends the human/non-human dichotomy in a way that dismantles this central dichotomy altogether. (shrink)

Review of a recently published collection of the complete writings of Suzanne C ésaire, arguing that it is an important moment for the emerging field of Afro-Caribbean philosophy.

Caribbean thinkers Suzanne Césaire and Édouard Glissant introduce their readers to more-than-human figures – the plant-human and beach walker respectively – that theorize new ways of being. Accompanied by an epistemological shift, the figures disrupt Western colonial binaries and render them inoperative. This paper argues via Audre Lorde’s work that we can understand these speculations on ‘the human’ as a double move of creating one’s being and a new (self-)understanding thereof. The result is an aesthetic strategy that enables experimentation with (...) the category of the human, surpassing reductive universals. (shrink)

In 1968, Aimé Césaire travelled to Cuba to participate in the Havana Cultural Congress, a mass international meeting where delegates discussed the place of culture in the struggle against imperialism, neo-colonialism, and underdevelopment. Among the likes of C.L.R. James, Nicolás Guillén, René Depestre, Michel Leiris, and Daniel Guérin, it was in Havana that the Martinican politician undertook the until-now untranslated interview with Sonia Aratán for the Casa de las Américas revue and delivered his Cultural Congress conference paper – previously believed (...) by Césaire scholars to be lost. Both texts shed light on Césaire’s little-known views on Fidel Castro, the Cuban Revolution and Marxism in the context of late-1960s tricontinentalism. By reconstructing Césaire’s exchanges with Cuban writers before and during the Congress, we propose a consideration of the role of Cuba in Césaire’s political thought as a tragic possibility, combining the catastrophe of Caribbean history with the uncertain potential of new social forms. (shrink)

This text addresses the problems of tragedy, invention and the colonized body in the writings of the martinican thinkers Aimé Césaire and Frantz Fanon. To do this, at first we stop at the link that exists between the tragedy of the experiences of the black bodies alluded to in the writings of the aforementioned authors with the controls and reifications of colonial modernity. In a second moment, we discuss the invention of poetic image in Césaire's Notebook of a Return to (...) Native Land and how the agency of a body of its own excels out from it through a critical rewriting of the Atlantic Triangle. Next, in a third section, we reflect on Fanon's lived experience in his work Black skin, white masks in order to trace his tragic, self-destructive nature, and his inventive power. Finally, it is concluded that Césaire and Fanon make the invention a possibility of constructing another historical imagination of the body outside of the racial orders of colonial modernity. (shrink)

What does “life” mean in the protest slogan “Black Lives Matter”? This article draws on a close reading of Aimé Césaire’s Cahier d’un retour au pays natal to offer an answer to this question. In his poem, Césaire carefully examines the ways racial and colonial domination distort life. He identi????ies various false accounts of life complicit in domination, and he points toward an alternative. The article com-pares Césaire’s alternative to accounts of life put forward by Gilles Deleuze and Michel Henry, (...) suggesting that Césaire pushes his cri-tique in a similar direction, but goes further. (shrink)

El artículo intenta establecer las configuraciones que asume el humanismo crítico en la escritura de Aimé Césaire en la encrucijada de la diferencia colonial, entendida desde una perspectiva decolonial, y a partir de una noción de espectralidad que deriva y se diferencia de las perspectivas derrideanas. Así entonces, se destaca el hecho de que la escritura de Césaire produce una fuerte impugnación de los procesos de la representación colonial y abre el campo de la experiencia política y cultural signada por (...) la heterogeneidad. The article tries to establish the settings that the critical humanism assumes in Aimé Césaire´s writing at the crossroads of the colonial difference, which is understood from a decolonial perspective, and from a notion of spectrality which derives and differs from the Derridean perspective. So then, the article remarks the fact that Césaire´s writing produces a strong challenge to the processes of colonial representation and it opens the field of political and cultural experience marked by heterogeneity. (shrink)

This essay asks why, historically, the politics of postcolonial theory require of poetry that it be anchored in the concrete material conditions of a specific population. What are the parameters of analysis that have been established by overtly committed works? What obligations to contextualize does a poem like Aimé Césaire's Cahier d'un retour au pays natal impose? Conversely, what pressures does the Cahier place on content-oriented postcolonial approaches? Through a careful examination of the Cahier and the specific political valence it (...) would have acquired when written, I seek to understand poetry's relationship to postcolonial theory as it has developed over time. (shrink)

Euzhan Palcy’s film A Dry White Season, set in apartheid South Africa, portrays a resistance not intended to lead to victimhood, yet leads to the death of the Afrikaans protagonist, Benjamin Du Toit. The narrative follows Ben as they are educated about Black South Africans’ suffering under apartheid, their growing activism and simultaneous increasing victimization beside that of their Black friends. I first examine how early political critics of the film thought it stressed the victimization of the white character at (...) the expense of that of the Black characters. Next, I interpret the film by considering how Palcy’s aims, the influence of their compatriot Aimé Césaire’s anticolonial views, and the details of the film’s structure, illuminate the film’s philosophical insights into victimization and resistance. I show how the film’s representation of Ben’s secondary victimization and witnessing highlights the victimization of apartheid. (shrink)

The aim of this essay is to show that instances of valorising blackness have turned out to be harmful to African peoples. Whereas there have been several movements such as Black Power Movement, Black Consciousness Movement as well as individuals such as Steve Biko, Aime Cesaire, Leopold Sedar Senghor, William DuBois, Edward Blyden, Fela Anikulapo Kuti, it is the case that none of these minds made the conscious effort to interrogate the literal and symbolic use of black for Africans. (...) Consequently, this research limits its scope to Fela’s valorisation of blackness as enshrined in his blackism. Using the method of critical analysis, it argues that Fela’s “Blackism” takes the categorical and symbolic implications of blackness to an uncritical assimilation. The present study submits that until the ideological underpinning of the categorical and symbolic uses of blackness for Africans is engaged, all valorisation attempts will continue to yield meagre outputs. The first task is therefore to disclose the Eurocentric campaigns that mitigated the worth of the original or traditional people of Africa, south of the Sahara as well as the arrays of rejoinders which led to the valorisation of blackness. Afterward, Fela’s version of valorisation as encapsulated within the fold of his blackism will be disinterred. The rest of the paper shows not only that the valorisation agenda was a failed project but also that Fela’s “Blackism” is one of these failed projects. (shrink)

The marked intertextual patterning of Maryse Condé’s first novel Heremakhonon is a widely acknowledged feature, with the relationship between Condé’s novel and Aimé Césaire's Notebook of a Return to my Native Land attracting the bulk of critical attention. Through close readings of to date unexamined dramatic codes in Heremakhonon, this article proposes to extend the cultural context in which Condé’s text is traditionally read. Moving beyond the standard critical discussions of authenticity, I track Heremakhonon's mobile positionings in relation to polarizing (...) debates in the broader French literary-critical field between engagement and modernism. This focus allows for an exploration of the complex sets of relationships between the cultures of modernism and engagement that provide the conditions of possibility for Condé’s novel. (shrink)

Le mode de penser constitue depuis des siècles le critère principal qui permet de spécifier une culture, une civilisation, et donc de la distinguer des autres. Une telle logique a conduit tout d'abord à établir des hiérarchies entre elles. Il s'ensuivit un développement sans précédent des cristallisations identitaires et des conflits de tous ordres, qui naissent le plus souvent de la peur et de l'ignorance. En proposant un cadre théorique dans lequel le logocentrisme occidental et l'onto-mythologie africaine peuvent se rencontrer, (...) et même en établissant la conjonction du logos et du muthos, le philosophe Bonaventure Mve Ondo explore ici une voie originale qui permet de sortir des radicalismes actuels, et ouvre au nécessaire dialogue fondateur que préconisaient Léoplod Sédar Senghor et Aimé Césaire. La thèse de Bonaventure Mve Ondo soutenue il y a trente ans et enfin publiée, s'avère aujourd'hui plus prospective que jamais. (shrink)

This article offers to outline a direction for a decolonial political theory based on Aimé Césaire’s and Frantz Fanon’s thoughts. In doing so, I will first discuss some work of comparative political theory that could be associated with an attempt to decolonize political theory. Rather than a systematic critique of these works, this article aims to outline some of their limits from a decolonial perspective, such as their embedment in a continental ontology/logic, and their over-emphasis on methodology that can lead (...) to an instrumental account of politics. In contrast, I will argue for a decolonial existential political theory that grounds its investigation in what Frantz Fanon called ‘the zone of nonbeing’ and that takes politics as first philosophy. To make my point, I will discuss Aimé Césaire’s Letter to Maurice Thorez and Frantz Fanon’s Political Theory of the Damnés. (shrink)

In the early 1990s, after the fall of the Berlin Wall and with the easing of East- West tensions, Samuel Huntington presented his theory of a “clash of civilizations.” He announced that conflicts between ideologies had come to an end and were to be replaced by a new kind of confrontation, this time between cultures and religions. This essay attempts to show how misled Huntington’s thesis can be by referring to forms of humanism from Africa as well as to some (...) ideas developed in Arabian-Islamic philosophy. In the early 1930s, African intellectuals such as Léopold Sédar Senghor or Aimé Césaire already tried to oppose their own conception of humanism to Western individualistic humanism. The distinction can be found in the concept of Ubuntu, or “African humanism,” which incorporates notions of respect for the other, collective responsibility and solidarity. The Arab-Islamic world has also had similar concerns from an early stage. Its heritage from classical Greek philosophy, which placed human being at the centre of its thinking and ethical acting, came indeed under the significant influence of Islamic values, such as equality, fraternity and the community. Thus the essay offers an alternative to Huntington’s post-modern model of “clash of civilizations” beyond the frontiers set by Western humanism and that is more relevant to our current globalising world – a new trans- and intercultural humanism that favours the ways human beings can relate to each other as persons regardless of race, culture and religion. Human dignity and respect for the “other,” including the environment, are therefore central to this new humanism. (shrink)

A partir de 1960 vários países do continente africano proclamaram as suas “independências” política e administrativa do jugo colonial, fruto de conquistas efetivadas por um lado, por meio de negociação pacífica e por outro lado, pela luta armada. E foi por meio desta última que os moçambicanos alcançaram a independência nacional, à 25 de Junho de 1975. Pensadores e teóricos pós-coloniais movidos pela constatação da prevalência das colonialidades de poder vêm questionado as independências. É nesse viés que tecemos esse artigo, (...) com objetivo de suscitar algumas reflexões que promovam e potencializam debates sobre a imposição cultural enraizado no sistema colonial, sustentado pelos discursos preconceituosos eurocentrados que buscavam incutir e enfatizar o mito de complexo de inferioridade atribuído aos homens negros; tanto como impor a homogeneização cultural eurocêntrica. Esses debates são embasados teórica e metodologicamente por viés pós-coloniais e decoloniais. Por meio de revisão bibliográfica, dialogamos com Fanon (2020) Cesáire (2020), Azagaia (2013), Ki-Zerbo (2010) Lopes (2010) e; vários autores para discutir as colonialidades que perpassam o tecido social dos moçambicanos. Portanto, das reflexões constata-se que as colonialidades podem ser desestabilizadas por meio de ações efetivas de desaprendizagem e reaprendizagem: desaprender as amaras ideológicas eurocêntricas “romper a dominação mental”, denunciar e insurgir-se contra a subalterinização, alienação cultural e desmascarar os paradigmas, estereótipos, preconceitos eurocêntricos e aprender a reconquistar e revalorizar as identidades socioculturais nativas, aprender a pensar e falar sobre o continente africano com os africanos. (shrink)

This essay offers a novel approach for understanding the poetry of negritude and its role in the struggle for black liberation by appealing to Giambattista Vico’s insights on the historical, cultural, and myth-making function of poetry and of the mythopoetic imagination. The essay begins with a discussion of Vico’s aesthetic historicism and of his ideas regarding the role of imagination, poetry, and myth-making and then brings these ideas to bear on the discussion of the function of negritude poetry, focusing primarily (...) on the writings of Aimé Césaire and on Jean-Paul Sartre’s essay, Black Orpheus. (shrink)

René Ménil was a renowned Martinican essayist, critic, and philosopher who, along with Aimé Césaire, Frantz Fanon, and Edouard Glissant, left an indelible mark on the Franco-Caribbean world of letters and intellectual thought. Ménil saw in surrealism a critical framework, a means to the specific end of exploring and expressing the specificities of the Martinican condition. Ménil assessed Martinique’s pre-war psychological condition through the telling metaphor of relative exoticism, pointing clearly to the typically unacknowledged fact that the exotic is a (...) slippery signifier, dependent on perspective, distance and location. If the core of these conditions were to be recognized and contested, it would have to be addressed at its root, and here, there was no question for him but that colonialism was ultimately enabled by capitalism and its corollaries of avarice and accumulation. His editorship of the journal Tropiquesconstituted cultural combat. Ménil’s thought and writing were arguably aimed at achieving universality out of particularity, and so he eventually broke with Césaire—and more specifically with Senghor—over several key tenets in the Negritude platform, arguing for the actual existence of a Martinican culture. Marxism for Ménil offers a corrective to the perceived shortcomings of Negritude’s political aesthetics, namely its historical blind spots and its foregrounding of mythologized black unity at the expense of class struggle. (shrink)

As the depiction of a relatively unpeopled view of a portion of land, Kōjin Karatani once suggested a link between the rise of a Western concept of “landscape” and the solitary interiority of Cartesianism. He showed that while aesthetic views of nature existed for centuries in Japan, an interiorized relationship to “landscape” in Japanese art and literature did not appear until the period of intense Westernization. Yet, landscapes and their “missing people” have also been sites for imagining alternative models of (...) community and politics, particularly among those whose lands have endured colonial fetishization and exploitation. Instead of repudiating its aestheticization, how are these renarrativizations and revisualizations of landscapes used to dramatize and weaponize processes of becoming and self-invention? Such questions about the relationship between art, landscape, and the politics of becoming are carried forth through a conversation between texts about islands by Suzanne Césaire, Aimé Césaire, and Gilles Deleuze. (shrink)

Marcel Broodthaers’s A Film by Charles Baudelaire was produced in lieu of a research paper for a seminar on Baudelaire run by Lucien Goldmann in Brussels during the winter of 1969–70. The film and the seminar serve as points of departure for this article’s pursuit of three interrelated aims: first, to establish specific discursive coordinates for one of the most mystifying aspects of Broodthaers’s work, namely its pervasive and seemingly anachronistic references to nineteenth-century poetic modernism in general and to Baudelaire (...) in particular; second, to take on the figure of the world for Broodthaers, both in his use of the world map in the Baudelaire film and several other works to be discussed and in the question of his stance regarding the world-shaping catastrophe of colonialism; and finally, to investigate the prominence of the concept of reification in Broodthaers’s theoretical lexicon in relation to its first formulation by Georg Lukács, its revival and dissemination by Goldmann, and Aimé Césaire’s account of colonialism’s “reification of the world.”. (shrink)

Though fatigue appears a constant of this pandemic year, I argue that we may not all be living the same pandemic. I highlight the non-belonging of most racialized and colonized peoples to a world where flourishing is taken for granted as norm. To think this, I use the term “weariness.” I want to evoke, wearing out, wearing down, as well as the medical concept of weathering. Drawing on Césaire, Fanon, Hartman, Scott, and Spillers, my concept of weariness articulates an exhausting (...) and enduring experience—the eroding, grating, and crumbling of racialized flesh—through repetitive colonial duration, not simply for a year, but over a longue durée. I read this as a wounding that needs to be thought not simply in terms of health outcomes and disease, but in terms of affective experience and dismembered possibility. (shrink)

In the early twentieth century, the life philosophy of Henri Bergson summoned the _élan vital_, or vital force, as the source of creative evolution. Bergson also appealed to intuition, which focused on experience rather than discursive thought and scientific cognition. Particularly influential for the literary and political Négritude movement of the 1930s, which opposed French colonialism, Bergson's life philosophy formed an appealing alternative to Western modernity, decried as "mechanical," and set the stage for later developments in postcolonial theory and vitalist (...) discourse. Revisiting narratives on life that were produced in this age of machinery and war, Donna V. Jones shows how Bergson, Nietzsche, and the poets Leopold Senghor and Aimé Césaire fashioned the concept of life into a central aesthetic and metaphysical category while also implicating it in discourses on race and nation. Jones argues that twentieth-century vitalism cannot be understood separately from these racial and anti-Semitic discussions. She also shows that some dominant models of emancipation within black thought become intelligible only when in dialogue with the vitalist tradition. Jones's study strikes at the core of contemporary critical theory, which integrates these older discourses into larger critical frameworks, and she traces the ways in which vitalism continues to draw from and contribute to its making. (shrink)

How does Sylvia Wynter’s theory of the human depart from Western bio-centric and teleological accounts of the human? To grapple with this question I clarify five key concepts in her theory: the Third Emergence, auto- and socio-poiesis, the autopoietic overturn, the human as hybrid, and sociogenesis. I draw on parts of Wynter’s oeuvre, texts she works with and my conversations with Anthony Bogues. Wynter invents a Third Emergence of the world to mark the advent of the human as a hybrid (...) being. She challenges Western conceptions that reduce the human to biological properties. In opposition to Western teleology, her counter-cartography of a history of human life offers a relational conception of human existence which pivots around Frantz Fanon’s theory of sociogeny. She draws on Aimé Césaire’s call for a conception of the human made to the measure of the world, not to the measure of ‘Man’. This makes Wynter’s theory counter-, not post-humanist. (shrink)

The proposal of the ‘Anthropocene’ as a new geological epoch where humans represent the dominant natural force has renewed artistic interest in the ‘geopoetic’, which is mobilized by cultural producers to incite changes in personal and collective participation in planetary life and politics. This article draws attention to prior engagements with the geophysical and the political: the work of Simone Weil and of the editors of the Martinican cultural journal Tropiques, Suzanne and Aimé Césaire. Synthesizing the political and scientific shifts (...) in human-world relationships of their time, both projects are set against oppressive or narcissistic materialisms and experiment with the image of the ‘cosmic’ to cultivate a preoccupation not (only) with a tangible materialism but with an intangible one that emphasizes process and connectivity across wide spatial and temporal scales. The writers’ movement between poetics and politics will be used to enquire what kind of socio-political work a contemporary geopoetic could potentially do. (shrink)

Noires ou métisses, Africaines, Antillaises ou Américaines, Suzanne Césaire, Paulette Nardal, Eugénie Éboué-Tell, Jane Vialle, Andrée Blouin, Aoua Kéita et Eslanda Robeson sont les protagonistes de ce livre novateur, riche et stimulant. Leur point commun : s’être engagées, à différents titres, pour contester la domination coloniale dans la seconde moitié du xxe siècle. Le destin de certaines (Suzanne Césaire, Eugénie Eboué-Tell, Eslanda Robeson), souvent associé à celui de leur mari, est plus...

In _The Coloniality of the Secular_, An Yountae investigates the collusive ties between the modern concepts of the secular, religion, race, and coloniality in the Americas. Drawing on the work of Édouard Glissant, Frantz Fanon, Aimé Césaire, Sylvia Wynter, and Enrique Dussel, An maps the intersections of revolutionary non-Western thought with religious ideas to show how decoloniality redefines the sacred as an integral part of its liberation vision. He examines these thinkers’ rejection of colonial religions and interrogates the narrow conception (...) of religion that confines it within colonial power structures. An explores decoloniality’s conception of the sacred in relation to revolutionary violence, gender, creolization, and racial phenomenology, demonstrating its potential for reshaping religious paradigms. Pointing out that the secular has been pivotal to regulating racial hierarchies under colonialism, he advocates for a broader understanding of religion that captures the fundamental ideas that drive decolonial thinking. By examining how decolonial theory incorporates the sacred into its vision of liberation, An invites readers to rethink the transformative power of decoloniality and religion to build a hopeful future. (shrink)

Michael Kelly is the author of 68 entries altogether. The New Oxford Companion to Literature in French is far more than a simple revision of the original Oxford Companion to French Literature, published in 1959, and described by The Listener as the `standard work of reference for English-speaking enquirers into French literature'. As the change in title implies, this completely new work presents an authoritative guide not only to ten centuries of literature produced in the territory now called France, but (...) also to the rich literary output of other French-speaking countries around the world. The scope of the Companion is deliberately open and inclusive, challenging and extending the traditional canon. Literature is understood in a broad sense, ranging from strip cartoon and pamphlet to tragedy and epic, and particular attention is devoted to francophone writing from outside France. Written by an international team of specialists, entries cover individual authors and works - over 3,000 of them - from the troubadours to Césaire, and from La Princesse de Clèves to La Vie mode d'emploi. Each is discussed in detail within their historical, cultural, and intellectual context. Among the new features of the Companion are the substantial essay-entries, reflecting up-to-date scholarship and theoretical debates on topics such as: - literary movements and genres - historical subjects such as chivalry, or Occupation and Resistance in wartime France - movements of thought from Scholasticism to feminism - linguistic topics - the sciences - the arts and media, including opera, cinema, and press. (shrink)

This essay proposes that the work of Sylvia Wynter, a canonical figure in Afro-Caribbean philosophy, demonstrates other ways of doing philosophy, a comparative philosophy carried out as a cross-cultural exercise. Sylvia Wynter has argued for a “New Science of the Word” by drawing from the contributions of Frantz Fanon (sociogeny), Aimé Césaire (poetic knowledge), and the field of cybernetics, among other sources. This essay aims to explain the framework and methodology of the New Science and the original transdisciplinary engagement that (...) such a framework facilitates. It argues that, by appropriating the concept of “autopoiesis” beyond the natural sciences, Wynter refashions autopoiesis as autopoetics to answer the age-old question of what it means to be human. Comparative philosophy, the essay concludes, can be fertile ground for Wynter’s project and epistemic decolonization. (shrink)

Résumé Frantz Fanon s’est concentré principalement sur la violence comme moyen de résistance et de libération anticoloniale, mais aussi sur l’humanisme et les possibilités de sa réalisation. Il s’agit pour lui de dépasser la conception manichéenne de l’Europe, mais aussi de la Négritude à propos de l’homme et d’inventer comme il dit « l’homme total ». Le silence a régné assez longtemps sur la réception des œuvres de Fanon après sa mort, à l’exception de sa réhabilitation vingt ans après aux (...) Antilles lors d’une commémoration. Depuis sa disparition, on est passé de la simple critique du colonialisme à partir du champ économique et politique vers le champ culturel plus complexe et l’essai d’une compréhension plus approfondie de notions telles que celles de « nation », « identité », « imaginaire » ou « hybridité ». De plus, à cette évolution a participé aussi bien le discours foucaldien à propos des pouvoirs que les études abordées par Gilles Deleuze et Jacques Derrida sur la connaissance et le sujet. Ces thèmes ont influencé énormément les auteurs américains des Études postcoloniales dans leurs approches critiques du fait colonial et des phénomènes socioculturels qui en résultent. Ce fut surtout le cas pour Edward Said ainsi que pour d’autres penseurs tels Achille Mbembe, Gayatri Chakravorty Spivak, Homi K. Bhabha et bien d’autres. Mais ce sont avant tout Aimé Césaire, Frantz Fanon et Albert Memmi qui furent les théoriciens pionniers de ce mouvement. Ils ont en effet vécu la situation coloniale de manière directe et l’ont problématisée conceptuellement de sorte qu’ils ont dévoilé les différents aspects d’oppression et d’exclusion du colonialisme et donné ainsi une voix aux colonisés, subalternes et marginalisés. Cet article va tenter tout d’abord de rappeler la part critique de Frantz Fanon à l’égard de l’humanisme classique européen, mais aussi à celui de la Négritude. Par la suite il essaie de présenter sa conception d’un humanisme radical qui prend en considération l’homme, dire même l’humanité dans toute sa totalité, et à la fin il aborde les répercussions de la pensée fanonienne sur l’évolution politique actuelle ainsi que sur les Études postcoloniales. (shrink)

The “boomerang thesis” enjoys widespread currency in contemporary scholarship: that the means and ends of colonial domination would “spin back” to the metropole is an idea with intuitive grip. This article extrapolates the depth of meaning this metaphor contains, as well as what it conceals. It first considers the “boomerang” as it appears in Aimé Césaire’s Discourse on Colonialism, a poetic work that captures the moral and experiential return-effects of imperial violence. Turning to Hannah Arendt’s The Origins of Totalitarianism—the only (...) articulation of the thesis that uses the word “boomerang”—the article disaggregates the teleological, ideological, and institutional elements that spun back from European colonies in the imperial era. Finally, it traces the development of the thesis in Michel Foucault’s “Society Must Be Defended,” where it is transformed into a more general explanatory mechanism. Each theorist indicates how distance operates to transform dubious, even hateful ideas into acceptable practices. (shrink)

The notion of double consciousness, as a characterization of black subjectivity, is basic to Ménil’s critique of the alienated “mythologies” of Antillean life and its self-exoticizing literature. Double consciousness renders cultural identity deeply problematic. But it has other, more positive, manifestations, closer to a Bakhtinian idea of dialogism. Thus he praises Césaire’s use of irony as a dual voice. Ménil’s valorization of complexity and ambiguity in literature, against the simple naturalism favoured by the Communist Party but which he insists is (...) not a truly Marxist position, is thus linked to his view of the necessary “doubleness” of Antillean consciousness. Conversely, the simplicity of folklore can offer a basis for cultural identity, but not for good literature. Although Ménil emphasizes the importance of Antilleans reclaiming their history, this is less about discovering one’s roots than providing a dynamic grasp of one’s ever-changing place in a social reality governed by the Marxist dialectic. “Double consciousness” precludes the comforts of fixed identities, but it is a dialectical, not a tragic condition. (shrink)

The review Tropiques, founded in Martinique by Aimé Césaire and colleagues in 1941, was heavily influenced by French surrealism, both for its emphasis on political liberation and its investment in primitivism and the revalorization of non-European cultures. But Tropiques's attitude to primitivism was far more ambivalent and contradictory than is usually assumed. While the editors and contributors sometimes do indeed claim to have, as Martinican intellectuals, a close identificatory connection to primitivist sensibility, elsewhere their attitude to such supposed examples of (...) primitivism as African-American poetry and Caribbean folklore is extremely distanced and rather patronizing. Moreover, their claims to an ‘authentic’ relation to primitive culture, especially where this is defined as African, are complicated by the fact that they have to rely on European ethnographic sources in order to make these claims; and the writing in Tropiques shows them grappling with this contradiction. (shrink)

The literary relations between the Harlem Renaissance and the Negritude Movement have, we believe, been sufficiently documented. It has been demonstrated that Senghor, Damas and Césaire avidly perused the pages of Crisis, Opportunity and Garvey's Negro World—Journals in which Langston Hughes, Claude Mckay, Countee Cullen and Jean Tommer—the poets of the Harlem Renaissance, first had their poems published. It is equally literary history now, that some of the poems of the Afro-American writers were reprinted in such Parisian Black-oriented journals and (...) little magazines as Les Continents, La Dépêche Africaine, Le Cri des Nègres, La Revue du Monde Noir and Légitime Défense. In this dissemination of ideas across the Atlantic, Paulette Nardal, Edward A. Jones, Louis T. Achille and Mercer Cook played the important role of literary intermediaries through their translations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Strangers in the Land: Blacks, Jews, Post-Holocaust AmericaKeith P. Feldman (bio)Eric J. Sundquist. Strangers in the Land: Blacks, Jews, Post-Holocaust America. Cambridge, MA: Harvard UP, 2005. 662 pp.Strangers in the Land: Blacks, Jews, Post-Holocaust America provides a wide-ranging, rich, and nuanced cultural history of what Eric J. Sundquist terms the "black-Jewish question" (2). In doing so, the book serves as both culmination and corrective to an already-expansive scholarly (...) literature on blacks and Jews generated since the late 1960s. Much of this scholarship has operated within a U.S.-centered paradigm to chart interethnic relations, laboring as it does to unpack, complicate, theorize, and otherwise come to understand the changing texture of black-Jewish relations and, in Sundquist's wods, its "intermixture of empathy, anxiety, and Hostility' (3)." Strangers in the Land stretches this paradigm to its limit, even as the diasporic imaginaries treated therein persistently escape a U.S. national imaginary and signal other possibilities for conceptualizing this tense and tender history.In its five hundred–plus pages of text, one hundred–plus pages of endnotes, and countless detailed footnotes (that are themselves illustrative and evocative), Sundquist has assembled a voluminous archive of textual material to show how works of the imagination by blacks and Jews have been "produced in a dynamic, multilayered historical matrix" that reveals the paradoxes of American liberalism (9). From the well-known and well-trodden (novels by Bellow, Roth, Malamud, and Morrison all play key roles) to the newly discovered and underappreciated (John A. Williams's Sons of Darkness, Sons of Light; Paule Marshall's The Chosen Place, the Timeless People; Gloria Naylor's Bailey's Café; William Melvin Kelley's A Different Drummer; Jon Michael Spencer's Tribes of Benjamin; Lore Segal's Her First American), Sundquist's careful historicism reveals how works of the imagination can serve as both microscopic and telescopic lenses through which to examine the vicissitudes of what he calls black and Jewish "interdependent self-conceptions" in the United States (5).Along with addressing a thick textual archive with subtlety and patience, Sundquist's major analytical innovation is that, unlike many of his predecessors, which frequently [End Page 63] positioned their analyses within the scarred domestic terrain of post–civil rights polarization, Sundquist's voracious curiosity dwells in the archive's heterogeneous details, allowing him to linger in examples that routinely exceed the simple polarization of blacks and Jews. The complex racial geography of New York boroughs and greater Chicagoland, for instance, is overlaid by Auschwitz and Egypt and Jerusalem, Ghana and Kenya and the Caribbean. In these settings, Sundquist spends time with figures only glimpsed in passing in other works: Arab Jews, Afro-Zionists, and anti-Zionists; Jews and Black Jews; Black Panthers, Israeli Black Panthers, Holocaust survivors, Holocaust deniers, Black Power advocates, and their Jewish Power doppelgangers. In a lengthy meditation on Harper Lee's To Kill a Mockingbird, Sundquist charts the novel's refractions of the problem of American racial equality in the wake of the Holocaust. Similarly, the careful readings of novels by Naylor, Williams, Spencer, and Kelley exemplify the rich results of Sundquist's method.This deeply historicist and intertextual project echoes Sundquist's 1993 epic work To Wake the Nations: Race in the Making of American Literature, which strenuously and quite effectively demonstrated how African American literature is constitutive of American literature, and not merely a minor subset of it. If this earlier work revealed the continued paradox of racial slavery in American conceptions of democracy, Strangers in the Land serves as something of a sequel. The book places another massive racial project, the systematic genocide of Europe's Jews, at the heart of twentieth-century American life. "The Holocaust," writes Sundquist, "became the benchmark against which at least one other case, African American slavery and its aftermath, has been judged" (6). By placing Jewish genocide at the center of his analysis, Sundquist importantly reminds us of the conclusion reached almost simultaneously by both Hannah Arendt and Aimé Césaire, that the Nazi racial project had its ideological origins in nineteenth-century European imperialism, and that this legacy bears indelibly on the present... (shrink)

Václav Havel’s concept of “living within the truth” in an authoritarian regime frames Marguerite La Caze’s readings of international cinema, highlighting forms of resistance in which seemingly pre- or nonpolitical aspects of life—such as professional labor, exile, and truth telling—can be recognized as political when seen against a backdrop of general acquiescence. La Caze’s case studies cross genres, historical eras, and national contexts: the apartheid regime in South Africa, in A Dry White Season; post-Suharto Indonesia, in The Look of Silence; (...) 1980s East Germany, in Barbara; the Chilean military dictatorship, in No; contemporary Iran, in A Separation; and current-day Saudi Arabia, in Wadjda. This book explores the films’ use of image, sound, narrative, and character in dialogue with the work of Simone de Beauvoir, Aimé Cesaire, Hannah Arendt, Sara Ahmed, and W. E. B. Du Bois to reveal how cinema depicts ordinary people enacting their own philosophies of defiance. (shrink)

Fanon’s insistence that the oppressed retain their ability to resist and (re)configure their subjectivity has political, ethical, and philosophical import, as it highlights the fact that the subjugated are not mere things determined from the outside. To the contrary, just as several contingent factors coalesced to create the historical situation in which the colonized subject finds herself, other equally contingent factors can emerge and help to bring about socio-political transformations. Like Aimé Césaire, Fanon understood that the process of decolonization would (...) occur over time and in various stages. By studying Fanon’s complex relationship to the Négritude movement, his resistance tactics come into sharper focus. In short, I argue that Fanon’s employment of essentialized narratives can be interpreted as a variant of “strategic essentialism” (Spivak). Consequently, Fanon’s historically attuned strategy signals a movement beyond a mere reactionary response trapped within an abstract Manichaean binary. (shrink)

Given the increasing complexity of living in a global village, countries and regions that are parts of larger political entities frequently have considered the option of separating or seceding an ideal solution to their problems with a larger center of power. Isolation, a form of “freedom from,” has the potential of offering them free rein or “freedom to” manage their affairs for their own sake. Francophone playwrights and filmmakers have found the dialectical interplay between “freedom from” and “freedom to” fertile (...) dramatic soil for plays and films. Some of them work in both of these and other genres. These works seem to ask the same question: Is it desirable or possible to achieve both, even in ideal isolation, without suffering cultural stagnation or repeating the abuse of power on the part of the political center that led to the separation? This article explores the answers to this question given in the plays of Aimée Césaire, Anne Hébert, and Wajdi Mouawad within the greater context for this issue found in J. M. Coetzee’s Waiting for the Barbarians and Azouz Begag’s Un Mouton dans la baignoire and in francophone films by Raoul Peck, Bertrand Tavernier, Claire Denis, Rachid Bouchareb, Ousmane Sembène, Michael Haneke, and Mathieu Kasovitz. (shrink)

Anne Pasquier | : Le sermon Dolbeau 26 provient d’un manuscrit datant de la deuxième moitié du xve siècle qui sortit de l’oubli grâce à la publication, en 1990, d’un catalogue de manuscrits de la Stadtbibliothek de Mayence. Découvert par François Dolbeau, ce sermonnaire contient 63 sermons d’Augustin et un de Césaire d’Arles. L’intérêt pour ces oeuvres est d’autant plus grand que plusieurs des sermons sont partiellement ou complètement inédits. C’est le cas du sermon D. 26 en lequel s’élaborent plusieurs (...) réflexions qu’Augustin exprimera par la suite dans la Cité de Dieu. Dans le cadre de cet article, seront examinés les thèmes et les enjeux identitaires que l’on peut déceler en particulier dans les chapitres 1 à 9 de ce sermon. | : The sermon called Dolbeau 26 is part of a manuscript dating from the second half of the 15th century which came out of oblivion thanks to the publication, in 1990, of a catalogue of manuscripts in the Stadtbibliothek Mainz. Discovered by François Dolbeau, this manuscript contains 62 different sermons from Augustine, and one from Caesarius of Arles. The fact that 26 of those sermons from Augustine are partially or completely unknown explains their great interest. This is the case of the sermon D. 26 in which Augustine develops many reflections that will be later expressed in the City of God. In the context of this article, will be examined the identity issues that can be detected particularly in chapters 1-9 of this sermon. (shrink)

This essay places Isaiah Berlin’s famous “Two Concepts of Liberty” in conversation with perspectives defined as black fugitive thought. The latter is used to refer principally to Aimé Césaire, W. E. B. Du Bois and David Walker. It argues that the trope of liberty in Western liberal political theory, exemplified in a lineage that connects Berlin, John Stuart Mill and Benjamin Constant, has maintained its universal meaning and coherence by excluding and silencing any representations of its modernity gestations, affiliations and (...) entanglements with Atlantic slavery and European empires. This particular incarnation of theory is characterized as the Western discursive and hegemonic effects of colonial-racial foreclosure. Foreclosure describes the discursive contexts in which particular terms or references become impossible to formulate because the means by which they could be formulated have been excluded from the discursive context. Through an examination of the action of foreclosure, based largely on unraveling the liberal-colonial convergences of Two Concepts the essay reflects on the political and theoretical problems posed for black political thought by the hegemony of Western formulations of liberty that deny their indebtedness to Western colonialism. Drawing upon juxtapositions between white liberal/republican thinkers and black fugitivity thinkers, it argues a particular lineage of black political thought is compelled to conceive of itself as an escape from the colonial and racial hegemony of Western liberty. (shrink)

Can we respond to injustices in the world in ways that do more than just address their consequences? In this book, Brooke A. Ackerly argues that what to do about injustice is not just an ethical or moral question, but a political question about assuming responsibility for injustice. Ultimately, Just Responsibility offers a theory of global injustice and political responsibility that can guide action.

The relationship between humanity and the soil is an increasingly important topic in social theory. However, conceptualisations of the soil developed by anticolonial thinkers at the high point of the movement for self-determination between the 1940s and the 1970s have remained largely ignored. This is a shame, not least because theorists like Eric Williams, Walter Rodney, Suzanne Césaire and Amílcar Cabral were concerned with the soil. Building on recent work on human-soil relations and decolonial ecology, we argue that these four (...) thinkers conceptualised the connection between soil, empire, and anticolonial revolt. Williams and Rodney ground understanding of soil degradation in global relations of economic power, while Césaire and Cabral reconceptualise postcolonial nationhood in terms of the mutability and diversity of the soil. The article concludes by suggesting that these two anticolonial counterpoints, global connectivity and more-than-human identification, anticipate and deepen contemporary attempts to decolonise ecological thinking. (shrink)

In Rethinking Existentialism, Jonathan Webber examines Fanon's engagement with the Negritude movement, focusing on his discussion in Black Skin, White Masks. A portion of Fanon's text discusses an interpretation of the movement advanced by Sartre in his essay ‘Black Orpheus’. Here, I raise some difficulties for what I will call Webber's ‘black agency’ reading of Fanon, before presenting an alternative. I argue that Fanon accepted certain important Negritude ideas, particularly Césaire's conception of a therapeutic method called the nekyia, and that (...) this is crucial to understanding Fanon's response to Sartre. (shrink)