What is the role of cultural archives in creating and sustaining connections between diasporic communities? Through an analysis of an audiovisual archive that has sought to bring together representations of and by African, Caribbean and Asian people, this article discusses the relationship between diasporic film, knowledge production and feminist solidarity. Focusing on a self-curated, UK-based archive, the June Givanni Pan-African Cinema Archive, we explore the potentiality of archives for carving out spaces of diasporic connectivity and resistance. This (...) archive assembles the holdings of pan-African films and film-related materials, built over several decades by June Givanni, a Guyanese-born London-based film curator. Givanni’s archive embodies her long relationship with the intersecting worlds of African and Asian diasporic cinema, which hold deep connections to Black British heritage through global networks spanning across empire. In the making of this cultural analysis, we employ a co-produced, decolonial methodological approach by designing and producing the article in collaboration with Givanni over a two-year period. We aim to foreground the role of feminist labour (academic and practitioner) as agents of change who are reclaiming stories, voices and memory-making. The wider backdrop to this co-produced analysis is the ongoing resilience of a cultural amnesia that has pervaded the Black British experience and the current fragility of Black arts and cultural spaces in the UK. Our question is how might archives help us map the connections between racialised ideas of belonging, memory politics and the reconfiguration of colonial power whilst also operating as a site of feminist connectivity? (shrink)

Since 1963 almost 200 films have been made by African authors. This provides a suitable quantity of documents to permit an attempt to study them as a group. These films are the work of a hundred directors and so perhaps can allow an analysis of their personalities. But can we suppose that they represent all of Africa? This is hardly probable. The film-makers and their crews belong to the upper social levels. Educated, well-traveled on other continents, highly qualified intellectually (...) and professionally, they associate with the leading class even though their financial means may not always suffice to realize their aspirations. They belong to the intelligentsia. But, because of the educative power of film, we can foresee that they will contribute to the formation of the masses. The Africa presented in their films is not that of today but maybe that of tomorrow. (shrink)

Cinema has long played a crucial role in the way that societies remember and represent themselves. In the last quarter century, film has been an important medium in the public debate around the memory of the Holocaust and of Hiroshima; of the Algerian war for independence and of the Spanish Civil War; of the Allende legacy in Chile, the utopian dreams of 1968, and the aborted project of the German Democratic Republic; in identity formation in Palestine and in the (...) African diaspora. Hedges discusses the role of cinema within a global perspective that spans five continents, and proposes an original typology of cultural memory. In the process, she re-evaluates the contributions of major directors and uncovers hitherto neglected yet important works. The author develops her arguments in an approachable style that will encourage readers to rethink their own memories of films and to reflect on the way that cinema contributes to collective and cultural memory. The book's innovative approach should transform the way that we think of film and its social effects. (shrink)

Cinema is neither neutral nor a universal medium. Particularly in African contexts, cinema contributes to European exceptionalism, imposes European values as the norm, and acts as an instrument of cultural and psychological control. It seems that African cinema is ontologically, politically, and aesthetically Eurocentric. By introducing an intercultural philosophical approach to the realm of cinema, we aim to move away from Eurocentrism in African cinema towards a more intercultural and dialogical orientation as (...) an input for the liberation of humanity. Based on findings from a dramaturgical analysis of five films, we argue that African cinema shows a deficiency in communicating liberation and it often fails to portray African people’s values, will, and interests as it has been alienated from its nature and purpose. Overall, African cinema seems to be either in a state of assimilation or confusion. By exploring aesthetics of liberation in African cinema and art (as described in African and intercultural philosophy,) we search for alternative film aesthetics and a mode of filmmaking that seeks to liberate the image and the minds of the filmmakers and spectators of African cinema. Inspired by Kimmerle’s aesthetic-ethic alternative ‘Living (with) art’, we propose an alternative for critical filmmaking based on aesthetics of liberation with an intercultural orientation: Living cinema. Living cinema is a dialogical and liberational cinema with aesthetics of liberation at its core. Based on aesthetic-ethic principles of African philosophy and interculturality, the liberating function of living cinema can be found in reconnecting the aesthetics and filmmaking with African values. Simultaneously, it might be contributing to the liberation of world cinema as it has an impact on both the hegemonic and the suppressed cinema. (shrink)

Despite claims about the end of history and the death of cinema, visual media continue to contribute to our understanding of history and history-making. In this book, Marcia Landy argues that rethinking history and memory must take into account shifting conceptions of visual and aural technologies. With the assistance of thinkers such as Gilles Deleuze and Félix Guattari, Cinema and Counter-History examines writings and films that challenge prevailing notions of history in order to explore the philosophic, aesthetic, and (...) political stakes of activating the past. Marshaling evidence across European, African, and Asian cinema, Landy engages in a counter-historical project that calls into question the certainty of visual representations and unmoors notions of a history firmly anchored in truth. (shrink)

Part I Philosophic Traditions Introduction to Part I 3 1 Philosophy and the Afro-American Experience 7 CORNEL WEST 2 African-American Existential Philosophy 33 LEWIS R. GORDON 3 African-American Philosophy: A Caribbean Perspective 48 PAGET HENRY 4 Modernisms in Black 67 FRANK M. KIRKLAND 5 The Crisis of the Black Intellectual 87 HORTENSE J. SPILLERS Part II The Moral and Political Legacy of Slavery Introduction to Part II 107 6 Kant and Knowledge of Disappearing Expression 110 RONALD A. T. (...) JUDY 7 Social Contract Theory, Slavery, and the Antebellum Courts 125 ANITA L. ALLEN AND THADDEUS POPE 8 The Morality of Reparations II 134 BERNARD R. BOXILL Part III Africa and Diaspora Thought Introduction to Part III 151 9 “Afrocentricity‘: Critical Considerations 155 LUCIUS T. OUTLAW, JR. 10 African Retentions 168 TOMMY L. LOTT 11 African Philosophy at the Turn of the Century 190 ALBERT G. MOSLEY Part IV Gender, Race, and Racism Introduction to Part IV 199 12 Some Group Matters: Intersectionality, Situated Standpoints, and Black Feminist Thought 205 PATRICIA HILL COLLINS 13 Radicalizing Feminisms from “The Movement Era‘ 230 JOY A. JAMES 14 Philosophy and Racial Paradigms 239 NAOMI ZACK 15 Racial Classification and Public Policy 255 DAVID THEO GOLDBERG 16 White Supremacy 269 CHARLES W. MILLS Part V Legal and Social Philosophy Introduction to Part V 285 17 Self-Respect, Fairness, and Living Morally 293 LAURENCE M. THOMAS 18 The Legacy of Plessy v. Ferguson 306 MICHELE MOODY-ADAMS 19 Some Reflections on the Brown Decision and Its Aftermath 313 HOWARD McGARY 20 Contesting the Ambivalence and Hostility to Affirmative Action within the Black Community 324 LUKE C. HARRIS 21 Subsistence Welfare Benefits as Property Interests: Legal Theories and Moral Considerations 333 RUDOLPH V. VANTERPOOL 22 Racism and Health Care: A Medical Ethics Issue 349 ANNETTE DULA 23 Racialized Punishment and Prison Abolition 360 ANGELA Y. DAVIS Part VI Aesthetic and Cultural Values Introduction to Part VI 373 24 The Harlem Renaissance and Philosophy 381 LEONARD HARRIS 25 Critical Theory, Aesthetics, and Black Modernity 386 LORENZO C. SIMPSON 26 Black Cinema and Aesthetics 399 CLYDE R. TAYLOR 27 Thanatic Pornography, Interracial Rape, and the Ku Klux Klan 407 T. DENEAN SHARPLEY-WHITING 28 Lynching and Burning Rituals in African-American Literature 413 TRUDIER HARRIS-LOPEZ 29 Rap as Art and Philosophy 419 RICHARD SHUSTERMAN 30 Microphone Commandos: Rap Music and Political Ideology 429 BILL E. LAWSON 31 Sports, Political Philosophy, and the African American 436 GERALD EARLY. (shrink)

MARINA PAOLA BANCHETTI-ROBINO is Associate Professor and Chair of the Philosophy Department at Florida Atlantic University. Her areas of research include phenomenology, philosophy of language, philosophy of science, philosophy of mind, and zoosemiotics. Her publications have appeared in such journals as Synthese, Husserl Studies, Idealistic Studies, Philosophy East and West, and The Review of Metaphysics. She has also contributed essays to The Role of Pragmatics in Contemporary Philosophy (1997), Feminist Phenomenology (2000), and Islamic Philosophy and Occidental Phenomenology on the Perennial (...) Issue of Microcosm and Macrocosm (2006). She co-edited Philosophies of the Environment and Technology (1999) and is currently working on a book-length project entitled The Birth of Science Out of the Spirit of Myth: A Historico-Phenomenological Re-Examination of the Crisis of the European Sciences. BERNARD BOXILL was born in Saint Lucia, West Indies where he received his primary and secondary education. He studied philosophy at the University of New Brunswick, Canada and at the University of California, Los Angeles where he was awarded a doctorate in philosophy in 1971. He has published numerous articles, a book, Blacks and Social Justice (1992), and is professor of philosophy at the University of North Carolina at Chapel Hill. ED BRANDON was born and educated in England, studying philosophy and linguistics at The University of York, England, and later philosophy at The University of Oxford with the late John Mackie. After teaching in Sierra Leone and briefly in England, he went to teach philosophy of education at the University of the West Indies at Mona, Jamaica in 1978. From 1992 he has been attached to a policy unit of the Vice-Chancellery, based at the Cave Hill campus in Barbados, where he has been assisting since 2000 with a new major in philosophy. His academic work can be accessed from http://cavehill.uwi.edu/bnccde/epb/personalpage.html CAROLYN CUSICK is a doctoral candidate in the Department of Philosophy at Vanderbilt University. She is a founding member of the Phenomenology Roundtable. Her research focuses on feminist epistemology, Africana philosophy, and phenomenology. LEWIS GORDON is President of the Caribbean Philosophical Association. He is Laura H. Carnell Professor, the most distinguished chair, at Temple University, where he holds appointments in philosophy, religion, and Judaic studies and directs the Institute for the Study of Race and Social Thought and the Center for Afro-Jewish Studies. He is also Ongoing Visiting Professor of Philosophy and Government at the University of the West Indies at Mona, Jamaica. He is the author of several books, including the award-winning Her Majesty's Other Children: Sketches of Racism from a Neocolonial Age (Rowman and Littlefield, 1997), Disciplinary Decadence: Living Thought in Trying Times (Paradigm, 2006), An Introduction to Africana Philosophy (Cambridge University Press, forthcoming), and co-editor of A Companion to African-American Studies (Blackwell, 2006) and Not Only the Master's Tools: African-American Studies in Theory and Practice (Paradigm, 2005). CLEVIS HEADLEY is currently Associate Professor of Philosophy at Florida Atlantic University, director of the Ethnic Studies Certificate Program, as well as director of the Master's in Liberal Studies. Professionally, he serves as the Vice-President and Treasurer of the Caribbean Philosophical Association. Professor Headley has published widely in the areas of Critical Race Theory and Africana philosophy. He has also published in Analytic philosophy, focusing specifically on Gottlob Frege. PAGET HENRY is Professor of Sociology and Africana Studies at Brown University. He is the author of Caliban's Reason: Introducing Afro-Caribbean Philosophy, Peripheral Capitalism and Underdevelopment in Antigua, and the co-editor of C. L. R. James' Caribbean. Professor Henry also serves as the editor of the C. L. R. James Journal, and has published numerous articles on the political economy of the Caribbean as well as on African, African-American, and Afro-Caribbean philosophy. ESIABA IROBI is Associate Professor of International Theatre/Performance Studies at Ohio University, Athens. His groundbreaking book: A Theatre for Cannibals: Resisting Globalization on the Continent and Diaspora since 1441 will be published by Palgrave Macmillan, London, in 2007. He has been invited to be an External Resident Fellow at the prestigious Dartmouth College Humanities Institute for the 2007-2008 academic year. CHIKE JEFFERS is a graduate student in the Ph.D. program of the Philosophy Department at Northwestern University. His interests are in Africana philosophy, social and political philosophy, ethics, philosophy of religion and aesthetics. He is originally from Toronto, Ontario, Canada. CATHERINE JOHN is Associate Professor of African Diaspora Literary and Cultural Studies at the University of Oklahoma. Her book Clear Word and Third Sight: Folk Groundings and Diasporic Consciousness in African Caribbean Writing was co-published by Duke University Press and UWI Press in 2003. She has published several articles on Caribbean literature and culture and her current book project is entitled The Just Society and the Diasporic Imagination. She spends her summer working in Woodside, St. Mary, Jamaica helping with a summer school for children and participating in the community's emancipation celebration. KENNETH KNIES is a doctoral student in philosophy at Stony Brook University. His areas of focus are phenomenology and ancient philosophy. He is also a contributing editor for Political Affairs magazine. EDIZON LEN is a photographer and coordinator of the Fondo Documental Afro-Andino at the Universidad Andina Simòn Bolivar in Quito, Ecuador. In 2006, he was curator of the photo exhibit "The Color of the Diaspora" presented at the Cultural Center of the Catholic University of Ecuador and the University of Tennessee in Knoxville. He is currently completing his doctorate at the Universidad Andina Simòn Bolivar with a focus on Maroon thought. REKHA MENON is Associate Professor of Art History at State University of New York, Buffalo State. She is the author of Seductive Aesthetics of Post Colonialism (forthcoming). Her area of research focuses on current philosophical investigations in colonial and neocolonial aspects of Indian art, artistic/cultural practices and philosophies and their relationship to Western arts and philosophies. Her manuscripts under review are: Ashamed of Our Nakedness, Is There Ever a Naked Body? Ambivalence in Contemporary Indian Expressive Aesthetics and Insatiable Desire. MICHAEL R. MICHAU is a Ph.D. candidate in the Philosophy and Literature Program at Purdue University, and during the 2006-2007 school year, a lecturer in the Department of Comparative Studies and Department of Philosophy at Ohio State University. He is the co-founder and co-secretary of the North American Levinas Society. CHARLES W. MILLS is Distinguished Professor of Philosophy at the University of Illinois at Chicago. He works in the general area of oppositional political theory, and is the author of numerous articles and three books: The Racial Contract (Cornell University Press, 1997), Blackness Visible: Essays on Philosophy and Race (Cornell University Press, 1998), and From Class to Race: Essays in White Marxism and Black Radicalism (Rowman and Littlefield, 2003). MABOGO P. MORE is currently Associate Professor of Philosophy at the University of KwaZulu-Natal, South Africa. He has published articles on African philosophy and social and political philosophy in a number of academic journals, such as South African Journal of Philosophy, Dialogue and Universalism, Alternation, Theoria, and African Journal of Political Science. MARILYN NISSIM-SABAT, Ph.D., M.S.W. is Professor Emerita and Adjunct Professor of Philosophy, Lewis University. Dr. Nissim-Sabat is also a psychotherapist in private practice. She is the author of numerous book chapters and papers in the fields of philosophy (Husserlian phenomenology), psychoanalysis, feminism, and critical race theory. Citations of her works can be found on her website: marilynnissim-sabat.com. FREDERICK OCHIENG'-ODHIAMBO is a Senior Lecturer of Philosophy and Coordinator of the discipline at The University of the West Indies, Cave Hill, Barbados. His major research areas are African philosophy and social philosophy. He has published several articles on philosophic sagacity. IVAN PETRELLA is an Assistant Professor of Religious Studies at the University of Miami. He is author of The Future of Liberation Theology: An Argument and Manifesto (SCM Press, 2006) and editor of Latin American Liberation Theology: The Next Generation (Orbis Books, 2005) as well as co-editor of the series Reclaiming Liberation Theology (SCM Press) RICHARD PITHOUSE is a research fellow at the University of KwaZulu-Natal in Durban, South Africa. He is editor of Asinamali: University Struggles in Post-Apartheid South Africa (Africa World Press, 2006). SATHYA RAO is Assistant Professor in French translation at the Department of Modern Languages and Cultural Studies, University of Alberta, Canada. His research fields include: theory of translation, continental philosophy, postcolonial studies, discourses on Africa, and Francophone cinema and literature. He has published articles in various peer-reviewed journals and written chapters in several collective books such as: De l'Ecrit Africain a l'Oral le Phenomene Graphique Africain, Simon Battestini (Ed.) (Paris: L'Harmattan, 2006) and Thèorie-rèbellion. Un Ultimatum, Gilles Grelet (Ed.) (Paris: L'Harmattan, 2005). He has a co-edited a book on Francophone African cinema L'Afrique fait son cinema (Montreal: Memoires d'encrier, forthcoming). Sathya Rao is vice-president of the International Non-Philosophical Organisation (INPhO), member of the Canadian Association of Translatology (CATS), coordinator of the research team Poexil, and Secretary of the Caribbean Philosophical Association. He is co-founder of an online journal Alternative Francophone. CATHERINE WALSH is Professor and Director of the doctoral program in Latin American Cultural Studies at the Universidad Andina Simon Bolivar in Quito, Ecuador. Her research interests include the geopolitics of knowledge, interculturality and concerns related to the Afro-Andean Diaspora and the production of decolonial thought. Among her recent publications are Pensamiento crìtico y matriz colonial (Quito: Abya Yala, 2005), "Interculturality and the Coloniality of Power. An 'Other' Thinking and Positioning from the Colonial Difference," in Coloniality of Power, Transmodernity, and Border Thinking, R. Grosfoguel, J.D. Saldivar, and N. Maldonado-Torres (Eds.) (Durham: Duke University Press, forthcoming) and "Shifting the Geopolitics of Critical Knowledge: Decolonial Thought and Cultural Studies 'Others' in the Andes," Cultural Studies (forthcoming). KRISTIN WATERS has published widely in the areas of race and gender. Her anthology Enlightened Conversations: Women and Men Political Theorists (Blackwell, 2000) challenges political theorists to be more inclusive of race and gender in their research and teaching. Her book Black Women's Intellectual Traditions: Speaking Their Minds, co-edited with Carol Conaway (University of Vermont Press, forthcoming), addresses the varied intellectual traditions of black women's thought that spans more than two hundred years in North America. She is currently Professor of Philosophy at Worcester State College and Visiting Research Associate at Brandeis University. (shrink)

This collection of essays is unlike others in the field of African studies, for it is based on three very precisely delineated focal points: a particular geographical region, the sub-Sahara; specific modes of cultural production, literature and cinema; and a focus on works of French expression. This three-fold approach to exploring the relationships between power and culture in a non-Western environment greatly contributes to making this book unique from a variety of perspectives: African, Francophone and postcolonial studies, (...) as well as cross-disciplinary, cultural, transnational and diasporic studies. Moreover, the book offers deft and innovative analyses that move beyond the rhetoric of crises on the African continent we so very often hear of, so as to present a critical reflection on the subject at hand that is specific to the sub-Sahara and at the same time intimately linked to global culture, economy and politics. The authors' three-fold approach also presupposes that disciplinary compartmentalization increases power conflicts in academia. If only in part, compartmentalization is the result of antagonistic and competitive relations between specialization and multidisciplinary education. This book is thus a modest attempt at presenting an alternative to excessively fixed and homogeneous academic frontiers while considering that disciplinary expertise remains a must. Keeping in mind that an increasing number of scholars in Anglophone Postcolonial studies and Francophone African studies have been attempting for quite some time now to open interstices and build crossroads that can better connect them to each other, keeping in mind that these scholars work at revealing mechanisms by which any antagonistic discourses can mix, influence, act upon or react to one another, this book seeks to take a constructive step in establishing enduring grounds for multidisciplinary, cross-disciplinary and transnational academic research and collaboration. (shrink)

Boys, Boyz, Bois concerns questions of ethics, gender and race in popular American images, national discourse and cultural production by and about black men. The book proposes an ethics of masculinity, as ethnics refers to a system of morality and valuation and as ethics refers to a care of the self and ethical subject formation. The texts of analysis include recent films by black/African American filmmakers, gansta rap and hip-hop and black star persona: texts ranging from Blaxploitation and New (...) Black Cinema to contemporary music video to autobiography and the public image of Sidney Poitier. The book is a significant contribution to cultural studies and gender studies and critical race theory. What is distinctive about the book is the question of ethics as a question of race and gender. (shrink)

The article reflects upon the possibility of educating sensitivity to the pain of the different Other by using feature cinema. The authors rely on the methodology suggested by Stanley Louis Cavell and Andrew Klevan, and also on the suggestions and conclusions by William B. Russell, III and Stewart Waters. The authors of this article reflected upon the results of their own interview with gymnasium students and selected three feature films suggested by them as a case study for the possibility (...) of developing not only critical thinking but also sensitivity to the pain of the unfamiliar Other. All three movies concern the humiliation and pain of the African people. The article raises questions for possible discussion in ethics class and suggests philosophical literature by E. Fromm, and K.R. Popper as a possible theoretical basis: moving from the concrete ethical problem discerned in the movie to the philosophical text and vice versa. (shrink)

In the past two decades, African American filmmakers like Spike Lee have made significant contributions to the dialogue about race in the United States by adapting techniques from classic _film noir _to black American cinema. This book is the first to examine these artistic innovations in detail from a philosophical perspective informed by both cognitive film theory and critical race theory. Dan Flory explores the techniques and themes that are used in black _film noir _to orchestrate the audience’s (...) emotions of sympathy and empathy felt toward morally complex characters whom people might not typically find appealing in real life, such as thugs, drug dealers, or murderers. Using an approach that combines the cognitive insights of theorists like David Bordwell, Noël Carroll, and Murray Smith with the reflective Wittgensteinian methods for considering film employed by Stanley Cavell, Stephen Mulhall, and William Rothman, Flory shows how these films scrutinize the state of race in America, induce their viewers to do so as well, and illuminate the ways in which categories of race have defined and continue to direct much of our vision of the moral self and what counts as appropriate moral sensibility. (shrink)

The Tanner Lectures on Human Values, founded July 1, 1978, at Clare Hall, Cambridge University, was established by the American scholar, industrialist, and philanthropist Obert Clark Tanner. Lectureships are awarded to outstanding scholars or leaders in broadly defined fields of human values and transcend ethnic, national, religious, or ideological distinctions. Volume 31 features lectures given during the academic year 2010–2011 at Yale University, The University of Utah, The University of Michigan, Stanford University, Princeton University, and Harvard University. _Contributors: __Rebecca Goldstein, (...) “The Ancient Quarrel: Philosophy and Literature” _ Rebecca Goldstein is a research associate in the Department of Psychology, Harvard University, and an award-winning novelist. _Spike Lee, “America Through My Lens: The Evolving Nature of Race and Class in the Films of Spike Lee” _ Spike Lee, a writer-director, actor, producer, author, and educator who has revolutionized the role of black talent in cinema, is widely regarded as today’s premiere African-American filmmaker. _Susan Neiman, “Victims and Heroes”_ Susan Neiman is the director of the Einstein Forum, an international interdisciplinary think tank in Berlin, and is the author of three books. _Elinor Ostrom, “Frameworks” and “Analyzing 100-Year-Old Irrigation Puzzles”_ Elinor Ostrom is Distinguished Professor, Arthur F. Bentley Professor of Political Science, and senior research director of the Workshop in Political Theory and Policy Analysis, Indiana University, Bloomington. _Robert Putnam, “American Grace: Religious Americans Are Nicer and Happier. Why?”_ and “American Grace: Americans Are Religiously Devout and Religiously Divided, yet Religiously Tolerant. Why?” Robert Putnam is Malkin Professor of Public Policy at Harvard University and has written more than a dozen books. _James Scott, “The Late Neolithic Multispecies Resettlement Camp” and “The Long Golden Age of Barbarians, a.k.a. Non-State Peoples”_ James Scott is the Sterling professor of Political Science and professor of Anthropology and director of the Agrarian Studies Program at Yale University. _Martin Seligman, “Flourish: Positive Psychology and Positive Interventions”_ Martin Seligman is Zellerbach Family Professor of Psychology at the University of Pennsylvania and director of the Positive Psychology Center. He is the author of twenty-one books and more than 250 articles. _Susan Smith, “Moral Maze: Dealings in Debt” and “Ethical Investment?: Attending to Assets”_ Susan Smith, Mistress of Girton College, Cambridge, researches the interdisciplinary world of housing studies. She has published more than 100 scholarly articles. (shrink)

Some time between the late 1960s and the early 1980s, my grandmother, Kira Razlogova, translated an African film at the Moscow International Film Festival. It was an official screening, with the ambassador of the African country present in the audience. She sat in a translator’s booth at the back of the theater, reading into the microphone from a printed French dialogue list just given to her. She had never seen this film before. She watched it now for the (...) first time through the window of her booth, and synced her reading to the spoken lines flowing into her earphones, lines in an African language she did not know. Loudspeakers transmitted her voice into the cinema hall over the partially muted original.. (shrink)

Language, Ideology, and the Human: New Interventions redefines the critical picture of language as a system of signs and ideological tropes inextricably linked to human existence. Offering reflections on the status, discursive possibilities, and political, ideological and practical uses of oral or written word in both contemporary society and the work of previous thinkers, this book traverses South African courts, British clinics, language schools in East Timor, prison cells, cinemas, literary criticism textbooks and philosophical treatises in order to forge (...) a new, diversified perspective on language, ideology, and what it means to be human. This truly international and interdisciplinary collection explores the implications that language, always materialising in the form of a historically and ideologically identifiable discourse, as well as the concept of ideology itself, have for the construction, definition and ways of speaking about 'the human'. Thematically arranged and drawing together the latest research from experts around the world, Language, Ideology, and the Human offers a view of language, ideology and the human subject that eschews simplifications and binary definitions. With contributions from across the social sciences and humanities, this book will appeal to scholars from a range of disciplines, including sociology, cultural studies, anthropology, law, linguistics, literary studies, philosophy and political science. © Sanja Bahun, Dušan Radunović and the contributors 2012. All rights reserved. (shrink)

The term “dividual” aims to present a critical view of the Western conception of persons and artworks as individuals. It is used in Euro-American anthropology in order to analyze the practical and ethical interferences between single persons and communities mainly in non-Western cultures. It is also used by Gilles Deleuze in Cinema 1. The Movement-Image in order to describe the aesthetic and self-affective character of films: since the filmic images cannot be temporarily fixed and individualized, he calls them “dividual”, (...) much like contemporary plurivocal musical compositions. He reads their articulations as transitions between temporarily varying semiotic combinations; thus, they are not “‘divisible or indivisible’, but ‘dividual.’”(14) Referring to this Deleuzian concept, I want to delve into different films under this aesthetic perspective, exposing their character of mutual allusions and formal adaptations: from a docufiction by Jean Rouch to feature films by Jean-Luc Godard, Med Hondo and Jean-Pierre Bekolo. These films dividuate themselves due to their aesthetic interferences and the curious observation that certain European film styles were “invented” in an African context. (shrink)

Lena Horne was the first African-American woman to be signed to a contract to a major Hollywood studio, who did however not know what to do with her. Her >colour< – in her voice as well as her looks – meant that she did not fit into the racial hierarchies of the day and she was largely confined oppressively to the margins. However, she was also able to some degree, and in collaboration with other African-American figures in Hollywood, (...) to use this to give a glimpse of African-American modernism in Hollywood cinema. This is thus a case study of cultural production as struggle. (shrink)

Like many sociocultural phenomena in Brazil, popular music, as everyone knows, is the result of a meeting of influences. It could almost be said that it is born a cross-breed, given the half-European, half-African origins of its best-known first genres, lundu, choro and maxixe. As a result of its history it comes under the sign of the Cannibalism, the metaphor invented by modernist writers in the 1920s to refer to the ‘ritual devouring’ by which Brazil assimilated foreign values and (...) made them its own.Caetano Veloso and Gilberto Gil readily used the concept of Cannibalism at the end of the 1960s, when they founded Tropicalismo, which claimed a mixture of genres, styles and arts as its basis, and married international pop music and Brazilian traditions, electric guitars and berimbau. Tropicalismo as such only lasted for a few months, but the ideas which it promoted profoundly marked contemporary Brazilian culture. Caetano Veloso returned to the history of this movement in Verdade Tropical, an autobiographical work in which he reveals his thoughts on a number of subjects close to his heart: music, the cinema, masters/teachers, friends, family, love, sexuality freedom, prison, exile, books, language, etc. For this author, composer, performer, actor, director, poet and prose writer, inveterate and voracious reader and incorrigible chatterbox, anything to do with human beings is fair game. For Caetano loves words, and loves to talk about words. As early as the acknowledgements page he praises Unamuno, the author, according to him, of comments which are “the most moving that a foreigner has ever written about the Portuguese language”. And in a chapter entitled ‘Língua’ he mentions not only the songs he has written in English and his interest in the Anglo-Saxon language, but also his attachment to Romance languages in general and Portuguese in particular. (shrink)

The Fold is a book of practical philosophy that takes a radical new approach to aesthetics. Laura U. Marks calls this philosophy "enfolding-unfolding aesthetics," based in ideas derived from Gilles Deleuze and others (G.F.W. Leibniz, David Bohm, and Édouard Glissant) that the universe is folded in on itself. She proposes a theory of mediation as contact and connection across the folds and a set of embodied methods for detecting such cosmic connections. In drawing out this aesthetics, Marks considers the embodied (...) and sensuous dimensions of engaging with audiovisual works and works of art-dimensions that Marks suggests are composed of the very folds that compose everything and everyone: all living beings, from humans to particles, sandwiches to stars, technologies, thoughts and images, in the present, the past, and the future. Making use of art and film, with a focus on African diaspora and Arab cinema, Marks opens ways to strengthen connections to the cosmos and to better trace processes of becoming that are immanent within the fold. (shrink)

The article analyzes the ideological support of the life cycle of the industrial education system. The dynamics of such a system in time is estimated, as well as the influence of ideology on the formation of the information education system at the beginning of the XXI century. The life cycle of education is considered as a multi-stage process, which is characterized by both unpredictable changes in its properties and the presence of predictable parameters. The development of the education system is (...) mediated by the division of social labor and is limited in time and space by the properties of the “social organism” of a particular civilization. The life cycle of the industrial education system consists of four stages: origin ; growth ; maturity ; decline. At the stage of origin, dominated predominantly the religious-state form of ideology, which was spontaneous in origin, did not have a formalized ideologeme and was initiated from religious consciousness, as well as theological philosophy, cultivated a matrix of religious values. At this stage the state, although it participated in the management of human behavior, was in secondary roles and performed the corresponding functions with the help of violence. At the stage of growth, ideology received a theoretical basis, corresponding social movements also appeared, the most powerful of which were liberalism and Marxism, formed two ideologically opposite social systems: capitalist and socialist. At the stage of maturity, ideology brought social systems to the plane of technocratism, which happened as a result of maximizing the role of science and rationality. Because of this, other ways of producing socially significant ideas were blocked, that is, their sources such as art, theater, cinema, religion, etc. At the stage of decline, the ideology of radical rationalism found itself in the horizon of the ideas of multiculturalism. Since powerful migratory movements of the population arose on the territory of the African, European and American continents, these processes naturally raised the question of new cross-cultural social structures, as well as the modernization of systems of modern general and vocational education. (shrink)

Le Burkina Faso comporte, en plus du français, « langue officielle », environ une soixantaine de langues locales dites « langues nationales ». Malgré des lois favorables à l’égalité des langues, on constate dans la pratique une hiérarchisation linguistique qui consacre la domination du français sur les autres langues. Dans ce contexte plurilingue, on pouvait s’attendre à ce que la traduction puisse contribuer à la préservation de la diversité linguistique et culturelle du pays, voire à l’enrichissement des langues nationales. Mais (...) l’analyse de la traduction littéraire et audio-visuelle révèle une direction qui reflète cette hiérarchisation des langues. En effet, la traduction entre langues européennes est de loin la plus importante, en particulier entre le français et l’anglais. La traduction entre les langues nationales n’existe pas. Dans le domaine audio-visuel, en particulier le cinéma, le sous-titrage se fait toujours des langues nationales vers les langues européennes. En l’absence d’une politique linguistique et d’une politique de traduction, la traduction ne peut pas jouer son rôle de promotion des langues et de préservation de la diversité culturelle.As well as French, its “official language”, Burkina Faso has about 60 local languages that are referred to as “national languages”. Despite legislation in favour of language equality, there is, in practice, a distinct hierarchy that has enshrined the domination of French over other languages. In this multilingual context, it might have been expected that translation would help to preserve the country’s linguistic and cultural diversity, and even to enrich its national languages. However, our analysis of literary and audio-visual translations shows that the translating directions reflect the existing hierarchy between languages. Translations between European languages are by far the most common, especially between French and English. There is no translation at all between the national languages. In the audiovisual field, especially in films, sub-titles are always translated from national languages into European languages. Without language or translation policies, translation cannot play its part in promoting languages and preserving cultural diversity. (shrink)

This article develops an argument about the time-image in the thought of Gilles Deleuze, and relates it to a broader Continental philosophy of technology and culture, including Kant, Heidegger, Walter Benjamin, Jean Baudrillard, Paul Virilio and Antonio Negri. After grounding a consideration of Deleuze in relation to Heidegger's thesis concerning technology, a constructive interpretation of the time-image is developed in the context of Deleuze's work. The time-image is related to Deleuze's early work on Kant's philosophy and his book Difference and (...) Repetition, as well as to his important books on cinema, in which the time-image is opposed to the movement-image. The time-image is seen to make up the heart of subjectivity, because it concerns not only external technologies, but also how the self relates to itself internally. This understanding of the time-image is then contrasted with the work of Baudrillard and Virilio. Finally, the contrast between the time-image and the movement-image is shown to possess political implications, partly with the help of Negri. S. Afr. J. Philos. Vol.24(3) 2005: 176-188. (shrink)

Swiss and Japanese villagers have learned the relative benefi ts and costs of privateproperty and communal-property institutions related to various types of land and uses of land. The villagers in both settings have chosen to retain the institution of communal property as the foundation for land use and similar important aspects of village economies.1..

Philosophy in Africa has for more than a decade now been dominated by the discussion of one compound question, namely, is there an African philosophy, and if there is, what is it? The first part of the question has generally been unhesitatingly answered in the affirmative. Dispute has been primarily over the second part of the question as various specimens of African philosophy presented do not seem to pass muster. Those of us who refuse to accept certain specimens (...) as philosophy have generally been rather illogically said also to deny an affirmative answer to the first part of the question. In a paper presented at the International Symposium in Memory of Dr William Amo, the Ghanaian philosopher who taught in German universities in the early part of the eighteenth century, Professor Odera Oruka identified four trends, perhaps more appropriately approaches, in current African philosophy. (shrink)

This research examines the problem of censorship in the Libyan context from a historical and ideological standpoint. Libyan cinema has not gotten as much academic attention as Middle Eastern nations like Egypt, Syria, Lebanon, and Palestine. In addition to providing a historical overview of Libyan cinema, this study carefully investigates the settings that influenced Libyan national cinema from the perspectives of people who work in this industry there. To learn more about the problems with censorship in Libyan (...) cinema before and after 2011, 25 individuals were interviewed informally between July 2018 and February 2019. Twenty-five people were the maximum because many were reluctant to give interviews due to safety concerns, which participants also mentioned. Data analysis was done using Nvivo 14. The data gathered identified two problems—safety and censorship—that have long plagued Libyan cinema. All panelists agreed that the Libyan film industry needs to advance in governing authorities, censorship, inventiveness, and how films engage with society's members. (shrink)

In our age of globalization, we need a theory of global management consistent with our common human nature. The place to begin in developing such a theory is the philosophy of traditional cultures. The article focuses on African philosophy and its fruitfulness for contributing to a theory of management consistent with African traditional cultures. It also looks briefly at the Confucian and Platonic-Aristotelian traditions and notes points of agreement with African traditions. It concludes that the needed theory (...) of global management should regard the firm as a community, not a collection of individuals, and should understand the purpose of management as promoting the common good. (shrink)

Rapid advances in high throughput genomic technologies and next generation sequencing are making medical genomic research more readily accessible and affordable, including the sequencing of patient and control whole genomes and exomes in order to elucidate genetic factors underlying disease. Over the next five years, the Human Heredity and Health in Africa (H3Africa) Initiative, funded by the Wellcome Trust (United Kingdom) and the National Institutes of Health (United States of America), will contribute greatly towards sequencing of numerous African samples (...) for biomedical research. (shrink)

Professor Peter Bodunrin's paper ‘The Question of African Philosophy’ 161–179) has, as it were, become the first question for most African scholars, teachers or students, starting a course in African philosophy. In most of the discussions, the controversy over what constitutes an African philosophy tends to dominate, sometimes so much that it forms almost the entire content of the course.

P. O. Bodunrin, in his 1981 essay, asks: ‘Is there an African Philosophy, and if there is, what is it?’ This question has occupied centre stage among younger African intellectuals for about a decade now. The most articulate among these intellectuals, who are themselves philosophers, are Bodunrin , Kwasi Wiredu , H. Odera Oruka , Marcien Towa and Eboussi Boulaga , and Paulin Hountondji . These philosophers among others are in dialogue with one another and currently are seen (...) to be the principal architects of a new orientation in African thought. (shrink)

This book interprets relationships among art and ethics in the context of contemporary South African art. Nearly three decades after inaugurating political freedom in a democratic form, the infrastructure of South Africa faces palpable issues and challenges to the social fabric. The social tension involves painful struggles for decolonization and violent debates about the removal of colonial statues, change of colonial names, transformation of universities, and curriculum change. This book does critical work in art history, theory, criticism, and visual (...) culture by looking from and looking after social differences to interpret the potential impact of contemporary media and mediation. Artists examined include Zanele Muholi, Mohau Modisekeng, Dineo Seshee Bopape, Hasan and Husain Essop, and Kemang Wa Lehulere. The book will be of interest to scholars working in art history, contemporary art, visual culture, art theory, ethics, aesthetics, philosophy of art, and African studies. (shrink)

This book explores the influence of ubuntu on South Africa’s post-apartheid transitional justice mechanism, the Truth and Reconciliation Commission, and—in contrast to ethnophilosophy—takes differences, historical developments, and social contexts seriously.

A practice, a technique, an expertise cannot be left unexplored by an account that can explain their basis and organization as well as their objectives. Whether the internet is understood as a practice, or seen as a journey through a space that knows no borders, or cursed as humanity overreaching itself yet again (hybris), nevertheless its reality raises questions about our experience of the world (experimentum mundi) and explores its nature, giving an exact measure, beyond assumptions, of the relationship between (...) humans and machines. With this in mind a multicultural, multidisciplinary study was set up in the USA through the publication of Academy and the Internet, jointly edited by Helen Nissenbaum and Monroe Price (2004). The book sets out to examine the relations between the internet and economic issues, the internet and social problems of equality, politics (the question of public space), the communicative relationship in a virtual world. Interculturally speaking, only the Chinese contribution gives the debate - which is almost tribal since it is American to the core - an off-centre tone. A debate makes statements and analyses, but it also omits and may skate over other perspectives. Africa, which is absent from this debate, almost forces its way in via this paper. What is the position with the relationship between the internet and present-day African experience? Hardly coping as it is with the consequences of the recent introduction of writing, how is Africa experiencing this internet adventure, in which the status of images, words and time seems to be called into question? This brief presentation will look first at the status of technoscience - under which heading the internet is subsumed in Africa - and then at the challenges the internet throws up in the region. Our method will be to examine internet capacities from the viewpoint of oral cultures that are dominated economically. (shrink)