By Caroline Rooney
This booklet marks a tremendous contribution to colonial and postcolonial reports in its rationalization of the African discourse of attention and its far-reaching analyses of a literature of animism. will probably be of serious curiosity to students in lots of fields together with literary and important thought, philosophy, anthropology, politics and psychoanalysis.
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Additional info for African Literature, Animism and Politics (Routledge Research in Postcolonial Literatures, 4)
206). So, both the erecting of divine paternal origin and the refusal of it are cases of opposing fetishism, the worship of false gods: either he is a true god against all the false gods, or he is a false god like the other false gods. But might there not yet be a refusal of divine paternal origin – in just its singularity – that might be in favour of increasing, not reducing, fetishism: the many true gods? The actual father of Laurence Bataille was Georges (the politically engaged thinker, novelist, poet, mystic, famed for his philosophy of extreme expenditure).
267). It is at this point that Lacan contrasts the inhumanity of the martyrs with the humanity of Creon, of whom he says: ‘he is … like all executioners and tyrants at bottom, a human character’ (p. 267). What Lacan says here seems to draw on Hegel’s reading in the Lectures on the Philosophy of Religion where it is said: ‘Creon is not a tyrant, but actually an ethical power (eine sittliche Macht). ’22 Furthermore, according to Hegel, both he and Antigone are one-sided 40 Clandestine Antigones and the pre-post-colonial in their ethical powers, and there is both justice and injustice in this one-sidedness.
He speaks of the ‘imponderable’ here, whilst I will come to address an Africa given as unthinkable. Second, Fanon makes the point that a culturally specific Bantu philosophy is not capable of extending itself to an analysis of colonial exploitation. While there could be arguments for and against this, Fanon goes on to proclaim Bantu society as surpassed, and this is a sweepingly rhetorical and wilful gesture in that it shows ignorance of African history and appears to be based on Fanon’s own personal sense of alienation in having lost an African inheritance and having acquired an identification with French culture.
African Literature, Animism and Politics (Routledge Research in Postcolonial Literatures, 4) by Caroline Rooney