Gerhard Krüger aborde le conflit entre la pensée scientifique moderne et la foi chrétienne. Il cherche à répondre aux questions suivantes : comment et pour quelles raisons ce conflit a-t-il vu le jour? À quoi tient-il essentiellement? La compréhension de l’advenir temporel qui sert de fondement à la pensée scientifique moderne n’offusque-t-elle que la foi chrétienne, ou l’homme en tant qu’être agissant est-il lui aussi concerné par le conflit qui les oppose? Et quelle réforme ou concession une résolution satisfaisante dudit (...) conflit exige-t-elle de la pensée moderne? (shrink)

This essay identifies and intervenes in the limitations of both the social and the medical models of disability in the postcolonial context, suggesting that those limitations may apply to theorizations of disability more broadly. It suggests that Bessie Head's novel A Question of Power, which represents mental illness and disability without positing a stable etiology for them, illustrates the inapplicability of these ways of thinking about disability under instances of extreme precarity. As such, Head offers a test case for how (...) mental illness and disability writ large might be theorized without the suppositions implicit to the liberal subject. (shrink)

Mitchell: Could we begin by discussing the problem of public art? When we spoke a few weeks ago, you expressed some uneasiness with the notion of public art, and I wonder if you could expand on that a bit.Kruger: Well, you yourself lodged it as the “problem” of public art and I don’t really find it problematic inasmuch as I really don’t give it very much thought. I think on a broader level I could say that my “problem” is with (...) categorization and naming: how does one constitute art and how does one constitute a public? Sometimes I think that if architecture is a slab of meat, then so-called public art is a piece of garnish laying next to it. It has a kind of decorative function. Now I’m not saying that it always has to be that way—at all—and I think perhaps that many of my colleagues are working to change that now. But all too often, it seems the case.Mitchell: Do you think of your own art, insofar as it’s engaged with the commercial public sphere—that is, with advertising, publicity, mass media, and other technologies for influencing a consumer public—that it is automatically a form of public art? Or does it stand in opposition to public art?Kruger: I have a question for you: what is a public sphere which is an uncommercial public sphere? Barbara Kruger is an artist who works with words and pictures. W. J. T. Mitchell, editor of Critical Inquiry, is Gaylord Donnelly Distinguished Professor of English and art at the University of Chicago. (shrink)

This commentary draws critical attention to the ongoing commodification of trust in policy and scholarly discourses of artificial intelligence (AI) and society. Based on an assessment of publications discussing the implementation of AI in governmental and private services, our findings indicate that this discursive trend towards commodification is driven by the need for a trusting population of service users to harvest data at scale and leads to the discursive construction of trust as an essential good on a par with data (...) as raw material. This discursive commodification is marked by a decreasing emphasis on trust understood as the expected reliability of a trusted agent, and increased emphasis on instrumental and extractive framings of trust as a resource. This tendency, we argue, does an ultimate disservice to developers, users, and systems alike, insofar as it obscures the subtle mechanisms through which trust in AI systems might be built, making it less likely that it will be. (shrink)

Cutting below tho verbal forms of literature in search of the deep lying philosophy of the mas is a procedure destined both to deepen and interest the mind. Mr. Kruger has chosen, from the pages of John Milton, a passage provocative of thought in that it links with Molinism the name of this great artist of literature.

An examination of the specifically graphic-novelistic strategies employed in Art Spiegelman's graphic memoir, Maus, in leading the reader into a punctuated experience of time and memory, and in forcing complicity with the novel's problematic animal-as-ethnicity metaphor, in a wider attempt at putting together the critical vocabulary for discussing comic books as simultaneously textual and pictorial ‘texts’.

Insofar as development implies economic growth, the term ‘sustainable development’ appears to some as a contradiction in terms. However, such conclusions still lack a thorough examination of the conceptual structure of the two terms between which there is a purported contradiction. In order to address this issue, the present paper scrutinises some of the assumptions which underwrite the ideologies of sustainability and of development. It is argued that there are key assumptions which both ideas have in common, and that sustainable (...) development is thus perfectly coherent on a conceptual level. It is alternatives which retain either term (such as ‘sustainable degrowth') that are embroiled in paradox. The paper then examines two concepts for criticising the ideology of economic growth in other terms: dépense and conviviality. It is argued that the latter is preferable to the former for the purpose of developing post-sustainable critiques of growth. (shrink)

Gerhard Krüger s’interroge sur la genèse, le sens – tout autant philosophique qu’historique – et les résultats de la philosophie romantique. Il s’efforce de démontrer que le romantisme est une réaction à une décision antérieure qui avait fondé l’ Aufklärung : le retrait de la pensée dans le for intérieur de la conscience réflexive, la séparation entre le Selbst pensant et le corps propre, la communauté politique et Dieu. Le romantisme part du constat d’une douloureuse absence de contenu dans l’existence (...) moderne. L’intention qui anime la philosophie romantique dans son ensemble – chez Fichte, Schelling et Hegel est de soulager cette douleur en rendant par divers moyens à l’homme moderne ce dont la fondation de l’ Aufklärung avait exigé qu’il se sépare. (shrink)

Marlene van Niekerk's 1994 Triomf is a plaasroman, or farm novel, without the farm; it formally resembles a nostalgic pastoral genre initiated by the collapse of Southern African agricultural economy around the time of the Great Depression, but removes even the symbol of the farm as aesthetic compensation for material loss. In the process, van Niekerk composes a post-apartheid tragicomedy of a lumpenproletariat white supremacist family coming into long-belated class consciousness, an epiphany which, surprisingly, survives the novel's translations from Afrikaans (...) to South African English to 'international' English. Crucially, this understanding is mediated by a critical tendency to appraise Triomf in the context of Faulkner and the Southern Gothic, a generic comparison which gets a lot wrong but is ultimately very revealing, less about Triomf than about the imperial world-system through which it circulates and is consecrated. Consequently, the novel stages globally what seems at first to be a parochial question: how is one supposed to imagine democratic reconciliation and integration after apartheid, when one of the classes to be reconciled lacks historical self-consciousness and has no obvious place in either the apartheid regime or the post-apartheid dispensation? By analyzing van Niekerk's novel and the institutions which consecrate it, the paper fleshes out critiques of world-literary hermeneutics, specifically for its naive handling of genre and context, and of post-apartheid 'reconciliation' under capital. (shrink)

Menschenaffen erganzen ihr Instinkt- und Triebleben positivistisch durch individuelle Intelligenz, Sozialitat und Kulturalitat.

This chapter sketches a literary history of writing the colonial interregnum through the comparison of a canonical Dublin text and its filmic adaptation with a canonical Johannesburg text and its filmic adaptation. Njabulo Ndebele’s short story ‘Fools’ (1983) repurposes formal elements from Joyce’s ‘The Dead’ (1914), transposing strategies for representing late colonial Dublin to a Johannesburg township during the height of apartheid in a context of extreme racial domination; beginning with close comparative readings of both stories, my chapter argues that (...) the context in which ‘Fools’ emerges determines the significance of its reappropriation of Joycean formal devices and simultaneously forces a re-reading of Joyce’s flirtation with bourgeois naturalism in ‘The Dead.’ Further, the respective publishing contexts of ‘Fools’ and ‘The Dead’ go on to determine their reception and recirculation, as demonstrated by the diverse histories of the American John Huston’s adaptation of ‘The Dead’ (1984), and Ramadan Suleman’s South African adaptation of ‘Fools’ (1997). In following this circumatlantic history of influence and adaptation from Joyce to Ndebele to Huston to Suleman, across hemispheres and media, I mean to articulate a relationship between modernist form and forms of modernity, particularly as those forms that appear and reappear in the global south over the course of the long twentieth century. Particular attention is paid here to the history of underdevelopment in the global south and how it impinges upon the production and circulation of literary adaptations. (shrink)

In this article the public-theological motives in the film As it is in heaven is analised to demonstrate the film producer Kay Pollack's ideal to communicate through the film that people should live their lives here and now authentically without seeking excuses for being happy. In this article the principles of narratology is applied in the analysis of the film's plot, characterisation, plotted time and narrated spaces. It is also argued that the protagonist in the film can be regarded as (...) a 'Christ-figure' and that the film conveys a 'Christ narrative' in a secularised context. Societal issues such as emotional abuse and violence against children, women, people with disability and animals constitute building blocks of the narrative. Ecclesiastical hypocrisy and outdated sexual values endorsed by the institutional church are replaced by a choir consisting of common people which leads a whole world to sing in harmony. (shrink)

Two recent lines of inquiry that have emerged in educational philosophy and research are the turn to affect theory and the call for decolonising education. Although there have been some efforts to bring these two lines of inquiry together and inform educational philosophy and research, there is still important conceptual work to be done, especially in the context of peace education, our focus in this paper. To initiate this work, we consider the concepts of affective atmospheres and atmospheric attunements that (...) have been discussed within the context of affect theory. Drawing on these two concepts, we argue that fundamental to any attempts to decolonising peace education is elucidating the coloniality of affects. This is a necessary step towards dismantling the colonial affects that permeate peace education praxis and are maintained through perceptions of peace and conflict embedded within a Western, Eurocentric frame. The paper analyses the theoretical insights emerging from bringing these concepts together to bear on the decolonisation of peace education and discusses some political possibilities that are also enabled. (shrink)

This paper intends to explore the prospects of a realistic view of scientific explanation, according to which the objects and structures occurring in the explanation must have real referents. Theories involving probability either lose their explanatory function or become counter-examples to this view, if real referents of probabilistic notions do not exist. It is argued that such referents can be found for statistical mechanics and quantum mechanics: the overall structure of mass phenomena that renders them capable of irreversible developments and (...) equilibrium states, and the inherent propensities of elementary systems. The present lack of a theoretical connection between these two referents impedes the recognition of the reality of probability in nature. (shrink)