Over the past thirty years much has been written about the critical theory of society that was produced by a small group of left-wing Hegelians in the Institute of Social Research in Frankfurt am Main, Germany and in the United States. This book seeks to make a contribution to the continued development of the critical theory of society and religion as it offers a corrective to the one-sided, positivistic development of the modern social sciences as well as to the increasing (...) social irrelevancy of the contemporary Christian church. (shrink)

In our essay we trace the evolution of the critical theory of religion, or comparative dialectical religiology, out of the critical theory of society of the Institute for Social Research or the Frankfurt School. For us, the history of religions reflects the history of humanity’s intellectual and spiritual evolution. As we developed our critical theory of religion, we have tried to supersede concretely the great accomplishments of three generations of critical theorists, particularly in the field of religion. One main theme (...) of our critical theory of religion is the dialectic of two modes of existence: having and being; egoism and altruism. As we determinately negated the critical theory of society into our comparative dialectical religiology, we also penetrated deeper into its roots in the works of Kant and Hegel, Marx and Freud, Judaism and Christianity, particularly into the mystical theology of the great dialectician Meister Eckhart and of his many modern followers. We conclude our essay with the vision of the City of Being. (shrink)

This book features writing by 17 authors from Germany and from African and Latin American countries on highly diverse aesthetic phenomena as seen from their own different points of view. The texts in this volume all deal with the imperative of ‘decolonization’: they try to highlight aesthetic strategies for the (re)discovery of unthematized, misappropriated, transcultural and even transcontinental histories and memories and aesthetic practices that are absent from or too little perceived within national consciousnesses. Novels, poems and musical performances from (...) the East African region are analysed as intertwined histories of the Indian Ocean and its different languages. Artworks of the Black Atlantic and perceptions of Africa are discussed from, for example, Brazilian perspectives. Within the German context, decolonisation strategies in exhibition practices in ethnological or art museums developed by Nigerian artists are evaluated; new terms such as ‘dividuation’ are proposed to describe these contemporary composite-cultural entanglements, and so on. A stimulating, wide-ranging and heterogeneous portrait of contemporary interwoven world cultures! (shrink)

To highlight the interdependencies of persons, cultures, social, ecological, and artistic entities as a precondition for a planetary thinking or a world philosophy, this essay offers a short reconstruction of the coinage and transfer of the term “culture” in the European-African-Antillean context. It underlines that a world philosophy can no longer be executed on ideas of individual entities and corresponding opposites such as “European vs. African” and so forth. The author cites cultural understandings of different authors of the Global South (...) as examples of affirmed cultural mixtures and of their mutual participations to bring about a philosophy of relation and dis-individuation. The argument is this: the world of today needs new terms to be conceived adequately in its cultural, social, eco­logical, and artistic interdependencies. The old term, “the individual,” must be replaced by the new term, “dividual” or “dividuation,” thereby underlining the processuality and intermixing of all sorts of entities, helping to move toward a decolonized philosophy of the world. (shrink)

The publication aims to make suggestions for a 'decolonisation of aesthetics' within an Afro-European framework. The texts (whose authors come from different cultural contexts between Germany, France, Senegal, Benin, Nigeria and Tunesia) do not only refer to heterogenous aesthetic practices understood as subversive and decolonial strategies, but also discuss philosophical questions of a renewed (non-in)dividual humanism. The artistic practices analyzed include artistic installations and ensembles as well as actions in urban and rural space, deceptive manœuvres at the borders and their (...) photographic documentation, and many more. (shrink)