La idea de industria colonial en Jean Godefroy Bidima y la crítica de Fabien Eboussi Boulaga

• Adoulou Bitang ^[1]
  1. [1] Tel Aviv University

     Tel Aviv University

     Israel

     
• Localización: Estudios de Filosofía, ISSN-e 2256-358X, ISSN 0121-3628, Nº. 68, 2023, págs. 87-108
• Idioma: español
• DOI: 10.17533/udea.ef.351763
• Títulos paralelos:
  • The Idea of colonial Industry in Jean Godefroy Bidima and the Critique of Fabien Eboussi Boulaga
• Enlaces
  • Texto completo
• Resumen
  • español

    En este artículo, sostengo que el concepto de industria cultural desarrollado por Max Horkheimer y Theodor W. Adorno tuvo una influencia decisiva en la crítica de Jean Godefroy Bidima a la modernidad del África negra. Basándome en algunos de sus escritos, intento demostrar cómo el empeño filosófico de Bidima hereda el concepto de industria cultural y lo aplica al contexto moderno del África negra, donde se trans- forma en el concepto de industria colonial. En ambos casos, está en juego la misma perspectiva crítica, a saber, formular una amplia crítica del modo en que los productos culturales (las obras de arte en Horkheimer y Adorno, y la filosofía en Bidima) se ven privados de su sustancia para alinearse con la mistificación de las masas. La crítica de la industria cultural, que en Adorno sirve como crítica fundamental de la producción del arte moderno y su decadencia en producción de masas, sirve, revisitada en Bidima, como crítica del discurso filosófico moderno negro-africano. Con la luz que proporciona esta conexión, propongo una relectura de la crítica de Bidima a Fabien Eboussi Boulaga, presentando a este último como promotor de un “discurso de dominio” en la filosofía moderna negro-africana.

  • English

    In this paper, I argue that the concept of culture industry developed by Max Horkheimer and Theodor W. Adorno had a decisive influence on Jean Godefroy Bidima’s critique of black African modernity. Drawing on some of his writings, I seek to demon- strate how Bidima’s philosophical endeavor inherits the concept of culture industry and applies it to the modern context of black Africa, where it is transformed into the concept of colonial industry. In both cases, the same critical perspective is at play, namely to formulate a broad critique of how cultural products (artworks in Horkheimer and Adorno, and philosophy in Bidima) are deprived of their substance to align with the mystification of the masses. The critique of the culture industry, which serves in Adorno as a fundamental criticism of the production of modern art and its decadence into mass production serves, revisited in Bidima, as a critique of the modern black African philo- sophical discourse. With the light provided by this connection, I propose a rereading of Bidima’s critique of Fabien Eboussi Boulaga, the latter being presented as a promoter of a “discourse of mastery” in black African modern philosophy.

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