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African aesthetic

Artefilosofia Journal

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Published on Thursday, April 25, 2019 by Céline Guilleux

Summary

In the history of Africa are involved events of invasion, rape, enslavement, plundering of natural wealth and robbery of artistic heritage. These actions, practiced for centuries, were sustained by the white belief of “superiority” committed to constructing an ideological discourse, supported by a discourse that scientifically attributed the “innate inferiority” of the Black African. The institutionalization of racism favored and guided the creation of ethnographic museums in the colonizing countries, which reproduced and still reproduce theories based on a supposed exoticism, primitivism and inferiority of the peoples that inhabit Africa.

Announcement

Argument

In the history of Africa are involved events of invasion, rape, enslavement, plundering of natural wealth and robbery of artistic heritage. These actions, practiced for centuries, were sustained by the white belief of "superiority" committed to constructing an ideological discourse, supported by a discourse that scientifically attributed the "innate inferiority" of the Black African. The institutionalization of racism favored and guided the creation of ethnographic museums in the colonizing countries, which reproduced and still reproduce theories based on a supposed exoticism, primitivism and inferiority of the peoples that inhabit Africa. In recalling these facts, we recall that although masks, sculptures and other African productions did not have their recognized art status, they were classified as below the level of art by the settlers; although African artists and men were expropriated and enslaved; although official prohibitions on access to certain materials, such as gold, have already been created for blacks; despite a whole coercive structure of ensuring the stability of the system keeping Africans and their descendants under constant terror, brutality and ignorance. Yet the artistic manifestations of the peoples of Africa, inhabitants of the continent or in diaspora, were not silenced. Africans have been able to resist dehumanization and have continued to develop their artistic productions.

Thus, with the realization that African aesthetics is a topic still little explored in philosophy, we invite researchers to publish articles that deal with such theme. And starting from the fact that aesthetics is a science of sensitivity, then we pose the question: what affections are produced when we articulate the image of Africa with our sensitivities? For this, it is necessary to oppose colonial discourse and the belief in modernity as a Western narrative to give legitimacy to African voices. With this, this dossier will accept texts that encourage rethinking through artistic manifestations in its multiple languages as the idea of Africa becomes a sign (MBEMBE, 2015) contemporary with decolonization not only on the continent (DIAGNE, 2007; MUDIMBE, 1990) , but also in the diaspora through ancestry or in the construction of black discourse territorial (SODRÉ, 1987).

Dossier organizers

Dr. Luis Thiago Dantasand Dr. Rizzia Rocha 

Submission 

Deadline for submission: 30/08/2019.

Norms to be followed in submitted works:

Papers must have a maximum of 20 pages in the following format: A4, Word document, Times New Roman 12 font, "normal style" or "body text", single line spacing, justified paragraphs, and margins of 3 cm, avoiding the use of advanced editing features such as outline and the like.

All papers must present: title and abstract in Portuguese and English, with a maximum of 200 words; keywords in both languages. Authors: should not be identified anywhere in the text of the article (double blind peer-review system).

Guidelines

The author's mini-biography, institutional affiliation and e-mail address must be informed in the submission form, not in the body of the text.

Bibliographic references should be listed at the end of the text, in alphabetical order, according to ABNT norms.

Illustrations: charts, tables, drawings, maps etc. should be numbered and titled as close as possible to the element to which it refers, indicating its source. Image reproduction rights must be obtained by the authors themselves.

Citations: for citations in the text should be adopted the numerical system (NBR 10520: 2002). The indication of the source is made by single and consecutive numbering, in Arabic numerals, with the footnote being referenced by the complete reference in the first mention, and must contain Author's last name (followed by a comma), first names (followed by a period); Title of the work in bold (followed by period); editing (followed by period); local (followed by colon); editor (followed by a comma); year of publication (followed by period); if applicable, indicate the volume or issue) and finally the source page. In the second mention Surname of the author (followed by comma); first names (followed by a comma); op.cit. (in the cited work); source page. When the notes of the same author are in sequence, the Latin expressions can be used, followed by the page number quoted. A) apud: second-hand citation; cf: confronting refers to; ibid in the same work cited (same author, same work, but different pages); id same author (same author, same work, same page); op.cit. in the work cited. Short direct quotes (up to three lines) must be enclosed in quotation marks and incorporated into the text and without changing the font. Long citations (more than three lines) must have a 4 cm indentation of the left margin, with lower letter than the used text (11 point size) and without quotation marks. Indirect citations should come without quotation marks. Quotes of citations may use the expression apud and the original work to which the consulted author is referring must be cited. For other information about the use of citations, the author should consult ABNT (NBR 10520: 2002).

References must be presented in alphabetical order. Bibliographical references should be elaborated according to the provisions of NBR 6023: 2002, of the Brazilian Association of Technical Standards (ABNT), with only essential elements.

Bibliographic Reference Model of book

SURNAME, Name of the author; SURNAME, Name of the author. Book title: book subtitle. Edition. Location: Publisher, year. Xx p.

Bibliographic reference model of book available online:

SURNAME, Name of the author; SURNAME, Name of the author. Book title: book subtitle. Edition. Location: Publisher, year. Xx p. Available in. Access in: DD / MM / YYYY.

Bibliographic reference model of article published in periodical:

SURNAME, Name of the author; SURNAME, Name of the author. Title of the article. Name of the journal, City, v.00, n.11, p.111-222, jan. 2012.

Bibliographic reference model of an article published in a periodical available online:

SURNAME, Name of the author; SURNAME, Name of the author. Title of the article. Name of the journal, City, v.00, n.11, p.111-222, jan. 2012. Available in: Access in DD / MM / YYYY.

ArteFilosofia – Biannual Journal

Journal of Aesthetic and Philosophy of Art. Graduation Program on  Philosophy – UFOP

  • ISSN: 2526-7892 (on-line)
  • ISSN: 1809-8274  (print)
  • Qualis CAPES: B1 (Philosophy)

Contact: artefilosofia.defil@ufop.edu.br

Subjects

Date(s)

  • Friday, August 30, 2019

Keywords

  • philosophy, aesthetic, Africa

Reference Urls

Information source

  • de Oliveira Rachel Cecília
    courriel : rachel [dot] cecilia [dot] oliveira [at] gmail [dot] com

To cite this announcement

« African aesthetic », Call for papers, Calenda, Published on Thursday, April 25, 2019, https://calenda.org/607253

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