Towards a new paradigm for pan‐African knowledge production and application in the context of the African renaissance

2006 ◽  
Vol 1 (2) ◽  
pp. 306-323 ◽  
Author(s):  
Shadrack B. O. Gutto
Keyword(s):  
Knowledge Production ◽  
New Paradigm ◽  
African Renaissance ◽  
Pan African

Studying and teaching ethnic African languages for Pan-African consciousness, Pan-Africanism and the African Renaissance: A Decolonising Task

2021 ◽  
Vol 10 (1) ◽  
pp. 145-164
Author(s):  
Simphiwe Sesanti
Keyword(s):  
South African ◽  
African Languages ◽  
European Languages ◽  
African Renaissance ◽  
Pan African ◽  
Institutions Of Higher Learning ◽  
Ethnic Consciousness ◽  
Pan Africanism ◽  
African Community ◽  
European Colonialism

In order to conquer and subjugate Africans, at the 1884 Berlin Conference, European countries dismembered Africa by carving her up  into pieces and sharing her among themselves. European colonialists also antagonised Africans by setting up one ethnic African  community against the other, thus promoting ethnic consciousness to undermine Pan-African consciousness. European powers also imposed their own “ethnic” languages, making them not only “official”, but also “international”. Consequently, as the Kenyan  philosopher, Ngũgῖ wa Thiong’o, persuasively argues, through their ethnic languages, European colonialists planted their memory  wherever they went, while simultaneously uprooting the memory of the colonised. Cognisant of efforts in some South African institutions of higher learning to promote African languages for the purpose of promoting literacy in African languages, this article argues that while this exercise is commendable, ethnic African languages should be deliberately taught to “re-member” Africa and rediscover Pan-African consciousness. By doing this, African scholarship would be aiding Africans’ perennial and elusive quest for Pan-Africanism and the African Renaissance. Keywords: African Renaissance, Ethnic African Languages, Ethnic European Languages, European Colonialism, Pan-African  Consciousness, Pan-Africanism

South Korea

2009 ◽  
Vol 36 (2) ◽  
pp. 162-176 ◽  
Author(s):  
Soon-Kyoung Cho
Keyword(s):  
South Korea ◽  
Social Structure ◽  
Knowledge Production ◽  
Public Sociology ◽  
Third Wave ◽  
Collective Knowledge ◽  
New Paradigm ◽  
Korean Society ◽  
Academic Knowledge ◽  
The Social

Third-wave marketization in South Korea has changed the social structure of academic knowledge production, revealing the dilemmas and limitations of both traditional and organic public sociology. The emergence of collective intellectuals during the candlelight movement points to an alternative relationship between the researcher and the researched. The candlelight vigils that recently rocked Korean society have pointed to new possibilities for a public sociology of labor. This article discusses the conditions for public labor sociology as a new paradigm based on collective knowledge and argues that when facing increasing professionalization of public sociology, the “crisis of labor” calls for a collective public sociology.

scholarly journals Can Art-Technology Co-Operations Provide a Paradigm for Artistic Research?

Artnodes ◽  
2017 ◽  
pp. 57-66
Author(s):  
Maximilian Lehner
Keyword(s):  
Technological Innovation ◽  
Knowledge Production ◽  
Research Process ◽  
New Paradigm ◽  
The Arts ◽  
Mode 2 ◽  
Artistic Research

“Experiments in Art and Technology” shows how artists and engineers can create art and genuine technological innovation. With examples from art-technology collaborations I want to discuss the criteria of knowledge production within art. In these works, it is not “research for the arts” which transforms art into Artistic Research, but the specific artistic stance taken during the research process. This idea extends the philosophical concepts of artistic research. Borgdorff (2012a) as well as Mersch (2015) defend the position of art in academia but put artistic research in a solitary position, unable to relate to other disciplines. With art technology examples I want to present works that correspond with the requirements of Artistic Research but do not match the theory. They do not only have a proximity to (applied) mode 2 research, but show a new kind of knowledge which stays in the experimental state. The paper addresses the question of how collaborations between engineers and artists can be considered in the discourse on research in the arts, and if they could turn out to be useful for a new paradigm on the notion of knowledge in Artistic Research.

scholarly journals Conventional and Postqualitative Research: An Invitation to Dialogue

2020 ◽  
pp. 107780042096246 ◽  
Author(s):  
Javier Monforte ◽  
Brett Smith
Keyword(s):  
Qualitative Research ◽  
Knowledge Production ◽  
Qualitative Inquiry ◽  
Special Issue ◽  
New Paradigm ◽  
Agonistic Pluralism

This article explores a question that was left mostly unanswered in a recent special issue of Qualitative Inquiry surveying the field of postqualitative research: How can conventional and post qualitative research coexist within the qualitative community? The importance of addressing this key question is first highlighted. Then, a possible answer is offered, which is: By promoting a new paradigm dialogue grounded in the principles of agonistic pluralism. Challenging the idea of consensus and harmonious coexistence, agonistic pluralism allows casting researchers with competing paradigmatic positions as adversaries or “friendly enemies,” which exist together in the same space without each sacrificing its beliefs about knowledge production. We invite members of the global qualitative community to explore this possibility.

Finding Women in the State

2016 ◽  
Author(s):  
Wang Zheng
Keyword(s):  
Cultural Production ◽  
Knowledge Production ◽  
Male Dominance ◽  
Socialist Revolution ◽  
New Paradigm ◽  
State Feminism ◽  
Socialist State ◽  
Class Hierarchies ◽  
History Of ◽  
Party State

This first book engendering the PRC high politics narrates a hidden history of socialist state formation in which feminists in the CCP operated in a politics of concealment in order to enact their feminist visions of a socialist stateand to launch a feminist revolutiontransforming a patriarchal culture. Analyzing archival sourcesand interviews with a double-lens of gender and class, the book illuminates a gender line of struggle in the CCP, debunks a conceptualization of a monolithic patriarchal party/state that paradoxically supported gender equality, and demonstrates state feminists’ contentions in diverse fields and fierce opposition from a male-dominated CCP leadership from the Party Central to the local government. Socialist cultural production is also examined to demonstrate how feminist leaders consciously created a new paradigm of visual representation of heroines and continued a New Culture anti-patriarchy heritage in socialist film production. The feminist endeavors in the cultural realm aiming to transform gender and class hierarchies are discussedin conjunction with an examination of the dense entanglements among those in the top echelon of the Party and an analysis of how the politicalbeing saturated withthe personal dynamics. Discussing the causes for failure of China’s socialist revolution, the book raises fundamental questions about male dominance in social movements and political revolutions that aim to pursue social justice and equality. The book also scrutinizes post-socialist knowledge production that has operated in a politics of erasure of a history of socialist state feminism.

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