The coloniality of Holocaust memorialization in post-apartheid South Africa

This article investigates local endeavours for Holocaust memory in post-apartheid South Africa in their relation to global memory imperatives that are, among others, produced by supranational organizations such as UNESCO and the International Holocaust Remembrance Alliance. Drawing on a larger case-study on globalized memory, I analyse to what extent a generalized mnemonic framework is reflected in South Africa's 2007 curriculum reform, namely its inclusion of the Holocaust and subsequent memory politics. In order to illuminate the coloniality of memorialization, I trace the epistemic location of the narrative that suggests that Holocaust memory nourishes democratic values and human rights—maybe even more so than local memories of violence and oppression such as colonization and apartheid. In this regard, I found that while many activists for Holocaust memory continuously and sometimes uncritically advocate for its global implementation, a decolonial perspective enables us to understand the power dynamics constitutive of universal moral norms around Holocaust memory that tacitly transmit global demands to local contexts. I therefore suggest that, within the global colonial matrix of power, a universally advised practice of memorializing the Holocaust to specific ends can be regarded as a technique of governmentality, because it risks limiting utopian thought beyond the Euro-modern paradigm.

Salvaging Utopia: Lessons for (and from) the Left in Rivers Solomon’s An Unkindness of Ghosts (2017), The Deep (2019), and Sorrowland (2021)

In response to this special issue’s question of whether mainstream science fiction has become stuck in presentism and apocalypticism, this article examines how utopia is expressed and salvaged in the work of Rivers Solomon. Using three of Solomon’s novels and the theoretical lenses of black utopia studies and salvage-Marxism, I suggest that scholars and activists should approach this question from a different perspective. While Solomon’s novels may seem dystopian from the perspective of liberalism or whiteness, they can also clearly be placed within the long, if marginalized, history of leftist and black utopian thought. Likewise, where the ‘traditional’ utopia (a concept I interrogate) is often imagined as grounded in hope and futurity, black utopia and salvage-Marxism reject these concepts as counterproductive to the actual work of social justice and utopia-building. Despite their presentism and apocalypticism, then, I argue Solomon’s novels are very much utopian: they simply locate their utopian desire in radical kinship and salvage, rather than universalism or futurity.

God Below: A Faith Born in Hell—Life and Fate and the Otherwise Than Being

This essay examines the idea of kenosis and holy folly in the years before, during, and after the Holocaust. The primary focus will be Vasily Grossman’s Life and Fate, though it also will touch upon Fyodor Dostoevsky’s Demons and the ethics of the Lithuanian-Jewish philosopher Emmanuel Levinas, speaking to their intersecting ideas. Dostoevsky, true enough, predates the Shoah, whereas Grossman was a Soviet Jew who served as a journalist (most famously at the Battle of Stalingrad), and Levinas was a soldier in the French army, captured by the Nazis and placed in a POW camp. Each of these writers wrestles with the problem of evil in various ways, Dostoevsky and Levinas as theists—one Christian, the other Jewish—and Grossman as an atheist; yet, despite their differences, there are ever deeper resonances in that all are drawn to the idea of kenosis and the holy fool, and each writer employs variations of this idea in their respective answers to the problem of evil. Each argues, more or less, that evil arises in totalizing utopian thought which reifies individual humans to abstractions—to The Human, and goodness to The Good. Each looks to kenosis as the “antidote” to this utopian reification.

Citizens of the future

Over the last decade, a variety of ‘citizen science’ projects have turned to video games and other tools of gamification to enrol participants and to encourage public engagement with scientific research questions. This article examines the significance of sf in the field of citizen science, focusing on projects such as Eyewire, Be a Martian!, Sea Hero Quest, Play to Cure: Genes in Space, Forgotten Island and the ‘Project Discovery’ experiments in EVE Online. The sf stories that frame these projects often allegorise the neoliberal assumptions and immaterial labour practices of citizen science, even while seeming to hide or disguise them. At the same time, the fictional frames enable players to imagine social and technical innovations that, while not necessarily achievable in the present, nevertheless point to a future of democratic science, social progress and responsible innovation - blips of utopian thought from the zones of crowdsourced labour.

Margaret Atwood’s Oryx and Crake as a Critique of Technological Utopianism

While there are major works tracing the themes of belonging and longing for home in contemporary fiction, there is no current study adequately addressing the connection between dystopian novel and nostalgia. This paper aims to illustrate how the Canadian writer Margaret Atwood uses nostalgia as a framework to level a critique against technological utopianism in her dystopian novel Oryx and Crake (2003). The first novel in Atwood’s “MaddAddam Trilogy” problematizes utopian thought by focusing on the tension between two utopian projects: the elimination of all suffering and the perfection of human beings by discarding their weaknesses. Despite the claims of scientific objectivity and environmentalism, the novel exposes the religious and human-centered origins of Crake’s technological utopian project. Atwood’s Oryx and Crake is an ambiguous work of science fiction that combines utopian and dystopian elements into its narrative to criticize utopian thought.

Democratising utopian thought in participatory agenda setting

Engaging non-experts in matters of science and technology has been increasingly stressed in both rhetoric and action during the past decades. Under the call for moving participation upstream, agenda setting processes have been identified as viable entry point for laypeople’s experiential and value-based knowledge into science, technology and innovation governance (STI). Harnessing visioning for target setting promises to elicit such knowledge, whilst at the same time evading the dilemma of informing participants about STI that does not exist prior to engagement. To test such claims, we investigate a large-scale citizen-visioning exercise employed as an initiation of a transdisciplinary research and innovation agenda setting process, namely CIMULACT. In a comparable Europe-wide process, more than 1000 laypeople (citizens) produced 179 visions of desirable futures which built the basis for co-creating future research topics for advising the EU research and innovation programme Horizon 2020. We provide in depth insights into the visioning methodology for inclusion of citizens into STI agenda setting, and discuss room for methodological improvement regarding potential loss and gains of creativity and diversity of opinions considering empirical results of ex-post participant evaluation questionnaires (n ≈ 964). The discussed data shows a generally positive evaluation of the process and engagement, since citizens are in retrospective content with the process and visions, they would participate again in a similar event, and they are in favour of the EU to continue hosting such events in the future. However, citizens were rather sceptic whether the results actually (can/will) have an impact on the stated aim of integration in research and innovation agenda setting.

Zamiatin y la ética kantiana: libertad y felicidad en Nosotros

Zamyatin and Kantian Ethics: Freedom and Happiness in We Resumen: Nosotros cumple un siglo y, a diferencia de otras distopías, no existen muchos estudios en español sobre ella. En este trabajo se analiza la perspectiva de la ética retratada en la novela y en especial el conflicto entre libertad y felicidad como una dicotomía en la cual se privilegia a la felicidad sobre la libertad. Tras analizar las referencias a Kant en la obra, se concluye que es verosímil considerar que la postura del escritor ruso se asemeja a la de la ética kantiana. Finalmente, se sostiene que la dicotomía entre libertad y felicidad es una falsa dicotomía. Abstract: Since a century ago when it has been written, We has not been the focus of the Spanish critical attention, in contradistinction to other dystopias This work analyzes the perspective on ethics portrayed in the novel and especially the conflict between freedom and happiness as a dichotomy in which happiness is privileged over freedom. After analyzing the references to Kant in the work, it is concluded that it is plausible to consider that the position of the Russian writer is similar to that of Kantian ethics. Finally, it is argued that the dichotomy between freedom and happiness is a false dichotomy. Palabras clave: Distopía, Pensamiento utópico, Crítica Social, Literatura rusa, Kant. Keywords: Dystopia, Utopian Thought, Social Critique, Russian Literature, Kant.

Christian and Modernist Utopia in Coetzee’s Novels The Childhood of Jesus and Schooldays of Jesus

This article addresses, in its first part, the many critics who have difficulty in making sense of Coetzee’s two novels The Childhood of Jesus and Schooldays of Jesus, offering clues for an understanding of Coetzee’s utopian thought experiment within the framework of Christian ideals. The second argument reconstructs Coetzee’s ironic musings about the future of the traditions of Western culture and art. Setting his fictional reflection in a utopian society which has achieved a truly equalitarian order, patterned on the ideals of Primitive Christianity and monastic humility, Coetzee explores the question whether in such a society there is still space and need for the arts, or if the success of our rational utopian endeavors will lead to the disappearance of art as we have known it for millennia.