Adoulou Bitang

In this paper, I examine the extent to which Marcien Towa (1931-2014) can be considered the Father of Cameroonian Critical Theory. In this regard, I compare what can be called his social philosophy with the project of a critical theory of society, as outlined by Max Horkheimer (1895-1973). I specifically consider Marcien Towa’s idea of philosophy, which I confront with Horkheimer’s project from the perspectives offered by their sociopolitical premises, conceptual references, and progressive goals. On each of these aspects, I discover sufficient correspondences that allow me to argue that Towa and Horkheimer, who barely knew each other, formulated a somewhat similar claim, namely to provide a critical theory of society, whose aim is not only to understand society but more importantly to change it.

Dans cet article, j’examine comment Augustin Dibi Kouadio répond à la question du début de l’histoire de la philosophie. En suivant son argumentation telle qu’elle se déploie dans son livre majeur et dans d’autres textes, je découvre que Dibi Kouadio est influencé d’une part par G. W. F. Hegel lorsqu’il s’agit de définir la philosophie, et d’autre part par Paulin Hountondji, pour ce qui concerne la critique de l’ethnophilosophie. Combinées, ces deux influences conduisent Dibi Kouadio à tenir, en rapport avec la philosophie africaine, une position que je me propose de dévoiler et de critiquer, à savoir l’absence de philosophie dans le passé du continent.

Nowadays, Paulin Hountondji is considered as a great critic of a certain type of philosophy that occurred in Africa during the ’60s and which was called ethnophilosophy by him and Marcien Towa. However, a precise look at Hountondji’s arguments against the idea of an “African philosophy” reveals a worry, especially concerning his use of Writing. This article tries to reexamine this argument in order to draw the headlines of a critical approach to his major book: African Philosophy: Myth or Reality? We intend to show that because of his skimpy vision of African culture, Hountondji could only attain to a skimpy vision of African philosophy.

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.