Abstract

This article addresses the ways in which art and philosophy have been discursively used to conceptualize critical political changes and frame narratives of liberation by including and excluding primitive consciousness simultaneously. More concretely, it analyzes the contribution of art and philosophy to the understanding of history and post-history through different representations of black bodies, black desires, and black agencies in the novels She (1886) by Rider Haggard and The Quest of the Silver Fleece (1911) by W. E. B. Du Bois. At stake is the question of the archeology of the past as a living memory in the post-historical time. This past is politically relevant especially if its cognitive fossils negate the idea of exhausted primitive consciousness in the modern world and give meanings to incongruous bedfellows such as civilization and slavery, neoliberalism and poverty, democracy and Nazism, globalization, terrorism and racism, liberalism and homophobia. Arguably, the triumph of scientific ideas has left us with a perpetual quest for liberation rather than the actualization of liberation as a world phenomenon. I hypothesize the relation between exhaustible elements of technical consciousness simulating progress and their inexhaustible materiality at critical historical junctures as a struggle for taste and self-determination. Critical in this relation is the sense that not only primitive stages of consciousness are never fully exhausted at historical junctures, but that one never comes close to thinking about genuine liberation without engaging with real world matters both domestic/intimate and foreign.