Shortlist Hypatia-Prijs 2020

Shortlist Hypatia

Met genoegen presenteren wij de shortlist voor de Hypatia-prijs. De tweejaarlijkse prijs voor het beste en meest prikkelende en actuele filosofieboek geschreven door een vrouw. Met het instellen van deze prijs willen we vrouwen in de filosofie in Nederland en Vlaanderen een podium bieden.

De Hypatia-prijs is vernoemd naar de Griekse filosofe Hypatia (ca 355-415). Zij was befaamd om haar wiskundige en astronomische kennis. Tegenwoordig fungeert ze als symbool van het feminisme.

Shortlist Hypatia-prijs 2020

Katleen Gabriels – Regels voor Robots (Vubpress)
Joke Hermsen – Het tij keren (Prometheus)
Monica Meijsing – Waar was ik toen ik er nog niet was? (Vantilt)
Renée van Riessen – Van zichzelf bevrijd (Sjibbolet)
Ingrid Robeyns – Rijkdom (Prometheus)

De jury van de Hypatia-prijs bestaat uit Annemie Halsema (voorzitter), Cris van der Hoek, Mariska Jansen, Grâce Ndjako en Khadija al Mourabit.

De prijsuitreiking vindt plaats op zaterdag 3 oktober. Deze feestelijke uitreiking vindt offline of online plaats, afhankelijk van de dan geldende coronamaatregelen.

Longlist Hypatia-Prijs

Met genoegen presenteren wij de longlist voor de Hypatia-prijs. De tweejaarlijkse prijs voor het beste en meest prikkelende en actuele filosofieboek geschreven door een vrouw. Met het instellen van deze prijs willen we vrouwen in de filosofie in Nederland en Vlaanderen een podium bieden.


Longlist

Nicole des Bouvrie – Diagnose van de moderne filosoof Damon
Edith Brugmans – Weg van de enkeling Sjibbolet
Marjo Buitelaar, Moha Ennaji, Fatima Sadiqi en Karen Vintges – Activisme, feminisme en islam AUP
Lisa Doeland, Naomi Jacobs, Elize de Mul – Onszelf voorbij Arbeiderspers
Katleen Gabriels – Regels voor Robots Vubpress
Alicja Gescinska – Thuis in muziek De Bezige Bij
Alicja Gescinska – Intussen komen mensen om De Bezige Bij
Joke Hermsen – Het tij keren Prometheus
Henriëtte Joosten – De publieke sfeer in de 21e eeuw ISVW Uitgevers
Eva Meijer – De grenzen van mijn taal Cossee
Monica Meijsing – Waar was ik toen ik er nog niet was? Vantilt
Renée van Riessen – Van zichzelf bevrijd Sjibbolet
Ingrid Robeyns – Rijkdom Prometheus
Eva Rovers – Practivisme Prometheus
Ann Van Sevenant – Filosofie en fictie Klement

In 2018 won filosofe Eva Meijer de Hypatia-prijs voor haar boek De soldaat was een dolfijn. https://www.trouw.nl/religie-filosofie/eva-meijer-wint-hypatia-prijs-voor-het-beste-filosofieboek-van-een-vrouw~bdc2593b/?referer=https%3A%2F%2Fwww.google.com%2F  

De Hypatia-prijs is vernoemd naar de Griekse filosofe Hypatia (ca 355-415). Zij was befaamd om haar wiskundige en astronomische kennis. Tegenwoordig fungeert ze als symbool van het feminisme.

De jury van de Hypatia-prijs bestaat uit Annemie Halsema (voorzitter), Cris van der Hoek, Mariska Jansen, Grâce Ndjako en Khadija al Mourabit.

Voor meer informatie kijk op http://www.swip-filosofie.nl of neem contact op met Annemie Halsema via j.m.halsema@vu.nl

Podcast Hotel Oostpol

On the 20th of November I was a guest on a podcast episode of Hotel Oostpol after a performance their theatre group did called Allemaal mensen: Umuntu. I wa asked to come and talk about my work and African Philosphy.

You can listen to the podcast through these links:

Apple:

Zora Neale Hurston’s Barracoon

Today I received a copy of the new Dutch translation of Zora Neale Hurston’s book Barracoon. Publishing house De Geus was gracious enough to send me a free copy. Apparently my article about the translation of Fanon, as well as Neske Beks’ essay about the Baldwin translation, inspired them to publish a bilingual edition of Barracoon in order to keep the integrity of the text.

I want to thank both the translator Robert Dorsman and publishing house De Geus for listening to Black writers and editors and for paying close attention to the discussion that have been had over the years.

I am looking forward to reading this over the holidays.

Essay Fanon

The long awaited moment is here, my essay on the translation of Fanon’s Peau Noire, masques blancs has been published in de Nederlandse Boekengids and Dipsaus Podcast Exclusives. In this essay I explain why this translation fails to accurately portray Fanon’s thought as I argue that translating Fanon’s use of the word nègre to the Dutch n-word, given the specificities of the Dutch context, fails to portray the colonial violence Fanon is trying to illustrate.

Dipsaus – FANON: GEVANGEN IN DE WITTE BLIK

de Nederlandse Boekengids – Fanon: gevangen in de witte blik

Translating Black authors

Our Black authors and philosophers speak to us through the works that they left us, so that even when they are gone their words still resonate. They have become part of our archive, our Black cultural heritage from which we delve and to which we turn to when confronted with new problems. As a philosopher I often turn to Fanon who laid the groundwork for decolonial theory and pan-African philosophy, and who formulated the language in which I learned to fight back against systems of oppression. I fortunately had access to his own words, so that his thoughts could reach me unmediated.
However this is not the case for all Black philosophers, students, activists and writers. They depend on translators to transmit to them the ideas of their cultural archive. These translators are mediators between the young Black student/activist/writer and his/her predecessors. As such it is important for these mediators to be aware of the responsibility they bare, in transmitting these words and ideas.

We have unfortunately seen how this responsibility has been mishandled in the Netherlands. We saw this with the translation of Frantz Fanon, James Baldwin and Margo Jefferson. The translators in these cases had not immersed themselves into the worlds of these authors to fully grasp the place from which they came from as they wrote. Each of these translations have created controversies surrounding the translation of one particular concept into a Dutch word. Black people have been told to get over the use and translation of this one specific word, because it supposedly had no further implication for the text and the bigger ideas in it.

Yet anyone who has ever done something in the field of philosophy will know how important it is to be precise with the use of concepts. Students learn that a term such as Geist, in the way a German philosopher such as Hegel uses it does not necessarily mean the exact same thing as ghost or spirit. So when possible one should just use the words the author uses, to not lose the nuances and complexities. Yet in the case of Fanon, Baldwin and Jefferson the care and delicacy with which they chose their words have not been uphold.

So what are the implications of this one word? I recently wrote an essay, which will soon be published in a Dutch literary magazine, on the translation of Fanon’s Peau noire, masques blancs (Black skin, white mask) and the meaning of the French word nègre in this text. Since the meaning of this word in his text is specific, the implications are great. In the essay I argue that the Dutch n-word does not contain the same dialectics as the French word nègre does, a dialectic that highlighted the Black experience which Fanon sought to capture. And so in order to let Fanon speak, to let his ideas resonate, we should keep the words he used, let him speak for himself unmediated by the limited and reductive views of the translators.