For over two decades now, Sub-Saharan Africa has been superimposed in a coercive and contradictory neo-liberal development economism agenda. According to this paradigm, markets and not states are the fundamental determinants of distributive justice and human flourishing through the promotion of economic growth that is believed to trickle down to the poor in due time. Despite the global intellectual criticism of this neo-liberal development economics orthodox of measuring development and wellbeing in terms of market induced economic growth, autocratic states in (...) Sub-Saharan Africa that have accumulated un-dimensional growth continue to be applauded as role models on poverty reduction, wellbeing and social justice by donors and global development institutions such as the World Bank and international monetary fund (IMF). This is basically because they have wholly embraced the implementation of the anti-pro-poor neo-liberal structural adjustment tool kit. This study uses a critical hermeneutics methodology to expose the distortions embedded in neo-liberal gross domestic product (GDP) growth cartographies and how these disguise the social injustices against the poor in Sub- Saharan Africa with particular reference to Uganda. The study contends that in measuring development and wellbeing, human rights and social justice must take precedence over economic efficiency and GDP growth for that matter. (shrink)

In the Greek mythology the concept of annunciation has been often associated with the figure of “winged messenger”, in Greek “anghelos”, while in the Christian tradition it usually recalls the archangel Gabriel in his announcing to Mary the generative act per excellence: the birth. In this paper I take into consideration Botticelli’s Cestello Annunciation: the image represented in this painting suggests the interpretation of the annunciation from the viewpoint of transformation, i. e., of the crisis and the birth of (...) something that was not there before. What is special in the annunciation that transforms? In Botticelli’s masterpiece, Mary doesn’t only comprehend something that she didn’t know before, but she also feels the an-nouncement directly in her own flesh: the annunciation that transforms doesn’t exclusively let her understand something, but also allows her to feel it directly. If this is true, every transformation has its annunciation. (shrink)

In this article, I show the semantic connection between one pictorial detail of the traditional Annunciation iconography in Christianity and an apocryphal detail of the Virgin Mary biography, dating back to the antique metaphor of the body as clothing or cloth. In the Annunciation scene, the archangel Gabriel and the Mother of God are present, while the Virgin is often depicted with a spindle and a purple yarn in her hands. This detail sends the viewer to the metaphor of (...) birth as the creation of flesh and blood, as the spinning of the body in the womb of the mother, and also symbolically means the entry of God into the corporeal world through the Virgin and the blood sacrifice offered for the salvation of the world. The described “apocryphal” detail of the Annunciation scene can be understood as a visualization of the metaphor, known in antiquity, of the body creation as spinning or weaving. (shrink)