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Women in Islam explores the complexities of gender relations in Muslim communities in the Horn of Africa and beyond, engaging critically with the social, political and cultural challenges associated with the intersection of Islam and gender. With an eclectic selection of essays, academic papers, opinion pieces and personal narratives punctuated with poetry and art, the journal seeks to spark creative and forward-looking discussions on how to effectively improve the status of women in Muslim societies. Women in Islam is published annually by SIHA, the Strategic Initiative for Women in the Horn of Africa. Issue One of Women in Islam includes investigations of social issues, profiles of inspiring women, book and film reviews, and opinion pieces. The theme of the dossier, 'Unveiling Hijab', includes a selection of in-depth articles on the hijab and the practice of veiling. Highlights include an introduction to the life and work of Amina Wadud, a discussion of masculinity and fatherhood in a Muslim context, and reflections on what it means to be a 'moderate' Muslim today.
The birth of a new nation is an exciting time. Mick Bond spent the years 1962-73 as a District Officer and a District Commissioner, actively participating in the demise of the colonial regime and then as a civil servant in independent Zambia. This detailed account of his life and work includes the daily routine of a colonial officer, his personal experiences of the 1964 Lumpa conflict and his involvement in the elections of 1962, 1964, and 1968.
Ask the Stars
(2014)
In Ask the Stars, Titus Mutuiria remembers how at the age of ten he seemed to lead a normal life of sibling rivalry with Njorua, Antonnina and Sarah until some events from their past threaten to rewrite his life. Njorua and Antonnina learn that Mutumia Mutana, the mother they have always known is not their biological mother while Titus learns that Muthuri Mukaru is not the biological father of himself and Sarah. What follows is a gripping story of jealousy, fear, loyalty, friendship and love as the siblings grow and confront an array of challenges as the family forge solutions to the troubles that beset them. The story of young love between Titus and Joan and the actions of a lurking rapist in the village bring added dimensions to the story, showing that things are not always what they seem. Eventually, the teenagers and their parents must nurture a love that strengthens their family and that also brings sanity to the village.
Was Nyakeera my Father
(2014)
Eavesdropping on his parents, James Kirika, a fifteen-year-old teenager, hears a conversation that suggests that he is not the biological son of the man he calls 'Father'. This realisation sends him into a tortured search for the man who brought him into this world. Things get complicated when the chief source of information, his old and hallucinating grandmother, gives him a fuzzy lead. Does he ever find out the truth?
God was African
(2014)
When Kendem, a varsity instructor, returns to his native Lewoh countryside where he spent his childhood, he is seeking relief from the complexity of human civilization after attending the Fulbright Institute in the United States. Instead, he is confronted with two seething issues: how to reveal to his sick and troubled mother the situation in which he finds his elder brother, the successor of Mbe Tanju-Ngong's household, who travelled to the United States many years before and had never returned and the dispute over Fuo Beyano's funeral which is tearing the land apart, whether the deceased village chief, should be given a Christian burial or he should, according to the age-old tradition of Lewoh people, go through a ritual to enable him return and continue ruling his people.
Before the Rainbow
(2014)
Emmanuel Fru Doh, a native of Cameroon, holds a Ph.D. from the University of Ibadan, Ibadan, Nigeria. He taught at the University of Yaounde (E.N.S. Bambili) for almost a decade-the 90s-before leaving for the US. He then had a brief stint as an Adjunct Professor at the University of Minnesota before settling into the Department of English at Century, a College within the Minnesota State Colleges and Universities (MnSCU) System. Poet, novelist, social and literary critic, Emmanuel Fru Doh is the author of Nomads: The Memoir of a Southern Cameroonian.
In the 1980s, the University of Cape Town s social anthropology department was predominantly oriented by an expos style of critical scholarship. The enemy was the apartheid state, the ethical imperative was clear and a combative metaphor for doing research motivated the department. Andrew David Spiegel, known affectionately as Mugsy by his students and colleagues, has been a central, if understated, figure of this history and helped to frame the theoretical charge of a generation of students looking to counter apartheid from inside . In a series of interviews between the senior professor and one of his students Jessica Dickson Spiegel offers a unique perspective from the centre of anthropology s recent history in South Africa.
On March 8, 2007, one of Cameroon's foremost scholars died in a ghastly traffic accident barely hours after launching his most forthright and acerbic collection of poems: Disgrace: Autobiographical Narcissus. Dr. Bate Besong was a social activist, a critic, troubadour, and playwright; an avant-garde, steeped in the tradition of the absurd, who fought against the corrupt system of governance that transmuted Cameroonians into a comatose and apathetic citizenry neutered by fear engendered by the workings of an existing Gestapo. For the first time, Emmanuel Fru Doh has gone beyond an analysis of Besong's plays into giving an in-depth appraisal of his poems which have, for a long time, held back critics because of their opacity. Doh examines each of Besong's plays and collections of poems in separate sections and succeeds in setting Besong's work in perspective - mindful of their concerns and
Divining the Future of Africa : Healing the Wounds, Restoring Dignity and Fostering Development
(2014)
This book explores the relationship between Africa, the West and China. It notes that while Africa is a continent of diverse cultures, raw materials, human resource, indigenous knowledges, and above all the biggest recipient of foreign aid globally, it continues to lag behind all regions of the world in terms of socio-economic development. The book grapples with the important question on why this has been the case. It provides crucial critical insights on how Africa's situation could be reversed and the tapestry of its socio-economic problems eased. The book draws a link between culture, globalisation and socio-economic development, breaking new grounds in the discourse on development in post-colonial Africa. This is an incisive clarion call to bypass the outlandish claims and sterile discussions on the parodying of Africa by Euro-centric scholars. It is a contribution on the imperative to re-think the future of development in Africa. It makes a compelling argument by self-reliant development processes in which Africans reclaim their voice, independence and autonomy unapologetically. The book provides some grist for the mills of policy makers, institutional planners, practitioners and students of anthropology, political studies, sociology, economic history, local governance, cultural economics, and gender, development, African, heritage and international studies.
The Rising Sun and Boma
(2014)
The Rising Sun and Boma interrogate social evils such as moral decadence, corruption, and greed that are rife in the Cameroonian society. In both plays, Ipah, Paddy, Dinna, and Boma, for example, exemplify how waywardness and avarice can subvert moral integrity. At the same time, the plays problematise the intersection of tradition and modernity, articulating the tension inherent in both visions of life. Although the moral landscape of the drama appears sordid, characters like Abu Ipah and Joseph enkindle hope. Initially performed seventeen years ago, the plays are still as poignant as they are didactic and hilarious as they are refreshing. The characters are credible and compelling partly because of the felicitous language that is anchored in the local imagery.