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There is a dearth of well researched books on important disciplines in law written by Cameroonians. This regrettable situation has invariably meant a reliance of substantive and practice books written mostly by Nigerian and English writers. While books written by these writers have been helpful, they have not always captured the peculiarities and judicial attitudes of the Cameroonian context. When approached from the perspective of practice in the Anglophone regions, not even Cameroonian writers of French orientation have done justice to this situation. This book contributes to filling this gap. It is a comprehensive review that combines an analysis of the principles and basic procedure of labour law in Cameroon. Yanou draws on solid academic research as well as a wide ranging experience in legal practice across Cameroon and Nigeria to present a coherent and practical elaboration of themes such as employment, dismissal, remedies for wrongful dismissal, compensation for industrial injuries, and trade unions. The book is also motivated by the desire for a repository for members of the Bar and Bench, judges, academics, students and human resources practitioners.
This thesis examines three made-for-television ‘Event Movies’ from the German production company teamWorx, made between 2006 and 2007 – Dresden (2006), Nicht alle waren Mörder (2006) and Die Flucht (2007) – within the context of contemporary debates of ‘Vergangenheitsbewältigung’ or ‘coming to terms with the past’ in Germany. It will deal with specific debates in memory of the National Socialist past, namely representations of Germans as victims of the Second World War and memory of the Holocaust. Although in recent years the importance of teamWorx’s television films has begun to be acknowledged by scholars in both Germany and the UK, this thesis represents the first attempt to analyse these three Event Movies as a unit and to explore in-depth the teamWorx company and its attitudes to historical film. As such, two interviews will be relied on throughout this thesis, with chairman of the board Nico Hofmann and Die Flucht’s director Kai Wessel. In order to place the films within the context of contemporary debates on memory of the Nazi past in Germany, the thesis will undertake a filmic analysis of the Event Movies, supported by both the intentions of the filmmakers and critical responses in the contemporary press. Of primary importance for the thesis will be the twin concerns of the authenticity of teamWorx’s productions, as claimed by the filmmakers and the Event Movies’ borrowing of filmmaking devices from Hollywood genres, in particular the melodrama. Following this analysis it will be asked to what extent the Event Movies affect and reflect contemporary debates on the legacy of National Socialism and how these films contribute to the normalisation of the Nazi past in Germany.
This posthumous publication is a collection of essays some of which are based on the author's research work while others record her thoughts on issues she regarded as important. The materials, which were written between 1991 and 1996, cover a range of subjects that have been tied together under the theme of women, law and justice in Uganda. They represent the author's central concerns, interests and views as they developed over the years.
I would like to start off my cultural-historical intervention with a trouvaille from the 'Denktagebuch', a sort of intellectual notebook, of Hannah Arendt, the famous German-Jewish philosopher (1906–1975). Arendt's publications include a most profound book on the 'Human Condition' (1958, in German 'Vita activa', 1960) in which she develops the idea of 'acting / Handlung' as the crucial realm of intersubjectivity and humanity. This realm is based in the space between human beings, a literal 'inter-est' of togetherness. It is only in this space, only in the relationship to others, that the full sense of the Self, including the involuntary expressions of the person, manifests itself. It is the same realm in which the moral, social and political life is created. In the notebook of the 44-year-old Arendt one comes across the following entry: "In nichts offenbart sich die eigentümliche Vieldeutigkeit der Sprache [...] deutlicher als in der Metapher. So habe ich zum Beispiel ein Leben lang die Metapher 'es öffnet sich mir das Herz' benutzt, ohne je die dazu gehörende physische Sensation erfahren zu haben. Erst seit ich die physische Sensation kenne, weiss ich, wie oft ich gelogen habe [...]. Wie aber hätte ich je die Wahrheit der physischen Sensation erfahren, wenn die Sprache mit ihrer Metapher mir nicht bereits eine Ahnung von der Bedeutsamkeit des Vorgangs gegeben hätte?" (Notebook II, 22 December 1950, Arendt 2002, 46) The entry discusses the mutual transferral between mind and body by reflecting the role of language as a mediator for minding the body and the embodiment of the mind. Since the phrase of the 'open heart' belongs to a register of long-established metaphors, these reflections concern the comprehension of body-metaphors and their role for a 'shared meaningful space of experiences' (Gallese 2009a, 527), i.e. language as transmitter of experiences and memory in cultural history.
Within the Walls of Hell
(2011)
The Land of Eternal Discomfort is a place where no one wants to go. It is hot and dirty. One is sure to experience depression once there and sleep is a luxury no longer attainable in that place. Unbelievable though it may seem one enters the Land of Eternal Discomfort by choice. It is a place destined for those who did not live a righteous life according to the Creator. The kind of life one lives down below determines where they go thereafter. For the seven characters in this play, the love of power and the hatred for those different and inferior to themselves leads them to choose a life of luxury gained through deceit, theft, adultery and murder. Against all the Creator's commands, they chose to live lives of self-gratification ignoring their obligations to their fellow man. The choice they made was for their lives down there but they will forever live with the consequences in their lives thereafter. Life down there does not last forever and the characters are destined to meet the Messenger at which time the choice will have already been made. When you finally meet the Messenger, pray that he is ushering you into the Land of Eternal Happiness because in the other place you are doomed forever. In the Land of Eternal Discomfort the gate can only open to let someone in. It cannot open to let anyone out. Once you are in there you can never get out again.
The Weeping Triangle
(2011)
The Weeping Triangle portrays a country that has been overtaken by corruption. This country had been awarded the most corrupt country in the world two times in a row and a third time is increasingly likely. In a world where money talks and violence is a way of life, most people succumb to the way things are lest they become victims of the system. Smith, however, is one of a kind. As a teacher entrusted with the lives of his students, Smith sees the need to curb the current direction of his country. Frustrated with the way things are, curious as to how things got so bad and motivated to make a change for the better, he stands out among the rest determined to make a difference no matter how small. Branded a fool for his bravery and incessant inquisitiveness, Smith stands up to those in authority; most of whom are bound by corruption. He refuses to partake in this illegal way of life. Encouraging his friends and anyone else to do the same proves difficult but does not deter his intentions. What hope does one have in a country full of lies, secrets, deceptions and bribery? The Weeping Triangle takes you through the journey of Smith and his friends making the most of what little hope there is.
An increasing number of poor Southern Africans live in poverty-stricken urban slums or shantytowns. Focusing on four shantytowns in the northern Namibian town of Oshakati, this book analyses the coping strategies of the poorest sections of such populations. The study is based on fieldwork conducted intermittently during a period of ten years. It combines theories of political, economic and cultural structuration, and of the material and cultural basis for social relations of inclusion and exclusion as practise. The poorest shanty dwellers are marginalised or excluded from vital urban and rural relationships and forced into social relations of poverty amongst themselves. Having experienced long-term processes of impoverishment, the very poorest and most destitute in the shantytowns tend to give up improving their lives and act in ways that further undermine their position.
In this thought provoking book, Komla Tsey argues that if governments, NGOs, development donor agencies and researchers are serious about development in Africa, they need to get down to ground level, both metaphorically and literally. They must search deep into Africa's own rich oral traditions by creating space and opportunity for ordinary Africans, whose voices have so far been conspicuously absent in the development discourse, to tell and share their own stories of development. Story-sharing as research methodology acts as a mirror, reflecting the participants' self-evaluation of where they have come from, where they are now, and how to proceed into the future. They are strategies that can empower and enable individuals and communities of people to be agents of their own change which, in Tsey's view, is what development is all about.
This volume, from an Africa perspective, examines the relationship between ethnicity and citizenship within the framework of nation-state. Its objective and scope engage relational aspects of political integration, awaken public conscience, and motivate civic engagement. It provides a platform that could be considered prerequisite for political transformation. Such a framework is indispensable not only for challenging the politics of exclusion and marginalization, but also for reconstructing fractured social relationships. The test of its validity and relevancy is not whether it accounts for particular traditions, but whether it provides a framework through which we can comprehend the dynamics of ethnic identities as an avenue for promoting participatory governance and democratic accountability. An interdisciplinary study of this kind brings forth practical and theoretical contributions to the evolving concepts of ethnicity and citizenship.
No Trifling Matter : Contributions of an Uncompromising Critic to the Democratic Process in Cameroon
(2011)
No Trifling Matter is a collection of controversial, critical weekly commentary on the reluctance of a monolithic regime to yield to popular aspirations for democracy in Cameroon. In these essays written between 1990 and November 1992, Godfrey Tangwa, alias Rotcod Gobata, doesnt quibble. He comes across as a man of courage and resolve; one ready to swim upstream in a manner of a desperate midwife eager to prevent a still birth (in this case, of democracy). His column is as daring an embarrassment to Biyas démocratie avancée as the radio programme Cameroon Report (later Cameroon Calling), was to Presidents Ahidjo and Biya in the hey days of the parti unique. Rotcod Gobata believes the time has come for Cameroon to graduate from a country over milked by mediocrity and callous indifference, to the paradise that it was meant to be for the poor and downtrodden. In this regard, he belongs with that rare breed of intellectuals who are genuine in their pursuit of collective betterment, and who in consequence, have opted to distance themselves from the stomach and all its trappings. This position is to be commended and encouraged, especially in a system where explanation is often mistaken for subversion, a system where the stomach is about the only political path-finder - the sole compass in use, a country where the champions of falsehood want all at their beck and call, and where a handful of thirsting palates daily jostle to share with Count Dracula the blood of the common and forgotten. Rotcod Gobata wants the new Cameroon to be rid of the ills and failures of the past five decades that have made it impossible for Cameroonians in their millions to live productive and creative lives.