820 Englische, altenglische Literaturen
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Child of earth
(2010)
Child of Earth is the story of Achu, a young African boy who loses his mother when he is still a baby. He is raised by his father in a household teeming with wives and children. Then the father dies and the task of raising Achu devolves on his aunt, his father's sister, who is married to one of the richest and most powerful men in the country. But the aunt is jealous because Achu is doing better in school than her own children . . .
Konglanjo : (Spears of Love without Ill-fortune) and Letters to Ethiopia with Some Random Poems
(2010)
This collection of poems evolves as a network and satellite of an expressive pursuit of justice with a difference. For, though this poetry simultaneously shapes global and grassroots smiles and tears, its corpus is no matter for laughter or weeping. In familiar but not identical voices, the poet tackles social evils as parasites while cross-examining cultural assumptions in the same vein. Triple form -title poem, Letters to Ethiopia and Some Random poems, explores nightmares of colonial mission civilisatrice by dint of two decades of inspirational events from 1965 as invitations into a more serene world emerging from post-discoveries.
This is a very engaging book based on compelling stories of human triumph over adversity coming out of Africa, Asia and America. Gideon's personal journey and his account of his mother and uncle in this book exemplify what it means to be truly resilient. The book is moving, well thought out and masterfully structured, a most riveting Read. Gideon For-mukwai draws on local wisdoms from his native Cameroon to tell a universal story. It is a book written in evidence of a mind in tune with the heart. Its stories, strategies, and metaphors provide incredible wisdom relevant to any society and explicitly remind readers that our circumstances may be different, but the strategies to overcome are the same. If a widow can make a legendary success story in Africa, then almost anybody can. What makes this book special is the fact that it is based on the stories of modest human beings.
Rock of God (Kilán ke Nyùy)
(2010)
Rock of God centres on a significant war that Nso fought with Bamoun in the 1880s, and which war resulted in a devastating defeat for the Bamouns. During this war, a major Nso combat rule was broken: the Sultan (king) of Bamoun was decapitated. Both local story tellers and historians have indicated that the Sultan was only supposed to be captured alive. The play explores some very compelling reasons for this violation. It mocks any attempt at categorization because the events involved are as historically relevant as they are anthropologically profound; as literarily dense as they are linguistically compelling. It surely stands on its own because it clearly combines concepts of docu-drama, morality play, classical theatre, historical drama, and much more. But beyond all else, it is great artistry that demonstrates the genius of experimentation.
The forces of nature warranted that these two English speaking poets, linguists, translators cum academics and researchers be born in Ndop, Ngoketunjia Division, in the North West Region of Cameroon. The one is based in the USA and other in Australia. Disgusted by the rotten political clime in their country as well as the political stance of politician vis-à-vis the English speaking minority, these two poets in their poetry explore the ins and outs of the problems of existence, not only of the minority English speaking Cameroonian but those of minorities in a modern world with a push for globalization. To them art is not only a weapon for survival but one for resistance.
The call of blood
(2010)
Efenze, the President of the Board of Directors of government companies and a member of the Central Committee of the Ruling Party, eliminates his erstwhile business contractor, Sancheu, with the complicity of the latter's wife. His aim is to inherit Sancheu's widow and wealth and to forge his way into the Political Bureau of the Party. The Call of Blood is a dramatization of evil in its multifaceted dimensions including treachery, infidelity, greed, hypocrisy, double-crossing and vaulting ambition in a postcolonial society where those who wield political and financial power thrive or perish by their involvement in obscure schemes. The play is enriched by a great sense of dramatic economy and poetic style evident in the preponderant use of local imagery.
Mit seiner Bascombe-Trilogie, deren mutmaßlich abschließender Teil vor kurzem erschienen ist und von weiten Teilen der Kritik, national wie international, hymnisch bejubelt wurde, hat Richard Ford für ein wahres Ereignis in der erzählenden Literatur um das Jahr 2000 gesorgt. Um die Bedeutsamkeit der drei Romane "The Sportswriter" (1986), "Independence Day" (1995) und "The Lay of the Land" (2006) herauszustreichen, hat man sie immer wieder mit einem anderen berühmten Romanzyklus der amerikanischen Literatur verglichen, mit John Updikes vier "Rabbit"-Romanen (erschienen in den Jahren 1960 bis 1990). Liefert Updike ein Sittenbild Amerikas von der Eisenhower-Ära bis zur Präsidentschaft von Bush sen., so Ford eines der achtziger und neunziger Jahre. Darüber hinaus könnte man Fords drei Bascombe-Romane auch mit anderen Zeit- und Gesellschaftsromanen neueren Datums in Zusammenhang bringen, etwa mit jenen von Philip Roth und Jonathan Franzen. Und man könnte noch weiter ausholen: Im Grunde steht Ford in der Tradition der großen Realisten des 19. Jahrhunderts und ihrer Gesellschaftsromane. Wie sie porträtiert er anhand einer fiktiven Handlung und eines fiktiven Figurenarsenals den "zeitgeist" einer gegebenen Epoche. Die Bascombe-Romane stellen geradezu ein Paradebeispiel dafür dar, was Erich Auerbach in seinem Mimesis-Buch zu einem zentralen Kriterium für literarischen Realismus erklärt hat: die Bewegtheit des politisch-gesellschaftlichen Hintergrundes, die in und zwischen den Zeilen zu spüren sein müsse.
Im Spektrum der Epochen, von denen der Historienroman im 19. Jahrhundert erzählt, spielt die Antike eine untergeordnete Rolle. Ihr vorgezogen werden die großen Zeitalter der nachantiken europäischen Geschichte: das hohe Mittelalter, die Renaissance, die Frühe Neuzeit und die Revolutionsepoche um und nach 1800. Erst gegen Ende des 19. Jahrhunderts, lange nach der sogenannten „Scott-Ära“ in den 1820er Jahren, in denen sich der historische Roman in ganz Europa zur beliebtesten Erzählform entwickelt, wird häufiger über die Antike erzählt. So steigt die Zahl der Romane, welche die antike Geschichte thematisieren, gegen Ende der sechziger Jahre des 19. Jahrhunderts langsam und kontinuierlich an bis zu einem Höhepunkt in den 1880er Jahren, um danach wieder leicht zurückzufallen. Auch in den 1880er Jahren bleibt die jährliche Publikationsrate von Romanen über das Altertum freilich im einstelligen Bereich und damit deutlich unterhalb der Quote je- ner Texte, die sich späteren historischen Zeiträumen widmen. Themen aus der Phase zwischen Barockzeitalter und beginnendem 19. Jahrhundert dominieren die gesamte Epoche; bestimmend ist die Tendenz zu jüngeren Zeitabschnitten, zur modernen Geschichte.
'Dante and Ireland', or 'Dante and Irish Writers', is an extremely vast topic, and to cover it a book rather than an essay would be necessary. If the relationship between the poet and Ireland did not begin in the fourteenth century - when Dante himself may have had some knowledge of, and been inspired by, the "Vision of Adamnán", the "Vision of Tungdal", and the "Tractatus de purgatorio Sancti Patricii" - the story certainly had started by the eighteenth, when the Irish man of letters Henry Boyd was the first to produce a complete English translation of the "Comedy", published in 1802. Even if one restricts the field to twentieth-century literature alone, which is the aim in the present piece, the list of authors who are influenced by Dante includes Yeats, Joyce, Beckett, and Heaney - that is to say, four of the major writers not only of Ireland, but of Europe and the entire West. To these should then be added other Irish poets of the first magnitude, such as Louis MacNeice, Ciaran Carson, Eiléan Ní Cuilleanáin, and Thomas Kinsella. Therefore Piero Boitani treats this theme in a somewhat cursory manner, privileging the episodes he considers most relevant and the themes which he thinks form a coherent and intricate pattern of literary history, where every author is not only metamorphosing Dante but also rewriting his predecessor, or predecessors, who had rewritten Dante. Distinct from the English and American Dante of Pound and Eliot, an 'Irish Dante', whom Joyce was to call 'ersed irredent', slowly grows out of this pattern.
Although Dante’s influence on modernism has been widely explored and examined from different points of view, the aspects of Virginia Woolf's relationship with the Florentine author have not yet been extensively considered. Woolf's use of Dante is certainly less evident and ponderous than that of authors such as T.S. Eliot and James Joyce; nonetheless, this connection should not be disregarded, since Woolf's reading of Dante and her meditations on his work are inextricably fused with her creative process. As Teresa Prudente shows in this essay, Woolf's appreciation of Dante is closely connected to major features of her narrative experimentation, ranging from her conception of the structure and design of the literary work to her reflections concerning the meaning and function of literary language.
The Cowrie Necklace is a graphic account of the struggle for meaning in life. The poems are a carefully woven sizzling and cracking attempt to mirror society. The poet runs a long and wide gamut of poetic themes which include the intricacies of joy and sadness, God and the devil, nature and nurture, good and evil, love, deceit and treachery. The narrative style is reminiscent of Wole Soyinka, Francesco Nditsouna and D.H. Lawrence. The Cowrie Necklace is a "must read".
This short story collection is the outcome of the writing residency for African women writers held in Jinja, Uganda, in January 2011. Writers from across English-speaking Africa contribute stories as diverse as the continent itself, stories that explore universal concerns in acutely individual ways. Among others, an upper-class Ghanaian confronts the irony of race from a prison cell; a Zambian mourns her sister and tackles the restrictions of tradition in a surprisingly humorous way; in Tanzania, two strangers go to extremes to seek elusive health; a Ugandan housewife reflects on personal and world politics as she watches a dog fight; another Ghanaian remembers a love affair that led her into an ancestor's embrace; two Nigerians shopping in London get more than they bargained for; and in a 2011 Caine Prize nominated story by Ugandan writer Beatrice Lamwaka, children cry tears of pain and happiness during an armed conflict.
Verschiedene Gedichte Rilkes mit englischer Übersetzung, darunter "Poem of Capri I", "Der Ursprung der Chimäre" / "The Origin of the Chimera", "Lied" / "Song" und eine Auswahl der "Uncollected Poems".
Concepts of "Female Inversion" and the "New Woman" in Rhoda Broughton’s "Dear Faustina" (1897)
(2012)
Published in 1897, Rhoda Broughton’s fin de siècle novel "Dear Faustina" took an active part in the discursive production of two cultural figures: the New Woman and the Female Invert. Employing those identity constructs to negotiate conservative anxieties about social change, while at the same time commenting on a range of alternatives to Victorian middle-class lifestyle, the novel is clearly rooted in the discourses of transition that characterised the fin de siècle....
Though one should be very careful with reaching conclusions about the social views conveyed in 'The Beach of Falesá', and there are many opinions on the story's social message, one of them is "the exposure of white racism" (Menikoff 1984,57) and imperialism. The logical question, why this country, which is declaring itself a bulwark against the world's imperialism, would disapprove of such novel, reasonably appears. And the censoring of it could seem a complete non sequitur. Which 'ideas' could make this novel not suitable for an average Soviet reader in the eyes of the Soviet censorship?
Die Frage steht im Raum, wie und warum man einen Text wie die 'Sonnets' von William Shakespeare heute überhaupt noch übersetzen soll. Immerhin gibt es gerade bei den Sonetten eine lange Übersetzungstradition, mit denen die verschiedenen Übersetzer auf irgendeine Weise umgehen müssen. Trotz bzw. wegen der Vielzahl der Übersetzungen kann bzw. muss man davon ausgehen, daß zumindest ein großer Teil der Übersetzer bei ihrer Arbeit diese lange währende Tradition als latentes Wissenspotential berücksichtigt. Sie alle bilden im Hinblick auf Shakespeare einen Teil des kulturellen Gedächtnisses. Das Bewusstsein, am Ende einer langen Tradition zu stehen, scheint jedoch für die Übersetzer der Shakespeare-Sonette keine Bremse, sondern eher ein Motor zu sein. Aber ist angesichts dieser Tradition überhaupt eine eigenständige Auseinandersetzung mit dem Text noch möglich? Ist Ingolds Befürchtung, dass weitere Neuübersetzungen nur noch hybride Textstrukturen hervorbringen, nicht in gewissem Maße auch berechtigt? Und noch deutlicher: Ist es überhaupt möglich, in einem Umfeld von ca. 155 vorhergehenden Übersetzungen noch eine neue Fassung des Textes zu schaffen, die unabhängig von ihren Vorgängern Originalität und sprachschöpferische Innovation miteinander verbindet?