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The publication is the latest in the African Studies in Russia series of compilations and contains full articles and annotations of the most important - from the point of view of editors - works of Russian Africanists over a certain period. The authors work at the Institute for African Studies of the Russian Academy of Sciences (RAS).The present issue covers the years 2014 to 2016 and consists of two sections. The first section presents conceptual articles on Africa published in authoritative journals. The second section offers synopses of books by Russian authors on economics, cultural anthropology, social and political development, gender studies, and international relations of African countries.The main objective of the triennial series of compilations is to introduce new findings of Russian Africanists to interested foreign scholars who do not speak Russian.
In this collection, Doh straddles the Atlantic with voices that doubt, question, and lament the black predicament; voices that evoke the wisdom of Africa's cultural values in a manner reminiscent of the continent's orality. Like the echoing of the talking drums in the forests and the savannahs, these voices acknowledge the challenges and vexing truths of the hour: the plight of a people that have been buffeted repeatedly by waves of invasion, deceit, and betrayals, yet against which onslaught they remain standing, frighteningly tall in dignity and integrity.
'It is my duty to take the message of revolt to other[s]. is is the only way to liberate the victims of suffering and slavery,' Nazmi Durrani quotes W.L. Sohan in this book. Resistance to imperialism in pre-independence Kenya by progressive South Asian Kenyans propelled the Kenyan liberation struggle to new heights. They were active in almost every field, from publishing progressive newspapers to supplying arms and material to Mau Mau. Liberating Minds consists of biographies of progressive South Asian Kenyans written by Nazmi Durrani. Originally published in Gujarati in the 1980s, they are available here in English for the first time, together with the original Gujarati. Also included is Naila Durrani's 1987 conference paper, 'Kenya Asian Participation in People's Resistance,' while Benegal Pereira introduces Eddie H. Pereira (1915-1995) and his resistance letters to the Colonial Times Newspaper.
Ivory Stars is Tanzanias first ever all-girls football team, but what makes this team even more unique is that they are people with albinism. Disregarded by society, the team is determined to show the world that they wont be held back. As International Albinism Awareness Day approaches, climbing Mount Kilimanjaro would defy stereotypes and prove that they are extraordinarily capable. Join Tatu, the team leader, and the Ivory Stars on their quest to reach the summit of the highest peak in Africa. Find out whether their determination will meet the challenges ahead. How will they manoeuvre through the twists and turns that lie in wait for them? What would it mean for them if they failed?
The Love Sheet
(2017)
The title should have warned me. On reading the title poem, I realise any of the poems is a gateway into this passion with compassion, into a garden whose fragrances colour every sound lovers make when words have to cope. Make the lovers poets, see how each facet is etched, each jewel worked and polished. Wonderful, wonderful, wonderful. Hugh Hodge
When African Theology was first formulated, women played just a small role. In 1989 Mercy Amba Oduyoye set out to change this by creating the Circle of Concerned African Theologians in order to them a voice. The Circle of Concerned African Women Theologians is an African Baby, born in an ecumenical surrounding. Though there were other movements addressing the issue of gender inequalities in church and society, circle theologies are distinct from other women's liberation movements in that they are theologies formed in the context of African culture and religion. This book traces the Circle history from 1989 to 2007.
That Kind of Door
(2017)
Accident
(2017)
Carol Trehorne's only child, Max, is in ICU with severe burns. Max, a performance artist, has set himself alight. He recovers but it becomes clear that he is planning further performances that will put him at risk of serious injury or death. Carol, a single parent and a GP in a busy suburban practice, is worried that her son is not the genius his friends think he is, but might be on drugs or going psychotic. As she discusses her concerns with her son's psychiatrist, she wonders if her past behaviour, in particular her relationship with the adventurous and anti-social Jack, has influenced Max's determination to use his body as a site of violent art in the pursuit of revelation. Carol cannot accept that Max's self-harm will have any effect other than to add to the meaningless violence in the world. Accident raises questions about what kind of life is worth living and what death is worth dying. It explores the different responses artists and scientists can have to violence and self-destructive behaviour, and throws into sharp relief the difficulties parents face when their children me decisions that appear incomprehensible.
'Cape Towns public cultures can only be fully appreciated through recognition of its deep and diverse soundscape. We have to listen to what has made and makes a city. The ear is an integral part of the research tools one needs to get a sense of any city. We have to listen to the sounds that made and make the expansive mother city. Various of its constituent parts sound different from each other [T]here is the sound of the singing men and their choirs (teams they are called) in preparation for the longstanding annual Malay choral competitions. The lyrics from the various repertoires they perform are hardly ever written down. [] There are texts of the hallowed Dutch songs but these do not circulate easily and widely. Researchers dream of finding lyrics from decades ago, not to mention a few generations ago back to the early 19th century. This work by Denis Constant Martin and Armelle Gaulier provides us with a very useful selection of these songs. More than that, it is a critical sociological reflection of the place of these songs and their performers in the context that have given rise to them and sustains their relevance. It is a necessary work and is a very important scholarly intervention about a rather neglected aspect of the history and present production of music in the city.' Shamil Jeppie, Associate Professor, Department of Historical Studies, University of Cape Town
Otuzo twOvaherero
(2017)
Otuzo twOvaherero provides valuable information on Ovaherero patriclans and records folklore and praise poems in Otjiherero. Previously, these did not exist in written form. The book attempts to preserve these oral traditions before they disappear. It aims to restore pride to the Ovaherero, particularly in patrilineages that were displaced by the Ovaherero-German war of 1904-1907. Otuzo twOvaherero is structured around the Ovaherero patrilineal descent system (otuzo) which is the basis of the Ovaherero religion Oupwee. The surnames and homesteads that belong to the same patrilineage are grouped together under each patriclan to help the reader to easily trace the homesteads that belong to one patriclan (and thus have a common ancestry). The distinct features of each patriclan are specified in terms of totems, taboos, patriclans which collaborate, and praise poems of homesteads. All the patriclans and praise poems in this book were collected from Ovaherero communities living in Namibia. The author uses the term Ovaherero to include the various groups which speak the common language Otjiherero and which include the Ovahimba, Ovaherero, Ovatjimba and Ovambanderu. This book has the potential to promote unity within the Ovaherero community by showing how families are connected in lineages which trace back centuries.