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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.
Taking the history of trade and of traders as its subject matter, this book offers the first economic history of northern Namibia during the twentieth century. It traces Namibia's way from a rural, largely self-relying society into a globalised economy of consumption. This transformation built on colonial economic activities, but it was crucially shaped by local traders, a new social elite emerging during the 1950s and 1960s. Becoming a trader was one of the few possibilities for black Namibians to gain monetary income at home. It was a pathway out of migrant labour, to new status in the local society and often to prosperity. Politically, most traders occupied a middle ground: content of their own social position, but intent on political emancipation from colonial rule. Economically, their energy and business acumen transformed northern Namibia into an increasingly urban consumer society. The development path they chose, however, depended too much on the colonial reserve economy to remain sustainable after 1990. Their legacy still shapes spatial and social structures in northern Namibia, but most traders' businesses have today closed down. By telling the history of the rise and decline of traders and trade in northern Namibia, this book is thus also a reflection on the conundrums of economic development under conditions of structural inequality.
Not Yet Damascus
(2007)
Wading the Tide
(2009)
Wading the Tide is an expression of profound emotions touching on a wide range of issues-personal and political-from the birth of the Cameroon nation, her political meandering, until the state of emergency declared on the North West Province in 1992. Accordingly, Doh complains, ridicules, and pays tribute, even as he instructs and guides on timeless matters of life, all in an effort to draw attention to his country's gradual, downward spiral into anomy.
Africa's Political Wastelands: The Bastardization of Cameroon : The Bastardization of Cameroon
(2008)
Africa?s Political Wastelands explores and confirms the fact that because of irresponsible, corrupt, selfish, and unpatriotic kleptocrats parading as leaders, the ultimate breakdown of order has become the norm in African nations, especially those south of the Sahara. The result is the virtual annihilation of once thriving and proud nations along with the citizenry who are transformed into wretches, vagrants, and in the extreme, refugees. Doh uses Cameroon as an exemplary microcosm to make this point while still holding imperialist ambitions largely responsible for the status quo in Africa. Ultimately, in the hope of jumpstarting the process, he makes pertinent suggestions on turning the tide on the continent.
The Fire Within
(2008)
In Africa, there is unrest, and possibly tragedy, when new trends clash with traditional values. With a curmudgeonly stepmother who harasses her even as she spoils her own biological daughter, Mungeu', the protagonist, blazes a path for herself in the face of many odds. But things go terribly wrong when she falls pregnant. The dilemma of whether or not to keep the pregnancy, given society's expectations, flings this young woman into direct confrontation with a life that is beyond her years. She is bent on succeeding: she will keep her baby, and with her training at a girls' craft center, start a business and bring up her illegitimate child. But Mungeu' can only make plans as she realises before long that the authority to dispose of them does not rest with her alone; there are other powerful forces out there.
Oriki'badan
(2009)
ORIKI'BADAN, is an entertaining, revealing, and equally didactic poem in which Doh, through an enchanting metaphorical backdrop, recaptures a memorable era-rich, diverse, challenging, yet gratifying-in the life of a distinguished institution-the University of Ibadan, Nigeria. Characteristically bitter about those in power and the socio-political state of affairs on the African continent, this is a rare shot of Doh paying glaring tribute to his alma mater along with the distinguished faculty and student body that gave Ibadan its character during his days there as a student.
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.
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
In Nomads, Emmanuel Fru Doh combines historical fact, legend, and rumour to emerge with a memoir charged with nostalgia. In the process, he merges scenes and events from several lives and the process of nation building as they all unfold and mature with the passing of time. It becomes obvious that these are somber moments in Doh's life and that of the Cameroon nation, a nation that in recent decades selfish and reckless leaders without goodwill, foresight, or true love for the fatherland have succeeded in destroying. It all boils down to one fact: indeed, there has always been a socio-political agenda by the Francophone-dominated regimes, but it had nothing to do with building a truly united Cameroon. The plan has always been to tactfully subdue and eventually neutralize the Anglophone dimension of the union.
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.
Boundaries
(2015)
In Boundaries, Musang, from the Grassfields, falls in love with Etonde from the Coast. Although aware of some existing tension and unfounded mistrust between both camps, the couple is ready to marry when Etonde's father, incredibly, rejects the marriage proposal at the last minute. Although traumatized, Musang, finally, deems the rejection a sign from heaven and so reconsiders a lingering vocation idea - the priesthood. Meanwhile, a devastated Etonde, now defiant of men, struggles on to regain her equilibrium. Years after, however, and barely months away from his ordination into the priesthood, Musang, an exemplary postulant, is suddenly given the deprecating choice to go on probation or leave the seminary; he leaves.
Characteristically, Africans in any Western country are asked so many different questions about 'Africa,' as Westerners love to refer to the many countries that make up that huge continent, as if Africa were a single nation state. So one begins wondering why it is that Africans, on the other hand, do not refer to individual European countries as 'Europe' simply, then the trends and consequences of stereotyping begin setting in just as one is getting used to being asked if Africa has a president, or if one can say something in African. It is some of these questions that Emmanuel Fru Doh has collected over the years and has attempted answering them in an effort to shed some light on a continent that is in many ways like the rest of the world, when not better, but which so many love to paint as dark, backward, chaotic, and pathetic.
Shadows
(2011)
Shadows, as the title insinuates, splits open and lays bare the frightening vision of humanity, the heart of man depressed, a veritable inferno in which there is little to be enjoyed and everything to be endured, as all is vanity, a gnawing emptiness. Nothing is but what it seems. Simple but without being simplistic, there is in the damp climate of Doh's poetry broken promises, displaced emotional centres, a pervading sense of doom, of impending disaster, and a total helplessness reminiscent of Plato's proverbial mythical cave in which all reality is but shadow, devoid of substance, with the observer chained to the walls of his feelings, beliefs, and unfulfilled ambitions. The second section, Celebration, is, however, a source of warmth, of light, the sun's rays in an otherwise damp and and dark collection.
Hollywood and Africa - recycling the 'Dark Continent' myth from 1908-2020 is a study of over a century of stereotypical Hollywood film productions about Africa. It argues that the myth of the Dark Continent continues to influence Western cultural productions about Africa as a cognitive-based system of knowledge, especially in history, literature and film. Hollywood and Africa identifies the 'colonial mastertext' of the Dark Continent mythos by providing a historiographic genealogy and context for the term's development and consolidation. An array of literary and paraliterary film adaptation theories are employed to analyse the deep genetic strands of Hollywood Africa film adaptations. The mutations of the Dark Continent mythos across time and space are then tracked through the classical, neoclassical and new wave Hollywood Africa phases in order to illustrate how Hollywood productions about Africa recycle, revise, reframe, reinforce, transpose, interrogate - and even critique - these tropes of Darkest Africa while sustaining the colonial mastertext and rising cyberactivism against Hollywood's whitewashing of African history.
We provide an illustrated list of species belonging to the genus Symmachia Hübner, [1819] (Lepidoptera: Riodinidae: Symmachiini) collected during an expedition conducted between September 10-21, 2011 in the northern part of the Parque Nacional da Serra do Divisor, Acre, Brazil, a remote region of Amazon rainforest. A total of 46 individuals were collected belonging to 15 species. For all recorded species, drawings of male genitalia and behavioral information are provided to support future studies on the taxonomy of the group. A new species, Symmachia divisora Dolibaina and Leite, sp. nov., is described, and a revised status for Symmachia hetaerina hesione Stichel, 1910, stat. rev., is proposed.
"[...] In 1639, Martin Opitz rescued for us the only complete surviving text of the Annolied (circa 1083), and now Graeme Dunphy has made available a reprint of the Opitz edition and with it Opitz’s prologue and notes, a new English translation, and the translator’s informative notes on the translation and on Opitz’s commentary. In his prologue Opitz expresses the purpose of the edition, which is to demonstrate that the German language was inherited by his contemporaries in an unbroken line from earliest times. This is a strikingly early formulation of the romantic thesis the Grimm brothers developed later. Thus by including Opitz’s prologue and notes on his sources and philological explanations, Dunphy gives us the essential tools to re-invigorate research in three areas: Opitz, who is too frequently thought of as a narrowly focused poeticist, the serious study of philology and history in the sixteenth century, and most importantly, the Annolied itself. [...]" Quelle: Maria Dobozy : http://www.iaslonline.de/index.php?vorgang_id=751