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Esiaba Irobi (1960-2010) was one of Africa's most innovative and productive younger playwrights. Deeply rooted in the indigenous performance traditions of his Igbo ethnic group, Irobi's drama, in the tradition of Wole Soyinka, is a hybrid production involving an iconoclastic reconceptualisation of the heritage he appropriates, its fascinating conflation with other performance traditions, and their projection onto the arena of contemporary Nigerian politics. This study by Isidore Diala is the first book-length examination of Irobi's work. It portrays a highly creative individual who was literally driven by the creative urge. The five chapters of this study illuminate different aspects of Irobi's oeuvre and include a vivid portrayal of Irobi the actor in his dream role of Elesin Oba, the eponymous King's Horseman in Wole Soyinka's drama. Diala highlight's Irobi's fascination for African festivals, which feature prominently in the earlier plays.He also demonstrates that although he is rooted in his Igbo culture, Irobi draws on different ethnic groups, pointing to conceptions of pan-Africanism that include the wAfrican diaspora.
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.
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.
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
Der vollständige Titel der vorliegenden Arbeit lautet: Sprachwandel in Chur: 'Aufnahmen des Sprachatlasses der deutschen Schweiz (SDS) konfrontiert mit der Mundart von heute'. Entsprechend dieses Programmes sollen folgende Fragen beantwortet werden:
o Was für Aenderungen können wir in der Churer Mundart ausmachen?
o In welche Richtung gehen diese Aenderungen? Lassen sich Tendenzen ausmachen?
o Welche Einflüsse führten zu den festgestellten Veränderungen?
Es ist klar, dass im Rahmen dieser Arbeit nur ein Teil allen Sprachwandels in Chur festgehalten werden konnte. Es ist aber durchaus möglich, anhand der erfassen Veränderungen Schlüsse zu ziehen, die sich auch auf die Mundart von Chur überhaupt übertragen lassen.
Schwerpunktmässig wurden für diese Arbeit Vokalismus und morphologisch-syntaktische Probleme bevorzugt behandelt. Für Konsonantismus eignet sich die Form der schriftlichen Umfrage wenig (Vgl. Kap.l.3.). Der Wandel im mundartlichen Wortschatz ist zu gross, als dass er auch nur annähernd vollständig behandelt werden könnte. Und Stiefkinder mussten auch satzmelodische und rhythmische Probleme bleiben. Dafür wurden anhand ausgesuchter Beispiele Phänomene erfasst, bei welchen der SDS nicht als Grundlage dienen konnte.
Wichtig ist für diese Arbeit, dass mit "der Mundart von heute" auch wirklich heutige Mundart erfasst wurde. Es sollte also keineswegs eine "richtige" Churer Mundart rekonstruiert (auch wenn dies mit den Verweisen auf die SDS-Karten implizit natürlich gemacht worden ist), sondern vielmehr mit den Aussagen der Gewährspersonen (Gwp) gearbeitet werden. In diesem Sinne kann Sekundärliteratur Erhellung bringen, soll aber nicht Untersuchungsgegenstand sein.
Nachdem ich meine Lizentiatsarbeit [..] abgeschlossen hatte, fragte mich Prof. Ebneter an, ob ich bereit wäre, mit dem gleichen Transkritionssystem auch eine Umfrage zu diversen Verbalformen in Graubünden zu erstellen. […] Von Prof. Ebneter bekam ich eine Liste mit den gewünschten Verbformen. Ich habe zu diesen je einen Satz konstruiert, der den Gewährspersonen vorgelegt wurde. Einmal hatten die Informantinnen und Informanten die Verbformen mit vorangestelltem Subjektpronomen und einmal mit Inversion aus der standardsprachliche Vorlage in der 1. Person Singular zu übersetzen. In der Folge habe ich dann das ganze Paradigma abgefragt.
Die Resultate meiner Erhebung sind teilweise in die Verbalmorphologie des Abschlussbandes zum Forschungsprojekt "Deutsch und Romanisch am Hinterrhein" eingeflossen. Insgesamt aber sind die Verbformen noch nie integral veröffentlicht worden. Eine eigenständige gedruckte Publikation verlangte wohl auch einen Kommentar zu den Paradigmen. Mit der Möglichkeit, Texte auch digital zu publizieren, hat sich allerdings eine neue Verbreitungsform ergeben, die es erlaubt, auch "Materialien" zu veröffentlichen, die vielleicht anderen wissenschaftlich Arbeitenden nützlich sein können. Im Zeichen des zum Teil rapiden Sprachwandels gerade in der Verbalmorphologie stellen die 1988 erfassten Verbparadigmen aber auch ein Brückendokument dar, das spannende Vergleiche zwischen den Aussagen früherer Forschungen und aktuellen Daten zulässt.
Remembering a Legend: Chinua Achebe recaptures for the literary world the inimitable legacies of Chinua Achebe (1930-2013), Africa's leading novelist and literary philosopher of the 20th century. It addresses the questions of Achebe's role in establishing the African art of the novel, his theories and standards for the criticism of African writing. The volume articulates unequivocally how Achebe provided the message and pioneered a confident voice to African writers to express the message with audacity; repudiate without equivocation, any form of distortions of African past and present realities. The essays remind the reader how Achebe brought to the field of world literature new perspectives and vitality that distinguished the African art of storytelling from imaginative creativities elsewhere. This volume presents Achebe's articulation of the traditional and modern in African narrative techniques-linking the skills of the traditional artist (oral performer) to those of the modern writer; how the modern African creative artist can embellish his/her art with oral resources such as folktales, proverbs, sayings, festivals, songs, riddles, and myths. Chinua Achebe's unique distinctions as a novelist lie in the areas of informed vision and artistic integrity. His greatest legacy to 20th century world literature probably is his pioneer role in the 'nativization' and ingenious use of the English language. The exceptional genius of Achebe touched many traditional and cultural bases in his fiction, essays, and memoirs. The critical responses to Achebe's works in this book, address adequately almost every aspect of his creative imagination and craftsmanship. The reader will find in this convenient volume several seminal studies by two eminent scholars of Achebe's intriguing genius that authenticate him as among the best literary craftsmen of the 20th century and undeniably Africa's best.
Textures
(2014)
Bakari and Omari live on the island of Zanzibar and are the best of friends. It is the beginning of a long holiday and they are excited about what adventures are in store. Bakaris beloved grandmother comes to visit the family, bringing with her many gifts including a new friend for the boys! One day while exploring the boys discover hidden treasure. The boys, nicknamed The Detectives of Shangani, embark on a quest to discover the secrets of what they have found. They travel around the Spice Islands and meet strange characters, all to discover the mystery of the lost rubies! Nahida Esmail has crafted an exciting adventure tale with memorable characters. Young readers and adults alike, will enjoy this award-winning novel and the mysteries they uncover!
Tiger in an African palace collects eight essays about kinship and belonging that Richard Fardon wrote to complement his monographs on West Africa. The essays extend those book-length descriptions by pursuing their wider implications for theory in social anthropology: exploring the relationship between comparison and historical reconstruction, and questioning the fit between personal, ethnic and cosmopolitan identities in contemporary West African nations. In an Introduction written specially for this Langaa collection, Richard Fardon retraces the career-long development of his preoccupation with concepts of identification and transformation, and their relevance to understanding West African societies comparatively and historically.
After The Tears
(2014)
Busi is pregnant with Parks' baby. Her granny is sick, there is no money for food, and her mother is still in Jozi. Her friends are supportive, but they don't understand how lonely it feels to be pregnant while they are out partying. She knows she should forget Parks, but she can't. So when he sends her an SMS telling her to meet him she goes - only to find out that he is not alone. And so Busi's life becomes more complicated than she can ever imagine.
In the 1960s and 1970s, Third World governments prescribed and imposed a certain kind of journalism variously called 'objective' journalism or 'development journalism'. They understood this as journalism restricted to reporting 'facts' as dished out by their propagandists and did not tolerate the questioning of government policy. By 'development journalism', they meant the mere reporting of government efforts to provide services, amenities and infrastructures and the singing of praises anytime a bridge was inaugurated, irrespective of whether it was well-built or whether the contract to build was awarded according to the norms of transparency and probity. This one-sided journalism was prevalent especially in state-owned media and media practitioners in the few private news publications that existed who did not toe the line were subjected to constant harassment and incarceration. However, with the coming of well-trained journalism graduates into the scene in the 1970s and the advent of global liberalization in the late 1980s and 1990s, daring journalists like Sam-Nuvala Fonkem thought it was time to take the bull by the horn and start taking a more critical look at government pronouncements, matching policy statements with real action in the field; in short, moving from 'objective' journalism to interpretative and investigative journalism. This collection of Sam-Nuvala Fonkem's writings is a sampling of the fruit of that new spirit to dare where angels hitherto feared to tread, to hold public officials to account and to expose the falsehood cached behind the political masquerade of the ruling class.
Building on Fossungu's earlier works, and essentially providing Africa with original, critical, and multi-level analyses of the trio of globalization, democracy, and national determination, this book theorizes that African states have to unite in order to have any impact in the global economy. Using the failure of the Cameroon Goodwill Association of Montreal (CGAM) as a case study, the book urges Africans to make hard choices and avoid politickerization and midnight politics in favour of fossungupalogy (that is, the science of straightforwardness, necessitating the fearless looking at truth straight in the eye). The questions of the book are many but do all boil down to whether or not Africans fear the truth and do not therefore do politics. It is amazing that Africans in the West live in societies where fierce political competitors do embrace each other after one has defeated the other; but they are incapable of looking their so-called friends in the eye and saying, for example: 'Man, I think you've totally gotten it wrong this time.' Such comportment defines politickerization or negative competition. While attempting some possible responses to the numerous queries it raises, this book basically proffers the science of Four-Eyesism as a discipline that all African schools need to institute and make a compulsory subject: if the vandalized continent would have to be awakened to its realities. This book is rich in Fossungu's dazzling capacity to invent, define and use a multitude of new terminological constructs informed by African experiences.
Einar Schleef zählt zu den herausragendsten Theaterregisseuren der 1990er Jahre. Seine Theaterstücke polarisierten, waren unbequem und verlangten den Zuschauern ein Höchstmaß an Konzentration ab. Er wurde gefeiert und verflucht gleichermaßen. Weniger bekannt war allerdings, dass er sich auch als Schriftsteller betätigte und auch hier ausufernd und kompromisslos war. Erst nach seinem Tod 2001 rückten zunehmend seine epischen Werke in das Bewusstsein eines breiteren Publikums. Einar Schleefs "halbdokumentarische[r] Familien- oder Heimatroman" Gertrud, geschrieben in den Jahren nach seiner "Republikflucht" 1976, ist der schier endlose, auf nahezu tausend Seiten ausgebreitete Erinnerungsstrom einer alten, in Sangerhausen geborenen und dort lebenden Frau, Gertrud (Trude) Schleef, geborene Hoffmann. Sie ist die Mutter des Autors, die (durch das Sprachrohr Schleef) in einem ständigen Wechsel von Monologen, Briefen, Tagebuchnotizen ihr Leben erzählt. Als der erste Band gedruckt vor ihm liegt, schreibt Schleef in sein Tagebuch: "Mutter, ich habe dir eine Pyramide errichtet, einfach Schotter übereinander. Für eine Deutsche Familientragödie."
Der doppeldeutige Einsatz von Gegenständlichkeit kann als exemplarisch für das filmische Erzählen David Lynchs gelten, das auf geradezu unheimliche Weise zwischen dinglicher Konkretion, alptraumhafter Irrealität und medialer Selbstbezüglichkeit schwebt - eine komplexe Konstellation, die gern auf psychoanalytische Theoreme oder selbstreflexive Muster reduziert wird, ohne die widerständig-zweideutige Rolle der Gegenstände zu beachten: Sie beharren einerseits als dingliche Körper unabweislich auf der Tatsächlichkeit der erzählten Geschichte, verweisen aber zugleich auf den medialen Rahmen des Vorgestellten und mithin auf seine Fiktionalität. Dieser Verweis auf den äußeren Darstellungsapparat führt bei Lynch aber nicht zu einem Auseinanderbrechen der dargestellten Welt, sondern kann geradezu verbindende, Kohärenz bildende Wirkung haben. "Gegenständliches Erzählen" wäre hier folglich zugleich anschaulich-konkret (stellt eine gegenständliche Welt vor) und selbstbezüglich, ohne abstrakt zu sein (es verkörpert den Prozess des Erzählens in Gegenständen der erzählten Welt). In diesem Sinn wäre "gegenständliches Erzählen" zunächst als eine narratologische Strategie und charakteristische écriture zu verstehen. Sie soll im Folgenden nach den zwei Seiten Schriftlichkeit und Anschaulichkeit untersucht werden.
This book is an ethnographic study of a group of migrants in Cape Town from Malawi, Zimbabwe and South Africa. It seeks to understand how migrants overcome structural exclusion by forming and maintaining convivial relationships through the Bay Community Church and how this is facilitated by Information and Communication Technologies (ICTs). The book argues that ICTs are implicated in the negotiation of conviviality. ICTs allow for a negotiation of intimacy and distance; although their functions may facilitate more contact than is desired or further distance those already separated physically. This book interrogates the strict division between 'insiders' and 'outsiders' and highlights that migrants are able to sustain multiple networks and relationships, linking their home and host countries. Despite increasingly strict border control and animosity from host communities, migrants are able to overcome imposed identities such as 'outsider'. They do so by using ICTs such as cell phones and Facebook to emphasise their Christian identity, which is one of the main factors for inclusion in church-based networks. Membership with a mixed denominational church such as the Bay further challenges the notion that migrants stick to themselves. Inclusive communities such as the Bay and everyday desires for conviviality evoke the need to reconsider policies too narrowly articulated around the dichotomisation of 'foreigners' and 'nationals', 'home' and 'away', 'us' and 'them'.
In Growing up with Tanzania. Karim Hirji, a renowned Professor of Medical Statistics and Fellow of the Tanzania Academy of Science, presents a multi-faceted, evocative portrait of his joyous but conflicted passage to adulthood during colonial and early-Uhuru Tanzania. His smooth style engages the reader with absorbing true tales, cultural currents, critical commentary and progressive possibilities. By vibrantly contrasting the hope-filled sixties with the cynical modern era, he also lays bare the paradoxes of personal life and society, past and present.
South African poetry today is charged with restlessness, burstng with diversity. Gone is the intense inward focus required to deal with a situation of systematic oppression, the enclosing effort of concentration on a single predicament. While politics and identity continue to be central themes, the poetry since the late 1990s reveals a richer investigation of ancestors and history, alongside more experimentation with language and translation; and enduring concern with the touchstones of love, loss, memory, and acts of witnessing. In the Heat of Shadows: South African Poetry 1996-2013 presents work by 33 poets and includes some translations from Afrikaans, isiXhosa, isiZulu, Sesotho and Xitsonga. This collection follows on from Denis Hirson's 1997 anthology The Lava of this Land: South African Poetry 1960-1996.
Now I See You
(2014)
Armed robbery is nothing new in South Africa. But when a pair of clever and squeaky-sounding criminals go on a looting spree that rocks several small towns in the Eastern Cape, Detective Inspector Thabisa Tswane from The Eagles, the Special Violent Crimes Unit is called to work the case. There's only one problem, one of the most important witnesses in the case is her estranged grandfather, Chief Solenkosi, who ordered her violent expulsion from the village over ten years ago. In another world of lunches at the Michelangelo, private game lodges and platinum cards, the rich and slick Ollis Sando smoothes his way through cocktail parties and networking meetings. He is rumoured to be in line for the presidency in the upcoming elections. But he has a dirty past, something to hide and a hostage to hide it for him. In Now I See You Thabisa's traditional and professional skills will be pushed to the limit. She will have to learn the difference between looking and seeing. And in stirring twists of fate, we'll see that past and present blur, everything is interconnected and nothing can be assumed.