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Affective meditation on the Passion was one of the most popular literary genres of the high and later Middle Ages. Proliferating in a rich variety of forms, these lyrical, impassioned, script-like texts in Latin and the vernacular had a deceptively simple goal: to teach their readers how to feel. They were thus instrumental in shaping and sustaining the wide-scale shift in medieval Christian sensibility from fear of God to compassion for the suffering Christ.
Affective Meditation and the Invention of Medieval Compassion advances a new narrative for this broad cultural change and the meditative writings that both generated and reflected it. Sarah McNamer locates women as agents in the creation of the earliest and most influential texts in the genre, from John of Fécamp's Libellus to the Meditationes vitae Christi, thus challenging current paradigms that cast the compassionate affective mode as Anselmian or Franciscan in origin. The early development of the genre in women's practices had a powerful and lasting legacy. With special attention to Middle English texts, including Nicholas Love's Mirror and a wide range of Passion lyrics and laments, Affective Meditation and the Invention of Medieval Compassion illuminates how these scripts for the performance of prayer served to construct compassion itself as an intimate and feminine emotion. To feel compassion for Christ, in the private drama of the heart that these texts stage, was to feel like a woman. This was an assumption about emotion that proved historically consequential, McNamer demonstrates, as she traces some of its legal, ethical, and social functions in late medieval England.
The ancient land and the modern nation of Afghanistan are the subject of Louis Dupree's book. Both in the text and in over a hundred illustrations, he identifies the major patterns of Afghan history, society, and culture as they have developed from the Stone Age to the present.
Originally published in 1980.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
In this timely critical introduction to the representation of Afghanistan in film, Mark Graham examines the often surprising combination of propaganda and poetry in films made in Hollywood and the East. Through the lenses of postcolonial theory and historical reassessment, Graham analyzes what these films say about Afghanistan, Islam, and the West and argues that they are integral tools for forming discourse on Afghanistan, a means for understanding and avoiding past mistakes, and symbols of the country's shaky but promising future. Thoughtfully addressing many of the misperceptions about Afghanistan perpetuated in the West, Afghanistan in the Cinema incorporates incisive analysis of the market factors, funding sources, and political agendas that have shaped the films. _x000B__x000B_The book considers a range of films, beginning with the 1970s epics The Man Who Would Become King and The Horsemen and following the shifts in representation of the Muslim world during the Russian War in films such as The Beast and Rambo III. Graham then moves on to Taliban-era films such as Kandahar, Osama, and Ellipsis, the first Afghan film directed by a woman. Lastly, the book discusses imperialist nostalgia in films such as Charlie Wilson's War and destabilizing visions represented in contemporary works such as The Kite Runner. _x000B_
Gender is one of the most productive, dynamic, and vibrant areas of Africanist research today. But what is the meaning of gender in an African context? Why does gender usually connote women? Why has gender taken hold in Africa when feminism hasn't? Is gender yet another Western construct that has been applied to Africa however ill-suited and riddled with assumptions? Africa After Gender? looks at Africa now that gender has come into play to consider how the continent, its people, and the term itself have changed. Leading Africanist historians, anthropologists, literary critics, and political scientists move past simple dichotomies, entrenched debates, and polarizing identity politics to present an evolving discourse of gender. They show gender as an applied rather than theoretical tool and discuss themes such as the performance of sexuality, lesbianism, women's political mobilization, the work of gendered NGOs, and the role of masculinity in a gendered world. For activists, students, and scholars, this book reveals a rich and cross-disciplinary view of the status of gender in Africa today.
Contributors are Hussaina J. Abdullah, Nwando Achebe, Susan Andrade, Eileen Boris, Catherine M. Cole, Paulla A. Ebron, Eileen Julien, Lisa A. Lindsay, Adrienne MacIain, Takyiwaa Manuh, Stephan F. Miescher, Helen Mugambi, Gay Seidman, Sylvia Tamale, Bridget Teboh, Lynn M. Thomas, and Nana Wilson-Tagoe.
Since the publication of the first edition in 1977, Africa has established itself as a leading resource for teaching, business, and scholarship. This fourth edition has been completely revised and focuses on the dynamism and diversity of contemporary Africa. The volume emphasizes contemporary culture–civil and social issues, art, religion, and the political scene–and provides an overview of significant themes that bear on Africa's place in the world. Historically grounded, Africa provides a comprehensive view of the ways that African women and men have constructed their lives and engaged in collective activities at the local, national, and global levels.
A History of Colonial Linguistics in Germany and Beyond, 1814-1945
"Africa in Translation is a thoughtful contribution to the literature on colonialism and culture in Germany and will find readers in the fields of German history and German studies as well as appealing to audiences in the large and interdisciplinary fields of colonialism and postcolonialism." ---Jennifer Jenkins, University of Toronto The study of African languages in Germany, or Afrikanistik, originated among Protestant missionaries in the early nineteenth century and was incorporated into German universities after Germany entered the "Scramble for Africa" and became a colonial power in the 1880s. Despite its long history, few know about the German literature on African languages or the prominence of Germans in the discipline of African philology. In Africa in Translation: A History of Colonial Linguistics in Germany and Beyond, 1814--1945, Sara Pugach works to fill this gap, arguing that Afrikanistik was essential to the construction of racialist knowledge in Germany. While in other countries biological explanations of African difference were central to African studies, the German approach was essentially linguistic, linking language to culture and national identity. Pugach traces this linguistic focus back to the missionaries' belief that conversion could not occur unless the "Word" was allowed to touch a person's heart in his or her native language, as well as to the connection between German missionaries living in Africa and armchair linguists in places like Berlin and Hamburg. Over the years, this resulted in Afrikanistik scholars using language and culture rather than biology to categorize African ethnic and racial groups. Africa in Translation follows the history of Afrikanistik from its roots in the missionaries' practical linguistic concerns to its development as an academic subject in both Germany and South Africa throughout the nineteenth and twentieth centuries. Sara Pugach is Assistant Professor of History at California State University, Los Angeles. Jacket image: Perthes, Justus. Mittel und Süd-Afrika. Map. Courtesy of the University of Michigan's Stephen S. Clark Library map collection.
A Centenary of Wildlife Filming in Kenya
Jean Hartley, born in Kenya, is acknowledged as being the first to legitimise ìfixingî for wildlife film crews. Over the last 25 years, she has worked on over a thousand films, the vast majority being about wildlife and nature. She features five of the great film makers who all started their careers in Kenya in the1950s, legends whom she is proud to call personal friends. Watching all of their films, and many more, she became fascinated by the history of film making in Kenya and determined to find out when it all started. In this insightful book, she traces the roots of wildlife film back a hundred years, drawing on accounts of the original film makers and the professional hunters who guided those early safaris. She tracks the changes from those grainy, speeded up, silent films through to the technologically perfect High Definition and 3D films that are being made today.
How a Chinese Development Project Changed Lives and Livelihoods in Tanzania
The TAZARA (Tanzania Zambia Railway Authority), or Freedom Railway, from Dar es Salaam on the Tanzanian coast to the Copperbelt region of Zambia, was instrumental in fostering one of the most sweeping development transitions in postcolonial Africa. Built during the height of the Cold War, the railway was intended to redirect the mineral wealth of the interior away from routes through South Africa and Rhodesia. Rebuffed by Western aid agencies, newly independent Tanzania and Zambia accepted help from China to construct what would become one of Africa's most vital transportation corridors. The book follows the railroad from design and construction to its daily use as a vital means for moving villagers and goods. It tells a story of how transnational interests contributed to environmental change, population movements, and the rise of local and regional enterprise.
Old World and New
The second edition of this landmark work is enhanced by new chapters on Ogun worship in the New World. From reviews of the first edition:
"... an ethnographically rich contribution to the historical understanding of West African culture, as well as an exploration of the continued vitality of that culture in the changing environments of the Americas." -- African Studies Review
"... leav[es] the reader with a sense of the vitality, dynamism, and complexity of Ogun and the cultural contexts in which he thrives.... magnificent contribution to the literature on Ogun, Yoruba culture, African religions, and the African diaspora." -- International Journal of Historical Studies