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Poems from Zimbabwe
This is a dense, erudite collection of finely crafted poems that powerfully reflect on vices such as war, bad governance, deforestation, dissipation, greed, oppression and cruelty. The poems also tackle other important phenomena of life such as love, anxiety, weather, time, politics, morality, economics, justice, culture and the environment. The virtue of these finely tuned poems does not only lie in their philosophical questioning, but their artistic merit and audacious reflection of issues pertinent in human life of all ages. While some of the poems provoke amusement and others tears, the corpus of the collection educates through entertainment. The poetry penetrates into the greater depths of the public’s psyche to appraise, query, empty and expose their concerns in such a manner that should hopefully make those who cause or ignite human tribulations to rethink their actions and those haunted by the same to stay vigilant.
Hitherto the human rights debate in Africa has concentrated on the legal and philosophical. The author, Professor of Law at the University of Dar es Salaam, here moves the debate to the social and political planes. He attempts to reconceptualise human rights ideology from the standpoint of the working people in Africa. He defines the approach as avoiding the pitfalls of the liberal perspective as being absolutist in viewing human rights as a central question and the rights struggle as the backbone of democratic struggles. The author maintains that such a study cannot be politically neutral or intellectually uncommitted. Both the critique of dominant discourse and the reconceptualisation are located within the current social science and jurisprudential debates.
'These are poems of drowning and coming up again. Of surviving with lungs that breathe water and sunlight. These are poems of longing and loss. Of searching for a foothold in a world where all slides and changes. Sarah Frost is a new voice in South African poetry. A clear and strong and exciting voice. Read her.'- Kobus Moolman Sarah Frost is 37 years old and a single mother to a six year old boy. She works as an editor for Juta Legalbrief in Durban, South Africa. Sarah has been writing poetry for the past fourteen years. She has completed an MA in English Literature, and also a module on Creative Writing.
All over Africa, an explosion in cultural productions of various genres is in evidence. Whether in relation to music, song and dance, drama, poetry, film, documentaries, photography, cartoons, fine arts, novels and short stories, essays, and (auto)biography; the continent is experiencing a robust outpouring of creative power that is as remarkable for its originality as its all-round diversity. Beginning from the late 1970s and early 1980s, the African continent has experienced the longest and deepest economic crises than at any other time since the period after the Second World War. Interestingly however, while practically every indicator of economic development was declining in nominal and/ or real terms for most aspects of the continent, cultural productions were on the increase. Out of adversity, the creative genius of the African produced cultural forms that at once spoke to crises and sought to transcend them. The current climate of cultural pluralism that has been produced in no small part by globalization has not been accompanied by an adequate pluralism of ideas on what culture is, and/or should be; nor informed by an equal claim to the production of the cultural ñ packaged or not. Globalization has seen to movement and mixture, contact and linkage, interaction and exchange where cultural flows of capital, people, commodities, images and ideologies have meant that the globe has become a space, with new asymmetries, for an increasing intertwinement of the lives of people and, consequently, of a greater blurring of normative definitions as well as a place for re-definition, imagined and real. As this book ñ Contemporary African Cultural Productions ñ has done, researching into African culture and cultural productions that derive from it allows us, among other things, to enquire into definitions, explore historical dimensions, and interrogate the political dimensions to presentation and representation. The book therefore offers us an intervention that goes beyond the normative literary and cultural studiesí main foci of race, difference and identity; notions which, while important in themselves might, without the necessary historicizing and interrogating, result in a discourse that rather re-inscribes the very patterns that necessitate writing against. This book is an invaluable compendium to scholars, researchers, teachers, students and others who specialize on different aspects of African culture and cultural productions, as well as cultural centers and general readers.
The last text on the geography of Uganda was written in 1975 by Professor Brian Langlands. Since the last publication, Uganda has undergone numerous changes. The population has more than tripled from less than 10 million to almost 30 million. The district boundaries have changed and the number of districts increases every year. New districts are created every year. Economic productivity has also shifted over the years. Furthermore, new and emerging diseases have surfaced in Uganda. This book addresses the need for an updated document on the geography of Uganda. This book was written by a joint group of Ugandan geographers. The contributors authored chapters in their areas of specialization. There are a total of twelve chapters in the book. These chapters are based on the most current data available.
"This play tackles the theatrically attractive but ethically complex issue of Christian fundamentalism. Nyamnjoh, as a sociologist is well qualified to explore the social problems and psychological pressures which give rise to the born-again phenomenon, and the strong appeal of fundamentalist religion. The Convert, however is no schematic sociological tract. It deals with the conflicting imperatives in 21st century West Africa, which push ordinary people into extraordinary situations, and provides no easy solutions to the issues raised. Although the play revolves around the Ultimate Church of Christ and the four main characters affected by it, the audience is given a deftly sketched picture of a corrupt world beyond it, lacking in spiritual or community values. [..] The characterization. is remarkable for its avoidance of any obvious protagonist; the audience is allowed no clear character with whom to identify. The four main characters . have both virtues and flaws, each providing insights into ways the consumer-oriented materialism of modern life impacts upon African spirituality and community values. - David Kerr, Professor in Literature and Drama, University of Botswana ""At the core of the implicit philosophy in Nyamnjoh's The Convert . is the theatrical manifesto that contemporary society has not only to liberate itself, and its productive powers from 'Pentecostal', freak religions and distortion, it also has to liberate these same productive capacities from their present prostration. There is a deep, engaging humanism that pervades The Convert, but it is a humanism emblematic, to speak analogously, of the Aeschylean variety."" - Bate Besong, Africa Review of Books."
The Nile River and the Riparian States
The Nile River is the longest river in the world covering nearly 7,000 kilometres. It traverses ten countries in Africa, Burundi, the Democratic Republic of Congo (DRC), Egypt, Eritrea, Ethiopia, Kenya, Rwanda, Sudan, Tanzania, and Uganda, with South Sudan as the eleventh riparian state once it acquires its sovereignty. Of the more than 300 million inhabitants in the ten riparian states, the Nile River Basin is home to nearly 160 million people. The interlocking controversies surrounding the utilisation of the waters of the Nile River and the resources therein have centered on the 1929 Anglo-Egyptian and the 1959 Egypto-Sudanese treaties, which have largely ignored the interests of the upstream states. Through the Nile Basin Initiative (NBI) established in 1999, the riparian states concluded, in 2010, the Agreement on the River Nile Basin Cooperative Framework (CFA) based on the principle of equitable and reasonable utilisation, the objective of which is to establish durable legal regime in the Nile River Basin. This book addresses the complexities inherent in the colonial and post-colonial treaties and agreements and their implications for the interests of the riparian states and the region in general. It is the first book of its kind that covers the ten riparian states in a single volume and deals comprehensively with politico-legal questions in the Nile River Basin as well as conventions on the international water courses and their relevance to the region.
The dramatic sociopolitical crisis which befell CÙte d'Ivoire in September 2002 gave birth to an unprecedented political zeal. Immigration, the other, ethno-nationalism, nationalism, patriotism, civil war, youth at risk - such are the words that describe the CÙte d'Ivoire' situation. Attempts to explain the 'crisis' in this country, known in recent past as 'relatively peaceful', mainly happen through media 'sensationalism'. This translates at the same time the almost complete control of the scoop media which renders the understanding of the situation only possible through such outlets. The ability of media professionals to coin words through which social history is reflected upon has the effect of complicating the task of social and human sciences while also appearing as stimulating at the same time. Understanding complex situations is now a crossroad of confusion between the simple and the simplified. The challenge for social and human sciences is, therefore, to resume its rightful place by presenting social and political realities in their complexity. Contributions in this book attempt to rid simple words of their excessive simplification to enable an understanding of social and political ills as well as the sense of history. This book is to be taken as a look from within. The challenge here is to take a step back and disconnect the real from the surprising which prevents a deep analysis of realities emanating from a historical process that is relatively long. At the heart of that process resides the paradoxical re-invention of the self through violence, though in the name of democracy. The 2010 post-electoral crisis and the intensity of the violence which characterized it are once again a demonstration of the relevance of the violence-democracy paradox and the on-going exercise of objectivity.
A Collection of Poems
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 ìmust readî.
Every man lives for himself, using his freedoms to attain his personal aims, and feels with his whole being that he can at any moment perform or not perform this or that actionÖThe higher a man stands in the social scale, the more connections he has with others and the more power he has over them, the more conspicuous is the predestination and inevitability of every act he commits. Upon this philosophy, a former banker, Hansel Bolingo, suddenly finds [or makes] himself the regional representative of a Chinese firm that deals in crabs in Bangui. This catapults him into a position of instant wealth. His mouth-watering affluence draws immediate attention while his hypnotic powers cause hundreds of [not-so-honest]citizens to clamour for shares from which he builds up a huge fortune. But he soon discovers that he cannot deceive everybody all the time.