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Ruth Finnegan's Oral Literature in Africa was first published in 1970, and since then has been widely praised as one of the most important books in its field. Based on years of fieldwork, the study traces the history of storytelling across the continent of Africa. This revised edition makes Finnegan's ground-breaking research available to the next generation of scholars. It includes a new introduction, additional images and an updated bibliography, as well as its original chapters on poetry, prose, "drum language" and drama, and an overview of the social, linguistic and historical background of oral literature in Africa. This book is the first volume in the World Oral Literature Series, an ongoing collaboration between OBP and World Oral Literature Project. A free online archive of recordings and photographs that Finnegan made during her fieldwork in the late 1960s is hosted by the World Oral Literature Project (http: //www.oralliterature.org/collections/rfinnegan001.html) and can also be accessed from publisher's website.
Mhlophe tells stories from African folklore.
Africa in Narratives illuminates or proves, against the backdrop of attitudes toward nations deemed ethnic or minorities, that literature in Africa can live up to the challenge of aesthetic imagination to form an active, refreshing part of world cultural discourse. African countries have evolved imaginatively beyond their present ephemeral stages of social and political turmoil not to talk of intellectual imitations of western thought, nation literatures should be subject to the imperative of a continental cooperation.
A dazzling collection from across the African continent and diaspora here SHORT STORY DAY AFRICA has assembled the best nineteen stories from their 2013 competition. Food is at the centre of stories from authors emerging and established, blending the secular, the supernatural, the old and the new in a spectacular celebration of short fiction. Civil wars, evictions, vacations, feasts and romances the stories we bring to our tables that bring us together and tear us apart.
From one of Africa’s most influential and eloquent essayists, a posthumous collection that highlights his biting satire and subversive wisdom on topics from travel to cultural identity to sexuality “A fierce literary talent . . . [Wainaina] shines a light on his continent without cliché.”—The Guardian “Africa is the only continent you can love—take advantage of this. . . . Africa is to be pitied, worshipped, or dominated. Whichever angle you take, be sure to leave the strong impression that without your intervention and your important book, Africa is doomed.” Binyavanga Wainaina was a pioneering voice in African literature, an award-winning memoirist and essayist remembered as one of the greatest chroniclers of contemporary African life. This groundbreaking collection brings together, for the first time, Wainaina’s pioneering writing on the African continent, including many of his most critically acclaimed pieces, such as the viral satirical sensation “How to Write About Africa.” Working fearlessly across a range of topics—from politics to international aid, cultural heritage, and redefined sexuality—he describes the modern world with sensual, emotional, and psychological detail, giving us a full-color view of his home country and continent. These works present the portrait of a giant in African literature who left a tremendous legacy.
“A true classic of world literature . . . A masterpiece that has inspired generations of writers in Nigeria, across Africa, and around the world.” —Barack Obama “African literature is incomplete and unthinkable without the works of Chinua Achebe.” —Toni Morrison Nominated as one of America’s best-loved novels by PBS’s The Great American Read Things Fall Apart is the first of three novels in Chinua Achebe's critically acclaimed African Trilogy. It is a classic narrative about Africa's cataclysmic encounter with Europe as it establishes a colonial presence on the continent. Told through the fictional experiences of Okonkwo, a wealthy and fearless Igbo warrior of Umuofia in the late 1800s, Things Fall Apart explores one man's futile resistance to the devaluing of his Igbo traditions by British political andreligious forces and his despair as his community capitulates to the powerful new order. With more than 20 million copies sold and translated into fifty-seven languages, Things Fall Apart provides one of the most illuminating and permanent monuments to African experience. Achebe does not only capture life in a pre-colonial African village, he conveys the tragedy of the loss of that world while broadening our understanding of our contemporary realities.
One day the king's men are out hunting and find Igreka, starving and neglected to such a degree that they are unsure whether he is human or animal. Igeraka soon falls in love with the king's daughter, Nyangunga, who according to some, marries a beast. The author's concern is how to present the story telling it from three different perspectives. First Nyangunga's father, the king, gives an account; the middle part of the story is told by Bubi, a second daughter who lets events speak for themselves, concealing herself, her age and gender, as narrator. Finally Nyangunga's mother describes her daughter's fate from a less compromising, feminist perspective.
This book discusses the role of political narratives in shaping perceptions of instability and conceptions of order in the Middle East and North Africa (MENA). The authors illustrate how, in times of socio-political turmoil and outbursts of discontent such as the Arab Spring, political entrepreneurs explain and justify their political agendas by complementing hard power solutions with attractive ideas and discursive constructions that appeal to domestic constituencies and geopolitical allies. The book is divided into two parts. The first focuses on non-state actors, such as confessional communities and ideological movements, who aim to develop narratives that are convincing to their respective polities. It also studies regional powers that seek to determine their positions in a competitive environment via distinctive narrations of order. In part two, the authors investigate the narratives of global players that aim to explain and justify their role in an evolving international order.
Using storytelling and performance to explore shared religious expression across continents Through a revolutionary ethnographic approach that foregrounds storytelling and performance as alternative means of knowledge, Situated Narratives and Sacred Dance explores shared ritual traditions between the Anlo-Ewe people of West Africa and their descendants, the Arará of Cuba, who were brought to the island in the transatlantic slave trade. The volume draws on two decades of research in four communities: Dzodze, Ghana; Adjodogou, Togo; and Perico and Agramonte, Cuba. In the ceremonies, oral narratives, and daily lives of individuals at each fieldsite, the authors not only identify shared attributes in religious expression across continents, but also reveal lasting emotional, spiritual, and personal impacts in the communities whose ancestors were ripped from their homeland and enslaved. The authors layer historiographic data, interviews, and fieldnotes with artistic modes such as true fiction, memoir, and choreographed narrative, challenging the conventional nature of scholarship with insights gained from sensorial experience. Including reflections on the making of an art installation based on this research project, the volume challenges readers to imagine the potential of approaching fieldwork as artists. The authors argue that creative methods can convey truths deeper than facts, pointing to new possibilities for collaboration between scientists and artists with relevance to any discipline. Publication of the paperback edition made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.
In the graveyard of economic ideology, dead ideas still stalk the land. The recent financial crisis laid bare many of the assumptions behind market liberalism—the theory that market-based solutions are always best, regardless of the problem. For decades, their advocates dominated mainstream economics, and their influence created a system where an unthinking faith in markets led many to view speculative investments as fundamentally safe. The crisis seemed to have killed off these ideas, but they still live on in the minds of many—members of the public, commentators, politicians, economists, and even those charged with cleaning up the mess. In Zombie Economics, John Quiggin explains how these dead ideas still walk among us—and why we must find a way to kill them once and for all if we are to avoid an even bigger financial crisis in the future. Zombie Economics takes the reader through the origins, consequences, and implosion of a system of ideas whose time has come and gone. These beliefs—that deregulation had conquered the financial cycle, that markets were always the best judge of value, that policies designed to benefit the rich made everyone better off—brought us to the brink of disaster once before, and their persistent hold on many threatens to do so again. Because these ideas will never die unless there is an alternative, Zombie Economics also looks ahead at what could replace market liberalism, arguing that a simple return to traditional Keynesian economics and the politics of the welfare state will not be enough—either to kill dead ideas, or prevent future crises. In a new chapter, Quiggin brings the book up to date with a discussion of the re-emergence of pre-Keynesian ideas about austerity and balanced budgets as a response to recession.