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Butterfly Dreams is the story of a female rebel child soldier who comes back to her family after having been taken to fight by the Ugandan rebels in the conflict between the government of Uganda and the Lord’s Resistance Army (LRA) in Acholiland.
With the backdrop of new global powers, this volume interrogates the state of writing in English. Strongly interdisciplinary, it challenges the prevailing orthodoxy of postcolonial literary theory. An insistence on fieldwork and linguistics makes this book scene-changing in its approach to understanding and reading emerging literature in English.
The present study adds to TEFL discourse in several ways. First of all, it contributes to the widening of the canon as it focuses on Ugandan childrens fiction. Secondly, the research connects to the few empirical studies that exist in the field. It provides further implications for cultural and global learning and literary didactics in TEFL derived from insights into the mental processes of a group of Year 9 students in Germany engaging with Ugandan childrens fiction within the scope of an extensive reading project.
This book investigates how the intersection between gendered violence and human rights is depicted and engaged with in Africana literature and films. The rich and multifarious range of film and literature emanating from Africa and the diaspora provides a fascinating lens through which we can understand the complex consequences of gendered violence on the lives of women, children and minorities. Contributors to this volume examine the many ways in which gendered violence mirrors, expresses, projects and articulates the larger phenomenon of human rights violations in Africa and the African diaspora and how, in turn, the discourse of human rights informs the ways in which we articulate, interrogate, conceptualise and interpret gendered violence in literature and film. The book also shines a light on the linguistic contradictions and ambiguities in the articulation of gendered violence in private spaces and war. This book will be essential reading for scholars, critics, feminists, teachers and students seeking solid grounding in exploring gendered violence and human rights in theory and practice.
Fifteen years ago, Mama said, starting her story, I came to Lagos from Ghana. I came to Nigeria because I was considered an alien in that country. The government of Ghana passed a law asking all aliens without resident permits to regularise their stay in the country'. This story of migration, identities and lives undermined by cynical and xenophobic politics pushed to its logical and terrible conclusion pertains to the Ghanaian orders of `alien compliance' issued in 1970-1971, which determined to force all non-ethnic Ghanaians, so called illegal immigrants, to return to their - so stipulated - `home'. The novel thus touches on concerns of deeper relevance to the politics of race and migration of the twenty first century.
A broad range of cultural works produced in traditional and modern African communities shows a fundamental preoccupation with the concepts of communal solidarity and hospitality in societies driven by humanistic ideals. African Cultural Production and the Rhetoric of Humanism is an inaugural attempt to focus exclusively and extensively on the question of humanism in African art and culture. This collection brings together scholars from different disciplines who deftly examine the deployment of various forms of artistic production such as oral and written literatures, paintings, and cartoons to articulate an Afrocentric humanist discourse. The contributors argue that the artists, in their representation of civil wars, massive corruption, poverty, abuse of human rights, and other dehumanizing features of post-independence Africa, call for a return to the traditional African vision of humanism that is relentlessly being eroded by the realities of postcolonial nationhood.
Honouring strong new voices from around the world, the 2014 Commonwealth Short Story Prize is a global award, open to unpublished as well as published writers, with a truly international judging panel. This global anthology presents the winner of the 2014 Short Story Prize, Jennifer Nansubuga Makumbi’s “Let’s Tell This Story Properly,” alongside some of the most promising and original stories entered for the prize during the past three years by emerging writers across the literary landscape of the world. Gathered from over ten thousand entries, the selected stories are provocative, rich in flair and ambition, and push the boundaries of fiction into fresh territory.
Annotation Both humorous and poignant, Arrows of Rain dramatises the relationship between an individual and the modern African state.
A vivid and suspenseful portrayal of the contradictions of Africa and her people, traditions and superstitions – from the acclaimed author of My Brother–But–One. He sees 'The Butterfly' in his dreams. She is the key to setting a child's soul free. She is the perfect sacrifice. Ex–soldier Kirkman 'Buffel' Potgieter lives by the motto of his former military unit: Tiri Tose, which is Shona for 'we are together'...but also for 'there is no escape'. So when Shilo Jamison Khumalo betrays Buffel by saving a neighbour's child, Tara Wright, from becoming the latest addition to his sinister 'butterfly' collection, it sparks Buffel's obsession with hunting them both down. After Tara witnesses the murder of her father and uncle, she and her remaining family leave Zimbabwe for a new life in South Africa. There, a teenaged Tara meets Wayne Botha–but finds she isn't prepared for the price she is asked to pay for falling in love. After Tara secretly flees the conservative rural community, Wayne never gives up hope of ever seeing his one true love again. But years later, out of the blue, Tara makes contact with Wayne to reveal a secret–and some potentially devastating news. In a twist of fate, Wayne and Jamison find they have far more in common than just a passion for African wildlife and join forces to protect Wayne's new family. But the threat of Buffel is still looming–and Jamison knows only too well that there will be 'no escape' for him and Tara, 'The Butterfly'.