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"This volume is the product of a series of collaborative meetings and workshops between 2010 and 2014."--Acknowledgements.
Employing an innovative methodological toolkit, Doing Conceptual History in Africa provides a refreshingly broad and interdisciplinary approach to African historical studies. The studies assembled here focus on the complex role of language in Africa’s historical development, with a particular emphasis on pragmatics and semantics. From precolonial dynamics of wealth and poverty to the conceptual foundations of nationalist movements, each contribution strikes a balance between the local and the global, engaging with a distinctively African intellectual tradition while analyzing the regional and global contexts in which categories like “work,” “marriage,” and “land” take shape.
Intended for those interested in the African continent and the diversity of human history, this work looks at Africa's past and reflects on the changing ways it has been imagined and represented. It illustrates key themes in modern thinking about Africa's history with a range of historical examples.
This book investigates development in British, French and Portuguese colonial Africa during the last decades of colonial rule. During this period, development became the central concept underpinning the relationship between metropolitan Europe and colonial Africa. Combining historiographical accounts with analyses from other academic viewpoints, this book investigates a range of contexts, from agriculture to mass media. With its focus on the conceptual side of development and its broad geographical scope, it offers new and unique perspectives. An extensive introduction contextualises the individual chapters and makes the book an up-to-date point of entry into the subject of colonial development, not only for a specialist readership, but also for students of history, development and postcolonial studies. Written by scholars from Africa, Europe and North America, Developing Africa is a uniquely international dialogue on this vital chapter of twentieth-century transnational history.
This history of African motherhood over the longue durée demonstrates that it was, ideologically and practically, central to social, economic, cultural and political life. The book explores how people in the North Nyanzan societies of Uganda used an ideology of motherhood to shape their communities. More than biology, motherhood created essential social and political connections that cut across patrilineal and cultural-linguistic divides. The importance of motherhood as an ideology and a social institution meant that in chiefdoms and kingdoms queen mothers were powerful officials who legitimated the power of kings. This was the case in Buganda, the many kingdoms of Busoga, and the polities of Bugwere. By taking a long-term perspective from c.700 to 1900 CE and using an interdisciplinary approach - drawing on historical linguistics, comparative ethnography, and oral traditions and literature, as well as archival sources - this book shows the durability, mutability and complexity of ideologies of motherhood in this region.
This handbook places emphasis on modern/contemporary times, and offers relevant sophisticated and comprehensive overviews. It aims to emphasize the religious, economic, political, cultural and social connections between Africa and the rest of the world and features comparisons as well as an interdisciplinary approach in order to examine the place of Africa in global history. "This book makes an important contribution to the discussion on the place of Africa in the world and of the world in Africa. An outstanding work of scholarship, it powerfully demonstrates that Africa is not marginal to global concerns. Its labor and resources have made our world, and the continent deserves our respect." – Mukhtar Umar Bunza, Professor of Social History, Usmanu Danfodiyo University, Sokoto, and Commissioner for Higher Education, Kebbi State, Nigeria "This is a deep plunge into the critical place of Africa in global history. The handbook blends a rich set of important tapestries and analysis of the conceptual framework of African diaspora histories, imperialism and globalization. By foregrounding the authentic voices of African interpreters of transnational interactions and exchanges, the Handbook demonstrates a genuine commitment to the promotion of decolonized and indigenous knowledge on African continent and its peoples." – Samuel Oloruntoba, Visiting Research Professor, Institute of African Studies, Carleton University
A vast amount of literature--both scholarly and popular--now exists on the subject of historical memory, but there is remarkably little available that is written from an African perspective. This volume explores the inner dynamics of memory in all its variations, from its most destructive and divisive impact to its remarkable potential to heal and reconcile. It addresses issues on both the conceptual and the pragmatic level and its theoretical observations and reflections are informed by first-hand experiences and comparative reflections from a German, Indian, and Korean perspective. A new insight is the importance of the future dimension of memory and hence the need to develop the ability to 'remember with the future in mind'. Historical memory in an African context provides a rich kaleidoscope of the diverse experiences and perspectives--and yet there are recurring themes and similar conclusions, connecting it to a global dialogue to which it has much to contribute, but from which it also has much to receive.
A journey through the history of African popular culture from the seventeenth century to the present day.
This fourth edition of this best-selling core history textbook offers a richly illustrated, single volume, narrative introduction to African history, from a hugely respected authority in the field. The market-leading range of illustrated material from prior editions is now further improved, featuring not only additional and redrawn maps and a refreshed selection of photographs, but the addition of full colour to make these even more instructive, evocative and attractive. Already hugely popular on introductory African History courses, the book has been widely praised for its engaging and readable style, and is unrivalled in scope, both geographically and chronologically – while many competitors limit themselves to certain regions or eras, Shillington chronicles the entire continent, from prehistory right up to the present day. For this new edition, both content and layout have been thoroughly refreshed and restructured to make this wealth of material easily navigable, and even more appealing to students unfamiliar with the subject. New to this Edition: - Now in full colour with fresh new design - Part structure and part intros added to help navigation - New and improved online resources include a new testbank, interactive timelines, lecturer slides, debates In African history, essay questions and further readings - Revised and updated in light of recent research
A history of the evolving field of African art. Peter Probst offers the first book to explore the invention and development of African art as an art historical category. He starts his exploration with a simple question: What do we actually talk about when we talk about African art? By confronting the historically shifting answers to this question, Probst identifies the notion of African art as a conceptual vessel whose changing content manifests wider societal transformations. The perspective is a pragmatic and relational one. Rather than providing an affirmative answer to what African art is and what local meanings it has, Probst shows how the works labeled as "African art" figure in the historical processes and social interactions that constitute the Africanist art world. What Is African Art? covers three key stages in the field's history. Starting with the late-nineteenth through the mid-twentieth century, Probst focuses on the role of museums, collectors, and photography in disseminating visual culture and considers how early anthropologists, artists, and art historians imbued objects with values that reflected ideas of the time. He then explores the remaking of the field at the dawn of African independence with the shift towards contemporary art and the rise of Black Atlantic studies in the 1970s and 1980s. Finally, he examines the postcolonial reconfiguration of the field driven by questions of heritage, reparation, and representation. Probst looks to the future, arguing that, if the study of African art is to move in productive new directions, we must look to how the field is evolving within Africa.