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A Kiswahili translation of Julius Caesar. William Shakespeare's Julius Caesar is the first of his three Roman history plays. Closely based on actual events chronicled in Plutarch's Lives, this play is the story of the tragic downfall of Caesar and those who conspired against him. Many of Shakespeare's most memorable lines are found here, in what is considered by some to be the greatest tragedy ever written.
Africa is a marriage of cultures: African and Asian, Islamic and Euro-Christian. Nowhere is this fusion more evident than in the formation of Swahili, Eastern Africa's lingua franca, and its cultures. Swahili Beyond the Boundaries: Literature, Language, and Identity addresses the moving frontiers of Swahili literature under the impetus of new waves of globalization in the twentieth and twenty-first centuries. These momentous changes have generated much theoretical debate on several literary fronts, as Swahili literature continues to undergo transformation in the mill of human creativity. Swahili literature is a hybrid that is being reconfigured by a conjuncture of global and local forces. As the interweaving of elements of the colonizer and the colonized, this hybrid formation provides a representation of cultural difference that is said to constitute a "third space," blurring existing boundaries and calling into question established identitarian categorizations. This cultural dialectic is clearly evident in the Swahili literary experience as it has evolved in the crucible of the politics of African cultural production. However, Swahili Beyond the Boundaries demonstrates that, from the point of view of Swahili literature, while hybridity evokes endless openness on questions of home and identity, it can simultaneously put closure on specific forms of subjectivity. In the process of this contestation, a new synthesis may be emerging that is poised to subject Swahili literature to new kinds of challenges in the politics of identity, compounded by the dynamics and counterdynamics of post-Cold War globalization.
'Julius Caesar is, simply, Shakespeare's African play' John Kani In 2012, actor Paterson Joseph played the role of Brutus in the Royal Shakespeare Company's acclaimed production of Julius Caesar - Gregory Doran's last play before becoming Artistic Director for the RSC. It is a play, Joseph is quick to acknowledge, that is widely misunderstood - even dreaded - when it comes to study and performance. Alongside offering fascinating insights into Julius Caesar and Shakespeare's writing, Joseph serves up details of the rehearsal process; his key collaborations during an eclectic career; as well as his experience of working with a majority black cast. He considers the positioning of ethnic minority actors in Shakespeare productions in general, and female actors tackling so seemingly masculine a play in particular. Audience reactions are also investigated by Joseph, citing numerous conversations he has had with psychologists, counsellors and neurologists on the subject of what happens between performer and spectator. For Paterson Joseph, his experience of playing Brutus in Julius Caesar with the RSC was a defining point in his career, and a transformative experience. For any actor or practitioner working on Shakespeare - or for any reader interested in his plays - this is a fascinating and informative read, which unlocks so much about making and understanding theatre from the inside.
This is the fourth edition of 'Nyerere and Africa: End of an Era. It is also the largest and includes new material not found in previous editions. The work is a comprehensive study of the political career of President Julius Nyerere spanning half a century. The author takes a critical look at Nyerere's policies and influence in the domestic and international arenas for an objective evaluation of the life and times of one of the most influential leaders in the twentieth century. The major role he played in the liberation of southern Africa is just one of the subjects addressed by the author. He also provides insights into Nyerere's personality from some of the people who knew him best. Included in the book are interviews with some of the people who knew Nyerere since his childhood. Some of them were his teachers. And they outlived him. Others were his schoolmates and colleagues in government and when he was a teacher. And some of them were his students. Also included are interviews with some of his family members. This is an essential study of post-colonial Africa. It is also a study in political leadership and Cold War politics in the African context, among many other subjects addressed in the book which should serve as a reference text for scholars and laymen alike interested in Africa and the Third World in general.
This edition of one of Shakespeare's best known and most frequently performed plays argues for Julius Caesar as a new kind of political play, a radical departure from contemporary practice, combining fast action and immediacy with compelling rhetorical language, and finding a clear context for its study of tyranny in the last decade of the reign of Elizabeth 1. The richly experimental verse and the complex structure of the play are analysed in depth, and a strong case is made for this to be the first play to be performed at Shakespeare's Globe Theatre.'Daniell's edition is a hefty piece of serious scholarship that makes a genuine contribution.'Eric Rasmussen, University of Nevada at Reno, Shakespeare Survey'This is a stimulating new look at a play which is too often exhibited in a critical museum.' Paul Dean, English Studies
A Companion to Comparative Literature presents a collection of more than thirty original essays from established and emerging scholars, which explore the history, current state, and future of comparative literature. Features over thirty original essays from leading international contributors Provides a critical assessment of the status of literary and cross-cultural inquiry Addresses the history, current state, and future of comparative literature Chapters address such topics as the relationship between translation and transnationalism, literary theory and emerging media, the future of national literatures in an era of globalization, gender and cultural formation across time, East-West cultural encounters, postcolonial and diaspora studies, and other experimental approaches to literature and culture
This book is the first full-length examination of the cultural politics at work in the act of translation in East Africa, providing close critical analyses of a variety of texts that demonstrate the myriad connections between translation and larger socio-political forces. Looking specifically at texts translated into Swahili, the book builds on the notion that translation is not just a linguistic process, but also a complex interaction between culture, history, and politics, and charts this evolution of the translation process in East Africa from the pre-colonial to colonial to post-colonial periods. It uses textual examples, including the Bible, the Qur’an, and Frantz Fanon’s Wretched of the Earth, from five different domains – religious, political, legal, journalistic, and literary – and grounds them in their specific socio-political and historical contexts to highlight the importance of context in the translation process and to unpack the complex relationships between both global and local forces that infuse these translated texts with an identity all their own. This book provides a comprehensive portrait of the multivalent nature of the act of translation in the East African experience and serves as a key resource for students and researchers in translation studies, cultural studies, post-colonial studies, African studies, and comparative literature.
This second volume of A History of East African Theatre focuses on central East Africa; on Burundi, Kenya, Rwanda, Tanzania and Uganda. The first chapter is concerned with francophone theatres, comparatively studying work coming out of Burundi and Rwanda alongside a focus on French language theatre in Djibouti. The chapter is particularly concerned to explore how French and Belgian cultural policies impacted theatre during the colonial period and how the French ideas of Francafrique and promotion of elite, French language art have continued to resonate in the post-colonial present. Chapters Two and Three look comparatively at the rich theatre histories of Kenya, Tanzania and Uganda, and are divided between a study of British East African colonial impact and an analysis of the post-colonial period illustrating how divergent political thought and societal make-up led to exponential differentiation in national theatres. The final chapter, on Theatre for Development and related social action theatre, covers the whole East African region, offering the first ever historicised analysis of this mode of theatre making which, since the 1980s, has come to dominate funding and opportunity in performance arts.
To address the idea of agency in translation is to highlight the interplay of power and ideology: what gets translated or not and why a text is translated is mainly a matter of exercising power or reflecting authority. The contributions in this book serve as an attempt to understand the complex nature of agency in terms of its relation to agents of translation; the role of translatorial agents and the way they exercise their agency in (de)constructing narratives of power and identity; and the influence of translatorial agency on the various processes of translation and hence on the final translation product as well. (Series: Reprasentation - Transformation. Representation - Transformation. Representation - Transformation. Translating across Cultures and Societies - Vol. 10) [Subject: Translation Studies, Linguistics]
Ali Mazrui has been described as one of the most original thinkers that Africa has produced, and one of the top 100 living public intellectuals in the world today. This volume uses Mazrui's life and work as a guide towards explaining the historical impact of black public intellectuals such as Julius K. Nyerere, Patrice Lumumba and Barrack Obama. The book explores not only politics and academics, but also religion, gender, class and civil-military relations, bringing together into the black experience both Plato's concept of the "e;philosopher King"e; and V.I. Lenin's notion of the 'intelligentsia'