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Introduction : on the southern tip of Africa -- Process as metaphor : the metaphorics of erasure -- History as process : theaters of politics and Hegel in Africa -- Process/procession : a process of change -- Drawing up, drawing out : drawing as thinking -- Projection : the most promiscuous of metaphors -- Being contemporary up south : world time and other doubtful enterprises
This book deals with the history of mining and smelting from the Renaissance to the present. Martin Lynch opens with the invention, sometime before 1453, of a revolutionary technique for separating silver from copper. It was this invention which brought back to life the rich copper-silver mines of central Europe, in the process making brass cannon and silver coin available to the ambitious Habsburg emperors, thereby underpinning their quest for European domination. Lynch also discusses the Industrial Revolution and the far-reaching changes to mining and smelting brought about by the steam engine; the era of the gold rushes; the massive mineral developments and technological leaps forward which took place in the USA and South Africa at the end of the 19th century; and, finally, the spread of mass metal-production techniques amid the violent struggles of the 20th century. In an engaging, concise and fast-paced text, he presents the interplay of personalities, politics and technology that have shaped the metallurgical industries over the last 500 years.
The essays collected here investigate art made by women in South Africa between 1910, the year of Union, and 1994, the year of the first democratic election. During this period, complex political circumstances and the impact of modernism in South Africa affected the production of images and objects. The essays explore the ways in which the socio-political circumstances associated with twentieth-century modernity had a paradoxical impact on women. If some were empowered, others were disadvantaged: while some were able to further their social and cultural development and expression, the advancement of others was impeded. The contributors study the lives and achievements of women - named and un-named, black and white, and from different cultural groups and social contexts - and consider objects and images that are historically associated with both 'art' and 'craft'. In all the essays, gender theory is related to South African circumstances. The volume explores gender theory in relation to twentieth-century visual culture and discusses economic conditions and regional geographies as well as notions of identity. It investigates the influence of educational and cultural institutions, the role of theory on art practice, debates about material culture, the power of nationalist ideologies and the role of feminist theories in a changing country. A wide range of visual images and objects provide the touchstone for debate and analysis - paintings, sculptures, photography, baskets, tapestries, embroideries and ceramics - so that the book is richly visual and celebrates the diversity of South African art made by women.
The first ever comprehensive history of anti-Semitism in England, from medieval murder and expulsion through to contemporary forms of anti-Zionism in the 21st century.