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Bringing together historians, political scientists, and literary analysts, this volume shows how biographical narratives can shed light on alternative, little known or under-researched aspects of state power in African politics. Part 1 shows how biographical narratives breathe new life into subjects who, upon decolonization, had been reduced to silence - women, workers, and radical politicians. The contributors analyze the complex relationship between biographical narratives and power, questioning either the power of biographical codes peculiar to western, colonial origins, or the power to shape public memory. Part 2 reflects on the act of (auto-)biography writing as an exercise of power, one that blurs the lines between truth and invention. (Auto-)biographical narratives appear as politicized, ambiguous stories. Part 3 focuses on female leadership during and after colonization, exploring on how women gained, lost, or reinvented "power". Brought together, the contributions of this volume show that the function of biographical narratives should no longer oscillate between romanticized narratives and historical evidence; their varied formats all offer fruitful opportunities for a multidisciplinary dialogue. This book will be of interest to scholars from various disciplinary backgrounds working on the African postcolonial state, the decolonization process, women’s and gender studies, and biography writing.
This book is a collection of various scenarios contemplated and analyzed by the author, using the leading leadership and management theories. Comprised of assessments, measurements, and social critiques of various industries, including, information technology, non-profits, education, and global historical personalities, this book will compliment the canonof leadership manuals.
A collection of poems reflecting Thomas Hardy's tumultuous marriage to Emma Gifford. In many of his poems, the great Dorset poet and novelist Thomas Hardy referred to a certain romantic courtship, a marriage which became progressively more problematical, and finally to a bereavement in which a man loses his wife. So, who was Hardy writing about? The clue is to be found in his early poems, where the names of several locations in North Cornwall are mentioned, this being the very same place which featured in Hardy’s courtship of Emma Gifford, who was to become his first wife. The poems raise certain questions. Given that Hardy and Emma gradually drifted apart so that in the end they lived mainly separate lives, albeit under the same roof, why was he so grief-stricken when she died, bearing in mind that their marriage was so unsatisfactory? How did Hardy cope as he passed through the various stages of grief, which he articulated so poignantly and expressively in his poems? These stages are recognized today, thanks to the work of Swiss-US psychiatrist, Elisabeth Kübler-Ross, and US expert on grieving and loss, David Kessler. Finally, how did Hardy survive and come out the other side, and can his experience be a guide to others who find themselves alone and bereft after losing their partner?
On 1 October 1939, Winston Churchill, First Lord of the Admiralty and soon to be the UK’s wartime leader, described Russia as ‘a riddle wrapped in a mystery inside an enigma’. The same can certainly be said of Stalin. How can this paradox of a man, who on the one hand had once exhibited great tenderness and kindness to his daughter Svetlana, and on the other sent millions – including members of his own family - to their deaths, be explained? It is impossible to quantify the total number of deaths attributable to the policies of Stalin, but the ‘Excess Mortality’ (i.e., deaths over and above what would normally have been expected during the period in question) gives an approximate figure in excess of 40 million. However, this is only part of the story of the amount of misery inflicted by the Stalin regime through torture, deliberate starvation, neglect, separation from loved ones, cold and hypothermia (e.g. in the prisons of Siberia), which is unquantifiable and unimaginable. Svetlana confessed that she ‘would never undertake to “explain” what motivated all my father’s actions, simply because I do not possess the psychological genius of [Russian novelist] Dostoevsky, who knew how to “penetrate” into another man’s soul and “examine it from within”’.
Throughout the world, people regard Peter Sellers purely as a comedic genius: surely, one of the greatest ever to have lived. But, the astute observer will notice that he always appeared to be acting, even when being interviewed. So, who was Peter Sellers? Sellers once said, ‘I could never be myself you see. There is no “Me”. I do not exist. There used to be me, but I had it surgically removed’. Clearly, this was not intended to be taken literally. Instead, the inference is that somehow, he had lost his sense of identity. To discover the real Peter Sellers is no easy task, and when we do, what we encounter is a totally different persona from the comedic characters that he portrayed on the screen. Sellers had celebrity status: a succession of beautiful wives; immense wealth; magnificent motor cars; expensive yachts; a house in Mayfair, and various palatial residences. But far from being happy, he was plagued by self-doubt; ambitious, but never satisfied. And so, he resorted to superstition, clairvoyance, and drugs to get himself through the day. For all Sellers’ worldwide fame as ‘Inspector Clouseau’, many regard the film Being There, in which he played the character ‘Chance’, a gardener, as his masterpiece. In fact, the film was a damning indictment of the false god of materialism. Sellers’ obsession with the character of ‘Chance’, makes it seem likely that this was the kind of person he aspired to be, and wished that he had been.
George Orwell argued that one of the four great motives for a prose writer was the desire ‘to push the world in a certain direction, to alter other people’s idea of the kind of society that they should strive after’. This book contains exciting new work by established and emerging scholars that explores political literature over the last century and a half. It shows how, from The Communist Manifesto to the dystopian future of Margaret Atwood’s Oryx and Crake, writers have attempted to alter people’s ideas, not always successfully. Eighteen chapters deal with a global array of writers and topics, from 1890s Australian bohemians and the anti-Peronism of Argentina’s Julio Cortázar to Aris Alexandrou’s Greek utopia and the harsh modern Zimbabwe of Yvonne Vera’s The Stone Virgins. Other contributors critically examine the sexual politics of nineteenth century aestheticism, Theodor Adorno and Cultural Studies, Paul Auster and the altermodern, Yeats’s poetry, Celan and the Holocaust, the postmodernism of former-Yugoslavia’s Dubravka Ugrešić, or the socialism of Australian Jean Devanny. Whether through informed studies of poetry and politics in Heidegger, Richard Marsh’s gothic novel The Beetle, how Thomas Pynchon and Don DeLillo deal with 9/11, the cultural politics of child abuse in Christos Tsiolkas’s The Slap, or how the German politician Joschka Fischer lost weight, readers will be stimulated by a collection that shows political literature’s continuing ability to inform, enrage and engage readers from around the world.
This book focuses on news silence in Zimbabwe, taking as a point of departure the (in)famous blank spaces (whiteouts) which newspapers published to protest official censorship policy imposed by the Rhodesian government from the mid-1960s to the end of that decade. Based on archived news content, the author investigates the cause(s) of the disappearance of blank spaces in Zimbabwe’s newspapers and establishes whether and how the blank spaces may have been continued by stealth and proposes a model of doing journalism where news is inclusive, just and less productive of blank spaces. The author explores the broader ramifications of news silences, tacit or covert on society’s sense of the world and their place in it. It questions whether and how news media continued with the practice of epistemic deletions and continue to draw on the colonial archive for conceptual maps with which to define and interpret contemporary postcolonial realities and challenges in Zimbabwe. This book will be of interest to scholars, researchers and academics researching the press in contemporary Africa, critical media analysis, media and society studies, and news as discourse.
This work is a general survey of Africa during the post-colonial era. The author looks at how African countries have fared under post-colonial governments, the challenges they have faced through the years, and their successes and failures. He also looks at Africa as a whole during the lost decades - wasted years - when performance of most countries in the political and economic arena was not what the people had expected. They were some of the worst years in the history of post-colonial Africa. Poor economic performance, abuse of power, the brain drain caused by bad government policies and authoritarian rule, forcing tens of thousands of Africans to flee their countries, mostly to the West and most of them highly educated; what Africa needs to do in order to develop; why there is an imperative need to empower the people at the grassroots level; land grab by foreign investors at the expense of peasants and others; and how globalisation has affected Africa since the nineties when it became such a potent force after the end of the Cold War, are some of the subjects the author has also addressed in the book. It is sweeping survey of the continent intended for the general reader and for members of the academic community.