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African oral tradition, particularly in the Kom culture, constitutes the main backbone on which African literature is developed and built. African oral tradition is rich in performance. The most important thing about this tradition is that it does not only provide entertainment but also teaches important moral lessons. The stories in African Folktales from Kom Kingdom are original and purely works of fiction. Some of the stories may be inspired by true-life experiences from the past, while others grew from the author’s colorful imagination. These are stories of forbidden love, royalty, forest gods, and more. For this genre of literature to survive the pressure of the current modern age and progress to the next generation, stories must be recorded. Massive and aggressive efforts have been made by experts in African oral tradition to collect, transcribe, translate, and analyze this genre before it completely disappears from the world scene.
Initially considered something of a black sheep within the Anglophone Cameroon literary genres, the Anglophone novel has gradually grown to carve out a respectable niche for itself in the Anglophone Cameroon sub-system, imposing itself in a way that makes it impossible for critics to ignore it. Now a vibrant genre, it even threatens to overtake drama and poetry, both of which have enjoyed more critical attention. This book is a study of how Anglophone Cameroon has contributed in extending the possibilities of the novel as a literary form, and of some of the established conventions necessary for a fruitful evaluation of the growing body of the Cameroonian novel in English. In this eclectic and compelling book, Ambanasom sets out to achieve three primary objectives: to introduce the reader to the extensive body of Cameroonian novels in English, to re-examine the distorting and limiting criteria upon which the critical assessment of the Cameroonian novel in English has so far been based, and to bridge the widening chasm between literary theory and actual critical practice. To achieve these objectives, Ambanasom begins by elaborating an alternative and flexible theoretical framework which he christens the 'Socio-Artistic Approach' and which, according to him, is 'concerned with both a text's thematic, moral, cultural or ideological issues, on the one hand, and its central literary analysis, on the other.' He then proceeds to use this new critical framework to examine twenty-seven major Cameroonian novels in English. There are critical voices, already emerging within the Anglophone Cameroonian literary circles, calling for rigorous teaching and practice of theory in the interpretation of literary works, setting in motion a critical discourse. Such a call is salutary, and welcome. Those university lecturers whose responsibility it is to teach theoretical courses should take this call very seriously, moving from theory to hands-on practice. This book is Ambanasom's contribution to that critical debate.
The Indira Gandhi Rashtriya Manav Sangrahalaya, Bhopal has a project to map the cultural heritage of North-East India. One volume is planned on each state. Manipur is one of the unique multi-ethnic states of North-East India which has a complex but distinctive cultural heritage of its own. This book presents the different facets of the cultural heritage of the border state of Manipur ingrained within its historicity, identity and political ecology. This book will be of much value for scholars across the disciplinary frames and pave the way for further research. Please note: Taylor & Francis does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh and Sri Lanka.
It is the early twentieth century within the northwestern savannahs of Cameroon as the infiltration of white colonialism lurks in the shadows. As the Mukomangoc tribes age-old customs battle to survive, no one has any idea that a rebellious virgin is about to challenge everything they have ever known. Iyafi is the only one in her family who does not consider it an honor to be chosen as a wintoc. When the king of the Mukomangocs selects her to be one of his wives, Iyafi dreads the deflowering ceremony with His Highness. What no one knows is that she shares a forbidden love with her childhood friend, Jam. But when cruel chance locks Iyafi and Jam in isolated intimacies, their doom is boldly traced. While they courageously attempt to defy the outcome, their love clashes with a nations destiny as times and generations transform and a king is left to negotiate with the colonial intruders. Taboo Love shares a fascinating tale set in the early twentieth century Africa as tribal rituals intertwine with young love and leave the fate of a nation hanging in the balance.
The new edition of this insightful work begins with a critical reexamination of the rival Greek and British claims to the Elgin Marbles. That case study identifies the questions that continue to dominate the growing international debate about cultural property policy and which are subsequently explored in a newly expanded array of essays. The work goes on to pay particular attention to the law and policy relating to cultural property export controls and the evolution and development of the 1995 UNIDROIT Convention on the Return of Stolen and Illegally Exported Cultural Property. The second part of this highly regarded book addresses a number of contemporary art law issues in essays on counterfeit art, the moral rights of artists, the artist's resale right (droit de suite),the litigation over the Mark Rothko estate, and problems of museum trustee negligence, conflict of interests, and misuse of inside information.
First Published in 1987. Illustrates the argument that sexuality is not a `thing in itself' but a concept that can only be understood with reference to economic, political and social factors.
This book critically discusses missionary Christianity and colonization in Africa as twin enterprises with a common ambition. While the colonialist set out to invest capital and reap profit, the missionary desire was to tend and turn African souls from damnation. It was this desire that drove the missionaries into the interior, propelled by the belief that no land was too remote to escape their attention and vigilance. It equally kept missionary zeal buoyant. The clarification of the concept of salvation within the Roman Catholic Church during the Vatican II Council set in motion the current lethargy that has in some places crippled the mission itself. In retrospect, one can begin to wonder why Africans became Christians. What reasons motivated the early adherents to cling to this foreign religion? Were there some internal deficiencies in African traditional religions, which the Africans hoped to remedy by joining the new religion? Or was it just part of the wholesale flirting with whatever was foreign and perceived to be modern? What baits were used by the missionaries to entice Africans? Christianity posed a danger to many of the time-honoured answers to African problems. These were the 'values' Africans converting to Christianity were expected to abandon. Why have Christians continually returned to their abandoned roots in time of crisis? This moving, well argued, richly documented and empirically substantiated study concludes by cautioning against the stubborn drive at radical conversion to Christianity with scant regard to the imperatives of enculturation.
In this book Walter Gam Nkwi documents the complexities and nuances embedded in African modernities and mobilities which have been overlooked in historical discourses in Africa and Cameroon. Using an ethnographic historical approach and drawing on the intricacies of what it has meant to be and belong in Kom- an ethnic community in the Northwest Region of Cameroon - since 1800, he explores the discourses and practices of kfaang as central to any understanding of mobility and modernity in Kom, Cameroon and Africa at large. The book unveils the emic understanding of modernity through the history and ethnography of kfaang and its technologies and illustrates how these terminologies were conceived and perceived by the Kom people in their social and physical mobilities. It documents and analyzes the historical processes involved in bringing about and making kfaang a defining feature of everyday life in Kom and among Kom subjects.
The study of provenance—the history of the creation and ownership of an artefact, work of art, or specimen—provides insights into the history of taste and collecting, illuminating the social, economic, and historic trends in which an object was created and collected. It is as much a history of people as it is of objects, and its study often reveals intricate networks of relationships, patterns of activity and motivations. This book promotes the study of the history of collecting and collections in all their variety through the lens of provenance, and explores the subject as a cross-disciplinary activity. Perhaps for the first time in a publication, it draws on expertise ranging from art history and anthropology, to natural history and law, looking at periods from antiquity through the 18th century and the Holocaust era to the present, and materials from Europe and the Americas to China and the Pacific. The issues raised are wide-ranging, touching on aspects of authenticity, cultural meaning and material transformation and economic and commercial drivers, as well as collector and object biography. The book fills a gap in the study of collecting and provenance, taking the subject holistically and from multiple standpoints, better to reflect the widening interest in provenance from a range of disciplinary perspectives. This book will be a service to the field, from established scholars and museum professionals to students of collecting history, cultural heritage, and museum studies.