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This intriguing novel chronicles one migrant worker's experiences on a colonial plantation in West Africa. Martin Tebi cannot wait to board a truck to the south where he hopes to become a pioneer at a newly established oil palm plantation. Once he arrives, he realizes that becoming a 'Big man' in a new environment would not be as easy as he had thought. Set in the South West Region of Cameroon near the Bakassi region, this captivating story told in an authentic voice that fuses Pidgin and Standard English would keep readers spellbound as they follow Martin through his many struggles to become the first African manager. The experiences of Martin Tebi would resonate with economically displaced people in any part of the world.
A look at racial politics in the arts examines the idea of authenticity and the national fixation on finding "the real thing" by investigating the motives of those that claim to be authentic and those that call those claims into question. 40,000 first printing.
Drawing on current theory in symbolic anthropology and sociolinguistics, this interpretive essay investigates a complex form of joking based on material collected in a Western Apache community wherein Apaches stage carefully crafted imitations of Anglo-Americans.
Demonstrates the extent to which Josiah Royce’s ideas about race were motivated explicitly in terms of imperial conquest. Another white Man’s Burden performs a case study of Josiah Royce’s philosophy of racial difference. In an effort to lay bare the ethnological racial heritage of American philosophy, Tommy J. Curry challenges the common notion that the cultural racism of the twentieth century was more progressive and less racist than the biological determinism of the 1800s. Like many white thinkers of his time, Royce believed in the superiority of the white races. Unlike today however, whiteness did not represent only one racial designation but many. Contrary to the view of the British-born Germanophile philosopher Houston S. Chamberlain, for example, who insisted upon the superiority of the Teutonic races, Royce believed it was the Anglo-Saxon lineage that possessed the key to Western civilization. It was the birthright of white America, he believed, to join the imperial ventures of Britain—to take up the white man’s burden. To this end he advocated the domestic colonization of Blacks in the American South, suggested that America’s xenophobia was natural and necessary to protecting the culture of white America, and demanded the assimilation and elimination of cultural difference for the stability of America’s communities. Another white Man’s Burden reminds philosophers that racism has been part of the building blocks of American thought for centuries, and that this must be recognized and addressed in order for its proclamations of democracy, community, and social problems to have real meaning. “Curry has paid attention to the odd and icky bits of Royce, tracking down the offhand cultural references, the unfamiliar names, and historical contexts. A solid analysis of early twentieth-century conceptions of race and colonialism reveals an unseemly picture before our contemporary eyes. Curry is right; we shouldn’t ignore or soft-pedal this.” — Lee A. McBride III, the College of Wooster
Colonized through Art explores how the federal government used art education for American Indian children as an instrument for the "colonization of consciousness," hoping to instill the values and ideals of Western society while simultaneously maintaining a political, social, economic, and racial hierarchy. Focusing on the Albuquerque Indian School in New Mexico, the Sherman Institute in Riverside, California, and the world's fairs and local community exhibitions, Marinella Lentis examines how the U.S. government's solution to the "Indian problem" at the end of the nineteenth century emphasized education and assimilation. Educational theories at the time viewed art as the foundation of morality and as a way to promote virtues and personal improvement. These theories made the subject of art a natural tool for policy makers and educators to use in achieving their assimilationist goals of turning student "savages" into civilized men and women. Despite such educational regimes for students, however, indigenous ideas about art oftentimes emerged "from below," particularly from well-known art teachers such as Arizona Swayney and Angel DeCora. Colonized through Art explores how American Indian schools taught children to abandon their cultural heritage and produce artificially "native" crafts that were exhibited at local and international fairs. The purchase of these crafts by the general public turned students' work into commodities and schools into factories.
Åsebrit Sundquist har i mange år forsket på amerikansk skjønnlitteratur som omhandler indianere. I denne boken fokuserer hun både på hvordan hvite amerikanske forfattere fremstiller indianerne i sin skjønnlitteratur og hvordan indianske forfattere fremstiller hvite. Hun ser også på forskjellenepå mannlige og kvinnlige forfatteres måte å behandle dette temaet på. Sundquist viser også hvordan tema som arbeidsledighet, alkoholisme, narkotikamisbruk, barnemishandling osv. blir behandlet i denne litteraturen. Med bibliografi, litteraturliste og forfatterindeks. Eng. 260 s. Innb.
The extremely irritable and quick-tempered chieftain, Akendong II has 14 children, all girls, and is saddened by the fact that he has no chopchair, a male heir to his throne. Then news comes to him that his favourite wife has given birth to a pair of twins, boys. He is even more angered by the fact that he has two heirs, a source of trouble for his kingdom. To avoid his wrath, his councillors change the story, sending away one of the boys to grow in hiding. Learning of the truth about his birth 15 years afterwards, the prince in hiding returns, kidnaps the palace prince and demands his full share of the kingdom. His will is done, but at a very great cost to the chief's peace of mind and relationship with his people. This is by far the shortest of Asong's novels and the least complicated by comparison. But the conflicts, the hallmarks of his art are still there, so also is his breathtaking suspense.
Faced with debts at home and threatened by poverty, Akroma a brilliant and well-educated Ghanaian, using unorthodox means, successfully gets into Cameroon. He is bent on making a fortune. Drawing on his tremendous presence of mind and, capitalising on the early discovery that in Cameroon there is no conscience that money cannot buy, this illegal alien, travelling under three criminal identities, builds up a great amount of wealth. But he cannot buy the entire police force. One police man, Inspector Kum Dangobert, will get even with him, even if it means death. The rest of this very readable novel is about what happens when the Ghanaian evil genius is pitted against the best Cameroonian police superintendent. It is the clash of giants that ends in a cataclysm.
Characteristically, Africans in any Western country are asked so many different questions about "Africa," as Westerners love to refer to the many countries that make up that huge continent, as if Africa were a single nation state. So one begins wondering why it is that Africans, on the other hand, do not refer to individual European countries as "Europe" simply, then the trends and consequences of stereotyping begin setting in just as one is getting used to being asked if Africa has a president, or if one can say something in African. It is some of these questions that Emmanuel Fru Doh has collected over the years and has attempted answering them in an effort to shed some light on a continent that is in many ways like the rest of the world, when not better, but which so many love to paint as dark, backward, chaotic, and pathetic.
This compelling narrative pits the legacies of two men in the village of Nwemba. Winjala the Crude, yardman to the English surveyor Pete Harrington, kills the latter's favourite animal, the big monkey called Stirrup, and runs to his village. Sama Gakoh, washerman to Harrington, also returns home when his services are terminated for age reasons. Both hold clashing views of the white man. They die shortly after their return but their sons pick up and sustain their conflicting philosophies. The drama culminates in the fishing contest where the village chief, Ndelu, takes an unprecedented decision charged with meaning and wisdom. The action is given piquancy by a strong undercurrent of human passion that flies in the face, so to speak, of artifices that divide and alienate. We are dealing here with a profound allegory that brings the classical stereotypes into pointed - and hopefully final - disrepute.