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Print Culture in Southern Africa is concerned with the institutions and processes informing textual production, circulation and consumption in the region, over a broad historical period from the late 18th century to the present day. The book is organised around three closely related themes. Firstly, it presents original research into the formation of reading publics and the impact of reading cultures, by uncovering obscure but important reading communities and circuits of book distribution and reception. A second theme is the relationship between print and politics, with a particular focus on the networks of power: how control over the production and circulation of printed books has shaped literary and cultural development. The third theme is transnational print culture, and how the control exercised by publishers in Europe and America has shaped literature and society in southern Africa. Drawing together interdisciplinary research and diverse methodologies, the collection encompasses a range of perspectives, including literary studies, anthropology, publishing studies, the history of the book and art history, and many of the chapters are based on previously unexamined archives and collections. The volume contributes to current debates and opens up new and exciting ways of furthering the study of postcolonial literature and African book history. The chapters included in this book were originally published in the Journal of Southern African Studies.
"The South African nursing experience over 90 years has been adequately documented and may be found on the shelves of public libraries, university libraries and hospital libraries as well as between the pages of "struggle literature" such as Critical Health. This book does not attempt academic analysis per se, rather is it an authentic oral and written account of the experiences, which shaped the careers of black nurses. The sample of respondents was picked at random across the country, as time and private purse allowed. They were assured anonymity in that only first or nicknames would be used as a rule, except where a surname carries historical significance. In 1994, when the winds of changes blew democracy across the political landscape, the South African nursing profession too was gusted along the road of revolution. It was no longer a question of whether change would come, but when. Nonceba Lubanga in her chapter "Nursing in South Africa" has been given a detailed account of the struggle of black nurses, referring to them as "the unsung heroes of the African struggle in South Africa."--P. [4] of cover.
How does a book become an international bestseller? What happens to it as it is translated into different languages, contexts, and societies? How is it changed by the intellectual environments it encounters? What does the transnational circulation mean for its reception back home? Exploring the international life of a particularly long-lived and widely traveled book, Isabel Hofmeyr follows The Pilgrim's Progress as it circulates through multiple contexts--and into some 200 languages--focusing on Africa, where 80 of the translations occurred. This feat of literary history is based on intensive research that criss-crossed among London, Georgia, Kingston, Bedford (John Bunyan's hometown), and much of sub-Saharan Africa. Finely written and unusually wide-ranging, it accounts for how The Pilgrim's Progress traveled abroad with the Protestant mission movement, was adapted and reworked by the societies into which it traveled, and, finally, how its circulation throughout the empire affected Bunyan's standing back in England. The result is a new intellectual approach to Bunyan--one that weaves together British, African, and Caribbean history with literary and translation studies and debates over African Christianity and mission. Even more important, this book is a rare example of a truly worldly study of "world literature"--and of the critical importance of translation, both linguistic and cultural.
Xhosa oral poetry has defied the threats to its integrity over two centuries, to take its place in a free South Africa. This volume establishes the background to this poetic re-emergence, preserving and transmitting the voice of the Xhosa poet.
Lost in the Stars is a biographical study of Alexander William Roberts, a Free Church of Scotland missionary educator who in 1883 was posted to the Lovedale Institution at Alice, South Africa. Inspired by the night sky of the southern hemisphere, Roberts became a leading observer of variable stars and an early contributor to the theory of close interacting binary stars. He actively promoted the development of colonial scientific culture and was elected president of the South African Association for the Advancement of Science in 1913. His teaching career at Lovedale fostered a commitment to the interests of his African students and their communities. In 1920 Roberts was appointed to the South African senate to represent “native” Africans; he also served as senior member of the Native Affairs Commission. Despite his liberal instincts he acquiesced to the movement toward racial segregation as advanced in the Natives (Urban Areas) and Native Administration Acts. Roberts nonetheless militated against the erosion of the Cape non-racial franchise rights; he resigned from the Native Affairs Commission just as the all-white parliament was poised to remove Africans from the common voters’ roll. His engagement with the politics of race interfered with Roberts’s astronomical research. Although he published nearly one hundred papers in scientific journals most of his observational data remained unknown until the Boyden Observatory’s Roberts archive was digitized in 2006. His influence as a mission educator also has been little known, although among his pupils were journalist and academic D.D.T. Jabavu, the physician James Moroka, and Swazi king Sobhuza I.
The Colonisation of Time is a highly original and long overdue examination of the ways that western-European and specifically British concepts and rituals of time were imposed on other cultures as a fundamental component of colonisation during the nineteenth century. Based on a wealth of primary sources, it explores the intimate relationship between the colonisation of time and space in two British settler-colonies (Victoria, Australia and the Cape Colony, South Africa) and its instrumental role in the exportation of Christianity, capitalism, and modernity, thus adding new depth to our understanding of imperial power and of the ways in which it was exercised and limited. All those intrigued by the concept of time will find this book of interest, for it illustrates how western-European time’s rise to a position of global dominance—from the clock to the seven-day week—is one of the most pervasive, enduring and taken-for-granted legacies of colonisation in today’s world.
Herero: 12 entries; Ndonga: 3; Kwanyama: 3; Bushman: 12; "Hottentot": 5; Nama: 26; Korana: 6.
How was Africa seen by the West during the colonial period? How do Europeans and Americans conceive of Africa in today's postcolonial era? Such questions have preoccupied anthropologists, historians, and literary scholars for years. But few have asked the reverse: how did--and do--Africans see Europe and the United States? Fewer still have wondered how Western images of Africa and African representations of the West might mirror one another. In a detailed study spanning from the late nineteenth century to the present, renowned anthropologist and ethnomusicologist Veit Erlmann examines the very creation of a global imagination for black South Africans, Europeans, and African Americans. To this end, he explores two striking episodes in the history of black South African music. The first is a pair of tours made by two black South African choirs in England and America in the early 1890s; the second is a series of engagements with the international music industry as experienced by the premier choral group Ladysmith Black Mambazo after the release of Paul Simon's celebrated Graceland album in 1986. Readers will find the cast of characters involved in these intertwined and international dramas at once telling and impressive. Among the many players are African National Congress co-founder Saul Msane, Queen Victoria, African-American musician and impresario Orpheus McAdoo, Xhosa Christian prophet Ntsikana, W. E. B. Du Bois, Michael Jackson, and Spike Lee. Music, Modernity, and the Global Imagination tells the story of how these artists, activists, and agents effectively invented each other in travel diaries, religious hymns, concert performances, music videos, Broadway plays, and autobiographies. Erlmann also argues that the resultant mixture of myths and fictions--as distinctly imagined by these diverse historical actors--entangled South Africa and the West in ways that often obscured the newly emergent global imbalances of power, or else blurred the polarities of the colonial and postcolonial world. Ultimately, this book reports on a transatlantic dialogue that carries direct and profound implications for the world's arts and cultures. It is the black diasporic discussion between South Africa and the West, and it is a conversation--about society, music, and Utopia--that is still in progress.