Out of Africa
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|Author||: Karen Blixen|
|Editor||: Penguin UK|
In 1914 Karen Blixen arrived in Kenya with her husband to run a coffee-farm. Instantly drawn to the land, she spent her happiest years there until the plantation failed. Karen Blixen was forced to return to Denmark in 1931 and it was there that she wrote this classic account of her experiences. A poignant farewell to her beloved farm, Out of Africa describes her strong friendships with the people of the area, her affection for the landscape and animals, and great love for the adventurer Denys Finch-Hatton. Written with astonishing clarity and an unsentimental intelligence, Out of Africa portrays a way of life that has disappeared for ever.
|Author||: Isak Dinesen|
With classic simplicity and a painter's feeling for atmosphere and detail, Isak Dinesen tells of the years she spent from 1914 to 1931 managing a coffee plantation in Kenya.
|Author||: John G Fleagle,John J. Shea,Frederick E. Grine,Andrea L. Baden,Richard E. Leakey|
|Editor||: Springer Science & Business Media|
For the first two thirds of our evolutionary history, we hominins were restricted to Africa. Dating from about two million years ago, hominin fossils first appear in Eurasia. This volume addresses many of the issues surrounding this initial hominin intercontinental dispersal. Why did hominins first leave Africa in the early Pleistocene and not earlier? What do we know about the adaptations of the hominins that dispersed - their diet, locomotor abilities, cultural abilities? Was there a single dispersal event or several? Was the hominin dispersal part of a broader faunal expansion of African mammals northward? What route or routes did dispersing populations take?
|Author||: Kuki Gallmann|
|Editor||: Penguin UK|
‘Often, at the hour of day when the savannah grass is streaked with silver, and pale gold rims the silhouettes of the hills, I drive with my dogs up to the Mukutan, to watch the sun setting behind the lake, and the evening shadows settle over the valleys and plains of the Laikipia plateau.’ Kuki Gallmann’s haunting memoir of bringing up a family in Kenya in the 1970s first with her husband Paulo, and then alone, is part elegaic celebration, part tragedy, and part love letter to the magical spirit of Africa.
|Author||: Pal Ahluwalia|
At the heart of this book is the argument that the fact that so many post-structuralist French intellectuals have a strong ‘colonial’ connection, usually with Algeria, cannot be a coincidence. The ‘biographical’ fact that so many French intellectuals were born in or otherwise connected with French Algeria has often been noted, but it has never been theorised. Ahluwalia makes a convincing case that post-structuralism in fact has colonial and postcolonial roots. This is an important argument, and one that ‘connects’ two theoretical currents that continue to be of great interest, post-structuralism and postcolonialism. The re-reading of what is now familiar material against the background of de-colonial struggles demonstrates the extent to which it is this new condition that prompted theory to question long-held assumptions inscribed in the European colonial enterprise. The wide-ranging discussion, ranging across authors as different as Foucault, Derrida, Fanon, Althusser, Cixous, Bourdieu and Lyotard, enables the reader to make connections that have remained unnoticed or been neglected. It also brings back into view a history of struggles, both political and theoretical, that has shaped the landscape of critique in the social sciences and humanities. This clear and lucid discussion of important and often difficult thinkers will be widely read and widely debated by students and academics alike.
|Author||: Karen Blixen|
|Editor||: Penguin Books, Limited (UK)|
Karen Blixen went to Kenya in 1914 to run a coffee farm; its failure in 1931 caused her to return to Denmark where she wrote this classic account of her experiences. OUT OF AFRICA is a celebration of her life there; her friendship with the various peoples of the area and her sympathetic response to the landscape and animals are drawn with warmth and unusual clarity. Although the book is pervaded by her sense of loss, Karen Blixen looks back with an unsentimental intelligence to portray a way oflife that is now gone forever.
|Author||: Marianne Isager|
Beautiful and historic African carpets, baskets, and other textiles provide the design inspiration for these 16 sophisticated knitted cardigans, pullovers, and sweater vests. Intended for seasoned knitters, these projects use domino, double knitting, entrelac, intarsia, and stranded two-color techniques worked in fingering-weight yarns. The Shoowa Vest, the African Domino Pullover, and the Arrowheads Cropped Pullover show off fancy stitching, while other designs feature colors borrowed from the mud-dried fabrics of Mali, the block patterns of Ghana, or motifs from Nigeria, Sierra Leone, Zaire, and Zimbabwe. African animals decorate the Giraffe Vest and Zebra Cardigan, and elsewhere leaping antelope and birds in flight are used in repeating patterns. Full instructions and charted patterns for at least two adult sizes are provided for each design and high-quality photographs of the finished pieces showcase these classic additions to any wardrobe.
|Author||: Ernest Hemingway|
|Editor||: Simon and Schuster|
"There are some things which cannot be learned quickly, and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things, and because it takes a man's life to know them the little new that each man gets from life is very costly and the only heritage he has to leave." -- ERNEST HEMINGWAY In the winter of 1933, Ernest Hemingway and his wife Pauline set out on a two-month safari in the big-game country of East Africa, camping out on the great Serengeti Plain at the foot of magnificent Mount Kilimanjaro. "I had quite a trip," the author told his friend Philip Percival, with characteristic understatement. Green Hills of Africa is Hemingway's account of that expedition, of what it taught him about Africa and himself. Richly evocative of the region's natural beauty, tremendously alive to its character, culture, and customs, and pregnant with a hard-won wisdom gained from the extraordinary situations it describes, it is widely held to be one of the twentieth century's classic travelogues.
|Author||: Alex von Tunzelmann|
|Editor||: Atlantic Books Ltd|
From ancient Egypt to the Tudors to the Nazis, the film industry has often defined how we think of the past. But how much of what you see on the screen is true? And does it really matter if filmmakers just make it all up? Picking her way through Hollywood's version of events, acclaimed historian Alex von Tunzelmann sorts the fact from the fiction. Along the way, we meet all our favourite historical characters, on screen and in real life: from Cleopatra to Elizabeth I, from Spartacus to Abraham Lincoln, and from Attila the Hun to Nelson Mandela. Based on the long-running column in the Guardian, Reel History takes a comic look at the history of the world as told through the movies - the good, the bad, and the very, very ugly.
|Author||: Isak Dinesen,Karen Blixen|
|Editor||: Penguin UK|
Isak Dinesen takes up the absorbing story of her life in Kenya begun in the unforgettable Out of Africa, which she published under the name of Karen Blixen. With warmth and humanity these four stories illuminate her love both for the African people, their dignity and traditions, and for the beauty and wildness of the landscape. The first three were written in the 1950s and the last, 'Echoes from the Hills', was written especially for this volume in the summer of 1960 when the author was in her seventies. In all they provide a moving final chapter to her African reminiscences.
|Author||: Isak Dinesen|
Written to her family, these letters recount the failure of Dinesen's marriage, the financial collapse of her husband's coffee plantation, and her experiences in Kenya
|Editor||: Trafford on Demand Pub|
Four school teachers and their girlfriends, dissatisfied and disoriented with their lot in life and more particularly, the teaching profession as a result of low salaries, lack of benefits, run-away inflation and shortages of essential commodities due to mismanagement of their country's economy, prepare to enter the national university to acquire higher qualifications to help them get better jobs and income after graduation. They work assiduously, combining studies, full-time employment and gallivanting to savour the good life the Harbour City could offer. At the time, their country was under a second military government in less than fifteen years after regaining freedom and independence from the British. Their entry into Elgin University is marked by over-excitement, boos and womanizing alongside intense academic activities. The excitement and ebullience spill over beyond the borders of the University campus, enticing the police and army, who are battle-hungry and deprived of physical training, to engage in intermittent invasion of the university campus under the pretext of flushing out malcontents and hooligans. For more than a decade, the campus becomes battle grounds for police and army invasions, brutalities, anti-government demonstrations, student politics and government intervention and interference in the academic life of the university. To make sense and meaning of what was going on at the campus, the four students, their girl-friends and sympathizers team up to organize a personal club to support themselves in coping with the stresses and uncertainties of campus life amidst the ongoing cacophonic revolution. They align themselves with a relative and friend, Jonas, who lives in the third largest city of the Republic. Jonas agrees to be a proud sponsor and financier of the group, who refer to themselves as social climbers. Jonas pays a visit to the Elgin campus to participate in the group's first campus party. He meets with Joe and Osborn, two close friends, and introduces them to some six mysterious soldiers he was working with on some special project, as he intimated. After the party, Jonas leaves for his city but mysteriously fails to reach his destination. Nothing is heard of him for months. Around the same time, other people mysteriously disappear in the Republic. Under intense suspicions, General Ito, Chairman of the Revolutionary Military Council, announces at a press conference that certain individuals have been apprehended and put in military custody for engaging in illegal activities calculated to undermine his government. He assures the nation, however, that investigations are underway and that those people would soon be brought to justice. Meanwhile, student demonstrations against the military government continue unabated because of the government's failure to meet their demands, one of which is to hand over power. Planning to entrench themselves in power, the military government organizes a national referendum seeking approval for a proposed tripartite union government involving the army, civilians and the police. Joe and the group win the student union elections and he is sworn in as President of the Elgin University student union. Using their new political leverage, Joe and Osborn confront General Ito and his military strategists about the whereabouts of Jonas. They are arrested and placed under military custody for interrogations at the Castle dungeons. Demands for their release reach searing point at the campus, resulting in massive nation-wide student demonstrations. In the ensuing confusion and anarchy, some disgruntled non-commissioned officers in the army overthrow the military government, freeing all those in military custody, including Jonas. A new civilian government is hastily organized and installed with Jonas as the new President. Joe and Osborn refuse to participate in the new government and, instead, negotiate for safe exit to con
|Author||: Kylie Thomas,Louise Green|
This book offers a range of perspectives on photography in Africa, bringing research on South African photography into conversation with work from several other places on the continent, including Angola, the DRC, Kenya, Mali, Morocco, Nigeria, Ethiopia, and Eritrea. The collection engages with the history of photography and its role in colonial regulatory regimes; with social documentary photography and practices of self-representation; and with the place of portraits in the production of subjectivities, as well as contemporary and experimental photographic practices. Through detailed analyses of particular photographs and photographic archives, the chapters in this book trace how photographs have been used both to affirm colonial worldviews and to disrupt and critique such forms of power. This book was originally published as a special issue of Social Dynamics.
|Editor||: Tundra Books|
A collection of African wisdom gorgeously illustrated by artists from Ghana, South Africa, Zimbabwe, Canada, the United States and more. Aphorisms are universal. They give guidance, context and instruction for life's issues, and they help us understand each other and the world around us. We use them every day, yet never think about where they came from or why they exist. In this beautifully illustrated collection, Eric Walters brings us classic sayings from the places where this shared wisdom began. Ashanti, Sukuma, Akan and Kikuyu: all of these cultures use the portable and easily shared knowledge contained in aphorisms, and from these cultures and more this communal knowledge spread. This book is a celebration of art, of community and of our common history.
|Author||: Robert Paarlberg|
|Editor||: Harvard University Press|
In Starved for Science Paarlberg explains why poor African farmers are denied access to productive technologies, particularly genetically engineered seeds with improved resistance to insects and drought. He traces this obstacle to the current opposition to farm science in prosperous countries.
|Author||: Ashley Currier|
Visibility matters to activists—to their social and political relevance, their credibility, their influence. But invisibility matters, too, in times of political hostility or internal crisis. Out in Africa is the first to present an intimate look at how Namibian and South African lesbian, gay, bisexual, and transgender (LGBT) organizations have cultivated visibility and invisibility as strategies over time. As such, it reveals the complexities of the LGBT movements in both countries as these organizations make use of Western terminology and notions of identity to gain funding even as they work to counter the perception that they are “un-African.” Different sociopolitical conditions in Namibia and South Africa affected how activists in each country campaigned for LGBT rights between 1995 and 2006. Focusing on this period, Ashley Currier shows how, in Namibia, LGBT activists struggled against ruling party leaders' homophobic rhetoric and how, at the same time, black LGBT citizens of South Africa, though enjoying constitutional protections, greater visibility, and heightened activism, nonetheless confronted homophobic violence because of their gender and sexual nonconformity. As it tells the story of the evolving political landscape in postapartheid Namibia and South Africa, Out in Africa situates these countries' movements in relation to developments in pan-African LGBT organizing and offers broader insights into visibility as a social movement strategy rather than simply as a static accomplishment or outcome of political organizing.
|Author||: Jyoti Mistry,Antje Schuhmann,Max Annas,Beti Ellerson,Henriette Gunkel|
|Editor||: NYU Press|
Gaze Regimes is a bricolage of essays and interviews showcasing the experiences of women working in film, either directly as practitioners or in other areas as curators, festival programme directors or fundraisers. It does not shy away from questioning the relations of power in the practice of filmmaking and the power invested in the gaze itself. Who is looking and who is being looked at, who is telling women’s stories in Africa and what governs the mechanics of making those films on the continent? The interviews with film practitioners such as Tsitsi Dangarembga, Taghreed Elsanhouri, Jihan El-Tahri, Anita Khanna, Isabel Noronhe, Arya Lalloo and Shannon Walsh demonstrate the contradictory points of departure of women in film – from their understanding of feminisms in relation to lived-experiences and the realpolitik of women working as cultural practitioners. The disciplines of gender studies, postcolonial theory, and film theory provide the framework for the book’s essays. Jyoti Mistry, Antje Schuhmann, Nobunye Levin, Dorothee Wenner and Christina von Braun are some of the contributors who provide valuable context, analysis and insight into, among other things, the politics of representation, the role of film festivals and the collective and individual experiences of trauma and marginality which contribute to the layered and complex filmic responses of Africa’s film practitioners.
|Author||: Sara Wheeler|
|Editor||: Random House|
Denys Finch Hatton was adored by women and idolized by men. A champion of Africa, legendary for his good looks, his charm, and his prowess as a soldier, lover, and hunter, Finch Hatton inspired Karen Blixen to write the unforgettable stories in Out of Africa. Now esteemed British biographer Sara Wheeler tells the truth about this extraordinarily charismatic adventurer. Born to an old aristocratic family that had gambled away most of its fortune, Finch Hatton grew up in a world of effortless elegance and boundless power. Tall and graceful, with the soul of a poet and an athlete’s relaxed masculinity, he became a hero without trying at Eton and Oxford. In 1910, searching for novelty and danger, Finch Hatton arrived in British East Africa and fell in love–with a continent, with a landscape, with a way of life that was about to change forever. Wheeler brilliantly conjures the mystical beauty of Kenya at a time when teeming herds of wild animals roamed unmolested across pristine savannah. No one was more deeply attuned to this beauty than Finch Hatton–and no one more bitterly mourned its passing when the outbreak of World War I engulfed the region in a protracted, bloody guerrilla conflict. Finch Hatton was serving as a captain in the Allied forces when he met Karen Blixen in Nairobi and embarked on one of the great love affairs of the twentieth century. With delicacy and grace, Wheeler teases out truth from fiction in the liaison that Blixen herself immortalized in Out of Africa. Intellectual equals, bound by their love for the continent and their inimitable sense of style, Finch Hatton and Blixen were genuine pioneers in a land that was quickly being transformed by violence, greed, and bigotry. Ever restless, Finch Hatton wandered into a career as a big-game hunter and became an expert bush pilot; his passion that led to his affair with the notoriously unconventional aviatrix Beryl Markham. But Markham was no more able to hold him than Blixen had been. Mesmerized all his life by the allure of freedom and danger, Finch Hatton was, writes Wheeler, “the open road made flesh.” In painting a portrait of an irresistible man, Sara Wheeler has beautifully captured the heady glamour of the vanished paradise of colonial East Africa. In Too Close to the Sun she has crafted a book that is as ravishing as its subject.