scholarly journals Reclaiming lost ground – the history play in Zulu

Literator ◽  
2004 ◽  
Vol 25 (1) ◽  
pp. 159-178
Author(s):  
H.C. Groenewald
Keyword(s):  
British Empire ◽  
History Plays ◽  
Educational Objective ◽  
African Language ◽  
Great Loss ◽  
Post Colonial ◽  
The Third ◽  
History Of ◽  
Historical Fact ◽  
History Play

This article briefly sketches the history of African-language literatures as initiated by missionaries and formed by Bantu education. Against this background the aim of this article is to establish what the objectives of Zulu dramatists were when they presented historical fact, flawed history, as well as ideological sentiment in their historical plays. Are history plays in Zulu simply the products of writers whose objective was to meet a publisher’s requirements, namely to extend the dramatic genre by writing history plays? Did authors perhaps only have an educational objective, that is, to provide learners with setwork material? If, on the other hand, the history play is the creation of a memory for a specific purpose, as post-colonial theorists suggest, the next objective of this article is to establish what kind of memory Zulu dramatists have created and for what purpose. The history plays will be discussed under the following topics: UNodumehlezi kaMenzi – He who is famous as he sits, son of Menzi (King Shaka). In exploring aspects of Shaka’s rule, it becomes clear that writers express their pain about the great loss the Zulu nation suffered when the Shakan era passed. The second topic treats Izwe lidungekile – The land is in turmoil. The dramas dealt with here vividly depict the pitiful state of the Zulu after their subjugation by the British empire, leading eventually to an inevitable option – armed resistance. The third and last topic, Izwe ngelethu – The land is ours – treats the issue of land.

scholarly journals Matrices of ‘Love and Theft’: Joan Baez Imitates Bob Dylan

2021 ◽  
pp. 1-31
Author(s):  
MIMI HADDON
Keyword(s):  
Final Section ◽  
Theoretical Work ◽  
First Century ◽  
Post Colonial ◽  
The Third ◽  
Bob Dylan ◽  
Colonial Theory ◽  
History Of ◽  
Asymmetrical Power ◽  
American Popular Music

Abstract This article uses Joan Baez's impersonations of Bob Dylan from the mid-1960s to the beginning of the twenty-first century as performances where multiple fields of complementary discourse converge. The article is organized in three parts. The first part addresses the musical details of Baez's acts of mimicry and their uncanny ability to summon Dylan's predecessors. The second considers mimicry in the context of identity, specifically race and asymmetrical power relations in the history of American popular music. The third and final section analyses her imitations in the context of gender and reproductive labour, focusing on the way various media have shaped her persona and her relationship to Dylan. The article engages critical theoretical work informed by psychoanalysis, post-colonial theory, and Marxist feminism.

Playing the Past: Approaches to English Historical Drama, 1385–1600. By Benjamin Griffin. Woodbridge, Suffolk: D. S. Brewer, 2001; pp. xiii + 193. $70 cloth.

2004 ◽  
Vol 45 (2) ◽  
pp. 307-309
Author(s):  
Paulette Marty
Keyword(s):  
Early Modern ◽  
Early Modern England ◽  
History Plays ◽  
Historical Drama ◽  
The Past ◽  
Dramatic Structure ◽  
Political Implications ◽  
History Of ◽  
The Subject ◽  
History Play

Benjamin Griffin takes an innovative approach to studying the history-play genre in early modern England. Rather than comparing history plays to their chronicle sources or interrogating their political implications, Griffin studies their relationships with other early modern English dramas, contextualizing them for “those who wish . . . to understand the history play by way of the history of plays” (xiii). He seeks to identify the genre's distinct characteristics by selecting a relatively broad spectrum of plays and examining their dramatic structure, their historical content, and their audiences' relationship to the subject matter.

scholarly journals Islam and the Three Waves of Globalisation: The Southeast Asian Experience

ICR Journal ◽  
2010 ◽  
Vol 1 (4) ◽  
pp. 666-684
Author(s):  
Osman Bakar
Keyword(s):  
Eleventh Century ◽  
Public Life ◽  
Southeast Asian ◽  
Colonial Period ◽  
Third Wave ◽  
Post Colonial ◽  
The Third ◽  
Indonesian Archipelago ◽  
History Of ◽  
Second Wave

This article is intended to comment on the civilisational history of Islam in Southeast Asia. The history is explained and accounted for in terms of the three major waves of globalisation that have impacted the region since the arrival of Islam as early as the eleventh century. The first wave, itself initiated and dominated by Islam, was responsible for the introduction and establishment of Islam in the region to the point of becoming its most dominant civilisation. The expansion of Islam and its civilisation was in progress when the second wave hit the shores of the Malay-Indonesian Archipelago with the arrival of the Portuguese and other Western powers resulting in the colonisation of the region. The third wave, an American-dominated one, manifests itself in the post-colonial period which witnesses Southeast Asian Islam reasserting itself in various domains of public life. The author sees Southeast Asian Islam as the historical product of centuries-long civilisational encounters with the pre-Islamic indigenous cultures and civilisations and later between ‘Malay-Indonesian Islam’ and the newly arriving religions and cultures brought by both the colonial and post-colonial West, arguing that Islam in the region has been significantly impacted by each of the three waves.

The Dialectics of Empire, Race, and Diocese

2017 ◽  
Author(s):  
Jeffrey Cox
Keyword(s):  
Church Growth ◽  
British Empire ◽  
Contact Zone ◽  
Western World ◽  
Master Narratives ◽  
Post Colonial ◽  
Colonial Studies ◽  
Indigenous Church ◽  
History Of ◽  
Cultural Domination

The history of global Anglicanism is dominated by two master narratives. In the narrative of post-colonial studies, Anglican expansion is one aspect of the expansion of the British Empire. Edward Said’s Orientalism (1978) reconfigured imperialism as cultural domination of the non-Western world, and the imposition of Western styles of religion. The contrasting narrative of mission studies focuses on the victory of the ‘indigenous’ over the ‘foreign’ in the spread of Christianity. Heavily influenced by the works of Lamin Sanneh, this narrative regards missionaries as detonators of indigenous Church growth. This chapter suggests a new narrative of global Anglicanism in which the antagonistic binary struggle between the ‘foreign’ and the ‘indigenous’ is replaced with a dialectical narrative of conflict and collaboration. Western and non-Western Christians cooperate in the ‘contact zone’ of mission and diocese to create a new global Anglicanism, one that is neither fully indigenous nor fully foreign, but new.

Tashkent ‘68: A Cinematic Contact Zone

Slavic Review ◽  
2016 ◽  
Vol 75 (2) ◽  
pp. 279-298 ◽  
Author(s):  
Rossen Djagalov ◽  
Masha Salazkina
Keyword(s):  
Cold War ◽  
Third World ◽  
Soviet Bloc ◽  
Complex Relationship ◽  
Post Colonial ◽  
The Third ◽  
Independence Movement ◽  
History Of ◽  
The Third World ◽  
The Cold War

AbstractThis essay seeks to reconstruct the history of the first Tashkent Festival of Cinemas of Asia and Africa (1968). It offers an account of the festival as a highly heterogeneous and productive site for better understanding the complex relationship between the Soviet bloc and the Third World in the crucial moment between the victory of post-colonial independence movement and the end of the Cold War.

scholarly journals Gaming the Heart of Darkness

Arts ◽  
2018 ◽  
Vol 7 (3) ◽  
pp. 46 ◽  
Author(s):  
Fruzsina Pittner ◽  
Iain Donald
Keyword(s):  
Computer Games ◽  
War Crimes ◽  
Original Fiction ◽  
Chinua Achebe ◽  
Post Colonial ◽  
Francis Ford Coppola ◽  
Heart Of Darkness ◽  
History Of ◽  
Historical Fact ◽  
Original Story

The history of Joseph Conrad’s Heart of Darkness has been one of adaptation and change. The enduring story is based upon Conrad’s experiences in the Congo in the 1890s and was published as a novella in 1902. Since then, the story has been criticised for racism by Nigerian writer Chinua Achebe and relocated to Vietnam by Francis Ford Coppola as Apocalypse Now, influencing computer games such as Far Cry 2 and Spec Ops: The Line. In examining the adaptations of Heart of Darkness, we can consider how the story evolves from the passive reading of post-colonial narratives through to the active participation in morally ambiguous decisions and virtual war crimes through digital games: examining Conrad’s story as it has been adapted for other mediums provides a unique lens in which to view storytelling and retelling within the context of how we interpret the world. This paper compares the source material to its adaptations, considering the blending of historical fact and original fiction, the distortion of the original story for the purpose of creating new meaning, and reflects on whether interactivity impacts upon the feeling of immersion and sense of responsibility in audiences of different narratives.

Revaluations, V: F. S. Oliver, “Alexander Hamilton: an Essay on American Union”

1959 ◽  
Vol 9 ◽  
pp. 18-20
Author(s):  
Peter Marshall
Keyword(s):  
British Empire ◽  
Public Affairs ◽  
Alexander Hamilton ◽  
Political Beliefs ◽  
The Third ◽  
Tariff Reform ◽  
History Of ◽  
Military Preparedness ◽  
American Union ◽  
National Biography

The writings of F. S. Oliver arouse as little interest today as the causes he espoused: tariff reform, the rights of Ulster, military preparedness, Imperial unity are issues abandoned by Politics but unclaimed by History. Booksellers indifferently expose his works to the elements. It is true that a brief account of his career is to be found in the Dictionary of National Biography; but the third volume of the Cambridge History of the British Empire does not mention his name. Yet to his contemporaries Oliver was a figure of great significance and the decline of his reputation has been swift and startling. Reasons can be put forward to account for the change: his political tracts are no longer relevant, his historical works were the efforts of an amateur in a discipline which has become increasingly professional, and his influence was always based primarily upon the force of his personality and the charm of his correspondence. Oliver's singular position in public affairs both helped and hindered his influence. Business preoccupations and indifferent health excluded him from an active part in politics, or so it is said. Doubt on this point is perhaps permissible, since the decade before 1914 saw him active in discussion and prolific as an author. It seems more likely that these were excuses offered to conceal his inability to accept the conventions of democracy. Walpole and Hamilton, Oliver's two heroes, marked the bounds of his political beliefs: the wider world of manhood suffrage was not for him.

The Colonial Documentary Film in South and South-East Asia

2017 ◽  
Keyword(s):  
East Asia ◽  
Subject Matter ◽  
Documentary Film ◽  
East Asian ◽  
South East Asia ◽  
Post Colonial ◽  
Historical Perspectives ◽  
The Third ◽  
Wide Range ◽  
Global Understanding

Writing from a wide range of historical perspectives, contributors to the anthology shed new light on historical, theoretical and empirical issues pertaining to the documentary film, in order to better comprehend the significant transformations of the form in colonial, late colonial and immediate post-colonial and postcolonial times in South and South-East Asia. In doing so, this anthology addresses an important gap in the global understanding of documentary discourses, practices, uses and styles. Based upon in-depth essays written by international authorities in the field and cutting-edge doctoral projects, this anthology is the first to encompass different periods, national contexts, subject matter and style in order to address important and also relatively little-known issues in colonial documentary film in the South and South-East Asian regions. This anthology is divided into three main thematic sections, each of which crosses national or geographical boundaries. The first section addresses issues of colonialism, late colonialism and independence. The second section looks at the use of the documentary film by missionaries and Christian evangelists, whilst the third explores the relation between documentary film, nationalism and representation.

A Universe of Societies

2018 ◽  
Author(s):  
Didier Debaise
Keyword(s):  
Spatial Relations ◽  
The Third ◽  
The Status ◽  
History Of ◽  
Temporal And Spatial

Which kind of relation exists between a stone, a cloud, a dog, and a human? Is nature made of distinct domains and layers or does it form a vast unity from which all beings emerge? Refusing at once a reductionist, physicalist approach as well as a vitalistic one, Whitehead affirms that « everything is a society » This chapter consequently questions the status of different domains which together compose nature by employing the concept of society. The first part traces the history of this notion notably with reference to the two thinkers fundamental to Whitehead: Leibniz and Locke; the second part defines the temporal and spatial relations of societies; and the third explores the differences between physical, biological, and psychical forms of existence as well as their respective ways of relating to environments. The chapter thus tackles the status of nature and its domains.

The Origins of Gritty Realism on British Television: Euston Films and Special Branch

2014 ◽  
Vol 11 (1) ◽  
pp. 23-40 ◽  
Author(s):  
Max Sexton
Keyword(s):  
Cultural Discourse ◽  
Technological Changes ◽  
Television Drama ◽  
The Third ◽  
Fourth Series ◽  
History Of

Euston Films was the first film subsidiary of a British television company that sought to film entirely on location. To understand how the ‘televisual imagination’ changed and developed in relationship to the parent institution's (Thames Television) economic and strategic needs after the transatlantic success of its predecessor, ABC Television, it is necessary to consider how the use of film in television drama was regarded by those working at Euston Films. The sources of realism and development of generic verisimilitude found in the British adventure series of the early 1970s were not confined to television, and these very diverse sources both outside and inside television are well worth exploring. Thames Television, which was formed in 1968, did not adopt the slickly produced adventure series style of ABC's The Avengers, for example. Instead, Thames emphasised its other ABC inheritance – naturalistic drama in the form of the studio-based Armchair Theatre – and was to give the adventure series a strong London lowlife flavour. Its film subsidiary, Euston Films, would produce ‘gritty’ programmes such as the third and fourth series of Special Branch. Amid the continuities and tensions between ABC and Thames, it is possible to discern how economic and technological changes were used as a cultural discourse of value that marks the production of Special Branch as a key transformative moment in the history of British television.

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