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Anxious Joburg focuses on Johannesburg, the largest and wealthiest city in South Africa, as a case study for the contemporary global South city.
Global South cities are often characterised as sites of contradiction and difference that produce a range of feelings around anxiety. This is often imagined in terms of the global North's anxieties about the South: migration, crime, terrorism, disease and environmental crisis. Anxious Joburg invites readers to consider an intimate perspective of living inside such a city. How does it feel to live in the metropolis of Johannesburg: what are the conditions, intersections, affects and experiences that mark the contemporary urban?
Scholars, visual artists and storytellers all look at unexamined aspects of Johannesburg life. From peripheral settlements to the inner city to the affluent northern suburbs, from precarious migrants and domestic workers to upwardly mobile young women and fearful elites, Anxious Joburg presents an absorbing engagement with this frustrating, dangerous, seductive city. It offers a rigorous, critical approach to Johannesburg revealing the way in which anxiety is a vital structuring principle of contemporary life. The approach is strongly interdisciplinary, with contributions from media studies, anthropology, religious studies, urban geography, migration studies and psychology.
It will appeal to students and teachers, as well as to academic researchers concerned with Johannesburg, South Africa, cities and the global South. The mix of approaches will also draw a non-academic audience.
Khamr: The Makings Of A Waterslams is a true story that maps the author’s experience of living with an alcoholic father and the direct conflict of having to perform a Muslim life that taught him that nearly everything he called home was forbidden.
A detailed account from his childhood to early adulthood, Jamil F. Khan lays bare the experience of living in a so-called middle-class Coloured home in a neighbourhood called Bernadino Heights in Kraaifontein, a suburb to the north of Cape Town. His memories are overwhelmed by the constant discord that was created by the chaos and dysfunction of his alcoholic home and a co-dependent relationship with his mother, while trying to manage the daily routine of his parents keeping up appearances and him maintaining scholastic excellence.
Khan’s memories are clear and detailed, which in turn is complemented by his scholarly thinking and analysis of those memories. He interrogates the intersections of Islam, Colouredness and the hypocrisy of respectability as well as the effect perceived class status has on these social realities in simple yet incisive language, giving the reader more than just a memoir of pain and suffering.
Khan says about his debut book: "This is not a story for the romanticisation of pain and perseverance, although it tells of overcoming many difficulties. It is a critique of secret violence in faith communities and families, and the hypocrisy that has damaged so many people still looking for a place and way to voice their trauma. This is a critique of the value placed on ritual and culture at the expense of human life and well-being, and the far-reaching consequences of systems of oppression dressed up as tradition."
The Love Diary of a Zulu Boy is a fable of lust, love, sex, obsession, loss, friendship, betrayal and fantasy. By turns erotic, romantic, tragic and comic, it is inspired by the real-life drama of a romantic relationship between a Zulu boy and an Englishwoman.
A series of diary entries takes us on a whirlwind tour of a relationship that has not only survived, but thrived for 17 years. As the author reflects on love across the colour line, it triggers memories of failed affairs and bizarre experiences: love spells, wet dreams, infidelity, sexually transmitted diseases, a phantom pregnancy, sexless relationships, threesomes and prostitution.
A unique book for the South African market, The Love Diary of a Zulu Boy is written with an honesty rarely encountered in autobiographical writing.
‘Miskien issit omdat poverty my define en nie die racial politics vannie land ie.’
Wit issie ’n colour nie is ’n versameling verhale oor grootword en die lewe in die buitewyke van die Kaapse Vlakte. Dit dek identiteit, rassepolitiek, sosio- ekonomiese kwessies en bruin kultuur, en bevraagteken die Suid-Afrika waarin ons ons bevind. Dit is gevul met galgehumor, rou eerlikheid en hartverskeurende vertellings van pogings om die lewe op die Vlakte te navigeer. Hierdie versameling is diep persoonlik en ’n ontstellend waar weergawe van die lewe aan die ander kant van die spoor, geskryf in Kaapse Afrikaans.
An authentic Turkish cookbook by the owner of the Turkish restaurant Anatoli in Cape Town.
Travel with Tayfun Aras to Turkey and get to know him and the food tradition he grew up with better. Tayfun, who made South Africa his home in 1998 after marrying an Afrikaans girl, Louise, shares the restaurant’s most popular recipes. The dishes range from simple mezes and delectable main courses (lamb dishes and kebabs) to fabulous desserts (baklava and kadayif) and drinks (Turkish coffee and tea and the national drink raki). All ingredients are readily available in South Africa.
Get to know Turkish food tradition and culture as well as the heart of Turkish food: complex, honest food shared with Turkish generosity.
We live in an age of perfectionism.
Every day, we’re bombarded with the beautiful, successful, slim, socially-conscious and extroverted individual that our culture has decided is the perfect self. We see this person constantly in shop windows, in newspapers, on the television, at the movies and all over our social media. We berate ourselves when we don’t match up to them – when we’re too fat, too old, too poor or too sad. This cycle can be extremely bad for us. In recent years, psychologists have even begun to think that many people take their own lives because of the impossible standards that are set for who they ought to be.
Will Storr began to wonder about this perfect self that torments so many of us. Who, actually, is this person? Why does it hold such power over us? Could it be humanity’s deadliest idea? And, if so, is there any way we can break its spell? To find out, Storr takes us on a journey from the shores of Ancient Greece, through the Christian Middle Ages, the encounter groups of 1960s California and self-esteem evangelists of the late twentieth century to modern-day America, where research suggests today’s young people are in the grip of an epidemic of narcissism. He’ll tell the strange story of the individualist Western self from its birth on the Aegean to the era of hyper-individualistic neoliberalism in which we find ourselves today.
Selfie reveals, for the first time, the epic tale of the person we all know so intimately . . . because it’s us.
In this book, Adrian Koopman describes the complex relationship between birds, the Zulu language and Zulu culture. A number of chapters look at the underlying meaning of bird names, and here we will find that the Zulu name of the Goliath Heron means ‘what gives birth to baby crocodiles’, the dikkop (umbangaqhwa) means ‘what causes frost’, and the African Hoopoe is a party-goer who wears a colourful blanket.
The book goes further than just Zulu names, exploring the underlying meanings of bird names from other South African languages and languages from Central and East Africa. Here we find birds with names that translate as ‘cool-porridge’, ‘kiss-banana-flower’ and ‘waiter-at-the-end-of-the furrow’.
A focus on Zulu traditional oral literature details the roles birds have played in Zulu praise poetry (including the praise poems of certain birds themselves) and in proverbs, riddles and children’s games. Also considered is traditional bird lore, examining the role played by various species as omens and portents, as indicators of bad luck and evil, as forecasters of rain and storm, and as harbingers of the seasons. Here we see that the Bateleur Eagle (ingqungqulu) is linked to war, the Southern Ground Hornbill (insingizi) to thunder and heavy rain, the Red-chested Cuckoo (uphezukokhono) to the start of the ploughing season, and the Jacobin Cuckoo (inkanku) to the start of summer.
Zulu Bird Names and Bird Lore discusses the Zulu Bird Name Project, a series of Zulu bird name workshops held between 2013 and 2017 with Zulu-speaking bird guides designed to confirm (or otherwise) all previously recorded Zulu names for birds, while at the same time devising new names for those without previously recorded names. The result has been a list of species-specific names for all birds in the Zulu-speaking region. Finally, the book turns to the role such new bird names can play in conservation education and in avi-tourism.
67 of South Africa's finest cooks, chefs, gardeners, bakers, farmers, foragers and local food heroes let us into their homes - and their hearts - as they share the recipes they make for the people they love.
Each recipe is accompanied by stunning original photography that captures the essence of our beautiful country.
Featuring over 130 recipes, from tried and true classics to contemporary fare, The Great South African Cookbook showcases the diversity and creativity of South Africa's vibrant, unique food culture.
Ngugi describes this book as 'a summary of some of the issues in which I have been passionately involved for the last twenty years of my practice in fiction, theatre, criticism and in teaching of literature.' East Africa (Kenya, Tanzania, Uganda and Rwanda): EAEP
The End Of Whiteness aims to reveal the pathological, paranoid and bizarre consequences that the looming end of apartheid had on white culture in South Africa, and overall to show that whiteness is a deeply problematic category that needs to be deconstructed and thoughtfully considered.
This book uses contemporary media material to investigate two symptoms of this late apartheid cultural hysteria that appeared throughout the contemporary media and in popular literature during the 1980s and 1990s, showing their relation to white anxieties about social change, the potential loss of privilege and the destabilisation of the country that were imagined to be an inevitable consequence of majority rule.
The ‘Satanic panic’ revolved around the apparent threat posed by a cult of white Satanists that was never proven to exist but was nonetheless repeatedly accused of conspiracy, murder, rape, drug-dealing, cannibalism and bestiality, and blamed for the imminent destruction of white Christian civilisation in South Africa.
During the same period an unusually high number of domestic murder-suicides occurred, with parents killing themselves and their children or other family members by gunshot, fire, poison, gas, even crossbows and drownings. This so-called epidemic of family murder was treated by police, press and social scientists as a plague that specifically affected white Afrikaans families. These double monsters, both fantastic and real, helped to disembowel the clarities of whiteness even as they were born out of threats to it. Deep within its self-regarding modernity and renegotiation of identity, contemporary white South Africa still wears those scars of cultural pathology.
How do Muslims fit into South Africa’s well-known narrative of colonialism, apartheid and postapartheid?
South Africa is infamous for apartheid, but the country’s foundation was laid by 176 years of slavery from 1658 to 1834, which formed a crucible of war, genocide and systemic sexual violence that continues to haunt the country today. Enslaved people from East Africa, India and South East Asia, many of whom were Muslim, would eventually constitute the majority of the population of the Cape Colony, the first of the colonial territories that would eventually form South Africa.
Drawing on an extensive popular and official archive, Regarding Muslims analyses the role of Muslims from South Africa’s founding moments to the contemporary period and points to the resonance of these discussions beyond South Africa. It argues that the 350-year archive of images documenting the presence of Muslims in South Africa is central to understanding the formation of concepts of race, sexuality and belonging.
In contrast to the themes of extremism and alienation that dominate Western portrayals of Muslims, Regarding Muslims explores an extensive repertoire of picturesque Muslim figures in South African popular culture, which oscillates with more disquieting images that occasionally burst into prominence during moments of crisis. This pattern is illustrated through analyses of etymology, popular culture, visual art, jokes, bodily practices, oral narratives and literature. The book ends with the complex vision of Islam conveyed in the postapartheid period.
Since 1997 Representation has been the go-to textbook for students learning the tools to question and critically analyze institutional and media texts and images.
This long-awaited second edition:
This book once again provides an indispensible resource for students and teachers in cultural and media studies.
A younger generation of South Africans are developing important and innovative ways of understanding South Africa’s past, challenging narratives that have, over the last decades, been informed by notions of forgiveness and reconciliation. Carli Coetzee uses the image of history-rich blood to explore these approaches to intergenerational memory. In this book, she revisits older archives and analyses contemporary South African cultural and literary forms.
The emphasis on blood challenges the privileged status skin has had as an explanatory category in thinking about identity. Instead, Coetzee emphasises intergenerational transfer and continuity. She argues that a younger generation is contesting the terms through which to understand contemporary South Africa and interpreting the legacies of the past that remain under the visible layer of skin.
The chapters each concern blood: Mandela’s prison cell as laboratory for producing bloodless freedom, the kinship relations created and resisted in accounts of Eugene de Kock in prison, Ruth First’s concern with information leaks in her accounts of her time in prison, the first human-to-human heart transplant and its relation to racialised attempts to salvage white identity, the #Fallist moment, the Abantu Book Festival, and activist scholarship and creative art works that use blood as a trope for thinking about change and continuity.
A seventy-year-old Northwestern journalism professor, Loren Ghiglione, and two twenty-something Northwestern journalism students, Alyssa Karas and Dan Tham, climbed into a minivan and embarked on a three-month, twenty-eight state, 14,063-mile road trip in search of America's identity. After interviewing 150 Americans about contemporary identity issues, they wrote this book, which is part oral history, part shoe-leather reporting, part search for America's future, part memoir, and part travel journal. On their journey they retraced Mark Twain's travels across America-from Hannibal, Missouri, to Chicago, New York, Boston, Philadelphia, Washington, DC, New Orleans, Salt Lake City, San Francisco, and Seattle. They hoped Twain's insights into the late nineteenth-century soul of America would help them understand the America of today and the ways that our cultural fabric has shifted. Their interviews focused on issues of race, religion, gender, sexual orientation, and immigration status. The timely trip occurred as the United States was poised to replace president Barack Obama, an icon of multiculturalism and inclusion, with Donald Trump, whose white-identity agenda promoted exclusion and division. What they learned along the way paints an engaging portrait of the country during this crucial moment of ideological and political upheaval.
Feeding the world, climate change, biodiversity, antibiotics, plastics, pandemics - the list of concerns seems endless. But what is most pressing, and what should we do first? Do we all need to become vegetarian? How can we fly in a low-carbon world? How can we take control of technology? And, given the global nature of the challenges we now face, what on Earth can any of us do, as individuals? Mike Berners-Lee has crunched the numbers and plotted a course of action that is full of hope, practical, and enjoyable. This is the big-picture perspective on the environmental and economic challenges of our day, laid out in one place, and traced through to the underlying roots - questions of how we live and think. This updated edition has new material on protests, pandemics, wildfires, investments, carbon targets and of course, on the key question: given all this, what can I do?
Why do most diets fail? Why does one person eat a certain meal and gain weight, while another eating the same meal loses pounds? Why, despite all the advice about what to eat, are we all still getting fatter?
The answers are much more surprising - and fascinating - than we've been led to believe. The key to health and weight loss lies not in the latest fad diet, nor even in the simple mantra of 'eat less, exercise more', but in the microbes already inside us.
Drawing on the latest science and his own pioneering research, Professor Tim Spector demystifies the common misconceptions about fat, calories, vitamins and nutrients. Only by understanding what makes our own personal microbes tick can we overcome the confusion of modern nutrition, and achieve a healthy gut and a healthy body.
There are lots of ways to start a story, but this one begins with a chicken.
When the world becomes overwhelming, Ella Risbridger focuses on the little things that bring her joy, like enjoying a glass of wine when cooking, FaceTiming with a friend whilst making bagels, and sharing recipes that are good for the soul. One night she found herself lying on her kitchen floor, wondering if she would ever get up - and it was the thought of a chicken, of roasting it, and of eating it, that got her to her feet and made her want to be alive.
Midnight Chicken is a cookbook. Or, at least, you'll flick through these pages and find recipes so inviting that you will head straight for the kitchen: roast garlic and tomato soup, uplifting chilli-lemon spaghetti, charred leek lasagne, squash skillet pie, spicy fish finger sandwiches and burnt-butter brownies. It's the kind of cooking you can do a little bit drunk, that is probably better if you've got a bottle of wine open and a hunk of bread to mop up the sauce. But if you settle down and read it with a cup of tea (or a glass of that wine), you'll also discover that it's an annotated list of things worth living for - a manifesto of moments worth living for. This is a cookbook to make you fall in love with the world again.
Featuring an entire chapter on storecupboard recipes.
This charming little book provides a feast of original recipes from Victorian times, which are still perfectly reliable today. How about spring soup or mayonnaise of chicken in shells to start? Followed by toad in the hole made with steak and kidney, maybe served with asparagus pudding? And for dessert there could be canary pudding with a sweet sauce, or perhaps the exotic pears a l'allemande? Interspersed with delightful illustrations, Victorian Recipes is sure to make a welcome addition to the recipe collection of any keen cook, and a nostalgic and thoughtful gift for those who love all things from the Victorian era.
Horror films provide a guide to many of the sociological fears of the Cold War era. In an age when warning audiences of impending death was the order of the day for popular nonfiction, horror films provided an area where this fear could be lived out to its ghastly conclusion. Because enemies and potential situations of fear lurked everywhere, within the home, the government, the family, and the very self, horror films could speak to the invasive fears of the cold war era. "I Was a Cold War Monster" examines cold war anxieties as they were reflected in British and American films from the fifties through the early sixties. This study examines how cold war horror films combined anxiety over social change with the erotic in such films as "Psycho," "The Tingler," "The Horror of Dracula," and "House of Wax."
Even before the publication of his seminal Animal Liberation in 1975, Peter Singer, one of the greatest moral philosophers of our time, unflinchingly challenged the ethics of eating animals. Now, in Why Vegan?, Singer brings together the most consequential essays of his career to make this devastating case against our failure to confront what we are doing to animals, to public health, and to our planet. From his 1973 manifesto for Animal Liberation to his personal account of becoming a vegetarian in "The Oxford Vegetarians" and to investigating the impact of meat on global warming, Singer traces the historical arc of the animal rights, vegetarian, and vegan movements from their embryonic days to today, when climate change and global pandemics threaten the very existence of humans and animals alike. In his introduction and in "The Two Dark Sides of COVID-19," cowritten with Paola Cavalieri, Singer excoriates the appalling health hazards of Chinese wet markets-where thousands of animals endure almost endless brutality and suffering-but also reminds westerners that they cannot blame China alone without also acknowledging the perils of our own factory farms, where unimaginably overcrowded sheds create the ideal environment for viruses to mutate and multiply. Spanning more than five decades of writing on the systemic mistreatment of animals, Why Vegan? features a topical new introduction, along with nine other essays, including: * "An Ethical Way of Treating Chickens?," which opens our eyes to the lives of the birds who end up on so many plates-and to the lives of their parents; * "If Fish Could Scream," an essay exposing the utter indifference of commercial fishing practices to the experiences of the sentient beings they scoop from the oceans in such unimaginably vast numbers; * "The Case for Going Vegan," in which Singer assembles his most powerful case for boycotting the animal production industry; * And most recently, in the introduction to this book and in "The Two Dark Sides of COVID-19," Singer points to a new reason for avoiding meat: the role eating animals has played, and will play, in pandemics past, present, and future. Written in Singer's pellucid prose, Why Vegan? asserts that human tyranny over animals is a wrong comparable to racism and sexism. The book ultimately becomes an urgent call to reframe our lives in order to redeem ourselves and alter the calamitous trajectory of our imperiled planet.
Agrarian social movements are at a crossroads. Although these movements have made significant strides in advancing the concept of food sovereignty, the reality is that many of their members remain engaged in environmentally degrading forms of agriculture, and the lands they farm are increasingly unproductive. Whether movement farmers will be able to remain living on the land, and dedicated to alternative agricultural practices, is a pressing question. The Political Ecology of Education examines the opportunities for and constraints on advancing food sovereignty in the 17 de Abril settlement, a community born out of a massacre of landless Brazilian workers in 1996. Based on immersive fieldwork over the course of seven years, David Meek makes the provocative argument that critical forms of food systems education are integral to agrarian social movements' survival. While the need for critical approaches is especially immediate in the Amazon, Meek's study speaks to the burgeoning attention to food systems education at various educational levels worldwide, from primary to postgraduate programs. His book calls us to rethink the politics of the possible within these pedagogies.
'Veganism is not just a diet. Not just an opinion, nor a trend. It is a 21st-century revolution which began 20 centuries ago.' From the activist, scientist and animal welfare consultant whose employment tribunal changed the law forever comes a timely, personal polemic on the nature of ethical veganism. A choice many feel is the answer to today's global crises. Written with urgency, humour and a strong personal narrative, Jordi Casamitjana's book is the first to consider veganism as an ethical belief. A political engagement. Not just a 'lifestyle choice.' While the book full of the vitality and complexity of the animal kingdom he has dedicated his life to protecting, chapters are structured to cover both history, science and practicalities. Ethical veganism is about so much more than food and Jordi also explores how it possible to dress ethically, travel according to vegan principles, to work responsibly, as well as eat carefully.
Originally published in Dutch and translated to Spanish for the fourth centenary celebration of the death of El Greco in 2014, this book is a comprehensive study of the rediscovery of El Greco -- seen as one of the most important events of its kind in art history. The Nationalization of Culture versus the Rise of Modern Art analyses how changes in artistic taste in the second half of the nineteenth century caused a profound revision of the place of El Greco in the artistic canon. As a result, El Greco was transformed from an extravagant outsider and a secondary painter into the founder of the Spanish School and one of the principle predecessors of modern art, increasingly related to that of the Impressionists -- due primarily to the German critic Julius Meier-Graefe's influential History of Modern Art (1914). This shift in artistic preference has been attributed to the rise of modern art but Eric Storm, a cultural historian, shows that in the case of El Greco nationalist motives were even more important. This study examines the work of painters, art critics, writers, scholars and philosophers from France, Germany and Spain, and the role of exhibitions, auctions, monuments and commemorations. Paintings and associated anecdotes are discussed, and historical debates such as El Greco's supposed astigmatism are addressed in a highly readable and engaging style. This book will be of interest to both specialists and the interested art public.
Joan Didion's hugely influential collection of essays which defines, for many, the America which rose from the ashes of the Sixties. We tell ourselves stories in order to live. The princess is caged in the consulate. The man with the candy will lead the children into the sea. In this now legendary journey into the hinterland of the American psyche, Didion searches for stories as the Sixties implode. She waits for Jim Morrison to show up, visits the Black Panthers in prison, parties with Janis Joplin and buys dresses with Charles Manson's girls. She and her reader emerge, cauterized, from this devastating tour of that age of self discovery into the harsh light of the morning after.
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