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This book addresses emancipatory narratives from two main sites in
the colonial world, the Indian and southern African subcontinents.
Exploring how love and revolution interrelate, this volume is
unique in drawing on theories of affect to interrogate histories of
the political, thus linking love and revolution together. The
chapters engage with the affinities of those who live with their
colonial pasts: crises of expectations, colonial national
convulsions, memories of anti-colonial solidarity, even shared
radical libraries. It calls attention to the specific and singular
way in which notions of 'love of the world' were born in a precise
moment of anti-colonial struggle: a love of the world for which one
would offer one's life, and for which there had been little
precedent in the history of earlier revolutions. It thus offers new
ways of understanding the shifts in global traditions of
emancipation over two centuries.
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The Neverending Story (DVD)
Noah Hathaway, Barrett Oliver, Patricia Hayes, Tami Stronach, Moses Gunn, …
3
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R113
Discovery Miles 1 130
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Ships in 10 - 20 working days
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A withdrawn, bookish boy called Bastian (Noah Hathaway), who fears
his bullying schoolmates and an impending test, steals a mysterious
book and reads it in the school attic. He is drawn into the fantasy
to such an extent that it soon becomes clear he is the hero needed
to save 'Fantasia' from destruction. Bastian's adventures include
encounters with a range of magical creatures.
This book addresses emancipatory narratives from two main sites in
the colonial world, the Indian and southern African subcontinents.
Exploring how love and revolution interrelate, this volume is
unique in drawing on theories of affect to interrogate histories of
the political, thus linking love and revolution together. The
chapters engage with the affinities of those who live with their
colonial pasts: crises of expectations, colonial national
convulsions, memories of anti-colonial solidarity, even shared
radical libraries. It calls attention to the specific and singular
way in which notions of 'love of the world' were born in a precise
moment of anti-colonial struggle: a love of the world for which one
would offer one's life, and for which there had been little
precedent in the history of earlier revolutions. It thus offers new
ways of understanding the shifts in global traditions of
emancipation over two centuries.
Featuring some of the most iconic images of our time, this unique
combination of photojournalism and commentary offers a probing and
comprehensive exploration of the birth, evolution, and demise of
apartheid in South Africa. Photographers played an important role
in the documentation of apartheid, capturing the system's
penetration of even the most mundane aspects of life in South
Africa. Included in this vivid and compelling volume are works by
photographers such as Eli Weinberg, Alf Khumalo, David Goldblatt,
Peter Magubane, Ian Berry, and many others. Organized
chronologically, it interweaves images and essays exploring the
institutionalization of apartheid through the country's legal
apparatus; the growing resistance in the 1950s; and the
radicalization of the anti-apartheid movement within South Africa
and, later, throughout the world. Finally, the book investigates
the fall of apartheid, including Mandela's return from exile.
Far-reaching and exhaustively researched, this important book
features more than 60 years of powerful photographic material that
forms part of the historical record of South Africa.
Going beyond photography as an isolated medium to engage larger
questions and interlocking forms of expression and historical
analysis, Ambivalent gathers a new generation of scholars based on
the continent to offer an expansive frame for thinking about
questions of photography and visibility in Africa. The volume
presents African relationships with photography--and with
visibility more generally--in ways that engage and disrupt the easy
categories and genres that have characterized the field to date.
Contributors pose new questions concerning the instability of the
identity photograph in South Africa; ethnographic photographs as
potential history; humanitarian discourse from the perspective of
photographic survivors of atrocity photojournalism; the nuanced
passage from studio to screen in postcolonial digital portraiture;
and the burgeoning visual activism in West Africa. As the
contributors show, photography is itself a historical subject: it
involves arrangement, financing, posture, positioning, and other
kinds of work that are otherwise invisible. By moving us outside
the frame of the photograph itself, by refusing to accept the
photograph as the last word, this book makes photography an
engaging and important subject of historical investigation.
Ambivalent's contributors bring photography into conversation with
orality, travel writing, ritual, psychoanalysis, and politics, with
new approaches to questions of race, time, and postcolonial and
decolonial histories. Contributors: George Emeka Agbo, Isabelle de
Rezende, Jung Ran Forte, Ingrid Masondo, Phindi Mnyaka, Okechukwu
Nwafor, Vilho Shigwedha, Napandulwe Shiweda, Drew Thompson
War can hide many things but not everything, and a camera can see
more than is supposed. The photographs in this title, taken from
1986 to 1990, show the 'Border War' where the chief antagonists
were the South African Defence Force and Swapo, the South West
Africa People's Organisation. John Liebenberg's camera entered many
places where cameras were not allowed, and his photographs show
much of what has remained hidden ever since. They show battles
fought and life lived on both sides, regardless of the conflict.
Then they take us into the tumultuous transition period when
international forces entered the theatre of conflict, and finally
to the aftermath in Namibia, when a fledgling nation was testing
its wings and living with its ghosts. The photographic narrative is
strongly augmented by the contextualising essay by historian
Patricia Hayes, by transcripts of conversations between herself and
Liebenberg as they worked through his archive, and by Liebenberg's
own extended comments about most of the images. The title is
material for historians and a valuable resource for photographers.
But mostly it is a space of recall for those who were there, and a
reminder for those who were not.
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