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John H. Weakland

on this collapse from other places.' 2. Real and Reel Life in Hong Kong - Film Studies of Cultural Adaptation? JOHN H. WEAKLAND Mental Research Institute, Palo Alto, U.S.A. It might seem inappropriate to couple the serious interest of scholars with the fascination Hong Kong exerts over countless

Gerald W. Kleis

. Comparative Perspectives on Migrant Adaptation: Asian Refugees and African Sojourners GERALD W. KLEIS Bayero University, Kano, Nigeria The rediscovery of ethnicity in the 1960s as a viable social and political force in the United States discredited the melting pot model which long proclaimed the uniqueness of

Richard Rubinger

295 BOOK REVIEWS Nobuo K. Shimahara, Adaptation and Education in Japan. New York, Praeger, 1979, ix, 190 pp. Tables, Figures, Appendix, Bibliography, Index. $22.95. Adaptation and Education in Japan attempts to provide an anthropological and sociological interpretation of Japanese society and

William A. Shack

seminar convened by Professors Hilda and Leo Kuper, co-editors of this volume, which brought together social scientists and legally trained specialists to discuss adaptation and change in African customary law under modern conditions. Traditionally lawyers and anthropologists approached customary law in

Patryk Zając

. ammā baʽdu , so àmmā becomes redundant and adding it is merely a stylistic issue. 4.1.2 Preposition/Conjunction har̃ Derived from Ar. ḥattà As stated earlier, har̃ came to Hausa probably as an areal innovation and its shape reflects phonological adaptation of the Arabic word to West African

R. Natarajan

registered automatically in society; they require equally adroit inventions and adaptations in politics; and the careless habit of attributing to mechanical improvements a direct role as instruments of culture and civilization puts a demand upon the machine to which it cannot respond... Lewis Mumford

Catherine Foley

This essay explores how scholars working on “Pluralism and Adaptation in the Islamic Practice of Senegal and Ghana,” a National Endowment for the Humanities (NEH) Collaborative Research project, partnered with a digital humanities center to create freely available online digital collections to enhance research, teaching, and learning about West African Islam. By looking closely at the development of one of these online galleries, Professor David Robinson’s “Failed Islamic States in the Senegambia,” we examine how materials are prepared for this type of web presentation. Specifically, the essay reviews the efforts of subject experts in describing and cataloging multimedia collections so that users understand the context in which the primary source materials were created, as well as the overarching purpose of the digital collections. We also describe the technology and standards used for storing, retrieving, and displaying interviews, documents, and images in this collection. In short, this essay provides insight into the processes and challenges by which we transform field and archival research data into contextualized web resources useful for learning about and researching Africa and Islam.

Azeez Akinwumi Sesan


The popularity of Nollywood movies has established their relevance in cultural studies to interrogating afresh the presumed norms among people of ethno-cultural and racial difference. To this end, film critics have focused their attention on the theme and genre studies of Nollywood movies with a view to relating the issues in the film texts to the often heated sociological debates on coloniality in African socio-cultural and political experiences. Kunle Afolayan’s October 1 contributes to these raging debates through the motif of return (return to self, return of nation, and return to nation) that runs through the film text. This motif of return contributes to the overall film gestalt through characterization and plot. Postcolonial theory is adopted to describe the return motif through the investigation of consciousness, nostalgia, and trauma, as experienced individually or collectively. The theory explains the nature, pattern, and dimensions of adjustment and adaptation of individuals, communities, and the nation to complexity and dynamism of change during colonial encounters and the journey towards political independence on October 1. The kernel of the movie’s argument is that the country’s independence was heralded by hypocrisy, dishonesty, and violence. The movie thus questions the misconceived notion of racial purity by the white racists through their ignoble role in the return process of the country at the attainment of political independence on 1 October 1960.

E. Wright

cleverly adapted to a Nigerian setting without losing its faithfulness to Aristo- phanes, while pidgin English provides a natural medium for the Doric Greek which was sneered at by the Attic speaking Athenians. A difficulty which the translators mention was that in the adaptation the external war had to be