Bernth Lindfors - Böcker

"...engaging, richly illustrated, and well-reserached .... Part anthology, cultural studies, history, journalism and political science, it... manages to consistently engage the reader..." - African Studies Review"Lindfors's book shows how the 'edutainment' of the 19th century perpetuated an ignorance of Africa that makes it easy for whites to stay racist and difficult for blacks to gain an accurate and dignified understanding of their heritage. . . . an unusually strong, readable collection." —Boston Book ReviewEthnological show business—that is, the displaying of foreign peoples for commercial and/or educational purposes—has a very long history. In the 19th and 20th centuries some of the most interesting individuals and groups exhibited in Europe and America came from Africa, or were said to come from Africa. African showpeople (real as well as counterfeit), managers and impresarios, and the audiences who came to gape are the featured attractions here—how they individually and in concert helped to shape Western perceptions of Africans.

In the nineteenth and early twentieth centuries African and pseudo-African performers were displayed as curiosities throughout Europe and America. Appearing in circuses, ethnographic exhibitions, and traveling shows, these individuals and troupes drew large crowds. As Bernth Lindfors shows, the showmen, impresarios, and even scientists who brought supposedly representative inhabitants of the ""Dark Continent"" to a gaping public often selected the performers for their sensational impact. Spotlighting and exaggerating physical, mental, or cultural differences, the resulting displays reinforced pernicious racial stereotypes and left a disturbing legacy.Using period illustrations and texts, Early African Entertainments Abroad illuminates the mindset of the era's largely white audiences as they viewed wax models of Africans with tails and watched athletic competitions showcasing hungry cannibals. White spectators were thus assured of their racial superiority. And blacks were made to appear less than fully human precisely at the time when abolitionists were fighting to end slavery and establish equality.

This volume lists all the important work produced on anglophone black African literature between 1992 and 1996.This bibliographic work is a continuation of the earlier volumes compiled by Bernth Lindfors. Containing about 9000 entries, some of which areannotated to identify the authors discussed, it covers books, periodical articles, papers in edited collections and selective coverage of other relevant sources. Also included are a substantial number of African newspaper and magazine articles.

This volume lists the work produced on anglophone black African literature between 1997 and 1999.This bibliographic work is a continuation of the highly acclaimed earlier volumes compiled by Bernth Lindfors. Containing about 10,000 entries, some of which are annotated to identify the authors discussed, it covers books, periodical articles, papers in edited collections and selective coverage of other relevant sources.

Ngugi's words lead to a deeper understanding of colonial and postcolonial history.These interviews, edited with the assistance of Lynette Cintron, chart Ngugi's political and literary engagement over the previous forty years.Ngugi is one of Africa's most renowned writers. His work has always been politically engaged, arguing a case for the poor and oppressed, not just in Africa but in the entire Third World.The conversations recorded here reflect his interest in exploring events in Kenya's colonial past that had sucha profound impact on his own people, the Kikuyu, and ultimately on his own life.North America: Africa World Press; Kenya: EAEP

Chinua Achebe's books are being read throughout the English-speaking world. They have been translated into more than fifty languages. His publishers estimate that more than eight million copies of his first novel Things Fall Apart (1958) have been sold. As a consequence, he is the best known and most widely studied African author. His distinguished books of fiction and nonfiction include No Longer at Ease, Arrow of God, Morning Yet on Creation Day, Christmas in Biafra, and others. Achebe often has been called the inventor of the African novel. Although he modestly denies the title, it is true that modern African literature would not have flowered so rapidly and spectacularly had he not led the way by telling Africa's story from a distinctively African point of view. Many other Africans have been inspired to write novels by his example. The interviews collected here span more than thirty years of Achebe's writing career. The earliest was recorded in 1962, the latest in 1995. Together they offer a representative sample of what he has said to interviewers for newspapers, journals, and books in many different countries. Through his own statements we can see Achebe as a man of letters, a man of ideas, a man of words. As these interviews show, Achebe is an impressive speaker and gifted conversationalist who expresses his ideas in language that is simple yet pungent, moderate yet peppered with colorful images and illustrations. It is this talent for deep and meaningful communication, this intimate way with words, that makes his interviews a delight to read. He has a facility for penetrating to the essence of a question and framing a response that addresses the concerns of the questioner and sometimes goes beyond those concerns to matters of general interest. ""People,"" he says, ""are expecting from literature serious comment on their lives. They are not expecting frivolity. They are expecting literature to say something important to help them in their struggle with life. This is what literature, what art, is supposed to do: to give us a second handle on reality so that when it becomes necessary to do so, we can turn to art and find a way out. So it is a serious matter.

Diverse essays on the life and career of one of the greatest tragic actors of the nineteenth century.Ira Aldridge -- a black New Yorker -- was one of nineteenth-century Europe's greatest actors. He performed abroad for forty-three years, winning more awards, honors, and official decorations than any of his professional peers. Billed as the "African Roscius," Aldridge developed a repertoire initially consisting of Shakespeare's Othello, melodramas about slavery, and farces that drew on his ability to sing and dance. By the time he began touring in Europe he was principally a Shakespearean actor, playing such classic characters as Shylock, Macbeth, Richard III, and King Lear.Although his frequent public appearances made him the most visible black man in the world by mid-nineteenth century, today Aldridge tends to be a forgotten figure, seldom mentioned in histories of British and European theater. This collection restores the luster to Aldridge's reputation by examining his extraordinary achievements against all odds. The early essays offer biographical information, while later essays examine his critical and popular reception throughout the world. Taken together, these diverse approaches to Aldridge offer a fuller understanding and heightened appreciation of a remarkable man who had an exceptionally interesting life and a spectacular career.Contributors: Cyril Bruyn Andrews, Nikola Batusic, Philip A. Bell, Keith Byerman, Ruth M. Cowhig, Nicholas M. Evans, Joost Groeneboer, Ann Marie Koller, Joyce Green MacDonald, Herbert Marshall, James J. Napier, Krzysztof Sawala, Gunner Sjögren, James McCune Smith, Hazel Waters, and Stanley B. Winters.Bernth Lindfors is Professor Emeritus of English and African Literatures at The University of Texas at Austin.

The first widely available biography of this important black Victorian-age actor, Ira Aldridge: The Early Years, 1807-1833 details the early life and career of this New York-born thespian as he began to act on the British stage.2015 George Freedley Memorial Award (Theatre Library Association).Shortlisted for the Theatre Book Prize.Ira Aldridge: The Early Years, 1807-1833 chronicles the rise of one of the modern world's first black classical actors, as he ascended from an impoverished childhood in New York City to a career as a celebrated thespian onthe British stage.After a successful debut in London in 1825, Aldridge began touring the British provinces, billing himself grandiloquently as the "African Roscius," and attracting crowds with his powerful presence and style. He received accolades not only as a tragedian in classic roles such as Othello and Oroonoko but also as a comic actor in popular farces and musicals. In 1833, when a bill to abolish slavery was being debated in Parliament, he was called back to London to perform at one of the city's most prestigious theaters, where his appearance, now under his own name but also billed as "a native of Senegal," created a great deal of controversy.In dealing with Aldridge's emergence as a professional actor in the United Kingdom, Lindfors here records in detail the ups and downs of his itinerant existence in a world where no theatergoer had ever seen anyone like him on stage before. Aldridgewas genuinely a unique phenomenon in Britain at a pivotal point in history.Bernth Lindfors is Professor Emeritus of English and African Literatures, University of Texas at Austin, and editor of Ira Aldridge: The African Roscius (University of Rochester Press, 2007).

Volume 2 of the first available biography of this great African-American classical actor, covering his emergence as a professional actor in Britain during the years 1833-1852.2015 George Freedley Memorial Award (Theatre Library Association) Ira Aldridge: The Vagabond Years, 1833-1852 deals in depth with the later experiences of one of the modern world's first black classical actors as he toured throughout the United Kingdom impressing audiences with his virtuosity and versatility as an interpreter not only of tragic and comic black roles but also eventually as an actor of classic white Shakespearean parts -- Shylock, Macbeth, Richard III, even Iago.Aldridge was very popular in Ireland and remained there for six years, performing in venues large and small. He traveled often in his own carriage with assistants who supported him in scenes, enabling famous plays to be staged anywhere, even in villages that did not have a proper theater.He also performed periodically in large cities with professional acting companies, and returned to the London stage in 1848, after leaving it fifteen years earlier. During these years he expandedhis repertoire, refined his skills, and gained a reputation as one of Britain's most talented thespians.In dealing with Aldridge's emergence as a professional actor in the United Kingdom, Lindfors here records in detail theups and downs of his itinerant existence in a world where no theatergoer had ever seen anyone like him on stage before. Aldridge was genuinely a unique phenomenon in Britain at a pivotal point in history.Bernth Lindfors is Professor Emeritus of English and African Literatures, University of Texas at Austin, and editor of Ira Aldridge: The African Roscius (University of Rochester Press, 2007).

This book describes the "glory years" of Ira Aldridge's first Continental tour, during which he won more awards and honors, often conferred by royalty, than any other actor of his day.2015 George Freedley Memorial Award (Theatre Library Association) Ira Aldridge: Performing Shakespeare in Europe, 1852-1855, the third volume of Bernth Lindfors's award-winning biography, traces the American-born black classical actor's itinerary on his first Continental tour. Starting inBrussels and following Aldridge up the Rhine to Basel, on to Berlin and Vienna, and cities in Prussia and Hungary, Lindfors recounts the major performances and analyzes audience responses to them. Because European audiences wanted to see this "African" actor in Shakespearean roles rather than in the melodramas and farces that were popular in Britain, Aldridge concentrated almost exclusively on performing as Othello, Shylock, Macbeth, and Richard III. He performed the roles in English even when acting with local companies who spoke in German, Hungarian, or another European language. Aldridge's impressive manner of interpreting these characters won him many honors, awards, and medals, some bestowed by heads of state or by national academies. Drawing on myriad reviews, playbills, and letters, many of them penned by Aldridge himself, Lindfors examines in detail Aldridge's interpretations of these timeless characters and shows why these were Aldridge's glory years.

This final volume of Bernth Lindfors's definitive biography records the remarkable achievements and experiences of Ira Aldridge in the last years of his life, when he performed at theaters throughout Europe.2015 George Freedley Memorial Award (Theatre Library Association) Ira Aldridge The Last Years, 1855-1867, the fourth volume of Bernth Lindfors's definitive biography, places on record Aldridge's remarkable achievements and experiences in the final phase of his life, when he performed at theaters throughout Europe. His first Continental tour in 1852-1855 had been a spectacular success, and though he returned to Britain periodically afterwards, he spent much of the remainder of his career entertaining audiences in central and eastern Europe, mainly in Ukraine and Russia. His Shakespearean performances in St. Petersburg in 1858 and Moscow in 1862 were among his greatest triumphs and led to numerous appearances elsewhere in provincial cities and towns.During his forty-three years on stage in Europe, Ira Aldridge traveled more widely and won more honors, decorations, and awards than any other actor of his day. He is remembered not only as a talented thespian but also as a very visible representative of his race, someone who changed European perceptions of black people through the sheer brilliance of his artistry on stage. And by doing so, he helped to humanize the image of Africans andtheir descendants in Europe at an important transitional moment in history, when the movement to abolish slavery was gathering force and winning international acceptance.

Poet and anti-apartheid activist Dennis Brutus recorded a series of tapes in the 1970s which have been edited and annotated by Bernth Lindfors to give valuable insights into Brutus's life and works.Dennis Brutus (1924-2009) is known internationally as a South African poet, anti-apartheid activist and campaigner for human rights and the release of political prisoners. His literary works include Sirens Knuckles Boots (1963), Letters to Martha, and Other Poems from a South African Prison (1968), A Simple Lust (1973), and Stubborn Hope (1978).When Dennis Brutus was a Visiting Professor at The University of Texas at Austin in 1974-75, he recorded on tape a series of reflections on his life and career. In addition, he frequently responded to questions about his poetry and political activities put to him by students and faculty in formal and informal interviews that were also captured on tape. Transcripts of a selection of these tapes, as well as reprints of two interviews recorded earlier, are reproduced here in order to put on record fragments of the autobiography of a remarkable man who lived in extraordinary times and managed to leave his mark on the land and literature of South Africa. Brutus was an effective anti-apartheid campaigner who succeeded in getting South Africa excluded from the Olympics. His opposition to racial discrimination in sports led to his arrest, banning, and imprisonment on Robben Island. Upon release, he left South Africa and lived most of the rest of his life in exile, where he continued his political work and simultaneously earned an international reputation as a poet who often sang of his love for his country.The tapes are edited by Bernth Lindfors who has added an Introduction and a transcript of a 1970 interview as well as other transcripts of lectures and discussions.Bernth Lindfors is Professor Emeritus of English and African Literatures, The University of Texas at Austin, and founding editor of Research in AfricanLiteratures. He has written and edited numerous books on African literature, including Folklore in Nigerian Literature (1973), Popular Literatures in Africa (1991), Africans on Stage (1999), Early Soyinka (2008), and Early Achebe (2009).