Böcker utgivna av Langaa RPCID

Roselyne M. Jua has taught English and American Literature and Creative Writing at the Universities of Yaounde (1986-1993) and Buea (1993-2012). At the University of Buea, she served as Dean of Faculty of Arts from 2010 to 2012. She is Director of Academic Affairs at the University Bamenda, North West Region, since August 2012. Dr Jua has published articles in peer-reviewed journals and edited the plays of Victor E. Musinga among which¿are The Barn¿and¿The Tragedy of Mr. No-Balance. She is co-author with Bate Besong of¿To the Budding Creative Writer: A Handbook.

Faced with a deepening crisis in their universities, African students have demonstrated a growing activism and militancy. They have been engaged in numerous, often violent, strikes for improvements in their deteriorating living and study conditions and the introduction of a democratic culture in the universities and society as a whole, including the right to express their views, organise in student unions and participate in university management. This book focuses on a recent violent strike action in Cameroon's state universities, with special attention to the University of Buea - the only English-speaking university in the country between 1993 and 2011. Such a detailed study on student strikes is still rare in African studies, and maybe even more important, this book pays special attention to certain elements that have been of great significance to the strike but are often overlooked in narratives of other student actions in Africa, namely the use of cell phones, differences in gender roles of student activists, the religious dimensions of the strike, the central role of some public spaces like bars and cafés for the planning and execution of student strikes, and the power of the photocopier. The book goes far beyond simply documenting the various protest actions of students against the state and university authorities. It also provides ample room for comments from journalists and other civil-society members and groups on various aspects of the strike.

This book is largely the personal account by Patrick Mbunwe Samba, of how life in his home village of Binshua has been permeated throughout by belief in witchcraft. The book not only provides a historical account informed by his reminiscences of his childhood, it shows as well that even today, belief in witchcraft is very widespread. Witchcraft exerts a profound influence on society in Binshua and in Cameroon in general. The book also provides accounts of the experiences of others, some of them very recent, and gives examples of what injustices and suffering can be caused by the notion that any misfortune must have been caused by witchcraft. For the overwhelming majority of people in village communities such as Binshua, Samba argues, anything not immediately understandable is witchcraft - which is synonymous with mystery. Many educated Africans, too, revert to such traditional attitudes in stressful situations. It may be thought surprising that in spite of the impact of Christianity, Western culture and the improved level of education, the majority of people still believe in witchcraft, and that this phenomenon not only persists but is actually increasing. The book perplexes and challenges by avoiding to provide simple answers to the question whether which witchcraft is real or imagined.

The novel remains the most popular genre in the African literary landscape. In the very large body of criticism that has been devoted to the craft of African fiction, this very stimulating study of six African novels will hold its own distinctive place for a long while. It brings to African critical thought not only an exceptional acumen of interpretation and analysis, but something much more important to most of the previous serious literary study than mere technical dissection - a keen sense of the experience and imaginative truth that make Asong's selected African texts living books as well as authentic record of human and moral values. Many of Asong's perceptions are not only critically shrewd but humanly searching, alert to aesthetic quality and invention. No one interested in creative criticism of African fiction will read this book without finding its approach a challenge to his or her own reading of African fiction, and a stimulus to understanding the growth and enduring richness of the best of the African novel. The book balances nicely in its choice of three texts in English and three in French, the two dominant colonial languages in Africa South of the Sahara. Even more interesting is the fact that although all the French texts have been translated into English, Asong opts to treat the three in the original language in which they were conceived and executed, a decision which keeps the reader as close as possible to the original idiom.

This book explores the relationship between plantation labour and gender in Africa. Such a study is the more opportune because most of the existing works on plantation labour in Africa seem to have either under-studied or even ignored the changing conceptions of gender on the continent in recent times. One of the book's major concerns is to demonstrate that the introduction of plantation labour during colonial rule in Africa has had significant consequences for gender roles and relations within and beyond the capitalist labour process. The book focuses on two tea estates in Anglophone Cameroon. A study of these estates is particularly interesting in that one of them employs mainly female pluckers while the other employs mainly male pluckers. This allows for an examination of any variations in male and female workers' modes of resistance to the control and exploitation they meet in the labour process. Such a comparative analysis is helpful in assessing the widespread managerial assumption on tea estates that female pluckers tend to be more productive and docile than male pluckers.

In this collection Ayuninjam attempts to capture his sentiments on many plains. He also takes the liberty to capture the sentiments of other persons in his life and in society as a whole as well as the sentiments of other creatures that are part of the chain of life. As a result, much of what follows is occasional poetry, as he has more often than not responded or reacted to his sensations while also being a surrogate for those who could (or would) not express theirs. Having lived abroad for as long as he lived in Cameroon, his perspective has, accordingly, been coloured, though not necessarily transmuted. The poems transcend space and time.