Pub Date : 2022-10-20DOI: 10.1163/18757421-05202003
Stephen Olabanji Boluwaduro
Fújì music, a Yorùbá popular art, has over the time been criticised as a local musical idiom devoid of any sophisticated aesthetic and functional values, and meant only for the illiterates. This study investigates the multiplicity of aesthetic performances in this Yorùbá art through close examination of a range of Fújì musical song texts in a bid to articulate Yorùbá socio-cultural realities. Engaging an aspect of Ackerman’s concept of hybridity, this study analyses selected works of two Nigerian Fújì musical artistes, Sikiru Ayinde Balogun (a.k.a. Barrister) and Rasaki Kolawole Ilori (a.k.a. Kollington Ayinla) who are representatives of the first generation of Fújì musical artistes. I argue that Fújì music possesses utilitarian relevance to Nigerian audiences as it is engaged in various ways to generate multiple meanings in linguistic, literary and musicological senses through syncretic complexities of postcolonial socio-cultural dialectical practices in Nigeria. The study concludes that Fújì song performance inherently possesses and articulates an array of social values and aesthetics.
{"title":"Negotiating Textuality and Aesthetic Tropes in Fújì Performance","authors":"Stephen Olabanji Boluwaduro","doi":"10.1163/18757421-05202003","DOIUrl":"https://doi.org/10.1163/18757421-05202003","url":null,"abstract":"\u0000 Fújì music, a Yorùbá popular art, has over the time been criticised as a local musical idiom devoid of any sophisticated aesthetic and functional values, and meant only for the illiterates. This study investigates the multiplicity of aesthetic performances in this Yorùbá art through close examination of a range of Fújì musical song texts in a bid to articulate Yorùbá socio-cultural realities. Engaging an aspect of Ackerman’s concept of hybridity, this study analyses selected works of two Nigerian Fújì musical artistes, Sikiru Ayinde Balogun (a.k.a. Barrister) and Rasaki Kolawole Ilori (a.k.a. Kollington Ayinla) who are representatives of the first generation of Fújì musical artistes. I argue that Fújì music possesses utilitarian relevance to Nigerian audiences as it is engaged in various ways to generate multiple meanings in linguistic, literary and musicological senses through syncretic complexities of postcolonial socio-cultural dialectical practices in Nigeria. The study concludes that Fújì song performance inherently possesses and articulates an array of social values and aesthetics.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87865738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-20DOI: 10.1163/18757421-05202002
M. Oike
This study analyses, based on field research and textual analysis, memory book projects in Uganda as a folk-literary form. The memory book is a formatted workbook written by a parent, often a widowed mother living with HIV, for their child, about their family history, the parent’s life experiences, and their early memories of the child. This study first discusses the collective writing of memory books and how writers help each other in group writing sessions. It then analyses two memory books written by a 66-year old HIV-positive widowed farmer. It discusses her orality-imbued written narrative of history and daily life, and examines her representation of HIV. Instead of confronting her pain with a pen, like many literate writers, she contains the pain by embedding the passages on HIV within her broader life story. Thus, she surmounts and survives HIV and lives harmoniously amid her community, her family, and their history.
{"title":"A Literary Analysis of Memory Books","authors":"M. Oike","doi":"10.1163/18757421-05202002","DOIUrl":"https://doi.org/10.1163/18757421-05202002","url":null,"abstract":"\u0000 This study analyses, based on field research and textual analysis, memory book projects in Uganda as a folk-literary form. The memory book is a formatted workbook written by a parent, often a widowed mother living with HIV, for their child, about their family history, the parent’s life experiences, and their early memories of the child. This study first discusses the collective writing of memory books and how writers help each other in group writing sessions. It then analyses two memory books written by a 66-year old HIV-positive widowed farmer. It discusses her orality-imbued written narrative of history and daily life, and examines her representation of HIV. Instead of confronting her pain with a pen, like many literate writers, she contains the pain by embedding the passages on HIV within her broader life story. Thus, she surmounts and survives HIV and lives harmoniously amid her community, her family, and their history.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"2013 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86315723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-20DOI: 10.1163/18757421-05202006
Idom T. Inyabri
Joe Ushie’s poetry is highly expressive of a poet persona’s place consciousness. In this paper I interrogate selected poems that articulate a sense of place and belonging in his four collections of poems: Popular Stand and Other Poems (1992), Lambs at the Shrine (1995), Hill Songs (2000), and A Reign of Locust (2004). Utilising the theoretical provisions of postcolonial ecocriticism, I see his imagery as a creative strategy to express his belongingness, foreground a marginalised cultural space, and draw attention to the vagaries of a once idyllic environment in the throes of vain postcolonial politics, commercial greed, and poverty. Thus, while remaining close to the poet’s indigenous imagination, I conclude that Ushie’s aesthetics of place and belonging is anchored firmly in the environmentalist ethics of pursuit for a healthy environment.
{"title":"The Poetics of Place and Belonging in Joe Ushie’s Poetry","authors":"Idom T. Inyabri","doi":"10.1163/18757421-05202006","DOIUrl":"https://doi.org/10.1163/18757421-05202006","url":null,"abstract":"\u0000 Joe Ushie’s poetry is highly expressive of a poet persona’s place consciousness. In this paper I interrogate selected poems that articulate a sense of place and belonging in his four collections of poems: Popular Stand and Other Poems (1992), Lambs at the Shrine (1995), Hill Songs (2000), and A Reign of Locust (2004). Utilising the theoretical provisions of postcolonial ecocriticism, I see his imagery as a creative strategy to express his belongingness, foreground a marginalised cultural space, and draw attention to the vagaries of a once idyllic environment in the throes of vain postcolonial politics, commercial greed, and poverty. Thus, while remaining close to the poet’s indigenous imagination, I conclude that Ushie’s aesthetics of place and belonging is anchored firmly in the environmentalist ethics of pursuit for a healthy environment.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"64 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88764754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-20DOI: 10.1163/18757421-05202008
Felicia Annin
In this article, I posit that Ngũgĩ’s oeuvre presents numerous instances of love, betrayal, and adultery. While love and adultery are limited to personal spaces, betrayal occurs in both the personal and political spheres in Ngũgĩ’s works. In the novel A Grain of Wheat, betrayals in the personal sphere are juxtaposed with betrayals in the political sphere. The betrayal within the political sphere has implications for the personal relations of the characters. Political ideals are betrayed by the complex and divided characters in Ngũgĩ’s narratives. The characters are not spared betrayal on personal and political levels. The personal and political betrayals thus are conflated and make it a critical area of study. This study seeks to emphasise that both forms of betrayal are crucial and the relationship between them is inseparable. The personal betrayal in Ngũgĩ’s A Grain of Wheat (1967) occurs in romantic relationships; more specifically, the betrayal is represented by adultery in marriage, while the political betrayal emerges as betraying one’s country.
{"title":"The Personal is Political","authors":"Felicia Annin","doi":"10.1163/18757421-05202008","DOIUrl":"https://doi.org/10.1163/18757421-05202008","url":null,"abstract":"\u0000 In this article, I posit that Ngũgĩ’s oeuvre presents numerous instances of love, betrayal, and adultery. While love and adultery are limited to personal spaces, betrayal occurs in both the personal and political spheres in Ngũgĩ’s works. In the novel A Grain of Wheat, betrayals in the personal sphere are juxtaposed with betrayals in the political sphere. The betrayal within the political sphere has implications for the personal relations of the characters. Political ideals are betrayed by the complex and divided characters in Ngũgĩ’s narratives. The characters are not spared betrayal on personal and political levels. The personal and political betrayals thus are conflated and make it a critical area of study. This study seeks to emphasise that both forms of betrayal are crucial and the relationship between them is inseparable. The personal betrayal in Ngũgĩ’s A Grain of Wheat (1967) occurs in romantic relationships; more specifically, the betrayal is represented by adultery in marriage, while the political betrayal emerges as betraying one’s country.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89391002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-20DOI: 10.1163/18757421-05202001
J. Akung
The contemporary Nigerian novel is much about the accentuation of the theme of despair, drawing on issues of unemployment, harsh economic realities, political crises, insurgency and corruption. It also explores this despondence and the search for a better life. The choice of Chika Unigwe’s On Black Sisters’ Street and Adaobi Tricia Nwaubani’s I Do Not Come to You by Chance illustrates this point. The paper explores the despair that the youths encounter in the face of changing times and the struggle to scale through the despair. The critical textual analysis undertaken in this article reveals that lack of gainful employment has caused the youths in On Black Sister’s Street to flee the country in search of greener pastures where they are forced to work as prostitutes. The protagonists of the two novels are caught in one web of despair, but have the hope of leading a better life. The novels illuminate how despite the characters’ predicament, they are ready as well as willing to press on in order to change their precarious situations. This tenacity of hope serves as the novelistic vision of the authors.
当代尼日利亚小说更多地强调了绝望的主题，涉及失业、严酷的经济现实、政治危机、叛乱和腐败等问题。它还探讨了这种沮丧和对更好生活的追求。Chika Unigwe的《On Black Sisters’Street》和Adaobi Tricia Nwaubani的《I Do Not Come to You by Chance》的选择就说明了这一点。本文探讨了青年在面对时代变迁时所遭遇的绝望，以及在绝望中挣扎求生的过程。本文进行的批判性文本分析表明，缺乏有收入的工作导致《黑姐妹街》中的年轻人逃离这个国家，寻找更绿的牧场，在那里他们被迫从事妓女工作。两本小说的主人公都陷入了绝望的网中，但都有过上更好生活的希望。这些小说阐明了尽管人物陷入困境，但他们准备好并愿意继续努力，以改变他们岌岌可危的处境。这种顽强的希望是作者的小说愿景。
{"title":"In Search of a Future","authors":"J. Akung","doi":"10.1163/18757421-05202001","DOIUrl":"https://doi.org/10.1163/18757421-05202001","url":null,"abstract":"\u0000 The contemporary Nigerian novel is much about the accentuation of the theme of despair, drawing on issues of unemployment, harsh economic realities, political crises, insurgency and corruption. It also explores this despondence and the search for a better life. The choice of Chika Unigwe’s On Black Sisters’ Street and Adaobi Tricia Nwaubani’s I Do Not Come to You by Chance illustrates this point. The paper explores the despair that the youths encounter in the face of changing times and the struggle to scale through the despair. The critical textual analysis undertaken in this article reveals that lack of gainful employment has caused the youths in On Black Sister’s Street to flee the country in search of greener pastures where they are forced to work as prostitutes. The protagonists of the two novels are caught in one web of despair, but have the hope of leading a better life. The novels illuminate how despite the characters’ predicament, they are ready as well as willing to press on in order to change their precarious situations. This tenacity of hope serves as the novelistic vision of the authors.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84753954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-20DOI: 10.1163/18757421-05202005
P. Onanuga
One of the endearing qualities of the Hip-Hop genre is its penchant for crass materialism where artistes lyrically brag about their successes while unabashedly flaunting the ostentatious proceeds of their newfound fame. This resonates with the contemporary constructs of individualism and self-realisation in line with social expectations. However, beyond the photo ops, these artistes indeed go the extra mile in achieving success. In this article, the portraiture of hustling, which indexes survival in any form, is explored. Fifteen purposively selected songs by Nigerian Hip-Hop artistes constitute the data. For one, many of the popular Hip-Hoppers defied the stranglehold of poverty before recording personal successes. They thus reference the street as a domain of hustling and recount their experiences. Different contextual or social orientations of hustling in Nigeria are discursively constructed by the artists. It is framed as a prerequisite for achieving success (regardless of how!); as a necessity to meet familial responsibility; and as combat with perceived enemies. Additionally, Nigerian Hip-Hop artistes annex hustling as a psychological/mental activity as well as a metaphor for God’s blessings. The study concludes that hustling typifies the underground economy and the almost limitless extent to which Nigerian Hip-Hoppers work for their successes.
{"title":"A Discursive Contextualisation of Hustling in Nigerian Hip-Hop","authors":"P. Onanuga","doi":"10.1163/18757421-05202005","DOIUrl":"https://doi.org/10.1163/18757421-05202005","url":null,"abstract":"\u0000 One of the endearing qualities of the Hip-Hop genre is its penchant for crass materialism where artistes lyrically brag about their successes while unabashedly flaunting the ostentatious proceeds of their newfound fame. This resonates with the contemporary constructs of individualism and self-realisation in line with social expectations. However, beyond the photo ops, these artistes indeed go the extra mile in achieving success. In this article, the portraiture of hustling, which indexes survival in any form, is explored. Fifteen purposively selected songs by Nigerian Hip-Hop artistes constitute the data. For one, many of the popular Hip-Hoppers defied the stranglehold of poverty before recording personal successes. They thus reference the street as a domain of hustling and recount their experiences. Different contextual or social orientations of hustling in Nigeria are discursively constructed by the artists. It is framed as a prerequisite for achieving success (regardless of how!); as a necessity to meet familial responsibility; and as combat with perceived enemies. Additionally, Nigerian Hip-Hop artistes annex hustling as a psychological/mental activity as well as a metaphor for God’s blessings. The study concludes that hustling typifies the underground economy and the almost limitless extent to which Nigerian Hip-Hoppers work for their successes.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76913226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-22DOI: 10.1163/18757421-05201011
Uma Dhupelia-Mesthrie
This article focuses on the repatriation of Indians from South Africa, first under indentured labour contracts, and then under modified schemes between 1914 and 1975 applicable to all Indians. While the historiography of Indian South Africans prioritises movement of Indians to South Africa, this article is about reverse movement to India. It analyses narratives of repatriation that emerge from official sources in India and South Africa such as statistics, reports of officials in India, petitions and letters from repatriates and observations of public figures. It then shifts focus to a Cape-based immigration archive that focuses on Cape Town repatriates, thus drawing Cape Town more closely into the scholarly field of Indian Ocean mobilities but also firmly into the historiography of Indian South Africans, hitherto predominantly focussed on the former provinces, Natal and the Transvaal. By bringing Cape Town repatriates into the fuller story, an alternative narrative to the dominant one of coercion and suffering is offered.
{"title":"South Africa to India","authors":"Uma Dhupelia-Mesthrie","doi":"10.1163/18757421-05201011","DOIUrl":"https://doi.org/10.1163/18757421-05201011","url":null,"abstract":"\u0000 This article focuses on the repatriation of Indians from South Africa, first under indentured labour contracts, and then under modified schemes between 1914 and 1975 applicable to all Indians. While the historiography of Indian South Africans prioritises movement of Indians to South Africa, this article is about reverse movement to India. It analyses narratives of repatriation that emerge from official sources in India and South Africa such as statistics, reports of officials in India, petitions and letters from repatriates and observations of public figures. It then shifts focus to a Cape-based immigration archive that focuses on Cape Town repatriates, thus drawing Cape Town more closely into the scholarly field of Indian Ocean mobilities but also firmly into the historiography of Indian South Africans, hitherto predominantly focussed on the former provinces, Natal and the Transvaal. By bringing Cape Town repatriates into the fuller story, an alternative narrative to the dominant one of coercion and suffering is offered.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80224186","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-22DOI: 10.1163/18757421-05201005
K. Padayachee
The establishment of the Phoenix Settlement and the Gandhi Development Trust (GDT) in South Africa was an experiment in self-sufficient communal living and the promotion of the values and principles of Mahatma Gandhi and South Africa’s democratic Constitution, respectively. While both entities are the result of Gandhi’s South African connection, they serve to embody, through the Mahatma, an Afrasian Entanglement. Gandhi’s time in South Africa made a remarkable impact on him and the country, transforming his political and social positions and influencing its struggle for freedom. In post-apartheid South Africa, the shared mission of both organisations is to advance a culture of nonviolence, peace and social responsibility through a range of transformative programmes. This article details Gandhi’s South African journey, his evolving ideas of passive resistance and social reconstruction there, and the resultant legacy programmes that resonate with the spirit of Ubuntu and the South African Constitution to reinforce democracy.
{"title":"An Afrasian Entanglement","authors":"K. Padayachee","doi":"10.1163/18757421-05201005","DOIUrl":"https://doi.org/10.1163/18757421-05201005","url":null,"abstract":"\u0000 The establishment of the Phoenix Settlement and the Gandhi Development Trust (GDT) in South Africa was an experiment in self-sufficient communal living and the promotion of the values and principles of Mahatma Gandhi and South Africa’s democratic Constitution, respectively. While both entities are the result of Gandhi’s South African connection, they serve to embody, through the Mahatma, an Afrasian Entanglement. Gandhi’s time in South Africa made a remarkable impact on him and the country, transforming his political and social positions and influencing its struggle for freedom. In post-apartheid South Africa, the shared mission of both organisations is to advance a culture of nonviolence, peace and social responsibility through a range of transformative programmes. This article details Gandhi’s South African journey, his evolving ideas of passive resistance and social reconstruction there, and the resultant legacy programmes that resonate with the spirit of Ubuntu and the South African Constitution to reinforce democracy.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73843982","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-22DOI: 10.1163/18757421-05201010
Frank Schulze–Engler
Memories of global wars are often anything but global: counterfactual notions of a “white man’s war” continue to present a one-sided account of World War II centred on Europe and North America that sidelines the contributions and sacrifices of millions of soldiers from all over the world and negates their manifold agendas and forms of agency. This is particularly true of the “Afrasian” war experiences of tens of thousands of African soldiers who fought in Asia which are the subject of Biyi Bandele’s novel Burma Boy. The following essay highlights how Bandele’s text counteracts Eurocentric accounts of World War II, explores the complex motivations of African soldiers and their equally complex encounters with Asians in Burma, and draws on transregional imaginaries to produce a challenging non-heroic account of “Afrasia at war.”
{"title":"Afrasia at War","authors":"Frank Schulze–Engler","doi":"10.1163/18757421-05201010","DOIUrl":"https://doi.org/10.1163/18757421-05201010","url":null,"abstract":"\u0000 Memories of global wars are often anything but global: counterfactual notions of a “white man’s war” continue to present a one-sided account of World War II centred on Europe and North America that sidelines the contributions and sacrifices of millions of soldiers from all over the world and negates their manifold agendas and forms of agency. This is particularly true of the “Afrasian” war experiences of tens of thousands of African soldiers who fought in Asia which are the subject of Biyi Bandele’s novel Burma Boy. The following essay highlights how Bandele’s text counteracts Eurocentric accounts of World War II, explores the complex motivations of African soldiers and their equally complex encounters with Asians in Burma, and draws on transregional imaginaries to produce a challenging non-heroic account of “Afrasia at war.”","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"69 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72537529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-22DOI: 10.1163/18757421-05201014
Nilufer E. Bharucha, J. Karugia, M. Pandurang, Frank Schulze–Engler
1 Ali A. Mazrui and Seifudein Adem, Afrasia: A Tale of Two Continents (Lanham, MA: up of America, 2013). 2 Gaurav Desai, Commerce with the Universe: Africa, India and the Afrasian Imagination (New York: Columbia up, 2013). 3 Michael N. Pearson, Port Cities and Intruders: The Swahili Coast, India, and Portugal in the Early Modern Era (Baltimore, MD: Johns Hopkins up, 1998); see particularly Chapter 2 (“The Swahili Coast in the Afrasian Sea”). 4 See, for example, Ruth Achenbach, Jan Beek, John Njenga Karugia, RirhanduMageza-Barthel and Frank Schulze-Engler (eds.), Afrasian Transformations: Transregional Perspectives on Development Cooperation, Social Mobility and Cultural Change (Leiden: Brill, 2020). For fur-
1 Ali A. Mazrui和Seifudein Adem，《亚洲:两个大陆的故事》(马萨诸塞州兰哈姆:up of America, 2013)。高拉夫·德赛:《与宇宙的商业:非洲、印度和亚洲人的想象》(纽约:哥伦比亚出版社，2013年)。3迈克尔·n·皮尔森，《港口城市和入侵者:近代早期的斯瓦希里海岸、印度和葡萄牙》(马里兰州巴尔的摩:约翰·霍普金斯出版社，1998年);具体见第2章(“非洲海的斯瓦希里海岸”)。4例如，参见Ruth Achenbach, Jan Beek, John Njenga Karugia, RirhanduMageza-Barthel和Frank Schulze-Engler(编)，《亚洲转型:发展合作，社会流动和文化变革的跨区域视角》(莱顿:Brill, 2020)。皮毛,
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