Stephanie Urdang was born in Cape Town, South Africa, into a white, Jewish family staunchly opposed to the apartheid regime. In 1967, at the age of twenty-three, no longer able to tolerate the grotesque iniquities and oppression of apartheid, she chose exile and emigrated to the United States. There she embraced feminism, met anti-apartheid and solidarity movement activists, and encountered a particularly American brand of racial injustice. Urdang also met African revolutionaries such as Amilcar Cabral, who would influence her return to Africa and her subsequent journalism. In 1974, she trekked through the liberation zones of Guinea-Bissau during its war of independence; in the 1980’s, she returned repeatedly to Mozambique and saw how South Africa was fomenting a civil war aimed to destroy the newly independent country. From the vantage point of her activism in the United States, and from her travels in Africa, Urdang tracked and wrote about the slow, inexorable demise of apartheid that led to South Africa’s first democratic elections, when she could finally return home. Urdang’s memoir maps out her quest for the meaning of home and for the lived reality of revolution with empathy, courage, and a keen eye for historical and geographic detail. This is a personal narrative, beautifully told, of a journey traveled by an indefatigable exile who, while yearning for home, continued to question where, as a citizen of both South Africa and the United States, she belongs. “My South Africa!” she writes, on her return in 1991, after the release of Nelson Mandela, “How could I have imagined for one instant that I could return to its beauty, and not its pain?”
Stephanie Urdang was born in Cape Town, South Africa, into a white, Jewish family staunchly opposed to the apartheid regime. In 1967, at the age of twenty-three, no longer able to tolerate the grotesque iniquities and oppression of apartheid, she chose exile and emigrated to the United States. There she embraced feminism, met anti-apartheid and solidarity movement activists, and encountered a particularly American brand of racial injustice. Urdang also met African revolutionaries such as Amilcar Cabral, who would influence her return to Africa and her subsequent journalism. In 1974, she trekked through the liberation zones of Guinea-Bissau during its war of independence; in the 1980’s, she returned repeatedly to Mozambique and saw how South Africa was fomenting a civil war aimed to destroy the newly independent country. From the vantage point of her activism in the United States, and from her travels in Africa, Urdang tracked and wrote about the slow, inexorable demise of apartheid that led to South Africa’s first democratic elections, when she could finally return home. Urdang’s memoir maps out her quest for the meaning of home and for the lived reality of revolution with empathy, courage, and a keen eye for historical and geographic detail. This is a personal narrative, beautifully told, of a journey traveled by an indefatigable exile who, while yearning for home, continued to question where, as a citizen of both South Africa and the United States, she belongs. “My South Africa!” she writes, on her return in 1991, after the release of Nelson Mandela, “How could I have imagined for one instant that I could return to its beauty, and not its pain?”
This book explores the potential of Pan-African thought in contributing to advancing psychological research, theory and practice. Euro/American mainstream psychology has historically served the interests of a dominant western paradigm. Contemporary trends in psychological work have emerged as a direct result of the impact of violent histories of slavery, genocide and colonisation. Hence, this book proposes that psychology, particularly in its social forms, as a discipline centered on the relationship between mind and society, is well-placed to produce the critical knowledge and tools for imagining and promoting a just and equitable world.
Exploring the social construction of womanhood in Tswana culture, this book questions how gendered expectations are shifting in the context of a rapidly changing environment. Seismic social change is underfoot in Botswana, and gender relations are in flux. The government's enactment of extensive legal reforms, national programmes, and international instruments has gone a long way towards ensuring gender equality on an official basis. However, conventionally defined gender roles continue to present major obstacles for women. This book explores what it means to be a woman today in Botswana. The concept of womanhood as a mark of status and responsibility is interrogated, and the social consequences of failing to meet the criteria for womanhood are explored. Stephanie S. Starling considers the multiple and often contradictory burdens women face, the strategies they employ, and the sacrifices they make to meet their obligations. Caught between traditional expectations and modern desires, women share stories of agency, creativity and struggle in defining their own paths. A reflexive account of the fieldwork is presented. confronting the ethical challenges of cross-cultural research from a feminist standpoint.
This collection of essays makes an important contribution to scholarship by examining how the myths and practices of medical knowledge were interwoven into popular entertainment on the early modern stage. Rather than treating medicine, the theater, and literary texts separately, the contributors show how the anxieties engendered by medical socio-scientific investigations were translated from the realm of medicine to the stage by Renaissance playwrights, especially Shakespeare. As a whole, the volume reconsiders typical ways of viewing medical theory and practice while individual essays focus on gender and ethnicity, theatrical impersonation, medical counterfeit and malfeasance, and medicine as it appears in the form of various political metaphors.
When we are born, we have no idea what roads we are going to take or what decisions we are going to make. As teens, we all think we know what is best for us. We don't want to listen to anyone, and we go around making decisions that aren't good for us. Little do we know, with every decision we make, we are either damaging our life, or we are making it better. The people in our lives whether by choice or no choice also have an influence on our lives with the words they speak or by the peer pressure they cause. No matter what is going on around you, don't allow things or people bring you down or cause you to spiral out of control. No matter what we face in life, we have a choice to allow it to keep us down or lift us up. In this book, you will see the many roads that were traveled--some good and some bad. Either way, a destination was reached. As we look back at our lives, instead of regret, forgive yourself and forgive others. Make your life the best life possible. Look back knowing that a lot of lessons were learned even if they were hard lessons.
Essay from the year 1999 in the subject American Studies - Literature, grade: 1,5 (A), University of Tubingen (American Studies), course: PS I Literatur - Introduction to Literature Studies with the example of the american drama, language: English, abstract: This term paper will show to what a great extent society is influenced by men. I suggest that in Marsha Norman ́s play “Getting Out” her protagonist Arlene would never have faced so many problems in life, let alone would have become criminal, if men did not possess such a great power over society. Men being in power throughout the world was certainly the worst thing that could ever have happened in human history, Arlene being a representative of all the women living and having lived on earth, even if a very extreme one. But in favor of men, I claim that men are not really guilty either because society has become autonomous and cannot be controlled anymore. The basis for my thesis is Gretchen Cline ́s essay entitled “The Impossibility of Getting Out – The Psychopolitics of the family in Marsha Norman ́s Getting Out” which contains feminist, psychoanalytic and existential frameworks to show Arlene Holsclaw ́s oppression within a family that parallels the institutions that bind her. Cline herself uses Walter Davis ́ theory of the “crypt” to analyze Arlene ́s familial and the subsequent social scapegoating in order to show how women are shaped by a society in which the most moral institutions, such as family and religion, justify violation and oppression.
Abandoned as a child, Melanie Forsythe seeks stability and belonging after her mom's boyfriend is left to raise her. Despite her raw deal, Melanie grows up to have a head on her shoulders and a strong bond with her stepdad. But her dream of having a family of her own is shattered when she suffers tragedy and betrayal. Forced to confront the kind of dysfunction that robbed her of a conventional upbringing, Melanie must choose between giving up on her dream of having a family or embracing a different form of motherhood.
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