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	<title>Literature, Music &amp; Performing Arts &#8211; Makerere University Press</title>
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	<title>Literature, Music &amp; Performing Arts &#8211; Makerere University Press</title>
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		<title>What I Saw When I Died</title>
		<link>https://press.mak.ac.ug/book/what-i-saw-when-i-died/</link>
		
		<dc:creator><![CDATA[Mak Press]]></dc:creator>
		<pubDate>Tue, 01 Apr 2025 23:47:58 +0000</pubDate>
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					<description><![CDATA[<p class="p1">What I Saw When I Died is a collection of satirical political and social commentaries on a wide range of thorny issues in Uganda over time</p>]]></description>
										<content:encoded><![CDATA[<p class="p1">What I Saw When I Died is a collection of satirical political and social commentaries on a wide range of thorny issues in Uganda over time. The reflections are stinging, yet dressed up in such a way that one can’t help laughing. Laughter is one of those great gifts that human beings possess to take them through unbearable conditions. How would life be without the ability to laugh about painful things?</p>
<p class="p1">Some philosophers of old thought of humour and comedy as bad things. Plato detested comedy because it is often at the expense of another person. Epictetus is said never to have laughed; he saw it as a mark of weakness. Over time, humour has come to attract special attention in Philosophy and Literature as a mode of thought, existential expression, and communication. Works of great philosophers such as Bertrand Russell and Slovaj Žižek are clothed in wit and playfulness, something that has significantly contributed to their appeal. Satire has become one of the predominant ways of speaking truth to power and convention. It is a weapon of the weak; a vessel through which otherwise unacceptable views are relayed to the powerful. It is like pressing boils while blowing them with cool air.</p>
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		<post-id xmlns="com-wordpress:feed-additions:1">16531</post-id>	</item>
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		<title>Moving Back Into The Future: Critical Recovering of Africa’s Cultural Heritage</title>
		<link>https://press.mak.ac.ug/book/moving-back-into-the-future-critical-recovering-of-africas-cultural-heritage/</link>
					<comments>https://press.mak.ac.ug/book/moving-back-into-the-future-critical-recovering-of-africas-cultural-heritage/#comments</comments>
		
		<dc:creator><![CDATA[Mak Press]]></dc:creator>
		<pubDate>Tue, 08 Dec 2020 02:40:06 +0000</pubDate>
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					<description><![CDATA[This compelling set of essays draws from multiple sources – oral traditions, cultural practices, literature and art – to explore how the past is carried into and shapes the African present.]]></description>
										<content:encoded><![CDATA[<p class="p1">This compelling set of essays draws from multiple sources – oral traditions, cultural practices, literature and art – to explore how the past is carried into and shapes the African present. Spanning East and West Africa, it oﬀers essential insights to scholars in several disciplines. It deserves to be widely read.” (Rhiannon Stephens,<b> </b>Associate Professor of History, Columbia University).</p>
<p class="p1">This important collection demonstrates the possibilities of rethinking heritage and memory in Africa, not as fixed marketable products but as living parts of contested pasts, presents and futures. The chapters skillfully illuminate how novelists, artists, activists and ordinary people have continuously unsettled, and even subsumed, the categories that were imposed and naturalized in colonial archives. This wonderful multidisciplinary group of scholars show how engagement with the continuities of knowledge over time, beyond the academy or the state, remains critical to the possibility of justice.” (Edgar C. Taylor, Lecturer in History, Archaeology and Heritage Studies, Makerere University).</p>
<p class="p1">This is a timely response to the calls for both the decolonizing of the syllabus and of African renaissance. I cannot think of any book in the market which has this approach and depth of a variety of articles.” (John Blackings Mairi, Professor of Literary Linguistics, University of Juba).</p>
<p class="p1">This book essentially poses the question: Are there lessons to draw from Africa&#8217;s rich past to steer through the present into the future? It is a riveting eﬀort at reincarnating the rich diversity, accumulated and tested cultural heritage, with in situ logics of existence. Identities, tested philosophies, practices and aesthetics of communities are embedded on every page the reader turns. A timely and relevant book at this juncture when Africa seems to have culturally thrown the baby out with the bathwater.” (Godfrey Asiimwe, Associate Professor of Development Studies, Makerere University).</p>
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		<post-id xmlns="com-wordpress:feed-additions:1">16508</post-id>	</item>
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		<title>Lulu Ya Bara</title>
		<link>https://press.mak.ac.ug/book/lulu-ya-bara/</link>
		
		<dc:creator><![CDATA[Mak Press]]></dc:creator>
		<pubDate>Sat, 05 Dec 2020 08:58:21 +0000</pubDate>
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					<description><![CDATA[<ul>
 	<li>Published in Swahili</li>
 	<li>First published in 2014</li>
 	<li>Copyright by Makerere University Press</li>
</ul>]]></description>
										<content:encoded><![CDATA[<p>Everyone goes through personal life experiences. Those experiences are often intertwined with other people&#8217;s experiences with whom a person is walking the challenging journey that life is. It is those shared experiences that resonate with the experiences of other communities, both near and far.  The poems in the book Lulu ya Bara reflect the writer&#8217;s own experiences and his interaction with people within the Ugandan environment, and how these experiences expand further to reflect the African experience. The Ugandan experience interacts, and also overlaps with that of an East African, which in turn resonates with that of other Africans elsewhere. Every African, wherever they are on the African continent, will be able to relate with the considered themes in the poems in this book. Besides eliciting valuable lessons, the aim of the poems is also sheer entertainment and reflection for the reader. The kind of benefit to the reader will depend on the lens with which they will view the poems or the platform on which they will stand as they read the them. Either way, the writer&#8217;s objective will have been achieved.</p>
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