Politics and Cultures of Liberation: Media, Memory, and Projections of Democracy focuses on mapping, analyzing, and evaluating memories, rituals, and artistic responses to the theme of “liberation.” How is the national framed within a dynamic system of intercultural contact zones highlighting often competing agendas of remembrance? How does the production, (re)mediation, and framing of narratives within different social, territorial, and political environments determine the cultural memory of liberation? The articles compiled in this volume seek to provide new interdisciplinary and intercultural perspectives on the politics and cultures of liberation by examining commemorative practices, artistic responses, and audio-visual media that lend themselves for transnational exploration. They offer a wide range of diverse intercultural perspectives on media, memory, liberation, (self)Americanization, and conceptualizations of democracy from the war years, through the Cold War era to the 21st century.

"El libro tiene dos grandes temas: la identidad cultural, sobre la que se expresan opiniones balanceadas entre los extremos posibles, y la 'liberacion social', entendida en general como liberacion con respecto a estructuras opresivas. El itinerario de e

"It is now widely acknowledged that the issue of Sudan's cultural and political identity is one of the root causes of the Sudanese crisis that has crippled the country since its independence in 1956 and plunged it into a civil war regarded as the longest in Africa. Nevertheless, this issue continues to be a grossly neglected topic in scholarship concerning Sudan. On the other hand, the politics of intellectual and artistic production have been inseparable from the pivotal issue of identity ever since the advent of Sudanese nationalism in the 1920s. But there has yet been no publication dedicated to the topic of identity as one of the major concerns in modern Sudanese artistic production. This study thus undertakes a critical examination of key discourses concerning the cultural basis of modern Sudanese literature, visual art, music, and dance, and it attempts to highlight their underlying political and ideological orientations. The terms Arabism, Afro-Arabism, Africanism, Islamism, and Sudanism have developed within these discourses as defining concepts describing the country's ethnic and cultural origins, thereby serving as identity constructs. The study also examines the relation between the political and the artistic institutions as well as the policy of the ""Islamization of the Arts"" launched by the present Islamist regime and its outcome. The study may also be viewed as an endeavor to ""discover"" within the aesthetic field the missing ""Sudanese"" collective memory. Stated otherwise, this is an effort to redeem the lost ""Sudanese"" pedigree that has long been deliberately mystified, misconceived, and misconstrued for the for the sake of certain political and cultural strategies. Another aim of the study is to introduce Sudanese arts and the specific Sudanese aesthetic/political debate concerning the topics of culture and identity to both the general reader and specialists as well as to Africanists in general and scholars of African arts and literature in particular."

National liberation, one of the grand narratives of the twentieth century, has left a weighty legacy of unfulfilled dreams. This book explores the ongoing struggle for legitimate, accountable political leaders in postcolonial Southern Africa, focussing on dilemmas arising when ex-liberation movements form the governments. While the spread of multi-party democracy to most countries in the region is to be celebrated, democratic practice often has been superficial - a limited, elitist politics that relies on the symbols of the liberation struggle to legitimate de facto one-party rule and authoritarian practices. Using country cases from Tanzania, Swaziland, Zimbabwe, South Africa and Zambia, the collection explores three subthemes relevant to postcolonial governance in Southern Africa: how the struggle for liberation shapes the character of political transformation, the nature of rule in one-party dominant states headed by former liberation movements, and the processes of governance and resistance in post-liberation contexts. This book was published as a special issue of the Journal of Contemporary African Studies.

When Namibia gained its independence from South Africa in 1990, the new government began dismantling the divisive apartheid state and building a unified nation-state. What does this new nation look like from the perspective of ordinary citizens? In Lyrical Nationalism in Post-Apartheid Namibia, Wendi Haugh provides an ethnographic portrayal of the nation as imagined by people living in the former ethnic homeland of Ovamboland, with a particular focus on the lyrics of songs composed and performed by Catholic youth. The author argues that these youth draw on conflicting ideologies—hierarchical and egalitarian, nationalist and cosmopolitan—from multiple sources to construct a multi-faceted sense of national identity. She reveals how their vision of the nation—framed as neutrally national—is deeply rooted in specific local histories and cultures.

With the emerging vitality of the Hispanic church in the United States, the voices of Hispanic theology raise a new and vital challenge. A bridge between the North American church and the liberation theology of Latin America, Hispanic theology reflects on the experience of faith rooted in the cultures, histories, and hopes of the Hispanic people here in the U.S. Frontiers of Hispanic Theology in the United States draws on the key figures and explores the central themes of Hispanic theology, including such issues as popular religion, spirituality, liturgy, Hispanic feminist perspectives, and the meaning of "mestizaje" as a source of theological reflection. What emerges is a truly contextual theology, rooted in the unique cultures and tradition of Hispanic Catholics, a theology which also issues a wider challenge to the Anglo church and the world theological community.

Contributed articles.

The second volume of riveting memoirs from Hans Kung, the leading - and controversial - theologian. Hans Küng has been a major influence on post-war Christianity by any reckoning. A peritus for the second Vatican council, he then went on to publish a number of controversial books, including Infallible? An Enquiry (1971), which enraged the Vatican and caused him to lose the ecclesiastical approval of his teaching at the university of Tübingen. However, he remains a respected priest in good standing with his bishop. Throughout all the upheavals that the Catholic Church has undergone in recent decades, Küng has been an outspoken observer, turning himself from enfant terrible to béte noire. However his world influence has been great. Whether speaking at the United Nations or consorting with politicians and religious leaders, he is always listened to with respect and enthusiasm. A string of recent books has added to his reputation-notably On Being a Christian (1974) and Does God Exist? An Answer for Today (1980) What is not so well known is that, as a young man, Küng was a close friend and confidant of Joseph Ratzinger (Benedict XVI). Over the years, however, they increasingly came to represent exactly what the other most despised. On being appointed to the Holy See, Ratzinger had a long private meeting with Küng , the consequences of which may resonate within the Catholic Church for many years. In these thrilling memoirs Küng gives his personal account of all these struggles and ambitions. The result is a book of major importance for any student of the church in the 20th century. This second volume covers the period following the close of the Second Vatican Council right up to the present day.