Shaka Rising

A charismatic young warrior prince emerges from exile to usurp the old order and forge a new, mighty Zulu kingdom.

A time of bloody conflict and great turmoil. The slave trade expands from the east African coast. Europeans spread inland from the south. And one young boy is destined to change the future of southern Africa. This retelling of the Shaka legend explores the rise to power of a shrewd young prince who must consolidate a new kingdom through warfare, mediation, and political alliances to defend his people against the expanding slave trade. "A worthy introduction that offers a young Anglophone audience entry into a legend of Africa without the annoyance of overtranslation and with refreshingly three-dimensional characters." --Kirkus "Deftly written and superbly illustrated by Luke Molver, "Shaka Rising: A Legend of the Warrior Prince" is a truly extraordinary and entertaining graphic novel that will decidedly prove to be an enduringly popular addition to community library graphic novel collections for readers ages 16 to 86." Midwest Book Review Luke Molver is a graphic novelist whose world is fueled by the art of storytelling. He lives in Cape Town, where reality continues to interfere with his daily life.

Shaka struggles to retain power as challenges at home and from across an ocean threaten his new rule.

Beginning with the claim that the popularization of Buddhism in the medieval period was a phenomenon of visual culture, Explaining Pictures reexamines the history (and historiography) of medieval Japanese Buddhism. With theoretical sophistication and a full appreciation of the power of imagery to convey and control religious meaning, it investigates a range of aspects of etoki, including the particularly active role of itinerant nuns, whose performances were especially edifying to female audiences, as well as the visual hagiography of the reputed founder of Japanese Buddhism, the pictorial projections of Buddhist paradise and hell, and the explanation, through visual imagery, of sacred mountains. Explaining Pictures is the first book-length study in English devoted to the phenomenon of Buddhist art as religious propaganda and pictorial storytelling as a form of popular culture in medieval Japan. A truly interdisciplinary study, it suggests fruitful avenues of discussion between art historians and historians of Japanese Buddhism. Scholars and students with an interest in Japanese Buddhism, art, and social and cultural history will find its examination of significant issues fresh and stimulating. It will also find an appreciative audience among those concerned with the relationship between art and religion, the mechanics of proselytization, and Asian visual culture.

Reconceptualizing the epic genre and opening it up to a world of storytelling, The Epic World makes a timely and bold intervention toward understanding the human propensity to aestheticize and normalize mass deployments of power and violence. The collection broadly considers three kinds of epic literature: conventional celebratory tales of conquest that glorify heroism, especially male heroism; anti-epics or stories of conquest from the perspectives of the dispossessed, the oppressed, the despised, and the murdered; and heroic stories utilized for imperialist or nationalist purposes. The Epic World illustrates global patterns of epic storytelling, such as the durability of stories tied to religious traditions and/or to peoples who have largely "stayed put"; the tendency to reimagine and retell stories in new ways over centuries; and the imbrication of epic storytelling and forms of colonialism and imperialism, especially those perpetuated and glorified by Euro-Americans over the past 500 years, resulting in unspeakable and immeasurable harms to humans, other living beings, and the planet Earth. The Epic World is a go-to volume for anyone interested in epic literature in a global framework. Engaging with powerful stories and ways of knowing beyond those of the predominantly white Global North, this field-shifting volume exposes the false premises of "Western civilization" and "Classics," and brings new questions and perspectives to epic studies.

How is knowledge about religion and religions produced, and how is that knowledge authenticated and circulated? David Chidester seeks to answer these questions in Empire of Religion, documenting and analyzing the emergence of a science of comparative religion in Great Britain during the second half of the nineteenth century and its complex relations to the colonial situation in southern Africa. In the process, Chidester provides a counterhistory of the academic study of religion, an alternative to standard accounts that have failed to link the field of comparative religion with either the power relations or the historical contingencies of the imperial project. In developing a material history of the study of religion, Chidester documents the importance of African religion, the persistence of the divide between savagery and civilization, and the salience of mediations—imperial, colonial, and indigenous—in which knowledge about religions was produced. He then identifies the recurrence of these mediations in a number of case studies, including Friedrich Max Müller’s dependence on colonial experts, H. Rider Haggard and John Buchan’s fictional accounts of African religion, and W. E. B. Du Bois’s studies of African religion. By reclaiming these theorists for this history, Chidester shows that race, rather than theology, was formative in the emerging study of religion in Europe and North America. Sure to be controversial, Empire of Religion is a major contribution to the field of comparative religious studies.

This book is about deciphered palm of the Beast (the historical accounts and the astrological analysis of the Ngoma (Ark) King called Ntaba Kayikhonjwa), who happens to be the only Pharaoh of the city of the Sun in Egypt. Pharaoh is the elephant behind Shaka Zulu (the boulders hiding elephants, the other elephant being the Egyptian Messiah: CHENT IRTI). The book is also about the underwater battles of colonial scholars and the Red Buffalo in Zululand and also the old and the endless animosity between Rome and five African tribes.