Despite the frequency of stillbirths, the subsequent implications are overlooked and underappreciated. We present findings from comprehensive, systematic literature reviews, and new analyses of published and unpublished data, to establish the effect of stillbirth on parents, families, health-care providers, and societies worldwide. Data for direct costs of this event are sparse but suggest that a stillbirth needs more resources than a livebirth, both in the perinatal period and in additional surveillance during subsequent pregnancies. Indirect and intangible costs of stillbirth are (...) extensive and are usually met by families alone. This issue is particularly onerous for those with few resources. Negative effects, particularly on parental mental health, might be moderated by empathic attitudes of care providers and tailored interventions. The value of the baby, as well as the associated costs for parents, families, care providers, communities, and society, should be considered to prevent stillbirths and reduce associated morbidity. (shrink)

"Toyin Falola, one of the most prominent interpreters of Yoruba History, has written an outstanding and brilliant pioneer book that reveals valuable knowledge on African local historians. This is one of the most impressive books on the Yoruba in recent years and the best so far on Yoruba intellectual history. The range of coverage is extensive, the reading is stimulating, and the ideas are innovative. This is indeed a major contribution to historical knowledge that all students of African history (...) will find especially useful. This original study will find itself in the list of the most important studies of the 20th century." -Julius O. Adekunle, Monmouth University. (shrink)

This book elaborates on the academic side of Nimi Wariboko's life and philosophies as an economist, theologist, and political theorist.

This handbook investigates the current state and future possibilities of African Philosophy, as a discipline and as a practice, vis-à-vis the challenge of African development and Africa’s place in a globalized, neoliberal capitalist economy. The volume offers a comprehensive survey of the philosophical enterprise in Africa, especially with reference to current discourses, arguments and new issues—feminism and gender, terrorism and fundamentalism, sexuality, development, identity, pedagogy and multidisciplinarity, etc.—that are significant for understanding how Africa can resume its arrested march towards decolonization (...) and liberation. (shrink)

This is the first book devoted to the archaeology of African life on both sides of the Atlantic; it highlights the importance of archaeology in completing the historical records of the Atlantic world's Africans. Archaeology of Atlantic Africa and the African Diaspora presents a diverse, richly textured picture of Africans' experiences during the era of the Atlantic slave trade and offers the most comprehensive explanation of how African lives became entangled with the creation of the modern world. Through interdisciplinary approaches (...) to material culture, the dynamics of a comparative transatlantic archaeology is developed. (shrink)

"Publications [of Ogbu Kalu]": p. 373-393.

This book entails four clearly articulated rubrics and overarching concepts as the foundational basis for analyzing Toyin Falola's work: biography and knowledge production, Africa in the configuration of knowledge, the Yoruba in the configuration of knowledge, and the value of knowledge in terms of policies and politics. The chapters are located within broader epistemological perspectives and undertake critical interpretations and explanations of Falola's writings. Falola's ideas are extended into greater realms of meaning by employing analytical tools from the fields (...) of political science, economics, literature, linguistics, computer science, mathematics, and religious studies. Furthermore, the book situates Falola's ideas in their historical contexts. This approach involves examining related events occurring during the times of the main events of his studies, thereby allowing readers to grasp many subtle details and background information that account for the types of meanings embedded in his writings. The originality of this book therefore hinges upon the clarity with which familiar but unconnected facts about Falola's writings are marshaled into a simpler, pluridisciplinarily analytical unity. (shrink)

The decades following the civil rights and decolonization movements of the sixties and seventies - termed the post-soul era - created new ways to understand the aesthetics of global racial representation. Daphne Lamothe shows that beginning around 1980 and continuing to the present day, Black literature, art, and music resisted the pull of singular and universal notions of racial identity. Developing the idea of 'Black aesthetic time' - a multipronged theoretical concept that analyzes the ways race and time collide in (...) the process of cultural production - she assesses Black fiction, poetry, and visual and musical texts by Paule Marshall, Zadie Smith, Tracy K. Smith, Dionne Brand, Toyin Ojih Odutola, and Stromae, among others. Lamothe asks how our understanding of Blackness might expand upon viewing racial representation without borders - or, to use her concept, from the permeable, supple place of Black aesthetic time. Lamothe purposefully focuses on texts told from the vantage point of immigrants, migrants, and city dwellers to conceptualize Blackness as a global phenomenon without assuming the universality or homogeneity of racialized experience. In this new way to analyze Black global art, Lamothe foregrounds migratory subjects poised on thresholds between not only old and new worlds, but old and new selves. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Out of an Old Toy ChestMarina Warner (bio)The Soul of the ToyIn Baudelaire’s essay “La Morale du joujou,” written in l853, he remembers how the toyshop owner Madame Pancoucke, all wrapped in velvet and furs, beckoned the young Charles to choose something from her “treasure store for children.” Looking back down the years, the poet still sees in his mind’s eye the magic room overflowing with toys from (...) floor to ceiling that this “Fée du joujou” (Toy Fairy) opened to him. Without a second thought, he picked out “the most beautiful, the most expensive, the most garish, the freshest and the most bizarre of the playthings.” But his horrified mother insisted he choose another, less extravagant present, and the little Baudelaire had to resign himself and relinquish his toy.The word joujou (not jouet, the usual word for toy) is almost a pet name with a nursery ring like a “teddy” or a “dolly”; its repetition hints at baby talk and hence at playing, as when a child exchanges endearments and questions with a toy in imaginary conversations and elaborate scenarios. The toy in so many children’s games becomes part of an ongoing story and in this way initiates the first invented narratives in the child’s life.That scene of seduction, pleasure, and frustration with Mme. Pancoucke and his own mother catches Baudelaire’s lasting affection and reasoned admiration for toys. He called them “cette statuaire singulière” (this singular statuary); he was first a poet and then an art critic rather than a novelist, and as a flâneur of the boulevards and the galleries, he adopted a language of aesthetics, treating toys as an unusual form of sculpture. He recalls in pleasurable detail the miniature worlds conjured by Victorian nursery games and child’s play—from tiny “diligences” or mail coaches to detailed model furniture. But above all he muses in wonder at children’s ability to play without props or models, creating narratives, dialogue, and dramas [End Page 3] through fantasy alone: “All children talk to their toys; toys become actors in the great drama of life, reduced by the camera obscura of their small brains. Children bear witness through their games to their great faculty of abstraction and their high imaginative power. They play without playthings.”1Significantly, Baudelaire goes on to make the connection to creativity in general: “[The child’s] facility to satisfy the imagination shows the spirituality of childhood in its artistic conceptions. The plaything is the first initiation of a child to art.” Nothing will ever attain again, he says, the same degree of liveliness, or, crucially, the same intensity of presence or belief. For Baudelaire, the realization of childish make-believe cannot be regained: “Isn’t all of life found there in miniature, and much more vivid in colour, cleaner and shinier than real life?”2Yet Baudelaire’s essay lingers on the frustration that dims these vivid, shiny colors, for children, he says, also want to see the soul of a toy. He describes how they will turn about their playthings and shake them, hurl them to the ground, and often break them in their bafflement and even rage at their stubborn refusal to awaken into life. His meditation hints that at the point when make-believe fails, the vitality of toys vanishes and produces a primal encounter with mortality: “But where is the soul? It’s here that bewilderment and sadness begin.”3 The beginning of imagining stories brings with it frustration that the story is not powerful enough—it is not the real thing. In a connected prose poem entitled “Le Joujou du pauvre,” published nine years later, Baudelaire pursues this thought, as he observes an exchange between a beautiful, pampered child inside the exclusive railed park of a chateau. He has “a splendid toy, as fresh as its master, varnished, gilded, clothed in a purple dress and covered with plumes and glitter.”4 But the rich child is not interested in his doll, for on the other side of the railings a ragged street urchin shows him, in a little cage which he shakes about, a living rat—”drawn... (shrink)