The Philosophy : German Egyptologist Hellmut Brunner Translates The Inscription Of Antef

Ibn Battuta has idiosyncrasies, prejudices, and arrogance. He is also a man of curiosity, and conviction. It is because Ibn Battuta represents or comes across so much like ourselves that it is easy to dive more deeply into his writing and stories and see things through his eyes. What the reader can see is a picture of African civilization before European influence. Battuta’s stories

“African societies developed diverse forms, from large centralized states to stateless societies organized around kinship or age sets rather than central authority. Within this diversity were many shared aspects of language and beliefs. Universalistic faiths penetrated the continent and served as the basis for important cultural development in Nubia and Ethiopia.

There are five creative principles in ancient Egypt which still have great resonance in current culture. Each principle brings not only a greater understanding of yourself, but also betterment of yourself. They strive to bring out the best in you. These principles are, autogenesis, renewal, individuation, reflective speech, and complementarity.

In Basil Davidson’s video “Different but Equal,” he outlines the European perception of Africa upon their discovery of the continent. Claims that the Europeans were making about African culture, however, were far fetched and did not depict Africa in a positive manner. History according to pre-European Africa was rich and diverse, but once Europeans saw for themselves how different their continent was from Africa, they began to make up their own version of African history.

In the form of African culture, the country Ghana has its own definitive form that is somehow similar with other African country’s culture but different in various elements. This is why it is the most intrinsic characteristic of Ghananese culture; with its deployment of systems, structures and social elements, it is set apart from other African cultures. But what should be given importance is its original context, which also sprung from the African importance of culture. According to Steven J. Salm and Toyin Falola (2002), “Africans regard culture as essential to

The Egyptians believed very much in life after death. As Taylor states in Death and the Afterlife in Ancient Egypt, “It is often observed that they appear to have devoted greater efforts and resources to preparing for the afterlife than to creating a convenient environment for living” (Taylor, 2001:12). The Egyptians viewed life on earth as one stage and death as the beginning of another. They believed that, “human existence did not end with death and that survival of the body played a part in the new life” (Taylor, 2001:12). One of the key elements in the Egyptian culture and religion was the preservation of the body. The body was the most important aspect because it was like a portal through which an individual could continue to live

By reading this poem, the reader can understand the viewpoint of many Europeans, and how they viewed themselves as being significantly “more intellectual” than the Africans.

Haour, A. (2005). Power and permanence in precolonial Africa: A case study from the Central Sahel. World Archaeology, 37(4), 552-565. Retrieved from the JSTOR

The motivations behind the civilization of Africa are viewed in documents 1, 4, 7 and 11. Economic motivations and political global power such as the advantages of

For what little history is taught about Africans institutionally and publically presently, it used as a tool to disempower people of African descent. To start present interpretations of African history denies the feats and accomplishments done by Africans as well as the roots from which all people come from. Presently history is made for people

In a freezing class, two brilliant minds unlocked the fiery passion that is their talent one an artist the other a writer. Bringing to light a history long forgotten creating abstract thoughts arbitrary to our own. Komi Olaf the artist and Okey Ndibe the writer not only enlightening the class but also the world with each brush stroke and each word. Every creation stemming from the hands of these masters tell of issues at the heart of Africa from colonialism to existential dilemmas. Thru spoken word, hip-hop, art, music, poems and literature issues close at heart to the artists and to Africa are portrayed. This paper will focus on the art exhibit by Komi Olaf and Foreign Gods inc by Okey Ndibe as spoken by them during their discussion in the class on October 13th. Where the talks focused on the key course objectives being stereotypes, post-colonialism, youth culture, and resistance.

This essay deals with the nature of a cross cultural encounter between the Benin people and Portuguese traders in the 15th and 16th centuries, which resulted in the depiction of Portuguese figures in Benin brass plaques. It will propose that this contact between people with different cultures was on the basis of 'mutual regard' (Woods, K. 2008, p. 16), and although the Portuguese had qualms about idolatry in Benin it will show that assumptions by Europeans up to the 20th century of the primitive nature of tribal African societies was inaccurate with regard to the Benin people, who had a society based on the succession of the King or 'Oba', a Royal Family and Nobility. The essay will finally suggest that Benin’s increase in wealth following

“Segu is a garden where cunning grows. Segu is built on treachery. Speak of Segu outside Segu, but do not speak of Segu in Segu” (Conde 3). These are the symbolic opening words to the novel Segu by Maryse Conde. The kingdom of Segu in the eighteenth and nineteenth century represents the rise and fall of many kingdoms in the pre-colonial Africa. Therefore, Segu indirectly represents the enduring struggles, triumphs, and defeats of people who are of African decent in numerous countries around the world. There are three major historical concepts that are the focus of this book. One is the spread of the Islamic religion. Another is the slave trade, and the last is the new trade in the nineteenth

The first chapter “Religion: Divine Presence and Transcendence” establishes the topic of this book, summarizing the theme of ‘divine presence’ and the concept of a single god and multiple gods (essentially monotheism vs polytheism). Divided into 2 main parts, the first, aptly named “The Dimensions of Divine Presence: The Implicit Theology of Egyptian Polytheism”, mainly revolves around implicit theology and what Assmann considers to the be the three dimensions of Egyptian religion: the local and cultic dimension, the dimension of cosmos (The visible elements), and the mythic dimension. These three aspects form the implicit theory, activities or notions that are associated with divine beings, and serves to realize in religion the

A portion of the most grounded confirmation archiving the African inceptions of the Kemites was introduced by two African Egyptologists, Drs. Cheikh Anta Diop and Theophile Obenga, at the Cairo Symposium in 1974. This social occasion of more than 20 universal Egyptologists was supported by UNESCO (the United Nations Educational, Scientific and Cultural Organization) and was held in Cairo, Egypt. One of the essential subjects of dialog was the race of the old Egyptians. The presentations by Diop and Obenga gave 11 classes of proof to bolster the proposition that the antiquated Egyptians were indigenous "dark" Africans. Their exploration demonstrated that the dialect and social examples of the antiquated Kemites was predictable with that found