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In All Things Wild and Wonderful, Kobie Krüger brings us further stories of her life in the Kruger National Park, where her husband was a game ranger. After eleven years in the remote Mahlangeni region they are transferred, first to Crocodile Bridge and then to Pretorius Kop. Fully at peace in the wild and lonely landscapes of the north, Kobie fears she will never adapt to the relatively people-populated southern area. It takes time, but eventually she is able to acknowledge that the move has shown her 'other Edens' and has given her a store of new adn precious memories. Foremost among her memories is the unique experience of raising Leo, an abandoned lion cub. It is a fascinating and emotional encounter with the king of the beasts, which brings her and her family equal measures of joy and sorrow. Written with her usual warmth and humour, and imbued with her love of the wilderness and all its inhabitants, this new book is truly a celebration of all things wild and wonderful.
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This book gets to the heart of trophy hunting, unpacking and explaining its multiple facets and controversies, and exploring why it divides environmentalists, the hunting community, and the public. Bichel and Hart provide the first interdisciplinary and comprehensive approach to the study of trophy hunting, investigating the history of trophy hunting, and delving into the background, identity and motivation of trophy hunters. They also explore the role of social media and anthropomorphism in shaping trophy hunting discourse, as well as the viability of trophy hunting as a wildlife management tool, the ideals of fair chase and sportsmanship, and what hunting trophies are, both literally and in terms of their symbolic value to hunters and non-hunters. The analyses and discussions are underpinned by a consideration of the complex moral and practical conflicts between animal rights and conservation paradigms. This book appeals to scholars in environmental philosophy, conservation and environmental studies, as well as hunters, hunting opponents, wildlife management practitioners, and policymakers, and anyone with a broad interest in human–wildlife relations.
When Robyn Scott was six years old her parents abruptly exchanged the tranquil pastures of New Zealand for a converted cowshed in the wilds of Botswana. Once there, Robyn and her siblings, mostly left to amuse themselves, grew up collecting snakes, canoeing with crocodiles and breaking in horses in the veld. In the shadow of one of Africa's worst AIDS crises, this moving, enchanting memoir is an extraordinary portrait of an unforgettable childhood.
Eschewing the postcolonial hubris that suggests Africa could only define itself in relation to its colonizers, a problem plaguing many studies published in the West on African cinema, this entry in the Directory of World Cinema series instead looks at African film as representing Africa for its own sake, values, and artistic choices. With a film industry divided by linguistic heritage, African directors do not have the luxury of producing comedies, thrillers, horror films, or even love stories, except perhaps as DVDs that do not travel far outside their country of production. Instead, African directors tend to cover serious sociopolitical ground, even under the cover of comedy, in the hopes of finding funds outside Africa. Contributors to this volume draw on filmic representations of the continent to consider the economic role of women, rural exodus, economic migration, refugees and diasporas, culture, religion and magic as well as representations of children, music, languages and symbols. A survey of national cinemas in one volume, Directory of World Cinema: Africa is a necessary addition to the bookshelf of any cinephile and world traveller.
Place is a moving love letter to South Africa, merging literature and landscape, and taking the reader on a breath-taking journey – into the heart of South Africa’s spectacular landscape and the inner-worlds of its most celebrated authors.
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