Nadia Lovell

deal to understanding the man, the origins of his academic interest in Africa, his formal and informal training as a historian, and, finally, his growing acquaintance with Africa. The heart of the book, in my view, lies in the twelve chapters, 6-18, which describe a succession of trips to Africa, mostly eastern Africa, through which the author, for the ten years following 1948, came to know at first hand the continent which was to consume his mental energy for another three decades. His most lasting contributions are his numerous research students, all of them mentioned in the book, none of them fitting a simple mould. He was prescient in his methodological concern with the use of oral testimony and in his insistence on interdisciplinary co-operation with archaeology and linguistics. He had a chronological and geographical range matched by few of his students, and perhaps by no one in the next generation. He was able to frame major hypotheses with striking elegance and clarity. The diffusion of divine kingship from pharaonic Egypt throughout sub-Saharan Africa, the origins and early pattern of Bantu migrations, and the formation of the kingdoms of the East African Lake region all come to mind. The latter two did shape subsequent research, perhaps for a decade. None any longer informs active research. Nor has any successor shaped even a subcontinental vision with quite the same boldness or sweep. The Journal of African History and the Cambridge History of Africa will continue as monuments, although the Cambridge is now rivalled by the UNESCO General History of Africa, testimony to the field's polycentrism and multivalence, even at the height of Oliver's influence. For those interested in the origins of the field and seeking insights into an influential founder, In the Realms of Gold is an informative source, not to mention a good read.

This text explores the ways in which colonial Europeans have been represented in African ritual art and drama. Kramer sets out to show that African images of Europeans - in sculpture, masquerades and above all spirit possession - are the reverse and also the counterpart of European images of the Other as savage, whether noble or ignoble. In ways which may echo 19th-century European realism, they reveal the power of the detail: a feather, a car, or the eponymous red fez which runs like a leitmotif through spirit possession cults of the early colonial period. "The Red Fez" demonstrates not only the startling likenesses to ourselves and our culture, but also reflections of forms of knowledge which this civilization has submerged.

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... on the definitional aspects of what constitutes altered states of consciousness may lead to an analysis devoid of social context, focusing on mental processes rather than on the social production of meaning and intersubjective communication (Ward 1989; Chandra shekar 1989). ...

La production du savoir anthropologique, la reiteration des differences culturelles, les dimensions politiques d'une reflexion sur les evenements historiques de la colonisation puis sur l'heritage post-colonial sont devenus des champs classiques de la reflexion epistemologique sur l'anthropologie. Cependant, on connait peu les modalites de la transmission de ces apports dans le contexte quotidien de l'enseignement universitaire en Grande-Bretagne, notamment sur l'utilisation des donnees offertes par l'ethnologie africaniste dans le debat contemporain sur les rapports entre mondialisation et particularismes ethniques, et sur la place de l'ethnologue enseignant a des etudiants issus de cultures diverses.