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Cape Fear, called Cape San Romano by the Spanish, appears on the Mercator-Hondius map of 1606 as “C of faire,” and on the John Smith map of 1624 as “C:Feare.” The 1651 John Farrer map shows “Cape Feare” with an Indian Fort near the mouth of the river and the word “Secotan” near it.
So rather than shutting down its sanction-remote bank like it did last time, Europe may simply turn a blind eye and allow it to stay open, EIH (or some other government-anointed financial institution) becoming the go-to bank for conducting Iran’s worldwide crude oil business.
Early Iron Age pottery was replaced in the eleventh or twelfth century by Mapungubwe ware Inskeep; Phillipson; Klapwijk)(this has been covered in the First Hub- See the Photo gallery of the “South African Culture, Custom and Practices Writ Large: Re-Morphed Cultural Renaissance against Dysfunctional Existence”.
Media ecology perspectives revolve around key texts that explore the impact of technology on culture as media environments, including the works of Harold Innis, McLuhan, Neil Postman, Walter Ong, James Carey, Lewis Mumford, Jacques Ellul, Elizabeth Eistenstein, Eric Havelock, Edmund Carpenter, Jack Goody, Denise Schmandt-Besserat, Robert K. Logan, Joshua Meyrowitz, Walter Benjamin, Daniel Boorstin, Susan Suntag, Gary Gumpert, Tony Schwartz, Regis Debray, David Altheide, Jay David Bolter, Paul Levinson and Christine Nystrom, among others.
Thus, culture, though a product of much of the actual lived experience of a people – the primal source of much of their their daily personal and social activities, their forms of labor and its products, their celebratory and ceremonial traditions, modes of dress, art and music, language and articulatory style, appetites and desires – is essentially ideological in nature based as it is on shared beliefs, customs, expectations, and values.
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The Technological Society is a description of the way in which an autonomous technology is in process of taking over the traditional Values of every society witout exception, subverting and supressing these values to produce at last a monolithic world culture in which all non-technological difference and variety is mere appearance.
Their appearance has completely altered our understanding of the cultural and literary history of the New African Movement: it is with Lydia Umkasetemba that modern Zulu literature begins not with Magema M. Fuze as it had been presumed for decades and decades even by H. I. E. Dhlomo, among others; it is Nontsizi Mgqwetto who brings literary modernism through poetry to South Africa not Benedict Vilakazi or H. I. E. Dhlomo or S. E. K. Mqhayi as we had all supposed.
Because of the huge difficulties to be overcome in mastering the African linguistic mosaic, some observers in Europe are convinced that we will not be up to the challenge, that we will be unable to undertake a change requiring so much human energy, so much intellectual lucidity, so much creative thinking.