Academic literature on the topic 'African Litteratures'
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Journal articles on the topic "African Litteratures"
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McIntosh, Yvonne E., Femi Osofisan, Nicole Medjigbodo, Sam Asein, and G. G. Darah. "Proceedings of the International Symposium on African Literatures/Compte Rendu du colloque sur les litteratures africaines." African Studies Review 36, no. 2 (September 1993): 130. http://dx.doi.org/10.2307/524749.
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Bongie, Chris. "Francophone conjunctures." New West Indian Guide / Nieuwe West-Indische Gids 71, no. 3-4 (January 1, 1997): 291–307. http://dx.doi.org/10.1163/13822373-90002610.
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[First paragraph]Decolonizing the Text: Glissantian Readings in Caribbean and African-American Literatures. DEBRA L. ANDERSON. New York: Peter Lang, 1995. 118 pp. (Cloth US$46.95)L'Eau: Source d'une ecriture dans les litteratures feminines francophones. YOLANDE HELM (ed.). New York: Peter Lang, 1995. x + 295 pp. (Cloth US$ 65.95)Postcolonial Subjects: Francophone Women Writers. MARY JEAN GREEN, KAREN GOULD, MICHELINE RICE-MAXIMIN, KEITH L. WALKER & JACK A. YEAGER (eds.). Minneapolis: University of Minnesota Press, 1996. xxii + 359 pp. (Paper US$ 19.95)Statue cou coupe. ANNIE LE BRUN. Paris: Jean-Michel Place, 1996. 177 pp. (Paper FF 85.00) Although best remembered as a founding father of the Negritude movement along with Aime Cesaire, Leopold Senghor was from the very outset of his career equally committed - as both a poet and a politician - to what he felt were the inseparable concepts of la francophonie and metissage. Senghor's has been an unabashedly paradoxical vision, consistently addressing the unanswerable question of how one can be essentially a "black African" and at the same time (in Homi Bhabha's words) "something else besides" (1994:28). In his "Eloge du metissage," written in 1950, Senghor ably described the contradictions involved in assuming the hybrid identity of a metis (an identity that offers none of the comforting biological and/or cultural certainties - about "rhythm," "intuition," and such like - upon which the project of Negritude was founded): "too assimilated and yet not assimilated enough? Such is exactly our destiny as cultural metis. It's an unattractive role, difficult to take hold of; it's a necessary role if the conjuncture of the 'Union francaise' is to have any meaning. In the face of nationalisms, racisms, academicisms, it's the struggle for the freedom of the Soul - the freedom of Man" (1964:103). At first glance, this definition of the metis appears as dated as the crude essentialism with which Senghor's Negritude is now commonly identified: in linking the fate of the metis to that of the "Union francaise," that imperial federation of states created in the years following upon the end of the Second World War with the intention of putting a "new" face on the old French Empire, Senghor would seem to have doomed the metis and his "role ingrat" to obsolescence. By the end of the decade, the decolonization of French Africa had deprived the "Union franchise" of whatever "meaning" it might once have had. The uncompromisingly manichean rhetoric of opposition that flourished in the decolonization years (and that was most famously manipulated by Fanon in his 1961 Wretched of the Earth) had rendered especially unpalatable the complicities to which Senghor's (un)assimilated metis was subject and to which he also subjected himself in the name of a "humanism" that was around this same time itself becoming the object of an all-out assault in France at the hands of intellectuals like Foucault.
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Onyemelukwe, Ifeoma Mabel, Abubakar Dauda Adamu, and Chukwunonso Hyacinth Muotoo. "Le Griot Dans La Litterature Postcoloniale: Une Etude De Guelwaar De Sembene Ousmane." UJAH: Unizik Journal of Arts and Humanities 22, no. 1 (July 8, 2021): 55–77. http://dx.doi.org/10.4314/ujah.v22i1.3.
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Le griot dans la société traditionnelle africaine de l’ère précoloniale est un personnage complexe chargé d’une myriade de fonctions. Il est bien respecté et honoré. La présente étude se donne l’objectif d’examiner profondément la peinture du griot dans la littérature africaine postcoloniale utilisant Guelwaar de Sembène Ousmane comme texte de base tout en établissant ses fonctions et ses portraits. L’étude privilégie quelques théories critiques comme le postcolonialisme, les théories marxiste et féministe. De plus, l’examen s’effectue à la lumière de l’image du griot d’antan et des sept catégories de nouveaux griots postulés par Ifeoma Mabel Onyemelukwe. Nous découvrons deux types de griot dépeints par Ousmane dans Guelwaar : le griot personnage littéraire nommé Guelwaar et le griot écrivain contemporain africain, Sembène Ousmane lui-même. Ces deux griots entretiennent des rapports de similitude et de divergence avec le vrai griot. Mais le griot écrivain contemporain africain ressemble beaucoup plus au griot d’antan en dépit des points de divergence. Nous finissons par déceler dix-huit fonctions du griot et par-là arriver aux dix-huit portraits du griot dans Guelwaar dont le griot bibliothèque publique bien documentée et le griot détenteur de la littérature écrite africaine postcoloniale. Nous parvenons à la conclusion que la littérature postcoloniale, comme l’atteste Guelwaar de Sembène Ousmane, se caractérise par une revalorisation des valeurs authentiques, honorables et louables du griot de caste. Ceci est symbolisé par l’apparition du griot personnage littéraire dans certaines oeuvres de la littérature écrite postcoloniale africaine comme Guelwaar et surtout la prééminence accordée aux griots écrivains contemporains africains tel Sembène Ousmane.
The griot, in the traditional African society is a complex personality charged with multiple functions. He is well respected and honoured. The objective of the present research is to make an in-depth study of the depiction of the griot in post-colonial literature using Guelwaar as study text while establishing his functions and portraits. Postcolonialism, Marxist and Feminist theories constitute the theoretical framework. Furthermore, the examination is carried out in the light of the image of the real griot and the seven categories of new griots promulgated by Ifeoma Mabel Onyemelukwe. It is found that Sembène Ousmane depicts two types of griots in Guelwaar, namely: the griot as literary character named Guelwaar and the griot as contemporary African writer, Sembène Ousmane, himself. These two griots have certain similarities and differences with the real griot. But the findings show that the griot as contemporary African writer resembles more the real griot, their points of disparity notwithstanding. Eighteen functions and eighteen portraits of the griot are established, among which are: the griot as well documented library and the griot as custodian of written postcolonial African Literature. A firm conclusion is reached, that postcolonial literature, as reflected in Sembène Ousmane’s Guelwaar, is characterized by the revalorization of the real griot’s authentic, honorable and praise-worthy values. This is symbolized in the projection of the griot as literary character in some literary works like Guelwaar and in particular, the preeminence given to griots as Contemporary African writers as typified by Sembène Ousmane.
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Lundahl, Mikela. "Kvinnor, vithet, och de andras litteratur." Tidskrift för genusvetenskap 31, no. 1-2 (June 13, 2022): 114–37. http://dx.doi.org/10.55870/tgv.v31i1-2.3661.
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In her essay “Can the Subaltern Speak?” – originally published in Cary Nelson and Lawrence Grossberg’s Marxism and the Interpretation of Culture (1988), Gayatri Spivak puts the colonial logic in words through the formulation “White men are saving brown women from brown men”. She claims further that nowadays it is not only men who are engaged in this business. In this article I read the reception and paratexts of African literature in Swedish translation, more specifically: how are female African authors and their works discussed in a Swedish context, and how do colonial patterns (such as the one Spivak has formulated) structure the discourses about these literatures? And how can one understand these discourses from an intersectional perspective, with sexuality and whiteness as the main intersections?
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Bord, Christophe, and Carol Serrurier. "Language in South Africa." Moderna Språk 87, no. 2 (November 22, 1993): 121–27. http://dx.doi.org/10.58221/mosp.v87i2.10126.
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Denna artikel är en exposé över den komplicerade språksituationen i Sydafrika. Den ger såväl en historisk översikt som en spekulation över det nya språkliga läge som demokratiseringen av Sydafrika kan komma att innebära. Förf. är båda verksamma vid engelska institutionen vid univeristet i Toulouse, Frankrike. Bords huvudinriktning är allmän och jämförande germansk språkvetenskap - han har bl a studerat och undervisat i Sverige. Serrurier, som är född och uppvuxen i Sydafrika, där hon också genomförde sin grundutbildning, har främst intresserat sig för samtida sydafrikansk litteratur.
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Srika, M. "A Critical Analysis on “Revolution 2020” - An Amalgam of Socio- Political Commercialization World Combined with Love Triangle." SMART MOVES JOURNAL IJELLH 7, no. 10 (October 31, 2019): 6. http://dx.doi.org/10.24113/ijellh.v7i10.10255.
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Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.
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Daoudi, Khaoula, Sami Aziz Brahmi, Lamie Boudahna, Fatima Zahra Hijri, Nezar Bouyahia, Karima Oulla, Hafida Benhammane, et al. "Inflammatory breast cancer in Morocco: Experience of Hassan II University Hospital." Journal of Clinical Oncology 30, no. 15_suppl (May 20, 2012): e11516-e11516. http://dx.doi.org/10.1200/jco.2012.30.15_suppl.e11516.
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e11516 Background: Inflammatory breast cancer (IBC) is the most virulent type of breast cancer. It represents 1 to 6% of all the breast cancer in Western countries. It is speculated that the incidence of IBC is greater in emerging countries especially in North Africa. The management of this disease requires a multidisciplinary. Methods: We recorded the cases of 80 patients with IBC admitted in the Medical Oncology Unit between January 2007 and August 2011. We included patients with IBC classified as T4d using criteria based on the tumor-node-metastasis (TNM) classification . The aims of this study is to evaluate the epidemiological, clinical, histopathological and therapeutic aspects of this disease. Results: The median age of our patients was 44.5 years ranged from 24 to 88 years. The incidence of IBC in our study was 7.8%. The lymph node involvement was noted in 60% distributed as following: N0 in 40%, N1 in 30%, N2 in 19%, N3 in 11%. For histology, ductal carcinoma represents 96% of all cases. Human epithelial receptor 2 (HER 2) was positive in 32% of the cases. Hormonal receptors were negative in 22% of the cases. The grade of the tumor according to the Scarff Bloom Richardson classification was as following: grade I ( 2.5%), grade II (52%), grade III (45.5%). All patients received neoadjuvant chemotherapy. 45% received chemotherapy with anthracyclines, 35% were treated with docetaxel and anthracycline and 10% with the association chemotherapy Trastuzumab. According to RECIST classification, a partial or total clinical response was noted in 80% of cases, 10% of patients had stability, and 10% clinical progression. According to Sattalof classification, a histological response greater than 50% in the tumor (TB) was noted in 45%. A complete pathological response (TANA or TANB) was obtained in 15% of cases. After a median follow up of 2 years 35% of the patients had a metastatic or locoregional reccurence, 45% of the cases remain in complete remission. Conclusions: The result of our study is concordant with the litterature. The incidence of IBC was greater than the incidence in western countries. The IBC was also associated with high grade and younger age. Despite a good clinical and pathological response to chemotherapy, outcomes were poor.
Dissertations / Theses on the topic "African Litteratures"
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Kemedjio, Cilas. "Des Theories de L'imaginaire aux Imaginaires Theoriques: La Question Theorique dans les Litteratures Africaine et Antillaise: From the Theories of Fiction to Creative Writing: Theoretical Issues in African and Antillean Literatures." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487861796821412.
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Diallo, Ibrahim Hamza. "Les rémanences mélodramatiques du personnage noir dans les littératures francophones d’Afrique subsaharienne du XXe siècle." Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030028.
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Avec Sélico, ou les nègres généreux (1793), Pixérécourt, qui est considéré comme le premier mélodramaturge français, place une représentation inédite du personnage noir au cœur d’un genre théâtral nouveau. Dès le début du XXe siècle, avec la création des premières écoles coloniales, la formation des premiers écrivains noirs et l’émergence de l’africanisme, le genre mélodramatique apparaît comme l’ingrédient indispensable du développement d’une littérature africaine. Le mélodrame trouve un nouveau souffle sur un autre continent, à travers cette rémanence du personnage mélodramatique noir dans les littératures subsahariennes. La première étape de notre recherche interroge cette association d’une forme théâtrale et de la représentation de l’Afrique d’un point de vue géocritique. Considéré tantôt comme édénique tantôt comme périlleux, le continent africain favorise l’apparition de situations conflictuelles qui alimentent le mélodramatique. Dans la deuxième phase, le statut du personnage noir mélodramatique est examiné. Sa perception suit la dichotomie constatée à propos du milieu africain : elle est partagée entre compassion et rejet. Le riche foisonnement des protagonistes de couleur dans les littératures mélodramatiques française et africaine fait du mélodrame un genre théâtral engagé. Le troisième temps de notre réflexion a porté sur les fonctions politiques, sociales et éthiques d’un mélodrame qui cherche à prendre toute sa place dans un monde en désarroiWith Sélico, ou les nègres généreux (1793), Pixerécourt, who is considered the first French melodrama playwright, places an original representation of the black character at the heart of a new theatrical genre. From the beginning of the 20th century, with the creation of the first colonial schools, the training of the first black writers and the emergence of Africanism, the melodramatic genre appears as the essential ingredient for the development of an African literature. Melodrama finds new life on another continent, through this persistence of the black melodramatic character in sub-Saharan literatures.The first stage of my research questions this association of a theatrical form and the representation of Africa from a geo-critical point of view. Considered sometimes as Eden-like, sometimes as perilous, the African continent favours the appearance of conflicting situations which fuel melodrama.In the second phase, the status of the melodramatic black character is examined. His perception follows the dichotomy noted about the African environment: it is divided between compassion and rejection.The rich abundance of coloured protagonists in French and African melodramatic literatures makes melodrama a committed theatrical genre. The third step of my reflection focused on the political, social and ethical functions of a melodrama that seeks to take its place in a world in disarray
مع Sélico ، ou les nègres généreux (1793) ، يضع Pixerécourt " سيليكو , أو الزنوج الكرماء " بيكسركورت الذي يعتبر أول كاتب مسرحي ميلودرامي فرنسي يمثل تمثيلًا حقيقياً الشخصية السوداء في قلب النوع المسرحي الجديد - منذ بداية القرن العشرين مع بداية إنشاء المدارس الاستعمارية الأولى وتدريب الكتاب السود الأوائل وظهور النزعة الأفريقية ظهر النوع الميلودرامي كمكون أساسي لتطوير الأدب الأفريقي لتجد الميلودراما حياة جديدة في قارة أخرى من خلال استمرار الطابع الميلودرامي الأسود في آداب أفريقيا جنوب الصحراء -تتساءل المرحلة الأولى من بحثي عن هذا الارتباط بالشكل المسرحي وتمثيل إفريقيا في هذا الشكل المسرحي من وجهة نظر جيو-نقدية. تعتبر القارة الأفريقية أحيانًا شبيهة بجنةعدن ، وأحيانًا محفوفة بالمخاطر ، وتفضل هذه الدراسة إظهارالمواقف المتضاربة التي تغذي الميلودراما -في المرحلة الثانية من الدراسة يتم فحص حالةالشخصيةالسوداءالميلودرامية تتبع الدراسة في هذه المرحلة تصور الشخصية السوداء للإنقسام الملحوظ بالبيئة الأفريقية فهي منقسمة في مواقفها بين التعاطف والرفض. توفُّر الأبطال الملونين في الأدب الميلودرامي الفرنسي والأفريقي يجعل الميلودراما نوعًا مسرحيًا ملتزمًا بمواصفات هذا النوع الأدبي - ركزت الخطوة الثالثة من الدراسة على الوظائف السياسية والاجتماعية والأخلاقية لميلودراما تسعى إلى أخذ مكانها في عالم تسوده الفوضى -
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Naudillon, Françoise. "Litteratures negres et medias." Cergy-Pontoise, 1993. http://biblioweb.u-cergy.fr/theses/93CERG0002.pdf.
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Le but de cette these et d'etudier les discours mediatiques tenus en france et dans les pays francophones sur les litteratures africaines et antillaises de 1921 , date de publication de batouala par rene maran a 1992 date de publication du prix goncourt texaco par patrick chamoiseau. Les medias conside res sont les medias grand-public : la radio, la television, la presse. Elle comprend donc une etude de la periode coloniale et le passage de l'edition coloniale a l'edition commerciale et degage une matrice des discours tenus sur paul hazoume pour doguicimin, camara laye, ferdinand oyono, cheikh hamidou kane. La deuxieme partie traite des editeurs des litteratures negres : edition non specialisee, specialisee, expatriee et nationale. La troisieme partie traite des medias grand public. La radiodiffusion nationale et francophone avec etude de la mediatisation de cesaire et senghor sur radio france, la television et les emissions litteraires avec la mediatisation de maryse conde par "apostrophes" sont traites enfin une etude est memee des dossiers de presse des ecrivains negres de 1970 a 1992 avec : ahmadou kourouma, tierno monenembo, sony labou tansi, bolya baenga et patrick chamoiseau. Dans un dernier chapitre est aborde a titre introductif, la communication institutionnelle (francophonie et politiques culturelles)The aim of this thesis is the study of the media coverage of african and west indies literature in france and the french speaking countries from 1921, publication date of batouala by rene maran to 1992, publication date of the goncourt prize winning texaco by patrick chamoiseau. The media concerned are the mass media: radio, television press. The thesis therefore includes a study of the coloniale period and the transition from colonial publishing to commercial publishing with a subsequent analysis of the speech archetype abourt pauln hazoume for doguicimi, camara laye, ferdinand oyono, cheikh hamidou kane. The second part deals with publishers of the black literature : non-specialized, specialized, expatriate or national editions. The third part deals with the mass media. National and french speaking radio programme including a study of the mediatization of cesaire and senghor by radio france, television and televized literary programmes including a study of the mediatization of maryse conde by "apostrophes" is dealt with. And lastly, a study of @press articles about black wxriters from 1970 to 1992, including ahmadou kourouma, tierno monenembo, sony labou tansi, bolya baenga and patrick chamoiseau. The last chapter includes an introduction to institutional communications (cultural policies in french-speaking countries)
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Hayatou, Guedeyi Yaeneta. "Les Mécanismes de la Représentation du Pouvoir Dictatorial dans le Roman Africain Francophone AprÈs la Periode Coloniale. Le Cas d’Ex-Pere de la Nation d’Aminata Sow Fall et Branle-Bas en Noir et Blanc de Mongo Be." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300724009.
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Koffi, Léon. "Traditions orales et formes d'expression litteraire : etude comparative de trois poemes africains d'expression francaise." Université Marc Bloch (Strasbourg) (1971-2008), 1986. http://www.theses.fr/1986STR20015.
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Ce travail est une etude comparative d'oeuvres orales traditionnelles et de trois poemes d'afrique noire d'expression francaise : quand s'envolent les grues couronnees de pacere titinga (paris, p. J. Oswald, 1975) ; fer de lance de zadi zaourou b. (paris, p. J. Oswald, 1975) et d'eclairs et de foudres de j-m. Adiaffi. Notre texte a ete subdivise en quatre parties. Dans la premiere, consacre a differentes definitions relatives a la formulation du sujet, nous avons fait quelques observations sur les notions de tradition et de litterature orale dans le cadre des etudes africaines avant de presenter rapidement l'environnement culturel des poetes traditionnels et des poetes africains francophones. L'etude formelle montre, dans la deuxieme partie, une identite de la structure des deux groupes d'oeuvre, du moins dans leurs grandes unites ; une identite de structure qui resulte de facteurs divers : circuit ternaire de la parole, necessites mnemo nique ou esthetique. Dans la troisieme partie, nous soulignons, a propos du rythme, un exemple d'organisation rythmique des tons dans les oeuvres orales produites dans les africaines, et nous faisons quelques observations sur la notion de rythme du tam-tam dans la poesie d'afrique noire d'expression francaise. Dans les derniers chapitre de cette partie de cette partie, l'etude de l'image et du symbole a consiste en l'examen de la structure de la metaphore, du symbole et de leur distinction d'avec la figure d'homothese, puis en la lecture des metaphores des poemes francophones selon l'interpretation des societes traditionnelles. Dans la quatrieme partie, nous avons examine divers modes d'integration du "texte" traditionnel dans la poesie ecrite : la citation, la "reproduction" et l'allusion. Apres la comparaison des deux univers imaginaires, nous avons dans le dernier chapitre, essayer de montrer comment la symbolique permet une autre lecture du poeme africain d'expression francaiseThis research paper has aimed at drawing a comparison between the ways of literary expression in traditionally oral works and the the ones of french speaking black african poetry in three poems quand s'envolent les grues couronnees by pacere titinga, fer de lance by zadi zaourou, and d'eclairs et de foudres by j. M. Adiaffi. My thesis has been divided into four parts. The first one, focused on various definitions of how to set out the subject, has poited out such concepts as tradition and oral literature within the framework of african studies and introduced the traditional as well as the french speaking african poets backgound. The second part has dealt with structure and revealed structural as well as stylistic similarities between both types of works at least in broad outline, the structural similarity being the result of various factors such as a compound circuit of speech, aesthetic and mnemonic requirements. On the topic of beat, the third part has pointed out an instance of rhythmical tone structure in what are traditonally spoken literary works and dealt with the notion of tom-tom beat witthin french speaking blac african poetry. Studying imagery and symbolism in the last chapters has meant working out the structure of metaphor and symbol and showing how different they are from "homothese" on the one hand and on the other interpreting metaphor in french poems according to african cultures. The fourth part has shown in a variety of ways how to integrate traditionally written texts within african poetry
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Ndoroma, Augustin. "Masques et ancetres dans la litterature negro-africaine de langue francaise." Nantes, 1986. http://www.theses.fr/1986NANT3009.
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Masques et ancetres constituent le scheme directeur de la societe negro-africaine. En effet, le negro-africain est un "homme-avec" quelque soit son niveau intellectuel. Des masques et des ancetres s'edictent des lois sociales qui dirigent notre "modus vivendis" dans l'afrique traditionnelle. L'accession du negre a l'ecole du blanc a donne une nouvelle race d'hommes tels que senghor, hamadou hampate ba ou nafissatou niang diallo ou encore bambote etc. . . Cette nouvelle generation de "griots" ecrivains utilise les memes mots que leurs aines mais ils laissent la trace de leur passage avec leurs "mots-masques". Leurs traces representent pour nous "nouvelle generation" les masques et les edits des anciens et c'est cela l'afrique traditionnelle, moderne et eternelleMasks and ancestors constitute the directing body (scheme) of negro-african society. In fact, the african negro is a "man-with" whatever his intellectual standard might be. These masks and ancestors are decreed from the social laws which directs our "modus vivendis" (way of living) in traditional africa. The accession of the negro to white schools has given a new race of man such as senghor, hamadou hampate ba or nafissatou niang diallo or even bambote etc. . . This new generation of "troubadours" writers use the same words as their elders but they show the traces (signs) of their transition with their "mask-words". Their traces represent for us "the new generation" the masks and edicts of our ancestors and that is traditional, eternal and modern africa
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Toure, Zalia Maiga. "Les Femmes Face aux Traditions dans les Litteratures et Cinemas Contemporains de l'Afrique Francophone." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194971.
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Starting with a contextual characterization of the concepts of “women”, and “traditions”, this dissertation examines the position of women facing African traditions, particularly through some of their practical manifestations: excision, polygamy and levirate. This dissertation focuses on the description of the ontological, social and cultural bases of these traditional practices in order to reflect on their links to ancestral believes. This study explores how social representations are reflected in a corpus of five novels and three films, chosen in connection with their pertinence to the subject. In this respect, the ideological and philosophical position of the authors regarding those ancestral practices is analyzed. In such a respect, it is important to mention Fatou Keita in Rebelle, Mariama Barry in La Petite Peule, Mariama Bâ in Une si longue lettre, Habibatou Traoré in Sidagamie, Dieudonné Nkounkou in Le lévirat, on the one hand, Sembène Ousmane in Moolaadé and Xala, Cheick Oumar Sissoko in Finzan, on the other hand. My analysis explores the attitudes of female heroines who revolt against their oppressive patriarchal environments and it reveals the necessity of questioning those behaviors and habits of mind that perpetuate the subjugation of women in the name of tradition. I also review perceptions of ancestral practices in West Africa, first by women themselves and then by society as a whole. This study brings to light some of the most traditional and egregious abuses against women that are rooted in West African ancestral traditions, particularly against those women living in rural areas. I consider, for example, the various systems of mystification that allow the oppression of women to persist today in the name of tradition. While this study points out the urgent need to overcome certain negative aspects of West African traditions, it also acknowledges the benefit of valorizing positive elements of traditional life and cultural experience, even more than we already do presently.
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Obiang, Essono Fortunat. "La critique en matiere de litterature francophone d'afrique noire." Montpellier 3, 1986. http://www.theses.fr/1986MON30045.
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Le grand theme de la litterature africaine, et, par voie de consequence, de la critique africaniste, est celui de l'identite a la fois dans son contenu et dans son expression. Les oeuvres sont prise de conscience d'une situation "d'alienation" et corollairement la revendication du droit a la difference. Dans le miroir de sa litterature, l'afrique se devisage, s'irrite d'ellememe et parfois se scandalise. Vue qui engage la critique a justifier cette psychologie de l'identite, a etablir comment elle s'alimente aux sources d'une tradition litteraire, d'une experience, d'un temperament. Les speculations methodologiques portent tout particulierement sur la place et la preponderance d'une critique externe en face d'un projet structuraliste. La critique historique reconnait sa vocation dans une afrique ou les crises de valeurs a la fois sociales et linguistiques, se situent a l'arriere plan de la creation litteraire. La semiotique pourrait prouver sa valeur et son efficacite, cependant les difficultes auxquelles elle se heurte, demeurent redoutables pour les etudes africaines. Malgre les idees stimulantes que vehiculent les theories de textes, le formalisme, le structuralisme et le marxisme, les courants modernes sont sans interet reel pour une litterature ou la parole precede sous forme d'intention. Le langage n'est qu'un instrument. La critique africaniste est donc toujours ouverte et ne saurait etre un "savoir" sous forme de poetiqueThe criticism is becoming increasingly important a africa as a whole, and interest in the subject is rapidly growing in this country. This book presents views on euvrent issues in criticism of the african literary type; it also presents the application of theory to examples of the novel and the poeticy. Wider horizons are sketched in the general introduction, touching on tradition, modernism and all ideas of the african cultural context. We have examined the writing to african authors themselves and the work of such critics as l. Kesteloot, j. Jhan, j. Chevrier, m. Kane, t. Melone, j. P. Sartre, m. Beti and l. S. Senghor. In parts two and three, the critical approaches are seen from the view points central to humanism thought : the relation of literature to history, the problem of "form" and "content" in literature, the question of literature and polical commitment. Commentaries in our thse essay to explain theory and strategy to the african criticism. This exploration of critical judgments and perceptions throws useful light on the connection between the humanism and structuralism. This book stresses, however, that african criticism cannot be seen simply in academic terms; wich rejects also the illusion of "neutrality" in such a field of literary of criticism
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NNANGA, ROSE MIREILLE. "Les bourgeoisies africaines dans le roman africain d'expression francaise apres les independances." Université Marc Bloch (Strasbourg) (1971-2008), 1998. http://www.theses.fr/1998STR20002.
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L'emergence du bourgeois comme personnage de roman est une des caracteristiques majeures de la litterature africaine d'apres les independances. Les auteurs du corpus en font une description type, recurrente d'un roman a l'autre. Ce qu'ils nomment bourgeoisie africaine, c'est le groupe forme de personnages politiques, qui cumulent bien souvent aussi des fonctions d'hommes d'affaires. Profitant du tumulte de la lutte pour l'independance, les personnages bourgeois ont pris le pouvoir et se sont mis a dominer, a brutaliser et a exploiter les personnages du peuple, tout en les noyant sous un discours aussi abondant que creux. Pour les situer dans le recit, les auteurs ont developpe autour de ces personnages un certain nombre de themes : corruption, pouvoir absolu, parti unique, neocolonialisme. . . Qui insistent sur les defauts des personnages bourgeois. L'ideologie anti-bourgeoise apparait egalement au niveau de l'ecriture. Une ecriture caracterisee par le melange de genre, la narration brisee, la violence de ton, expressions du malaise d'ecrivains confrontes a une nouvelle realite qu'ils entendent denoncer avec la meme virulence qu'ils l'avaient deja fait pour la colonisationThe emergence of middle-class person as a novel character is one of the most important trend of african literature after the independences. The authors of the corpus draw a common description, which we can recognize in many novels. What they call african middle-class is the group of political men, who often cumulate businessmen's job too. Turning to account the troubles of the struggle for independence, middle-class persons took the power and began to dominate, to bully and to take advantage of common people, drowning it at the same time under an abundant but meaning less speech. In order to put them in the narrative, authors developed around these characters some themes : corruption, absolute power, unique party, neocolonialism. . . Which underline the defects of the middle-class persons. The anti-middle class ideology also appears in the writing. A writing characterized by mixing of style, a broken narrative, violence in tone, expression of the uneasiness of the authors who have to face a new reality they intend to denounce which the same virulence they did towards colonization
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Kareem, Lana. "The Glow of a Panther : Tupac Amaru Shakur’s Poetry and the Politics of African-American Culture." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34343.
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African-American oppression has a history of violence and torment. It is a topic that is still prominent in today’s society with pop culture being one of the mediums aiding in spreading its awareness. Even though pop culture faces criticism about the portrayal of women, artists still use their platform to highlight issues that concern the African-American community. Tupac Amaru Shakur was a well-known artist that used his platform to depict African- American discrimination in society. Through his poetry he raised the issues of black oppression, white supremacy, police brutality while maintaining a stereotypical view of women. It is why this essay will use a critical race theory with a gender perspective to examine three poems by Shakur, “Liberty Needs Glasses”, “Can U See the Pride in The Panther”, and “How Can We Be Free”. The essay analyses the way these poems carry political currency in the service of African-American culture.
Books on the topic "African Litteratures"
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Poetique baroque dans les litteratures africaines francophones. Cotonou, [Benin]: Editions de Diasporas, 2007.
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Kakpo, Mahougnon. Poetique baroque dans les litteratures africaines francophones. Cotonou, [Benin]: Editions de Diasporas, 2007.
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International, Symposium on African Literatures (1988 Lagos Nigeria). Proceedings of the International Symposium on African Literatures, 2-7 May 1988, Lagos, Nigeria =: Compte rendu du Colloque sur les litteratures africaines. Lagos: Centre for Black and African Arts and Civilization, 1991.
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Irele, Abiola. The African imagination: Literature in Africa & the Black diaspora. Oxford: Oxford University Press, 2001.
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Yagi, Viviane Amina. Panorama de la litterature africaine francophone. Khartoum]: Khartoum University Press, 2010.
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African Writers' Conference (2nd 1986 Stockholm, Sweden). Criticism and ideology: Second African Writers' Conference, Stockholm, 1986. Uppsala: Scandinavian Institute of African Studies, 1988.
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Löfgren, Åke. Litteratur om SADCC. [Uppsala]: Nordiska afrikainstitutet/SIDA, 1989.
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1928-, Cox Brian, ed. African writers. New York: Charles Scribner's Sons, 1997.
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1963-, Valestuk Lorraine, ed. African literature and its times. Detroit: Gale Group, 2000.
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Salien, François. Articles critiques sur la litterature africaine d'expression française. Bandundu, Republique du Zaire: CEEBA Publications, 1993.
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Halsnes, Astrid Øien, and Erik Goth Småland. "Frå gjest til med-arbeidar. Feltarbeid i eigen kultur i eit framand land." In Fra barnehage til voksenliv, 49–64. Novus forlag, 2020. http://dx.doi.org/10.52145/otcb5265.
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I ei tid prega av migrasjon kan vi ofte lese om dei utfordringane annleisheit fører med seg. Men også det å arbeide i andre kontekstar enn dei ein kjenner frå før kan opplevast som krevjande. For norske pedagogar som kjem som arbeidande gjester kan også den framande kulturen representere ei utfordring i seg sjølv. Kvart år reiser norske pedagogar til land i Afrika og Asia for erfaringsutveksling og samarbeid. Dette er utgangspunktet for denne studien av møte mellom norske og nepalske lærarutdannarar, og refleksjonen over kva som skal til for å kunne forstå og anerkjenne kvarandre som samarbeidspartnarar og medarbeidarar. Studien byggjer på 12 år med erfaring, eigne notat og utvalt litteratur som omhandlar anerkjenning og forståing. Artikkelen skildrar utfordringane samarbeid med ein annan kultur kan føre med seg, og opplevinga av å vere ein gjest som ikkje høyrer til. Men det er rettleiing, kulturmøte, anerkjenning og forståing som står sentralt i artikkelen. På fleire vis har dette vore eit feltarbeid i eigen kultur i eit framand land.
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Pedersen, Torgeir Rebolledo. "Om stillhet, raseri og rytme." In Stemma og stilla i musikk og litteratur: Festskrift til Magnar Åm, 84–96. Cappelen Damm Akademisk/NOASP, 2022. http://dx.doi.org/10.23865/noasp.158.ch4.
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In this essay the poet Torgeir Rebolledo Pedersen explores the intersection of sound and silence in a text as a particular location for the creation of meaning. With reference to poems of Rolf Jacobsen and Robert Creely, Pedersen asserts the reciprocity of sound and silence as conditions for each other, and for the life-affirming musical component of rhythm. While one property of silence is that it can never be total, whether in a text or in the world at large, another is that it can hold and harbor fury. Silence can thus be ambiguous, as an expression of unreflective and automatic passivity, but also a force within creative verbal expressions of rage and resistance, for instance against the politics of a previous prime minister who went on to lead NATO. Like the African slaves of history, we might understand the power of sound and silence harnessed in rhythm, in the service of survival and the expression of resistance. Pedersen understands both rhythm and silence dialectically, proposing that a particular, perhaps world-changing imperative may be found at the point of their intersection in the words of poetic texts.