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N'Guessan, Serge-Marie. "Modernité et africanité dans l'habitat précaire à Abidjan, une contribution à la formalisation de la modernité aménagiste africaine." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0007/NQ38821.pdf.
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Ngowet, Luc. "Les fondements théoriques de la modernité politique africaine : essai de phénoménologie politique." Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC337.
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Toute réflexion sur la pensée politique africaine ne peut faire abstraction du problème du recouvrement de celle-ci, par le discours africaniste. L’hégémonie de ce discours est en partie à l’origine de notre réflexion sur les fondements théoriques de la modernité politique en Afrique qui souhaite poser les jalons d’un programme de recherche au long cours sur la pensée politique africaine. Notre thèse est également motivée par une anticipation de sens plus fondamentale, qui postule et voudrait montrer que la pensée africaine a toujours joué un rôle de premier plan dans la construction de la modernité politique du continent. Nous analyserons les contours et le contenu de cette pensée à l’aide d’une méthode de recherche et d’un principe de raison qui puissent en rendre compte avec conviction et lucidité. Notre thèse poursuit donc deux objectifs principaux. Premièrement, élaborer une critique de la raison africaniste qui fasse place à une herméneutique des discours endogènes sur le politique en Afrique, selon une méthode d’investigation que nous appellerons phénoménologie politique. Cette intelligence phénoménologie du politique comme instrument d'élucidation de la modernité africaine se fera à partir d'une interprétation des grands textes - francophones et anglophones- de la pensée politique du continent. Deuxièmement, dans son aboutissement ultime, notre projet théorique aimerait se donner à lire comme une histoire philosophante de la pensée politique africaine, offrant du même coup une compréhension précise de ses concepts et de ses problématiques divers, en un mot comme un métadiscours philosophique sur la modernité africaine,dont on s’attachera à montrer la spécificitéAny consideration of African political thought cannot disregard the issue of its recovering by Africanist discourse. The hegemony of this discourse is partly at the origin of our reflection on the theoretical foundations of modernity in Africa, that seeks to lay the foundations for a long-term research agenda on African political thought. Beyond a contention with the Africanist discourse, my thesis is also motivated by a more fundamental objective that presupposes and seeks to demonstrate that African thought has always played a vital role in the construction of the political modernity of Africa. I will analyse the contours and content of the theoretical foundations of that african political modernity through a methodology and a principle of reason that will bear witness to those foudations with conviction and lucidity. My doctoral dissertation therefore has two main objectives. First, it seeks to develop a critique of Africanist reason that will lead to an interpretation of endogenous discourses on politics in Africa, through a method of investigation called political phenomenology. Such a phenomenological understanding of politics as an instrument that can elucidate African modernity in Africa will be based on a critical interpretation of major african political texts written in both French and English. Secondly, my thesis aims at developing a philosophizing history of African political thought, providing a precise understanding of its concepts and issues. In sum, this dissertation would have achieved its objective if it read as a philosophical meta-narrative on African modernity, the specificity of which I shall define
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Tesla, Chloé. "L'expérience de la modernité dans «Shaba deux».«Les carnets de Mère Marie-Gertrude» de V.Y. Mudimbe." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28475/28475.pdf.
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Boizette, Pierre. "Décolonisation des subjectivités et renaissance africaine : critique et réforme de la modernité chez Scholastique Mukasonga, Ngugi wa Thiong’o et Valentin-Yves Mudimbe." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100032/document.
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L’institutionnalisation des études postcoloniales et l’essor récent du champ décolonial ont mis en évidence la reconnaissance dont bénéficient aujourd’hui les intellectuels issus d’anciens territoires colonisés. Parmi eux, Ngugi wa Thiong’o et Valentin-Yves Mudimbe sont des figures respectées dont les écrits, aussi bien théoriques que fictionnels, cherchent à résoudre les crises générées par l’expérience coloniale. Conscients que celle-ci ne s’est pas achevée avec la vague des indépendances, ils maintiennent éveillé dans leurs œuvres le désir utopique qu’elles avaient vu naître, celui de concevoir un monde nouveau où les relations entre les peuples et les individus seraient renégociées, et ce, malgré les désillusions de la période qui leur succéda. Pourtant, la survenue, en 1994, du génocide des Tutsi du Rwanda aurait bien pu symboliser l’échec de leurs entreprises de détachement épistémique avec la modernité occidentale. Celui-ci consistait en effet en la réitération, sur le continent africain, d’un crime semblable à celui qui avait poussé nombre d’intellectuels à vouloir rompre avec l’ordre dont la Shoah était la conséquence. Néanmoins, bien au contraire, les textes de Scholastique Mukasonga témoignent de la reprise de l’impératif formulé par Ngugi wa Thiong’o et Valentin-Yves Mudimbe, à savoir le besoin de parvenir à une décolonisation des subjectivités pour initier une renaissance africaine. L’étude de chacune de leurs trajectoires a pour ambition de montrer la complémentarité de ces deux processus dans leurs œuvres qui, séparément, ouvrent la voie à de multiples futurs possibles pour l’humanitéThe institutionalization of postcolonial studies and the recent development of decolonial studies have highlighted the recognition that intellectuals from former colonized territories enjoy today. Among them, Ngugi wa Thiong'o and Valentin-Yves Mudimbe are respected figures whose writings, both theoretical and fictional, seek to resolve the crises generated by the colonial experience. Aware that this did not end with the wave of independence, they kept alive in their works the utopian desire, that of conceiving a new world where relations between peoples and individuals would be renegotiated, despite the disappointments of the postcolonial regimes. However, the 1994 genocide of the Tutsis in Rwanda could well have symbolized the failure of their epistemic detachment efforts with Western modernity. This consisted in the repetition, on the African continent, of a crime similar to the one that had pushed many intellectuals to want to break with the order of which the Shoah was the consequence. On the contrary, Scholastique Mukasonga's texts bear witness to the repetition of the imperative formulated by Ngugi wa Thiong'o and Valentin-Yves Mudimbe, namely the need to achieve a decolonization of subjectivities to initiate an African renaissance. The study of each of their trajectories aims to show the complementarity of these two processes in their works which, separately, open the way to multiple possible futures for humanity
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Tshikoji, Mbumba Sylvain. "La quête du bonheur partagé à travers la triade éthique africaine Luba-Kasaî." Doctoral thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/27690.
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Trois tendances polarisent le débat philosophique en Afrique. La première tendance considère la redécouverte des traditions et coutumes africaines comme la seule voie pour faire advenir le développement et le bien-être des peuples. Cette position est apparue dogmatique pour autant qu'elle fonde sa démarche sur des cultures repliées sur elles-mêmes. La deuxième tendance, elle, proclame le vide de la rationalité et de la pensée dans les traditions africaines, et annonce par-là la conversion à la science et à la technologie occidentale. Cette position est aussi dogmatique parce qu'elle nie à l'Afrique toute forme de rationalité. La troisième prend la voie de la réconciliation entre la tradition et la modernité, en mettant à l'avant-plan le dynamisme des cultures africaines porté par le souci d'ouverture et d'intégration des schèmes de progrès de la modernité. Pour les tenants de cette tendance donc, la tradition et la modernité doivent s'interpréter et s'impliquer mutuellement pour une vitalité sans faille. Mais à bien voir la question, ce débat est demeuré théorique et les différentes tendances ont éludé la vraie question de l'existence humaine des peuples africains qui, à notre sens, reste celle du bonheur partagé. Ces tendances auraient dû partir des cas concrets tirés des traditions et coutumes africaines pour étoffer une philosophie cohérente susceptible de faire hâter le développement et le bien-être des peuples. Concret et pratique, le présent travail propose une réflexion sur l'éthique du bonheur partagé cultivée par le peuple Luba-Kasaï, avec ses implications sociales et politiques dans la vie de tous les jours. L'enjeu consiste à montrer que, chez le peuple Luba-Kasaï, la visée éthique de l'existence humaine est le bonheur. Loin d'être individuelle, la quête du bonheur partagé concerne aussi toute la communauté (famille, clan, village) et passe par les médiations institutionnelles et symboliques. Car pour être possible, le bien-vivre doit dépasser le face à face des relations individuelles et s'étendre à la dimension transpersonnelle, sociale et institutionnelle. Cette perception du bonheur régit l'organisation sociale, notamment en permettant à chaque membre de s'accomplir socialement, en favorisant la participation de tous à la gestion de la Cité et du bien commun. Ce qui nécessite l'instauration des structures politiques et sociales adéquates, respectueuses des droits, de la dignité humaine et des libertés. Ce travail a aussi comme objectifs de montrer que l'avènement du bien-être de l'Afrique ne dépend pas uniquement du processus de conversion au modèle occidental comme le seul dont l'Afrique ait besoin pour son développement. Il s'agit de montrer la nécessité de la voie de la réconciliation capable d'articuler dynamiquement la modernité occidentale et la tradition africaine, le principe d'ouverture, d'intégration et d'universalisation permettant l'enrichissement dans la réciprocité ; montrer, à partir de la culture luba-kasaï, que dans les pays africains, chaque culture doit trouver les socles éthicophilosophiques du développement harmonieux et d'une heureuse organisation étatique.For sometime, most intellectuals have agreed that the African philosophical debate has evolved around three tendencies. The first propensity has been that the promotion of traditions and local cultures is the unique and sole venue that would yield the development as well as the happiness of nations. Such a bias has proven to be dogmatic as it is rooted in the belief that people need to be self-reliant. The second proclivity claims that there is no rationale in the idea of relying solely on African traditions, when it is possible to evolve into a synergic symbiosis that includes both modern science and technology. The latter is also quite dogmatic, as it invalidates any shape or form of African rationality. The third current attempts to propitiate traditions and modernism, while putting forward the exhilaration of African customs, and being cognizant of the need to maintain openness and integration of the betterment that a contemporary society might infuse. In this respect, traditions and modernism must symphonize and assimilate their values in order to sustain their essence. However, when applying the sniff test, this debate has remained fruitless; these theories have eluded the question of addressing the existence of African nations, which, from our stand point, remains one of shared happiness. These predilections should have utilized concrete examples from African customs, in order to enhance a coherent philosophy that would propel the development and the happiness of nations. A more practical approach is proposed and illustrated in these writings, which bring forth an ethical rationale of the shared happiness we find among the People of Luba heritage, despite its socio-political implications. Within the ethnic Luba-Kasai, the human goal of everyday living is happiness. Far from being individually centered, the search for a shared happiness is the concern of the entire society (family, clan or village), extending through institutional and symbolic mediation. This perception of happiness runs the social organization, allowing the contribution from as well as the participation of each individual, to the management of the city and the commonwealth. This requires the integration of social and political structures that would advance everyone's rights, dignity and liberty. We therefore insist that the oncoming realization of African happiness does not rest uniquely on an occidental conversion model. It will become a reality when we coalesce western contemporary systems, African traditional values, openness, integration that would lead to reciprocal and mutual enrichment. It is only within such premises, starting within the Luba-Kasaï tribes, that each African nation, each African culture, will find the missing ethical and philosophical links to a more harmonious societal organization.
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Ghadhi, Ahmed Mohamed. "La longue marche de l'Afrique vers l'intégration, le développement et la modernité politique." Paris 5, 2006. http://www.theses.fr/2006PA05D007.
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Cette thèse retrace, dans une première partie, les principales étapes de l'évolution économique et politique du continent africain, des indépendances à la naissance de l'Union africaine en 2002. Elle fait ressortir les causes profondes de la marginalisation de l'Afrique, de la pauvreté et de la misère qu'elle connaît depuis de longues décennies. Elle en impute la responsabilité première au choix qui a été fait dès l'accession de la majorité des Etats africains à la souveraineté internationale privilégiant la construction de l'Etat Nation sur celle d'un minimum d'unité qui devait aboutir, à long terme, aux Etats Unis d'Afrique. Le compromis minimaliste adopté à Addis Abéba, donna naissance à une organisation, l'OUA, sensée rassembler les Africains et organiser entre eux une réelle solidarité autour de projets communs en vue de donner aux peuples du continent un sens à leur destin et les conduire vers le progrès économique et social. L'Etat Nation africain est aujourd'hui un échec, il est en faillite, inefficace et incompétent. Décennie après décennie, le continent africain se marginalisait pour ne représenter aujourd'hui que moins de 2% du PIB mondial et 1% du commerce international malgré ses immenses ressources. La grande pauvreté, sous toutes ses formes (près de 40% des Africains vivent avec moins de 1 dollar par jour) est apparue comme la cause principale de l'absence de tout progrès économique et social. Au tournant du siècle dernier, les dirigeants politiques africains semblaient avoir pris conscience de la responsabilité principale qui leur incombait de trouver les solutions qu'il fallait pour sortir de la crise et enclencher un véritable développement économique, social et politique du continent. La deuxième partie de la thèse analyse les nouvelles initiatives prises par les Africains à l'aube du 21ème siècle (Union africiane et NEPAD), en tant que stratégies de rupture consacrant l'entrée du continent dans la modernité, permettant de sortir de la crise endémique et de tirer le meilleur profit du processus de mondialisationThis thesis recalls, in a first part, the principal stages of the economic and political evolution of the African continent from independences to the birth of the African Union in 2002. It emphasizes the major causes of the marginalisation of Africa, poverty and the misery which it knows since long decades. It charges the responsibility for it first to the choice which was made at the accession of the majority of the African States to international sovereignty, privileging the construction of the State Nation on that of a minimum of unit which was to succeed, in the long run, in the United States of Africa. An option rejected by the Conférence constitutive of the OAU in Addis Ababa in spite of the plea made in its favour by the Ghanaian president of the time, Kwame Nkrumah. The minimalist compromise adopted in Addis Ababa, gave rise to an organization, the OAU, judicious to gather the Africans and to organize between them a real solidarity around joint projects in order to give to the people of the continent a direction to their destiny and to lead them towards economic and social progress. However the African State Nation is today a failure, it is in bankruptcy, ineffective and inefficient. Decade after decade, the African continent was marginalized to represent today only less than 2% from the world GDP and 1% of the international trade in spite of its immense resources. With the turning of last century, the African political leaders seemed to have become aware of the principal responsibility which fell to them to find the solutions that it was necessary to leave the crisis and to engage a true economic development, social and policy for the continent. The second part of the thesis analyses the new initiatives taken by the Africans at the dawn of 21st century (African Union and NEPAD), as strategies of rupture devoting the entry of the continent in political modernity, making it possible to leave the endemic crisis and to benefit best from the process of globalisation. The African union has an economic project , the New partnership for the development of Africa (NEPAD)
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Megne, M'Ella Oscar. "Esthétique et Théorie de l'Obscène dans la modernité littéraire négro-africaine : les cas de Places des fêtes et de Hermina de Sami Tchak." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030178/document.
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Si l’on accepte l’idée qu’à la différence du roman moderne, le roman contemporain ne cherche pas absolument à reconstituer la figure de l’humain, mais la pense plutôt comme une image « trans-individuelle » de l’humain, la prise en compte de l’Obscène dans le contexte de la Littérature Négro-africaine de ces 30 dernières années prend sens. La rupture grotesque avec la linéarité, le recours au langage comme activité de défoulement face aux tabous et à la tradition, permettent de dire autrement un avenir qui de plus en plus nous échappe. Nous proposons de comprendre l’irruption de l’Obscène dans les nouvelles écritures romanesques africaines comme un symptôme de contemporanéité et une nouvelle approche de la part des écrivains de la quatrième génération, de réquisitionner véritablement le sens du mot individu dans le contexte négro-africain dominé par le pouvoir. Si, selon le dictionnaire Petit Larousse, l’Obscène est « ce qui blesse ouvertement la pudeur par des représentations d’ordres sexuelles », il a des conséquences éthiques profondes dans un contexte Négro-africain où existent des tabous culturels forts sur la mise en scène de l’intimité sexuelle. Nous chercherons à expliquer à quel prix l’Obscène peut s’ériger en élément de littérarité ou en une théorie capable de nourrir le sujet qui la pratique. Cependant, une communauté est-elle encore possible par delà le bouleversement des valeurs éthiques entraîné par une éventuelle esthétique de l’Obscène?If we accept the idea that unlike modern novel, contemporary novel does not absolutely seek to recreate the human figure, but rather thinks of it as a « trans-individual » image of the human being, then the taking into account of the Obscene in the « Negro-African » literature's context of these last 30 years makes sense. The ludicrous break with the linearity and the use of language as cathartic effect enable to express differently a future which is more and more beyond our control.We are trying to understand the upsurge of the Obscene in the new african fiction writings as a contemporary symptom and a new approach on the part of tthe authors of the fourth generation, to truly comandeer the sense of the word « individual » in the « Negro-African » context.If, according to the Petit Larousse dictionary, the Obscene is « what offends openly the modesty through sexual representations », it has deep ethical consequences in a « Negro-African » context where strong cultural taboos on sexual initmacy productions exist. We will try to explain at what cost the Obscene can set itself up as an element of literarity or as a theory able to sustain the subject practising it. However, is a community still possible beyond the disruption of the ethical values caused by a possible aesthetic of the Obscene ?
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Carlier, Omar. "Socialisation politique et acculturation à la modernité : le cas du nationalisme algérien : de l'Etoile Nord -Africaine au Front de Libération nationale, 1926-1954." Paris, Institut d'études politiques, 1994. http://www.theses.fr/1994IEPP0017.
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Trente-deux textes sont rassemblés en quatre volumes (II à V) dans une thèse sur travaux consacrée à une histoire sociale du nationalisme radical algérien (ENA-PPA, 1926-1954). Ils sont précédés d’un volume de synthèse (vol. I) qui en expose la problématique et les méthodes, et notamment au travail itératif entre la construction de l’objet et la production de la source. Ils montrent comment et à quelles conditions une idée politique inédite, la nation (Watan), mobilisée par un acteur politique nouveau, le parti (Hizb), peut être à la fois énoncée et reçue, mobilisée et incorporée, en donnant une nouvelle valeur sociale, fixée dans la figure du peuple (Cha'ab), à un vieux modèle de partite entre les frères. L’ensemble articule monographie et biographie, méthode des indices et essai conceptuel. Il multiplie les unités et niveaux d’analyse, remonte du cas au type, associe la petite et la grande dimension, le régional et le local, l’individuel et le sériel. En combinant systématiquement la source écrite (archive, presse) et la source orale (1200 entretiens avec 700 témoins) il descend la focale au plus près du groupe local, et développe une relation compréhensive mais critique d interaction entre observateur et observe, afin de rendre mieux intelligible la construction sociale de la réalitéThis work brings together thirty-two texts in four volumes (II-V) in a thesis devoted to the social history of Algerian radical nationalism (ENA-PPA, 1926-1954). These texts are preceded by a volume summarizing the main issues and methodology, in particular the continual navigation between the construction of the object and the production of source material. The texts show how and under what conditions an unprecedented political idea, the nation (Watan) mobilized by a new political actor, the party (Hibz) can be simultaneously articulated and acquired, mobilized and incorporated by attributing a new social value, personified in the people (Cha'ab), to an old model of parity between brothers. The ensemble of texts combines monograph and biography, investigative research and conceptual essays. It multiplies the units and levels of analysis, proceeding from case to type, associating small and large dimensions, regional and local individual and serial. By systematically confronting written (archives, press) and oral (1200 interviews with 700 witnesses) sources, the work focusses as closely as possible on the local group and developes a comprehensive but critical relation of interaction between the observer and the observed in order to render the social construction of reality that much more intelligible
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Toure, Thierno Dia. "Modernité et postmodernité francophones dans les écritures de violence : le cas de Rachid Boudjedra et de Sony Labou Tansi." Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20064/document.
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Essentiellement circonscrites dans la diégèse, la modernité et la postmodernité du roman africain francophone constituent moins deux esthétiques opposées, qu’elles ne s'identifient à une « coopération textuelle ». Le travail de réécriture de la première, par la seconde, prolonge et renouvelle le projet littéraire du roman africain francophone. Dès lors, la modernité littéraire de ce dernier s'inscrit, au-delà d’un déterminisme, dans une dynamique et un dynamitage textuels. Le texte, considéré dans son « insularité », fonde une littérarité surdéterminée, sinon par une logique de violence, du moins par un principe de subversion, qui s’expliquent par un rapport « problématique du langage » et par une volonté « de créer son propre lieu de parole ». Ce qui conduit à une esthétique structurale promouvant un formalisme élaboré et dominant, dont l'impact moderne en terme de renouvellement et d'inventivité investit davantage le signifiant qu'il n'incarne le signifié. Aussi la postmodernité littéraire désigne-t-elle ce par quoi le roman africain francophone dévie la tentation du fétichisme formel. Ainsi décentre-t-il son enjeu esthétique vers un travail de reconstruction de récits, insistant davantage sur les thèmes, les chroniques et autres histoires de violence. L'hétérogénéité, l'hybridation, la dissémination et les « jeux de langage » (banalisation, ironie, ludisme et effet d'irréel) incarnent des pratiques narratives de cette écriture du tragique. Par conséquent, cette dernière, plutôt qu'une représentation de la crise ou une crise de la représentation, procède d'une « mise en crise », lieu esthétique qui ouvre les potentialités créatrices d'un art poétique postmoderne. Finalement, au-delà des écritures de violence, la modernité et la postmodernité littéraires résultent, fondamentalement, d'un renversement d'optique propre au déploiement (ou redéploiement) de la subjectivité dans le roman africain de langue française. Subjectivité littéraire dont le bien-fondé consiste à dessiner deux cartographies narratives, moderne et postmoderne, par lesquelles les littératures, maghrébine et négro-africaine, d'expression française, balisent une voie d'accès à la WeltliteraturThe modernity and postmodernity of the francophone African novel, mainly confined to the level of diegesis, do not so much form two opposing aesthetics as take part in “textual cooperation.” The task of rewriting the former by the latter extends and renews the literary project of the francophone African novel. As a result, its literary modernity goes beyond a certain determinism to become part of a textual dynamics and indeed, a dynamiting. Taken in terms of its “insularity,” the text establishes an overdetermined literariness through, if not a logic of violence, at least a principle of subversion, which can be explained by a “problematic relationship to language” and a desire “to create its own place from which to speak.” This leads to a structural aesthetic that fosters an elaborate, dominant formalism whose modern impact, in terms of renewal and inventiveness, is more fully contained in the signifier than it is embodied in the signified. This is how literary postmodernity denotes that through which the francophone African novel diverts the temptation of formal fetishism. It decentres its aesthetic concern towards the task of reconstructing narratives, placing more emphasis on the themes, accounts and other stories of violence. Among the characteristic narrative practices of this writing of the tragic are heterogeneity, hybridization, dissemination and “language play” (banalization, irony, playfulness and unreal effect). As a result, such writing proceeds not from a representation of the crisis or a crisis of representation, but from an “enactment of crisis,” an aesthetic site that opens up the creative potential of postmodern poetic art. Fundamentally, going beyond writings of violence, literary modernity and postmodernity are the result of a shift in perspective related to the deployment (or redeployment) of subjectivity in the francophone African novel. And the value of this literary subjectivity consists in setting out two narrative cartographies, modern and postmodern, through which francophone literatures—Maghribi and Negro-African—stake out a path of access to Weiliteratur
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Mbollé, Henriette. "Paroles, cinémas et modernités : une approche socio-politique et sémio-narratologique de la modernité au cinéma : le cinéma durassien du vide et le cinéma africain francophone." Nancy 2, 1998. http://www.theses.fr/1998NAN21033.
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La modernité au cinéma dans les années 1960-1970, appréhendée comme prise de parole politique par le cinéma à l'échelle nationale et internationales été ramenée à la seule crise des fondements. Une telle conception néglige l'autre aspect de cette modernité qu'était la recherche des fondements, surtout dans les pays du tiers-monde, et en plus accrédite la thèse actuelle du "retour de la fiction". Privilégiant les notions de diversité et de décentrement, notre recherche tend à montrer qu'on ne saurait décréter, dans l'absolu, la fin d'une modernité cinématographique dont les enjeux et les retombées ont été en même temps explicités et subtils, semblables et opposes, internationaux et fondamentalement locaux. Il s'agit d'un décentrement de l'interprétation de cette modernité, vue ici comme crise et en même temps recherche des fondements; d’un décentrement de la méthode d'approche, qui oscille entre une lecture socio-politique et thématique, et une analyse semio-narratologique; enfin d'un décentrement du corpus filmique en optant pour une approche chiasmatique de deux cinématographies "modernes" l'une aux antipodes de l'autre: le cinéma de Marguerite Duras défini par la crise des certitudes, le vide, et le cinéma africain francophone, porte vers une plénitude du sens due à la quête de l'identité culturelle africaine authentique. Dans l'une et l'autre cinématographie, la parole constitue un élément fondamental, tant en tant qu'action ("la parole-action"), qu'en tant que récit ("la parole-récit"). Notre évaluation apprécie la modernité cinématographique par rapport à la réalité politique (1ère partie),à l'altérité et à l'utopie (2ème partie),à la réception (3ème partie),au récit (4ème partie),et au mouvement comme concept-clé sous-tendant la notion de modernité (5eme partie). Au-delà de l'analyse socio-politique et semio-narratologioue des films, ce travail pose également les bases d'une anthropologie de la modernité au cinémaModernity in cinema in the sixties and the seventies, defined as a political speech in cinema on national and world scale, has been reduced to the only crisis of foundations. Such a conception neglects research of foundations in this cinematographically modernity specially met in the third world, and gives substance to the actual thesis of "return of the fiction". In this work, we favor diversity and decentration, in order to show the impossibility to decree the end of this cinematographically modern movement, thus its stakes and consequences have been at the same time explicit and subtle, similar and opposed, international and fundamentally local. We adopt a decentration of interpretation, studying this modernity not only as crisis of foundations, but also as research of these foundations ; a decentration of method, that is not only socio-political but also semio-narrative; finally a decentration of films corpus, analyzing in a chiasmatical approach, two "modern" cinemas radically different: the movies of M. Duras defined by the crisis of certitudes, the vacuous, and the French-speaking African cinema researching the fullness of authentic African cultural identity. Words as action ("la parole-action") and as narration ("la parole-recit") have a great place in these two "modern" cinemas. We study them in relation with the socio-political reality (1rst part),with the otherness and the utopia (2nd part), with the problem of reception (3rd part),with the question of narration (4th part), with the concept of movement as a great concept around the notion of modernity (5th part). Beyond films socio-political and semio- narrative analysis, this work is also a reflexing about anthropology of modernity in cinema
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Ovono, Mendame Jean René. "Ecritures de la modernité dans le roman africain contemporain." Université Marc Bloch (Strasbourg) (1971-2008), 2008. http://www.theses.fr/2008STR20020.
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La question de la modernité est triplement essentielle dans la littérature africaine francophone : - d'abord, elle engage dans une dialectique d'interrogation du temps et de l'espace, qu'ils soient historiques ou anthropologiques, pour dégager le sens de la notion - ensuite, s'inscrivant dans une perspective épistémologique qui permet d'appréhender l'esthétique des formes d'expression de l'oralité ou de l'oraliture, la modernité insère le discours romanesque africain dans le registre des éléments de médiation qui autorise la lecture du fait littéraire comme un phénomène porteur des valeurs d'esthétique - enfin, le modernité invite à interroger l'identité du narrateur, ce que Paul Ricoeur appelle "l'identité narrative". En s'ouvrant à plusieurs interprétations, elle incite le lecteur à reconfigurer les segments de discours pour saisir l'identité des personnages en les confrontant à celle de l'écrivainThe question of the modernity is trebly essential in the French-speaking African literature : -at first, it engages in a dialectic of interrogation of te time and the space, that they are historic or anthropological to loosen the sense of the notion - then, joining an epistemological perspective which allows to arrest the aesthetics of the forms of expression of the orality or the oraliture, the modernity inserts the African romantic speech into the register of the elements of mediation which authorizes the reading of the literary fact as a carrier phenomenon of the values of aesthetics - finally, the modernity invites to question the identity of the narrator, what Paul Ricoeur calls "the narrative identity". By opening in several interpretations, it incites the reader to re-configure the segments of speech to seize the identity of the characters by confronting them to that of the writer
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Nimonte, Bêtiboutinè Georges Malkiel. "Le droit pénal africain sous tensions : entre tradition et modernité." Thesis, Perpignan, 2019. http://www.theses.fr/2019PERP0007.
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En portant son regard sur le droit dans les pays d’Afrique francophone, une constante apparaît, le conflit entre tradition et modernité ou entre coutume et droit moderne. Le droit pénal n’échappe pas à ce conflit qui a un impact sur la politique criminelle des États depuis les indépendances jusqu’à nos jours. C’est pourquoi une réflexion sur « le droit pénal africinsous tension : entre tradition et modernité » mérite d’être menée. En effet, les études et articles foisonnent sur la question de la tradition et de la modernité en droit. Le plurijuridisme qui en résulte a aussi fait l’objet de nombreuses études. Mais ces études font très rarement cas de l’impact de cette situation sur les politiques criminelles étatiques. On constate également, au-delà de la seule critique de principe du mimétisme, une absence d’études spécifiques sur les conséquences de ce conflit sur la qualité des législations. D’ailleurs, ce mimétisme suffit-il à lui seul à expliquer ce conflit et ses conséquences sur la vie juridique ? La présente étude ne manque donc pas d’intérêt et constitue un apport à la perception de la situation juridique des Etats d’Afrique francophone en matière pénale tout autant qu’elle propose la construction d’un Droit AfricainBy focusing on the law in the countries of Francophone Africa, a constant appears, the conflict between tradition and modernity or between custom and modern law. Criminal law is not immune to this conflict, which has an impact on the criminal policies of states since independence to the present day. This is why a reflection on "criminal law in French-speaking African countries between tradition and modernity" deserves to be carried out. Indeed, studies and articles abound on the question of tradition and modernity in law. The resulting plurijuridism has also been the subject of many studies. But these studies rarely mention the impact of this situation on state criminal policies. Beyond the mere criticism of mimicry, there is also a lack of specific studies on the consequences of this conflict on the quality of legislation. Moreover, is this mimicry enough to explain this conflict and its consequences on legal life? The present study does not lack interest and constitutes a contribution to the perception of the legal situation of the States of Francophone Africa in criminal matters just as much as it proposes the construction of an African Law
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Tamalet, Edwige. "Modernity in question retrieving imaginaries of the transcontinental Mediterranean /." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3359528.
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Thesis (Ph. D.)--University of California, San Diego, 2009.Title from first page of PDF file (viewed July 21, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 234-252).
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Manirambona, Fulgence. "Africanité et mondialisation à travers la production romanesque de la nouvelle génération d'écrivains francophones d'Afrique noire." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209947.
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Le roman africain de la nouvelle génération s’élabore au carrefour des langues et des cultures. Dans son orientation théorique et paratextuelle, le discours romanesque de la nouvelle génération se résume en une « modernité universalisante », lieu de l’articulation dialectique entre l’africanité et la mondialisation. Le contexte idéologique de création de cette littérature et le questionnement identitaire nous amènent à considérer l’africanité comme une notion dynamique et la mondialisation littéraire comme une ouverture à la concurrence et à la légitimité littéraire. Le discours péritextuel, ce haut lieu de la lisibilité/visibilité, amorce les stratégies de cette altérité que le romancier développe largement dans l’énonciation textuelle.La reconfiguration de l’énonciation dégage les ressorts d’une écriture nouvelle marquée par une narration éclatée, une spatialité multiple et une innovation thématique. La transgression narrative s’intègre au rang des discours de la déconstruction caractéristique de la postmodernité et se donne à lire comme le reflet de l’être de l’entre-deux qu’est l’écrivain migrant comme d’ailleurs son protagoniste. L’espace dans lequel évolue ce dernier peut être interprété comme une transteritorialité dans laquelle se moule la création littéraire marquée du sceau de l’altérité et traduit la « transidentité » du personnage évoluant dans cet espace. La perspective thématique renforce cette idée de l’altérité mondiale structurant le récit africain contemporain. Elle s’engage dans la voie des mutations et des transgressions caractéristiques de la mise en relation de l’africanité et de la mondialisation comme lieu de l’écriture/lecture du roman contemporain.
Le mode d’écriture nous offre un cadre linguistique et stylistique dans lequel se joue l’altérité africanité-mondialisation. Le romancier de la nouvelle génération retravaille la langue française à l’aide des ingrédients des langues et des cultures dans lesquelles il baigne. Cette manipulation linguistico-stylistique est rendue possible par le jeu interlinguistique et le registre humoristico-ironique qui produisent une esthétique du « risible » face aux défis de l’altérité. L’écrivain africain contemporain, décomplexé par ces manipulations linguistique et stylistique, exploite les ressources de l’oralité en vue de concilier la pluralité des formes d’expression et des pratiques langagières de son environnement. Cette stratégie d’écriture produit une esthétique de l’oraliture, celle-là même qui, tout en exaltant les vertus de l’écriture, recourt aux différents procédés offerts par l’oralité, versant de l’africanité du texte contemporain, pour marquer une opposition contre l’écriture et l’Occident qui l’incarne./The African novel by the new generation is made at the meeting point of languages and cultures. In its theoretical and paratextual orientation, the fiction discourse by the new generation can be summed up as a « universality-oriented modernity », a place of dialectic link between africanity and globalization. The ideological context of creation of this literature and the identity questioning bring us to consider africanity as a dynamic notion and the literary globalization as a way to competition and literary legitimacy.
The peritextual discourse, which is a high place of readability/visibility, initiates the strategies of this otherness which the novelist develops largely in textual enunciation.
Reshaping the enunciation shows the motivation of a new writing characterized by a breaking up narration, a multiple area coverage and a thematic innovation. Narrative transgression is integrated in the rank of discourses of deconstruction characterizing postmodernity. It is to be read as a reflection of the being in the space between, this is the migrant writer as well as his protagonist. The space in which the latter evolves can be interpreted as a transterritoriarity in which is moulded literary creation sealed by otherness and shows « transidentity » of the character evolving in that space. The thematic perspective reinforces this idea of global otherness structuring the African contemporary narration. It moves into mutations and transgressions characterizing the relationship between africanity and globalization as a place of writing/reading of contemporary novel.
The writing mode gives us a linguistic and stylistic framework in which takes place the otherness africanity-globalization. The new generation novelist works on the French language he uses by means of ingredients of languages and cultures surrounding him. This linguistic and stylistic manipulation is made possible by an interlinguistic game and the humoristic and ironic register which produce aesthetics of the “funny” in front of otherness challenges. The contemporary African writer, encouraged by these linguistic and stylistic manipulations, exploits the oral ressources in order to reconcile the plurality of forms of expression and of language practices of his environment. This writing strategy produces aesthetics of orality, the one which, in addition to exalting the virtues of writing, has recourse to different procedures of orality, showing thus africanity of contemporary text, to mark an opposition against writing and the Western world which embodies it.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Hogue, Jeffrey B. "The strugle for modernity in African 1950-1965." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527324.
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Kakpo, Mahougnon. "Entre mythes et modernités : aspects de la poésie négro-africaine d'expression française." Bordeaux 3, 1996. http://www.theses.fr/1996BOR30025.
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Dans la poesie negro-africaine d'expression francaise, depuis ses origines, se manifeste une resurgence des valeurs ancestrales. Cette poesie entre en relation avec la tradition, les images-archetypes et les mythes afin de les remodeler et de les inscrire dans l'imaginaire collectif contemporain. Il s'agit la d'une modernite poetique qui est la redecouverte des modeles anciens pour interpreter les nouvelles visions du monde. Les modernites poetiques negro-africaines s'expriment souvent a travers divers chronotypes. On y note la permanence du schema du temps mythique (reversible, cyclique, rythmique, etc. ) et du temps historique ou irreversible. Ceci permet d'observer deux grands courants poetiques a savoir : le courant archeologique et le courant ideologique. La poesie archeologique presente une authenticite qui est la recherche d'une forme mythologisante. Elle devient pregnante lorsque certains poetes tentent de conserver avec leurs cultures, dialoguent avec leurs langues maternelles et creent d'autres niveaux de paroles qui sont aussi bien celles du poete lui-meme que celles de la societe. Ce faisant, la poesie plonge ses racines dans le mythe (tel un arbre plongeant les siennes dans la terre nourriciere) pour y puiser les formes et les structures preexistantes qu'elle renouvelle et transforme. Mais si l'on peut se feliciter de cette veine poetique qui ne se contente pas d'erudition mythologique ni de metaphysique, mais se soucie surtout de l'actualisation des formes mythologiques, il est a deplorer de l'autre cote, caracterise par un courant ideologique, l'absence d'une preoccupation esthetique, pour ne pas dire technique. Ici, le poeme demeure un simple discours, c'est-a-dire une fausse verve, ronflante, emaillee de fioritures, ou les images n'ont plus que l'apprence d'un ornement rhetorique. Il s'agit, en l'occurrence, des textes ou le militantisme politique exacerbe de certains poetes altere la creation et la reduit a un simple discours ideologique envahissantSince its begininings black african francophone poetry, has shown the marks of the resurgence of ancestral values. But the traditional images, archtypes and myths have been remoulded and reshaped in order to fit contemporary collective imaginative processes. This is what this study refers to as poetic modernity: the rediscovery of ancient models to inter new world visions. The concept of modernities in black african poetry can first be observed in the different chronoltypes or time patterns used by the poets. On the one hand, there is mythical time (divided into reversible, cyclical, and rhythmical t and on the other, historical or irreversible time. This allows us to uncover two major poetic types-- archeological and ideological. By exploring the mythical properties of form archeological poetry aspires to authenticity through the use of more formal techniques. This becomes manifest when poets attempt to converse with their cultures, to diaologue with their mot tongue and invent other levels of discourse--those of the poet, himself, as well as those of society. In so doing poetry roots into myth, as the roots of a tree seek earth's nourishing substance, to tap the pre-existing structures and forms which are then renewed and transformed. This poetic vein, happily, does not limit itself to erudite mythological and metaphysical considerations, but is, above all, concerned with renewing mythological forms, for the poetry which this study describes as ideological, however, one must deplore the absence of any real esthetic concerns. Poetry here remains an empty shell, full of its own self-importa full of flourishes and rhetorical embellishments, but lacks true poetic spirit. These are texts where the poetic activis certain writers reduces the creative spirit to mere-but invasive--ideological mutterings
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Kahanga, Rukonkish Tschaw Makwegn. "Ethique de la vie et developpement questions posees a la modernite africaine." Montpellier 3, 1995. http://www.theses.fr/1995MON30056.
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Repeter la pensee du lien que l'ethique negro-africaine etablit entre le sens de la vie et la responsabilite de l'homme envers son humanite et celle d'autrui, c'est reveiller le sens de la verite humaine et son attitude fondamentale face a la dynamique de la transformation, inscrite par la modernite forcee d'abord, desiree ensuite, d'un point de vue de l'ethique de la vie. Cet eveil d'une relation avec soi-meme est inseparable de la constitution du lien communautaire et irreductible au seul travail de production. C'est pourquoi le probleme de la relation entre l'ethique et le developpement peut bien etre pose a partir de l'examen de la transformation des biens produits selon les lois de la production de masse ou a partir du genie de la decouverte ou culmine la conscience au monde comme conscience exploratrice et explicative de la nature au moyen des progres de la rationalite des systemes, des arts et de l'accroissement de la maitrise humaine sur les moyens de satisfaire aux besoins de la vie; il n'en reste pas moins que c'est par la verite de la justice telle qu'elle est montree en un homme accompli (muntu masonga) que peut et se doit structurer la critique de ce qui constitue l'etre-avec en generalTo repeat the idea that the bond established by negro africain ethics between the sense of life and the responsability of man to his own humanity and to that of other people is to awaken the sense of human truth, the fundamental attitude against the dynamics of transformation, inscribed by modernity, first forced then desired, from the point of view of the ethics of life. The problem of the relationship between ethic and development can either be looked at from the point of view of transformation of goods created by the laws of mass production or by examining the genius of discovery, culmination of consciouness in the world, consciousness that explores and explains nature by means of progress in the rationality of the systems, of the arts and also the increase in human mastery over means of satisfying the necessities of life: nevertheless, it is through truth in the sense of justice as it is shown in a consumate man (muntu masonga that a constructive criticism of what constitutes the "be with" (solidarity) in general should be attempted
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Chevrier, Jacques. "Williams Sassine, un écrivain africain au carrefour du mythe et de la modernité." Paris 12, 1992. http://www.theses.fr/1992PA120008.
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Apres une breve presentation de l'homme et de l'oeuvre, la these s'attache dans un premier temps, a l'analyse des realites politiques, sociales, economiques et culturelles des societes africaines evoquees dans les romans de williams sassine. Cette evocation debouche sur le constat d'un veritable "naufrage historique", une tragedie dont les causes sont a rechercher, selon l'auteur, dans la trahison a l'egard des dieux ancestraux et dans la perte du sacre resultant de l'islamisation, puis de la christianisation du continent noir. Le romancier engage donc ses heros dans une quete qui a pour objet de retrouver une afrique perdue qui, telle un palimpseste, revele peu a peu, sous la gangue des influences etrangeres, les traces immemoriales deposees en elle tout au long des siecles passes. Cette anamnese commande pour une large part la demarche d'une ecriture qui, partant du chaos contemporain, fait retour vers le non-dit, l'occulte suscitant ou ressucitant au passage des images, des symboles, des arche types et des figures emblematiques inscrits dans les grands mythes d'origine de l'humaniteThe novels of williams sassine provide a sociological, political, economical and cultural analysis of african societies which appear deeply affected and striken by what the novelist regards as an "historical wreckage". The heroes of these novels are therefore involved in a quest of the past - beyond islamism and christianis - in order to fond again their true identity. Williams sassine suggests that, if they want to return to the magical country of the origins, they have to undergo a series of sufferings, so that most of the main characters are christ'like figures. Biblical influence is evident through saint monsieur baly and wirriyamu, but the writer never forgets he is a son of kankan, his birthplace in the mande, so that elements of african mythological tales are also an important part of his writing
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Grimm, Kevin E. "Symbol of Modernity: Ghana, African Americans, and the Eisenhower Administration." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1334240469.
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Wagner, Madison. "La modernité tunisienne dévoilée : une étude autour de la femme célibataire." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1368.
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This thesis explains recent accounts of discrimination and cutbacks in reproductive health spaces in Tunisia. Complicating dominant analyses, which attribute these events to the post-revolution political atmosphere which has allowed the proliferation of islamic extremism, I interpret these instances as a manifestation of a deeply rooted stigma against sexually active single women. I trace this stigma’s inception to the contradictory way that Habib Bourguiba conceptualized modernity after independence, and the responsibility he assigned to Tunisian women to embody that modernity. This responsibility remains salient today, and is putting Tunisian women in an increasingly untenable and vulnerable position.
After independence, Bourguiba instated a series of policies and programs aimed at demonstrating the modernity of Tunisia. The success of Tunisia’s modernization was determined, and continues to be determined by the woman’s social transformation and embodiment of modernist values. Bourguiba’s modernist platform was constituted not only by typically ‘Western’ values, such as economic prosperity, family planning, education, and gender equality, but was also deeply informed by the islamic and cultural values that hold the woman’s primordial role to be mother and wife, and expect her to abstain from sex until marriage. The modern Tunisia woman thus became expected to both obtain higher levels of education and actively participate in the public sphere, and also uphold virtues around premarital virginity, marriage, and motherhood. Her fulfillment of these tasks marked the independent nation’s progress and modernity.
Today, as more and more Tunisian women are increasingly empowered to fulfill one facet of their obligation and attend university, participate in the labor market, and make use of the growing contraceptive technologies available to them, they become more likely to postpone marriage and engage in premarital sexual relations. These latter behaviors transgress the second facet of the woman’s obligation, and threaten the very integrity of the modern nation. Women are thus becoming more and more subjected to societal punishment — stigma — which manifests in many forms, including discrimination in reproductive health care spaces.
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Pello-Esso, Kibandu. "Design And Race: "African Design" In The Shadow Of Modernity." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7822.
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To explore the question of how race and design are related, I have developed a set of analysis strategies, involving props that are investigating objecthood and subjectivity. I use prototyping techniques and sketching in full scale. The design process contains three main investigation packages that ran parallel and was intertwined with each other, and resulted in a staged planetarian habitability (Mbembe, 2020) that communicates how to decolonize the African objects. The objective of this project was to investigate how to make stories about African design as well as identify how an African spatial design practice could unfold. The myth building around race is a successful practice even today. Therefore, it is necessary for each generation to undo these myths. The project resulted in objects and a spatial installation that render tangible, new ideals about modernity and design in relation to race.
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Mirmotahari, Emad. "Islam and the Eastern African novel revisiting nation, diaspora, modernity /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666396541&sid=12&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Lazenby, Nicola. "Afterlives: resurrecting the South African border war." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/12031.
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Includes abstract.[W]hile the image of the SADF as a heinous perpetrator of Apartheid violence is undeniable, it is being complicated by the emergence of a range of recent cultural productions. Using Jacqui Thompson’s collection of SADF memoirs, An Unpopular War: From Afkak to Bosbefok (2006), and the revival of Anthony Akerman’s play, Somewhere on the Border (2012), this thesis explores how these cultural productions assert an alternative, individual, and humanised rendering of the SADF soldiers who experienced the Border War. The attempt to render these soldiers in an alternative light signals an anxiety regarding the way the SADF is remembered in contemporary South Africa. This anxiety resonates with broader issues of the role of “victimhood” in South Africa’s national identity in the aftermath of Apartheid.
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Carr, Rachel McKenzie. "But What Has Helga Crane to Do with the West Indies? Plantation Afterlives in the Black Atlantic." UKnowledge, 2019. https://uknowledge.uky.edu/english_etds/102.
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“But What Has Helga Crane to Do with the West Indies? Plantation Afterlives in the Black Atlantic” situates the emergence of the southern gothic in modernist American and Caribbean works as a response to the shifting cultural narrative of the plantation in the twentieth century. In this project, I argue that the plantation seeps out of its place and time to haunt landscapes it may never have touched and times in which slavery is long over. While the plantation system is broadly recognized as a literary, political, and cultural force in nineteenth-century literary studies, I conceive it is also a driving force of southern literature even after the physical plantations begin to fade.
In this project, I examine how literary portrayals of plantations flourish in the 1920s and 30s, from the writings of the Nashville Agrarians to the popularity of Gone with the Wind, arguing that this period represents a literary re-mythologizing of the plantation’s legacy as a benevolent and positive model for the south. A significant contribution of this dissertation is then in demonstrating how plantations are present in works that are not traditionally understood as plantation fiction, and that these works offer a resistance to this re-mythologizing through turning to the gothic: the transatlantic plantation gothic in Nella Larsen’s Quicksand and Jean Rhys’ Voyage in the Dark, the impact of environmental labor on the plantation gothic in Jean Toomer’s Cane and Eric Walrond’s Tropic Death, and finally, how plantation modernity affects portrayals of natural disasters in plantation territories in Zora Neale Hurston’s Their Eyes Were Watching God and M. NourbeSe Philip’s Zong!. Ultimately, this project contributes to the discussion of plantation modernity currently occurring in Southern Studies beyond the nineteenth century and into the modernist period, while also demonstrating how movements often construed as disparate in American literary studies, like the Harlem Renaissance and the Nashville Agrarians, were actually in close conversation.
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Davis, Omilade. "Modernism, Métissage and Embodiment: Germaine Acogny's Modern African Dance Technique, 1962-1975." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/558814.
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DancePh.D.
This dissertation positions Germaine Acogny’s Modern African Dance Technique (“the Technique”) as a mode of knowledge that reveals insight into nationalism, Négritude, modernism and perspectives on modernity during the early years of Senegal’s independence. By investigating the Technique in relationship to its historical context, this study aims to identify how cultural and political values, which comprise the Technique’s embodied knowledge, are evident in its aesthetic design and philosophical underpinnings. A hybrid methodological approach is employed that merges theoretical analysis with autoethnography. Fieldwork in Senegal, archival research, interviews and embodied practice informed this study. A new theoretical frame, Wòrándá, is introduced that contributes to existing theories on embodiment in African and Diasporic dance techniques and performance. The findings of this dissertation conclude that the Technique sits at the junction of African and Euro-American cultural templates, which coalesce in the production of a codified movement technique that both embodies and confronts constructivist influences. Correlations are suggested between the Technique, Africentric perspectives and cultural nationalism. The Technique also fulfills Léopold Sedar Senghor’s vision of métissage (cultural blending) and cultural progress. Each of these ideological influences underscores the Technique’s significance as a modernist intervention on the genre of neo-traditional African concert dance, as its progenitor seeks to challenge dominant expectations of the African body in dance.
Temple University--Theses
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GALLI, JACOPO. "Tropical Toolbox, Fry&Drew e la ricerca di una modernità africana." Doctoral thesis, Università IUAV di Venezia, 2015. http://hdl.handle.net/11578/278667.
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Taylor, Corey Michael. "Ambiguous sounds African American music in modernist American literature /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 253 p, 2009. http://proquest.umi.com/pqdweb?did=1654487481&sid=4&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Hester-Williams, Kim D. "(Re) making freedom : representation and the African American modernist text /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9945691.
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Bin, Karubi Kikaya. "The modernity of Bantu traditional values: testing the invariance hypothesis." Thesis, Boston University, 1989. https://hdl.handle.net/2144/32778.
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Thesis (Ph.D.)--Boston University. University Professors Program.This is a study of the relationship between persistent Bantu traditional values and social, political and economic institutions, using the premises of the Convergence Theory and the Invariance Hypothesis to determine what that relationship should be. Traditional values like the concept of man as a life force, the principle of communalism and the belief in the interaction between the dead, the living and those to be born have remained invariant throughout the history of the Bantu. This, contrary to the prescriptions of the dominant modernization theory which calls for the dismantling of these values once the society faces the so called "universal forces of change," like the introduction of modern industries, the development of means of communications, the growth of urban centers and above all, the development of modern science and technology. We used a descriptive analysis approach to examine the relationship between values and patterns of authority on the one hand and patterns of solidarity on the other. We did this first in the traditional setting. Then we did an analytical content criticism of those values in the colonial and post colonial periods which most people link to the introduction of modernization in Africa. We found out that, despite change in the environment, traditional values stay the same. Change will occur at the structural level but in order for the new institutions to be legitimate, they must reflect the traditional values of the people. This in a way explains the failure of some imposed political and social institutions to function in Africa.
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Thoma, Nora. "The paradox of "indigenous modernity" : a case study of the construction of identity among the ‡Khomani San." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8992.
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Includes bibliographical references (leaves 80-87).This minor dissertation examines the complex question of the issues relating to the identity of the ‡Khomani San of the Southern Kalahari in South Africa. Through qualitative fieldwork and secondary research, the dissertation illustrates that the ‡Khomani San have an identity, even though it is partially constructed, multifaceted and heterogeneous. This can be understood better through the paradox of "indigenous modernity" which combines traditions and modernity in one. The ‡Khomani San thus set an example of bridging the gap of dichotomies. In building this argument, the thesis first positions the ‡Khomani San as indigenous people in a global, African and South African context. This discussion highlights that one aspect of ‡Khomani San identity is based on their status as indigenous people. Secondly, the history of the ‡Khomani San is delineated, detailing the influence of colonialism and apartheid on ‡Khomani San resources, culture and identity. Here, the important connection between land and ‡Khomani San identity is emphasised. Thirdly, the dissertation explores the contemporary situation of the ‡Khomani San through the narratives of interviewed individuals. These ‡Khomani San voices speak to the ways in which recent developments concerning their land, traditional knowledge and livelihood have influenced the construction of their identity. Within these recent developments, the impact of external forces such as NGOs and government on the ‡Khomani San are also described. Through these interview narratives, binaried representations of the ‡Khomani San identity as either traditionalist or modernist are challenged. Rather, the ‡Khomani San identity is (re)interpreted as a hybrid of both 'traditional' and 'modern' values, which creates them into 'indigenous modernities'.
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Curry, Elizabeth. "Refiguring the Animal: Race, Posthumanism, and Modernism." Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24546.
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This dissertation explores the entanglements of racialized histories and experiences in America with conceptions of animals and animality and examines how African American and Native American writers render these intersections in early-twentieth-century American literature. While animals, with their physical and behavioral features and subordinate status within Western cultural frameworks, were fundamental figures in the US racial imaginary, which relied on dehumanization as a weapon of control, animals (and conceptions about them) also curiously offered a way around and outside of the categorically demeaning declarations of “the human.” Through literary explorations of the nonhuman, the writers in this project reveal forms of interspecies affinity and understanding that affirm biotic connection and also make fantastically strange creatures with whom humans share domestic and proximal space. The figure of “the human” as separate, above, and radically distinct from other life becomes not only strange as well through these readings, but becomes visible as a prominent obstacle to social egalitarian and ecologically cooperative ways of living. I build on research in animal studies and critical race studies approaches to posthumanism to observe how race inflects literary animal representations while also tracking how animality interacts with various notions of personhood. While animalization often coincides with racialized and dehumanized personhood status, writers like Anita Scott Coleman and Zitkala-Ša rupture those associations and engage the animal (comparisons to it and becomings with it) as a fundamentally humanizing figure. On the flip side, Zora Neale Hurston’s Their Eyes Were Watching God demonstrates how a racialized animalization trope operates in the novel to defend the killing of a black man. These writers all collapse the binary between human and animal while demonstrating how that binary operates in concert with racial binaries in an American context that extols the human. Reading animals through a lens that acknowledges how race and animality intersect ultimately opens routes for rethinking what it means to be human and defining how we view the nonhuman.
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Bounang, Mfoungué Cornelia. "Le mariage africain, entre tradition et modernité : étude socio-anthropologique du couple et du mariage dans la culture gabonaise." Phd thesis, Université Paul Valéry - Montpellier III, 2012. http://tel.archives-ouvertes.fr/tel-00735563.
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Au Gabon, le mariage est une institution qui permet l'union de deux personnes et de deux familles. Sur le plan juridique, seul le mariage civil a une valeur légale. Mais le mariage traditionnel encore appelé mariage coutumier reste une étape importante durant laquelle se déroule la cérémonie de la dot. Cette étude traite de la manière dont les gabonais se représentent le couple et le mariage. Notre approche théorique et nos champs d'investigation portent sur l'évolution socio-culturelle de cette institution et sur la relation que les jeunes gabonais établissent entre la culture, leurs comportements et leurs actions sociales. L'intérêt ici est de comprendre les influences qu'exerce le modèle de vie occidental en matière de moeurs et de style de vie par le biais de l'urbanisation, de la scolarisation et des médias. Notre problématique qui se décline en plusieurs questions a pour principal objectif de décrire le modèle de couple et le type de mariage auxquels aspirent ces jeunes. Le travail de terrain réalisé au Gabon et en France nous a permis d'établir une typologie des conduites et des discours recueillis. Les principaux thèmes abordés sont : la polygamie, la dot, le choix du partenaire, le couple mixte, le sida, l'homosexualité et les rapports de séduction. Avec leurs mots, ils posent un regard sur la culture gabonaise et française et nous livrent un discours partagé entre tradition et modernité. Ce travail permet donc une nouvelle approche des rapports de couple et du mariage dans une société gabonaise en plein évolution.
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Mve-Engonga, Daniel. "La mort fang au Gabon : un phénomène social total à l'épreuve des interactions tradition/modernité : essai de méthodologie thanatique." Besançon, 2001. http://www.theses.fr/2001BESA1013.
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A partir de l'élaboration d'une approche conceptuelle multiréférenciellearticulant de manière dialectique l'espace urbain et l'espace rural, certains modèles d'analyse des paradigmes théoriques sélectionnés dans leur enrichissement mutuel (du matérialisme historique, de la sociologie dynamique et critique, du structuralisme génétique, de l'approche fonctionnelle et stratégique, de l'individualisme méthodologique), des techniques de collecte des données (questionnaire, entretien, observations, approche biographique, collecte des statistiques, approche documentaire), des modes de système discursifs (quantitatif, qualitatif, compréhension/explication), l'objectif fondamental du présent travail est de démontrer qu'en tant que phénomène de classe- la mort fang- au travers des représentations (langage, paroles, mythes, énoncés et fragments de discours construits) et les pratiques (modes de prise en charge sociale et les procédures rituelles)-. . .
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Oppelt, Riaan N. "C. Louis Leipoldt and the making of a South African modernism." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80232.
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Thesis (PhD)--Stellenbosch University, 2013.ENGLISH ABSTRACT: C. Louis Leipoldt had, in his lifetime and after his death, a celebrated reputation as an important Afrikaans poet in South Africa. He remains most remembered for his contribution to the growth of Afrikaans literature and for the significance of his poetry in helping to establish Afrikaans literature in the early part of the twentieth century in South Africa. He is also mostly remembered for his recipe books and food and wine guides, as well as his career as a paediatrician. Between 1980 and 2001, scholarly work was done to offer a reappraisal of Leipoldt’s literary works. During this period, previously unpublished material written by Leipoldt was made publicly available. Three novels by Leipoldt, written in English, were published at irregular intervals between 1980 and 2001. The novels cast Leipoldt in a different light, suggesting that as an English-language writer he was against many of the ideas he was associated with when viewed as an Afrikaans-language writer. These ideas, for the most part, linked Leipoldt to the Afrikaner nationalist project of the twentieth century and co-opted him to Afrikaner nationalist policies of racial segregation based on the campaigning for group identity. The three English-language novels, collectively making up the Valley trilogy, not only reveal Leipoldt’s opposition to the nationalist project but also draw attention to some of his other work in Afrikaans, in which this same ideological opposition may be noted. In this thesis I argue that Leipoldt’s Valley trilogy, as well as some of his other, Afrikaans works, not only refute the nationalist project but offer a reading of South African modernity in the nineteenth and twentieth centuries. This reading of historical events in South Africa that reveals the trajectory of the country’s modernity is strongly indicative of a unique literary modernism. It is my argument that Leipoldt’s Valley trilogy shows a modernist critique of the historical events it presents. Because the concept of a South African modernism in literature has not yet been fully defined, it is also an aim of this thesis to propose that Leipoldt’s works contribute a broad but sustained literary outlook that covers his own lifespan (1880-1947) as well as the historical period he examines in the Valley trilogy (the late 1830s -the late 1920s/early 1930s). This literary outlook, I argue, is a modernist outlook, but also a transplantation of a Western understanding of what modernism is to the South African context in which there are crucial differences. This thesis hopes to arrive at an outcome that binds Leipoldt’s anti-nationalism to his literary critique of the modernity he explores in the Valley trilogy, thereby proving that Leipoldt could be read as a South African literary modernist.
AFRIKAANSE OPSOMMING: C. Louis Leipoldt het in sy leeftyd en na sy dood 'n gevierde reputasie behou as 'n belangrike Afrikaanse digter in Suid-Afrika. Hy word die meeste onthou vir sy bydrae tot die groei van die Afrikaanse letterkunde en die belangrikeheid van sy poësie tot die Afrikaanse letterkunde, se stigting in die vroë deel van die twintigste eeu in Suid-Afrika. Hy word meestal ook onthou vir sy resepteboeke en kos en wyn gidse, sowel as vir sy loopbaan as 'n pediater. Tussen 1980 en 2001, is navorsingswerk gedoen om ‘n herwaardering van Leipoldt se literêre werk aan te bied. Gedurende hierdie tydperk was voorheen ongepubliseerde material geskryf deur Leipoldt publiek sigbaar gestel. Drie romans deur Leipoldt, wat in Engels geskryf is, is gepubliseer op ongereelde tussenposes tussen 1980 en 2001. Die romans stel Leipoldt in ‘n ander lig, wat daarop dui dat as 'n Engelse skrywer was hy gekant teen baie van die idees waarmee hy geassosieer was toe hy as 'n Afrikaanstalige skrywer beskou was. Hierdie idees het grootendeels vir Leipoldt gekoppel aan die Afrikaner-nasionalistiese projek van die twintigste eeu en het hom gekoöpteer tot Afrikaner nasionalistiese beleide van rasse-segregasie gegrond op die veldtog vir groepidentiteit. Die drie Engelstalige romans, gesamentlik die Valley-trilogie, openbaar nie net Leipoldt se teenkanting van die nasionalistiese projek nie, maar vestig ook aandag op sommige van sy ander werk in Afrikaans waarin hierdie selfde ideologiese opposisie aangeteken kan word. In hierdie tesis voer ek aan dat Leipoldt se Valley-trilogie, sowel as sommige van sy ander, Afrikaans werke, nie net die nasionalistiese projek weerlê nie, maar ook ‘n lesing aanbied van Suid-Afrikaanse moderniteit in die negentiende en twintigste eeus. Hierdie lesing van historiese gebeure in Suid-Afrika wat die trajek van die land se moderniteit openbaar is sterk aanduidend van 'n unieke literêre modernisme. Dit is my redenering dat Leipoldt se Valley-trilogie 'n modernistiese kritiek toon van die historiese gebeurtenisse wat dit aanbied. Omdat die konsep van 'n Suid-Afrikaanse modernisme in die letterkunde nog nie ten volle gedefineer is nie, is dit ook 'n doel van hierdie tesis om voor te stel dat Leipoldt se werke 'n breë maar volgehoue literêre kritiek bydra wat sy eie leeftyd dek (1880-1947) asook die historiese tydperk wat hy ondersoek in die Valley-trilogie (die laat 1830s tot die laat 1920s/vroë 1930s). Hierdie literêre vooruitsig, redeneer ek, is 'n modernistiese vooruitsig, maar ook 'n oorplanting van 'n Westerse begrip van wat die modernisme is tot die Suid-Afrikaanse konteks waarin daar belangrike verskille is. Hierdie tesis hoop tot 'n uitkoms wat Leipoldt se anti-nasionalisme bind tot aan sy literêre kritiek van die moderniteit wat hy ondersoek in die Valley-trilogie, en daardeur bewys dat Leipoldt gelees kan word word as 'n Suid-Afrikaanse literêre modernis
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Currie, Iain. "White writings : colonialism and modernism in South African literature since 1970." Master's thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/21613.
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This dissertation develops from the contention that a significant body of the literary activity of white South Africans since the 1970s can be characterised as a form of modernism. This characterisation devolves less upon the formal attributes of a body of literary writing than upon the particular position it occupies In the cultural sphere during this period . That position is one of political and cultural marginality. White writing is distanced from both the official culture of the state and an emergent populist culture associated with the urban social collectivities that begin to play an increasingly important role in the political life of South African society during the 1970s. In an introductory section, a comparison is drawn between the responses to social marginality within South African white writing and the reconsiderations of the political mission of literature by Jean-Paul Sartre and Roland Barthes, formulated in post - War France. The first chapter sets out a brief description of the cri sis that besets the South African social formation during the 1970s. The racial logic upon which the South African economy and social order is subtended comes under attack from two related sources. The first is the growing economic and political instability of the racial-capitalist system, while the second is renewed resistance to the manifest racially-ordered inequalities sponsored by that system. As discussed in the second chapter, this gathering crisis of their society impells white writers and intellectuals to question and revise long-held paradigms of thought and practices of representation, drawing on the resources of comparable revisions of established paradigms taking place in western thought. Equally, these writers and intellectuals become concerned with the critical re-examination of established accounts of the ethical vocation and social function of intellectual and literary work. But white writers and intellectuals were, in the polarised political conditions of the 1970s, unable to find a home in emergent internal opposition organisations predicated, for the most part, on versions of an anti- colonial nationalism. In the third chapter, consideration is given to the critique that begins to circulate in the period, of the associations of the South African literary and literary-critical establishment with the interests of white hegemony. This critique leads white writers such as Nadine Gordimer and JM Coetzee to reject a literary tradition found to be rooted in a colonial past and embodying colonial assumptions that are no longer tenable. This rejection of their cultural patrimony leads white writers to seek new ways of imagining the relationship between their writing and their society, as well as new forms capable of representing that altered relationship. At the same time however, this critical reflection upon the coloniality of established literary practices and forms, distances white writing from the populist and realist concerns of writers associated with emergent oppositional cultural formations . Developments during the 1970s serve to make the cultural sphere an important zone of political contestation. In the fourth chapter some of the tactics and manoeuvres in this contest are disc us sed. White writers adopt a modernist defence of their relative isolation from political actuality and their failure to conform to the requirements of a socially-committed literature. The development of a body of committed literature by black writers is discussed. However, the formal inconsistency of this literature ' s relationship to " realism" indicates that in the South African situation, "realism" and "modernism" are less a matter of the formal characteristics of a given body of literary work than a description of the differentiations in the audience, social function and ambitions of white and black writing. The dissertation is therefore aimed at pro vi ding an account of the historical ground that gives rise to this racial division of literature and literary activity in South Africa. Such an account serves to historicise and contextualise the various positions on commitment, artistic responsibility, the politicisation of art and the question of the capacity of cultural organisations to prescribe the form or content of artistic production, which are the subject of controversy in present-day South Africa.
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Birch, Alannah. "A study of Roy Campbell as a South African modernist poet." Thesis, University of the Western Cape, 2013. http://hdl.handle.net/11394/4823.
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>Doctor Literarum - DLitRoy Campbell was once a key figure in the South African literary canon. In recent years, his poetry has faded from view and only intermittent studies of his work have appeared. However, as the canon of South African literature is redefined, I argue it is fruitful to consider Campbell and his work in a different light. This thesis aims to re-read both the legend of the literary personality of Roy Campbell, and his prose and poetry written during the period of “high” modernism in England (the 1920s and 1930s), more closely in relation to modernist concerns about language, meaning, selfhood and community. It argues that his notorious, purportedly colonial, “hypermasculine” personae, and his poetic and personal explorations of “selfhood”, offer him a point of reference in a rapidly changing literary and social environment. Campbell lived between South Africa and England, and later Provence and Spain, and this displacement resonated with the modernist theme of “exile” as a necessary condition for the artist. I will suggest that, like the Oxford dandies whom he befriended, Campbell’s masculinist self-styling was a reaction against a particular set of patriarchal traditions, both English and colonial South African, to which he was the putative heir. His poetry reflects his interest in the theme of the “outsider” as belonging to a certain masculinist literary “tradition”. But he also transforms this theme in accordance with a “modernist” sensibility.
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Diouf, Amadou Mansour. "Medias et identité urbaine : la construction de l'idée de modernité dans les espaces urbains africains à travers la presse : le cas du Sénégal." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2013. http://tel.archives-ouvertes.fr/tel-00913421.
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Ce travail de recherche a voulu explorer les relations entre les médias, la ville et la modernité. Le corpus est fourni par la presse écrite et l'espace d'investigation en est la ville sénégalaise. Beaucoup de travaux menés ces dernières années sur les médias sénégalais s'intéressent surtout à des questions plus "politiques" : droits humains, gouvernance démocratique, alternance politique...tandis que d'autres sont orientés vers les TIC ou l'internet. Cette thèse veut trouver son originalité dans une approche des dynamiques urbaines dans la durée à travers une démarche basée sur les outils des sciences de l'information. Le postulat de départ est que la ville est le cadre générateur des médias qui acquièrent une urbanité plus ou moins forte selon le type de support considéré (radio, télé, presse, internet). Cette relation débute au XIXe siècle à Saint-Louis dans un contexte colonial où naissent les premiers journaux suscités par la puissance coloniale (La France). L'aménagement du cadre de vie par le colonisateur, perçu comme un vecteur de modernisation et de domination des autochtones, à travers l'espace, ne manque pas de causer des affrontements. La ville dans sa capacité à produire de nouveaux modes de vie, comme démontré par l'École de Chicago, s'impose alors comme l'emblème de la modernité. La diversité urbaine va induire trois types de pluralisme : urbain, politique et médiatique qui s'imbriquent de manière complexe avec des retombées dans la fabrication de l'information. Les médias ont du mal à s'affranchir de leur cadre de naissance et deviennent eux-mêmes un lieu de l'aménagement du cadre de vie. Cela est perceptible à travers les usages que font les journalistes du terme modernité et dans les représentations de l'espace urbain. Il s'avère que la ville et les médias sont des éléments indissociables dans l'aventure de la modernité au Sénégal. Les concepts de spatiogénèse, sémiosphère urbaine et de territorialité médiatique sont utilisés pour rendre compte de ces phénomènes. La capacité de construction de la réalité des médias est mise en exergue à travers l'approche constructiviste. La thèse fournit des outils théoriques pour la compréhension des relations entre SIC, territorialité urbaine et modernité; elle constitue surtout dans les études médiatiques sénégalaises, un effort important dans l'analyse de l'évolution de la presse du XIXe au XXe siècle.
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Coetzee, Ethrésia. "Growing Queer: youth temporality and the ethics of group sex in contemporary Moroccan & South African literature." Master's thesis, Faculty of Humanities, 2018. http://hdl.handle.net/11427/31349.
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Towards the end of October 2018, news stories surfaced about a targeted crackdown on gay people in Tanzania. Regional Commissioner of Dar es Salam, Paul Makonda, announced plans to form a government taskforce that would be devoted to pursuing and prosecuting LGBTIQ people, or those perceived to be on the spectrum (Amnesty International, “Tanzania”). This current onslaught on LGBTIQ citizens has already seen 10 men arrested, ostensibly for participating in a same-sex wedding (Ibid). While the Tanzanian foreign ministry distanced itself from the Regional Commissioner’s remarks (Burke), others have framed Makonda’s actions as a natural extension of president John Magufuli’s “morality crusade” (Amnesty International, “Tanzania”). After being elected to office in 2015, Magufuli achieved international acclaim for this 'thrift and intolerance for corruption’ (Paget). However, Magufuli’s “morality crusade” quickly spiralled into authoritarianism, with a clampdown on freedom of speech and on opposition to his party, Chama cha Mapinduzi (CCM) (Ibid). The party has governed Tanzania since its independence in 1961 (O’Gorman 317). As Ahearne notes, it has become a situation where 'any opposition is seen as “against the nation”’ since it has become 'clear that Magufuli is following a nationalist agenda.’ Homophobic campaigns have been a common feature since Magufuli was elected in 2015, and sodomy still carries a prison sentence of up to 30 years in Tanzania (Burke). The current “morality crusade” is not that unusual, in other words, and it imagines sexual and gender minorities as outside the nation-state, as not quite citizens. This discourse is not new, and simply echoes similar declarations and crackdowns in other African countries that frame sexual and gender minorities as non-citizens.
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Wright, L. S. "'Iron on iron': Modernism engaging apartheid in some South African Railway Poems." Routledge, 2011. http://eprints.ru.ac.za/2208/1/Iron_on_Iron_for_ESiA.pdf.
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Abstract
Modernism tends to be criticised, internationally, as politically conservative. The objection is often valid, although the charge says little about the quality of artistic achievement involved. This article argues that the alliance between Modernism and political conservatism is by no means a necessary one, and that there are instances where modernist vision has been used to convey substantive political insight, effective social critique and solid resistance. To illustrate the contrast,the article juxtaposes the abstract Modernism associated with Ben Nicholson and World War 2, with a neglected strain of South African railway poetry which uses modernist techniques to effect a powerful critique of South Africa’s apartheid
dispensation. The article sustains a distinction between universalising modernist art that requires ethical work from its audiences to achieve artistic completion, and art in which modernist vision performs the requisite ethical work within its own formal constraints. Four very different South African railway poems, by Dennis Brutus, John Hendrickse, Alan Paton, and Leonard Koza, are examined
and contextualised to demonstrate ways in which a modernist vision has been used to portray the social disruptions caused by apartheid. Modernist techniques are used to turn railway experience into a metonym for massive social disruption,without betraying the social reality of the transport technology involved.
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Potgieter, Carla. "Reading rubbish: pre-apartheid to post-apartheid South African kitsch." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1782.
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Thesis (MA (English Studies)--University of Stellenbosch, 2009.ENGLISH ABSTRACT: This thesis is concerned with kitsch as cultural phenomena, which it will approach as a specific ‘aspect’, or ‘product’ of modernity. In doing so, this thesis aims to interrogate the notion of modernity, through an analysis of kitsch. In the first place, modernity can be thought as a collection of progressive material changes, usually associated with the onset of the industrial revolution. In this sense, it is easy to establish kitsch as a typical product of modernity, as the latter literally provided the objective conditions of possibility for the production of cheap, easily reproducible industrial goods, with which kitsch is often associated. In the second place, more than a set of material changes however, modernity also entailed a concomitant series of cultural values, the rational, scientific worldview associated with the onset of the Enlightenment. The thesis will therefore also consider how kitsch can be regarded as a direct expression of these values, in as much as the characteristic falseness and conformity of kitsch might be seen as a typical product of this rational, utilitarian worldview. In the third place, modernity also refers to the combined effect of these material conditions and cultural values. Kitsch will be considered, then, also in relation to this ‘life-world’. Importantly, the thesis seeks to demonstrate how the inherent contradictions of modernity become particularly apparent in kitsch. The connection between colonialism and the Enlightenment is nothing new. Indeed, the colonial project was driven by the notion that the West was responsible for the “modernization” and “upliftment” of the rest of the world. However, the idea of modernity as a universal, ideologically neutral concept is deeply problematic. Indeed, this can also be considered as one of the contradictions inherent in modernity. By looking at South African kitsch, this thesis will examine the possibility that, as a typical product of modernity produced in a local context, it can reveal much about the manifestations or ‘trajectory’ of modernity outside the metropolitan centres, where it is usually located. This will be explored by examining, on the one hand, the local ‘trajectory’ of the discourse of modernity, and, secondly, to the place assigned to people within the creation of these local modernities
AFRIKAANSE OPSOMMING: Die onderwerp van hierdie tesis is kitsch as ’n kulturele verskynsel, wat dit as volg benader. Eerstens word daar gevra of dit moontlik is om kitsch as een van die mees tipiese ‘produkte’ van moderniteit te beskou. Die bogenoemde vraagstelling maak dit dus moontlik om moderniteit te ondersoek deur ‘n analise van kitsch. In hierdie tesis, word moderniteit as volg benader: ten eerste, die materiële veranderings in terme van die produksie proses wat gewoonlik met die industriële revolusie geassosieer word; en tweedens, die rasionele, wetenskaplike, kommersiële en utilitêre lewensbeskouing ingelei deur die ‘Verligting’ (of sogenaamde Enlightenment) in die sewentiende eeu. Meer as net ’n versameling fisiese en filosofiese omwentelings, verwys moderniteit egter ook ten derdens na die gekombineerde impak van die bogenoemde in terme van die effek van tegnologie op kultuur, en hoe dit die menslike ‘leefwêreld’ betekenisvol beïnvloed en vervorm. Die bogenoemde skep dus ‘n raamwerk waarbinne kitsch benader kan word. Ten eerste is dit maklik om ‘n verband tussen kitsch en tegnologiese ontwikkelinge, wat dit moontlik maak om vinnige reproduksies van ‘n lae gehalte te vervaardig, te trek. Maar soos beskou vanuit ‘n meer filosofiese perspektief, kan die valsheid en patroonmatigheid van kitsch teruggetrek word na rasioneel utilitaristies wêreldbeskouing van die ‘Verligting’, wat deur die neig na abstrakte, universele waarhede, dikwels vervlakking lei en ook spesifieke etiese gevolge het. Derdens, wanneer daar na die impak van modernisasie op die leefwêreld gekyk word, sal faktore soos die opkoms van die middelklas en sekularisasie ook in ag geneem word. Deur die bogenoemde te ondersoek, sal daar dan ook gedemonstreer word dat die teenstrydighede wat noodwendig deel vorm van die konsep van moderniteit self, in kitsch duidelik sigbaar word, juis in die manier hoe kitsch hierdie teenstrydighede probeer verberg. Díe drie areas dan in ag geneem, is dit verder nodig om ‘n vierde definisie in te sluit om die ondersoek van moderniteit, soos dit in hierdie tesis benader word, te verdiep. Die idee dat kolonialisme en moderniteit ten diepste verbind is, is niks nuuts nie. Die gedagte dat die Weste juis die onontwikkelde kolonies moes “ophef” en “moderniseer” was inderdaad dikwels die ideologiese beweegrede vir die koloniale projek. Maar by nadere ondersoek blyk dit onwaarskynlik dat moderniteit bloot ‘n ideologies neutrale konsep is, wat oral eenvormige resultate sou behaal. Inderdaad, laasgenoemde kan ook as een van hierdie sogenaamde “teenstrydighede” inherent tot die konsep van moderniteit beskou word. Dus, deur na kitsch te kyk wat spesifiek in ‘n Suid-Afrikaanse konteks ontstaan het, wil hierdie tesis ook die moontlik ondersoek dat plaaslike kitsch (as tipiese produk van moderniteit) ons iets meer kan vertel oor die spesifieke verloop en gevolge van hierdie sogenaamde “projek van moderniteit” binne ‘n plaaslike konteks. Dit sal gedoen word deur die volgende twee vraagstukke aan te spreek, aan die hand van plaaslike vorme van kitsch. Eerstens sal daar aandag aan die spesifieke “verloop” en manifestasies van die diskoers van moderniteit in ‘n plaaslike konteks ondersoek word. Tweedens, gaan hierdie tesis ook aandag gee aan die spesifieke plek wat aan verskillende groepe mense binne hierdie plaaslike vorme van moderniteit toegeken word. So ‘n ondersoek sal dan op die plaaslike manifestasies van moderniteit konsentreer, om die aanname dat moderniteit oral eenvormige resultate en vooruitgang sou bereik, ongeldig te verklaar. Die idee van “moderniteit” as universele en eenvormige konsep breek dus letterlik uit mekaar, soos dit met die idee van geografiese spesifieke weergawes van moderniteit gekonfronteer word.
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Brooks, Shonda Garner. "An Examination of the Educational Movement of African Americans in the United States from Slavery to Modernity." Thesis, University of Louisiana at Lafayette, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10816639.
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This study examines the educational history of African Americans since their arrival in America in 1619. From milestones to major turning points in educational history, various Supreme Court decisions, and federal educational legislation, this study highlights the development of the African American system of education. This paper also examines the creation of the first legislation governing education of blacks in the 1700s and then evaluates the modern legislation pertaining to the education of blacks in America?s schools. Next, this paper examines the academic progress of African Americans by reviewing their performance on the National Assessment of Educational Progress (NAEP) reading and mathematics assessment. Lastly, this study offers remedies for the current state of academic affairs for African Americans.
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Herrmann, Lee. "Totalitarian dynamics, colonial history, and modernity: the US south after the Civil War." Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/664247.
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Los Afro-americanos han experimentado condiciones comparables a las de los estados más a menudo etiquetados totalitario en el trabajo forzoso y la política económica y la exclusión racial. Estas características de los totalitarismos derivan de prácticas más amplias en el
núcleo o euroamericana "primer mundo", remontándose hasta el descubrimiento del Nuevo Mundo y su posterior peripheralización, extendido luego al mundo colonizado, que es el proceso de la primera revolución industrial y la creación histórica de la modernidad. La raza debe ser entendida como el efecto de la explotación laboral exterminationist colonial, no es la causa, en el sentido histórico. La causa es el desarrollo económico, que es el resultado inevitable de la captación de nuevos recursos mundiales. Esta misma perspectiva de largo plazo es necesaria para contextualizar correctamente los totalitarismos históricamente; en el vocabulario de Wallerstein del modelo núcleo-periferia, estas estados europeos semi-periféricos utilizan las técnicas desarrolladas por el núcleo y los aplicó a su propio desarrollo. El antisemitismo nazi se deriva de la anti-"black"
el racismo que se desarrolló a través de la experiencia de explotación colonial. Los bolcheviques utilizó el trabajo forzoso para intentar construir un estado moderno moderno siguientes blueprints desarrollista (incluso una forma de representación política moderna).
El sur de los Estados Unidos, comenzando con la reconstrucción el reconocimiento de los Afro-americanos como ciudadanos, es un sitio donde el trabajo forzoso de la industrialización y el racismo exterminationist del poder político son muy firmemente expresada, y en el país "libre" más políticamente "desarollado." Teorías del totalitarismo y la academia institucionalizada más generalmente no han podido abordar estos paralelos históricos o enfocarse en la conexión material entre la modernidad y la exclusión política racista y la explotación económica, en favor de una teología de la "libertad" que ignora la realidad de la supremacía blanca como el control económico y político de la maestría.
Metodología: Las condiciones materiales y el trabajo forzoso en el URSS y en el sur de EEUU del sur, y las contingencias históricas que influyen en las decisiones de los actores históricos, se comparan, por ejemplo, las tasas de mortalidad en los gulag campamentos y en lugares de trabajo de Mississippi y Alabama de presos negros. El racismo biológico, especialmente su atención médica y cientificista, se remonta a la experiencia colonial, especialmente en el sur de Estados Unidos. Estos elementos estructurales de la modernidad colonial puede ser rastreado y analizado en las fuentes, es decir, los textos, mediante continuidades y convenciones texto-lingüísticas del discurso, por una parte, y a través de la verdadera historia de los acontecimientos pop la otra. El modelo del desarrollo utilizado es generalmente el de teoría World-System, pero desde una perspectiva más empírica que teórica y una con un enfoque en peripheralización como relación impuesta por el poder.Black Americans experienced a level of repression comparable to that in the states most often called totalitarian in Gulag forced labor and Nazi racial exterminationism. These features of the totalitarianisms derive from broader practices in the Euro-American core or "first world," going back to the discovery of the New World and its subsequent peripheralization, later extending to the colonized globe, which is the process of the first industrial revolution and the historical creation of modernity. Race must be understood as the effect of exterminationist colonial labor exploitation, not the cause, in the historical sense. The cause is economic development, which is the inevitable result of the sequestration of New World resources. This very long-term point of view is necessary to properly contextualize the totalitarianisms historically; in the vocabulary of Wallerstein's core-periphery model, these semi-peripheral European states used the techniques developed by the core and applied them to their own development up to core status (or Great Powers). Nazi antisemitism is derivative of the anti-"black racism that developed through he experience of colonial exploitation. The Bolsheviks used forced labor to try and build a modern state following modern developmentalist blueprints (including modern political representation). The United States South, starting with the Reconstruction recognition of African-Americans as citizens, is a site where the forced labor of industrialization and exterminationist racism of political power are very strongly expressed, and in the most politically "advanced," "free" country. Theories of totalitarianism and institutionalized academia more generally have failed to address these historical parallels or the material connection between democratized modernity and racist political exclusion and economic exploitation, in favor of a teleology of "freedom" that ignores the reality of white supremacy as economic control and political mastery. Methodology: The material conditions of Soviet and Southern forced labor and the historical contingencies influencing the decisions of historical actors are compared, for example the death rates in Gulag camps and Mississippi and Alabama black prisoner-labor sites. Biological racism, especially its scientistic and medical emphasis, is traced through the colonial experience, especially the American South (with archival sources), to the Holocaust. These structural elements of settler- colonial modernity can be traced and analyzed in the sources, that is, the texts, by means of text- linguistic continuities and discourse conventions on the one hand, and through the real history of events on the other. The developmentalist model being used is generally that of World-System theory, but from an empirical rather than a theoretical perspective and with a focus on peripheralization as a relationship imposed by power.
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Savoie, Tracy Ann. "Cosmopolitanism and Twentieth-Century American Modernism: Writing Intercultural Relationships through the Trope of Interracial Romance." Miami University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=miami1217981585.
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Van, Robbroeck Lize. "Writing white on black : modernism as discursive paradigm in South African writing on modern Black art." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.
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Saraiva, Sueli da Silva. "A experiência do tempo em dois romances africanos: Um rio chamado tempo, uma casa chamada terra e Mãe, materno mar." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-09022009-103839/.
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Nossa pesquisa teve como objeto de estudo os romances Mãe, materno mar (2001), do angolano Boaventura Cardoso (1944-), e Um rio chamado tempo, uma casa chamada terra (2003), do moçambicano Mia Couto (António Emílio Leite Couto [1955-]). O estudo centrou-se na análise comparativa dos dois romances, procurando desvendar, através da forma, as estratégias empregadas na construção temporal de suas narrativas, e a capacidade de as mesmas refletirem e iluminarem o conflito modernidade versus tradição na experiência social onde as obras se produziram. E, conseqüentemente, apontar o quanto tais estratégias revelam das peculiaridades do gênero romanesco em sua versão africana. Para embasar a hipótese do tempo como elemento-chave em nosso estudo, elegemos alguns recursos teóricos e interpretativos de Norbert Elias, Paul Ricoeur e Leda Martins, além das contribuições gerais da crítica literária africana e africanista.The object of our study are the novels Mãe, materno mar (2001) by the Angolan writer Boaventura Cardoso (1944-), and Um rio chamado tempo, uma casa chamada terra (2003) by the Mozambiquean writer Mia Couto (António Emílio Leite Couto [1955-]). The research focuses upon a comparative analysis of these novels by pointing to the strategies applied to temporal constructions into these narratives, as well as their capacity of reflecting and illuminating the conflict between modernity versus tradition in the social experience where these works have been produced. And therefore, to discover how such strategies would reveal the peculiarities of the genre novel in its African version. In order to base the hypothesis of \"time\" as a key-element in our study, we elected some theoretical and interpretative resources from Norbert Elias, Paul Ricoeur, and Leda Martins; as well as general contributions from African and Africanist literary criticism.
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Rani, Maxwell Xolani. "Lost meaning-new traditions : an investigation into the effects of modernity on African social traditional dance in Nyanga, Cape Town." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/11155.
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Includes bibliographical references.The dancers of Nyanga have taken note of the extent to which modernity has caused them to adjust and transform the movement quality and execution of their dances to create new urban African social dances. In addition, the urban dancers' experiences in the field have affected and influenced their craft. These perspectives have served as a point of departure for a re-evaluation of the role and predicaments of African social traditional dance in an urban environment, with specific reference to Nyanga township and raises questions around the manner in which modern agencies such as Christianity, education, multimedia, fashion and geography influence South African social traditional dance.
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Silva, Luciane da 1977. "Trilhas e tramas : percursos insuspeitos dos tecidos industrializados do continente africano : a experiencia da Africa Oriental." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279145.
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Orientador: Omar Ribeiro ThomazDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Partindo da premissa de que o uso dos tecidos constitui-se em forma complexa de comunicação sócio cultural, esta dissertação intenta, por meio da cultura material, refletida no tema tecidos industrializados, levantar evidências teóricas que nos levem a perceber de que maneira os panos podem revelar processos que implicam na construção de identidades das populações africanas. O entendimento dos simbolismos das formas materiais é fundamental para a interpretação das culturas. A percepção do efeito do mundo material nas interações sociais nos leva a captar evidências e entrelinhas de relações e criações, trazendo à tona formas de pertencimento desencadeadas pelos usos específicos dos objetos. Na intersecção da África com contextos transnacionais os tecidos atuam como articuladores das percepções de gênero, geração, etnicidade, filiação política e nacional. A realidade do uso dos têxteis em África é algo peculiar. No vestuário especificamente, o pano que cobre o corpo é também palavra, portador de mensagens sociais. Ao contextualizarmos os tecidos às organizações sociais específicas e compreendê-los dentro de processos de interação, percebemos formas inusitadas de diálogos e embates com as realidades sócio culturais , provando que a criatividade e a mudança são partes constitutivas da tradição e que a cultura material é capaz de proporcionar a criação e a re-criação de papéis sociais.
Abstract: Taking part from the premise that the use of textiles constitutes a complex means of sociocultural communication, this dissertation intends, by means of the cultural material reflected in the theme of industrialized textiles, to bring to light theoretical evidence that helps us understand the way in which these cloths can reveal the processes implicated in the construction of identity of African populations. Understanding of the symbolism of the material forms is fundamental for the interpretation of culture. The perception of the effect of the material world on social interactions pushes us to collect both evident and subtle aspects of relations and creations bringing up ways of belonging unlocked by the specific uses of the objects. In the intersection of Africa and transnational contexts, textiles act as articulators of perceptions of gender, generation, ethnicity and national and political affiliation. The reality of the use of textiles in Africa is something peculiar. Specifically in terms of attire, the cloth that covers the body is also word, carrier of social messages. In contextualizing textiles within specific social organizations and understanding them as part of processes of interaction, we perceive surprising forms of dialogue and clashes with sociocultural realities, demonstrating that creativity and change are constitutive parts of tradition, and that material culture is capable of affording the creation and recreation of social roles.
Mestrado
Mestre em Antropologia Social
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Wafula, Magdaline N. "‘Tradition’ versus ‘modernity’: generational conflict in Vuta n'Kuvute, Kufa Kuzikana, Msimu wa Vipepeo and Tumaini." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-90642.
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The paper focuses on generational conflicts as depicted in four Swahili novels namely: Vuta N’kuvute, Kufa Kuzikana, Msimu wa Vipepeo and Tumaini. Generational conflicts depicted in the novels are seen as a contest between tradition and modernity when viewed against the cultural changes that have taken place within the East African societies. Authors have dep-loyed narrative voice and focalization narrative techniques to communicate the implied au-thor’s ideological stance on the notions of tradition and modernity in respect to the conflicting issues captured in each novel.
Section two highlights some postulations about the concepts of ‘modernity’ and ‘tradition’. The third section discusses the concepts of generation and generational conflicts while the fourth focuses on narrative voice and focalization as the narrative strategies that reveal gene-rational conflicts portrayed in the four novels. The final section is the conclusion relating the ideological stance of the implied author in relation to the concepts of modernity and tradition.
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Piper, Eleanor. "A Transnational Reading of My Heart Will Cross this Ocean, The Dark Child, and Ambiguous Adventure." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1367415367.
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Wafula, Magdaline N. "‘Tradition’ versus ‘modernity’: generational conflict in Vuta n'Kuvute, Kufa Kuzikana, Msimu wa Vipepeo and Tumaini." Swahili Forum 18 (2011), S. 135-162, 2011. https://ul.qucosa.de/id/qucosa%3A11470.
Full textAbstract:
The paper focuses on generational conflicts as depicted in four Swahili novels namely: Vuta N’kuvute, Kufa Kuzikana, Msimu wa Vipepeo and Tumaini. Generational conflicts depicted in the novels are seen as a contest between tradition and modernity when viewed against the cultural changes that have taken place within the East African societies. Authors have dep-loyed narrative voice and focalization narrative techniques to communicate the implied au-thor’s ideological stance on the notions of tradition and modernity in respect to the conflicting issues captured in each novel.
Section two highlights some postulations about the concepts of ‘modernity’ and ‘tradition’. The third section discusses the concepts of generation and generational conflicts while the fourth focuses on narrative voice and focalization as the narrative strategies that reveal gene-rational conflicts portrayed in the four novels. The final section is the conclusion relating the ideological stance of the implied author in relation to the concepts of modernity and tradition.