Tesis sobre el tema "Noir américain"
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Dahan, Patricia Irène. "Psychanalyse et film noir américain". Paris 3, 1988. http://www.theses.fr/1988PA030003.
One can that cinema, as any art, is a witness of its time in the sense that it reflects contemporary interests of its society. Considering that each period of time delivers a message, my work is an attempt to determine what type of message is conveyed by american film noir through an analysis of this cinema; its codes; archetypes; origins; economical, social and historical context. One of the processes chosen to higlight these films is psychoanalysis, as it enables the use of universal principles regarding the conscious unconscious functioning of the individual, between what is sent out (the director) and what is received (the audience). Because the drama each individual may experience in reality or fiction can be traced in the set up of these films. Another process of analysis is given by a recently developed science : semiology, which unites various parameters to organize the sense, it interests me as it integrates all that distinguishes a civilisation (economics, architecture, fashion,. . . ). My work aims at demonstrating in what way american film noir can reproduce and systematize some analytical concepts, determine which ones and why, and vulgarize them
Bindika, Germain. "Le roman noir américain et la famille". Paris 10, 1985. http://www.theses.fr/1985PA100120.
Loukam, Saba. "La morale de l'action dans le roman noir américain". Paris 4, 2003. http://www.theses.fr/2003PA040118.
By reducing the art of writing to a factual description of the world, the hard-boiled novel has created new ways of reading, and experiencing reading also leads the reader to new innumerable but limited sapces of interpretation, spaces in wich philosophical concepts, signs, images, anxiety and primary emotions are linked. Its vernacular and visual language which is based upon a realistic and sensitive apprehension of action, uncovers a rich array of moral reflections on the problems of justice, iddentity and the meaning of life and action. This study intends to show that the American hard-boiled novel does not only consist in a thematic presentation of tge morality of action but also in a representation of its modes of expression. I have thus chosen to propose a two-part analysis of the morality, the other one deals with the link between the hero's perception of reality and violence, and his hermeneutical and existential quest. The goal of my study is to demonstrate the improtance of such moral and stylistic concepts in the hard-boiled fiction, and also to analyse the way they are related in order to go beyond the general French critical stance wich considers the American hard-boiled novel solely as a realistic genre dealing with political or social issues
Martin, Florence. "La chanteuse de blues et le roman féminin noir américain contemporain". Paris 3, 1987. http://www.theses.fr/1987PA030109.
Classic blues recordings transcribe the expression of an oral tradition with the means of a written one. This tradition shows a continuity in form: from the african tribal epics or narratives to the work-songs, religious hymns or entertainment songs on american plantations, its songs have always been performed according to a precise musical structure and specific harmonic and rhythmic patterns allowing the soloist to improvise and the audience to participate in the performance. The artist of the twenties, promoted black show-business star, would use the traditionnal oratory devices of her group in her songs (e. G. Reiteration and double-entendre) and deliver a coded message only the initiated could understand. The development of mass culture killed the classic blues; its contents and language were too intimate, too specific for the multi-ethnic audience of the united states. The classic blues singer was no longer heard at the beginning of the thirties. Yet neither the ancestral tradition of black american women's oral transmission, nor the process of encoding -- inherent to the composition and performance of every song -- disappeared. Today, the black american woman novelist draws her inspiration from the classic blues singer and becomes in turn, the present-day incarnation of the spokeswoman or singing woman of her community. The stars of the twenties are revived in her works of fiction while she writes according to a system of codes, giving the access keys only to her attentive readers
Decottignies, Isabelle. "La mort dans le film noir américain classique (1940-1960)". Lille 3, 2005. http://www.theses.fr/2005LIL30035.
Donatien-Yssa, Patricia. ""Africobra" : esthétique et idéologie de l'expression plastique noire-américaine". Tours, 1995. http://www.theses.fr/1995TOUR2009.
Africobra, aesthetics and ideology of afro-american visual arts relates the evolution of painting and sculpture in the black community of the united states from slavery to 1960. It particularly insists on the aesthetic changes that took place during the Harlem renaissance and the revolutionary period of the 60's and 70's. This work examines the aesthetics and the ideology of the afro-american visual arts, essentially between the 60's and the 80’s. More precisely through the study of the works of the Africobra group, a group of then black artists who were deeply involved in the political struggle of the 60's and 70's and in the search for new aesthetic concepts. It also takes an active interest in the problem of the cultural identity and in the relation that exists between the ideological discourse and the pictural language, showing how the members of Africobra urged by their philosophical and political convictions have drawn from the afro-american and african traditions to create an art opened on contemporaneousness and reflecting their aesthetic aspirations
Crémieux, Anne. "Conditions de production et évolution thématique et esthétique du cinéma noir américain contemporain 1986-1997". Paris 10, 2002. http://www.theses.fr/2002PA100041.
By looking at a decade of African American directed films, this study encompasses a very diverse body of work. A fundamental hypothesis is that the power relations between the Black director and his or her investors, producers and distributors are a determinant factor of the content and style of the films produced. The first part is a historical survey of African American cinema. . . The second part looks at the revival of the "urban movie" in the early 90s. . . The third part focuses on independent Black cinema, which offers a space to African American filmmakers not fitting the Hollywood mold. . . The fourth part illustrates how certain Black filmmakers eventually convinced major producers to finance more diverse films while retaining artistic control, largely through presence of Black producers employed by Hollywood studios. .
Tsibah-Madzou, Norbert. "W. E. B. Du Bois : quête de la vérité : comment être noir et américain". Lyon 3, 1996. http://www.theses.fr/1996LYO31002.
Cariou, Gwennaëlle. ""Say it Loud !" : la création d'un contexte culturel noir à travers la fondation des musées africains américains". Paris 7, 2014. http://www.theses.fr/2014PA070037.
This thesis is examining the issues of the creation of a black cultural context in the USA through African-American museums founded during the second half of the 20th century. Those museums are the result of a long process within the black American community since the 19th century, at first with the establishment of a black culture (historical societies, art collections) which allowed then the creation of black exhibitions. Those exhibitions came out in a white dominating cultural context, especially with the setting of segregated exhibitions during national and international exhibitions in the USA, then with independent exhibitions. Those different exhibitions are the base of the first black museums founded in different American cities from the 1960s. The movement of creation of African American museums went on throughout the 20th century until today with the project of the National Museum of African American History and Culture scheduled to open in 2015. African American museums are presenting in a positive way the experience of African-Americans in the USA and their place in American history and culture. They are in general the only space in which this culture is displayed and show varied themes (sciences and techniques, art, religion, work) and historical periods (the Middle Passage and slavery, the Civil Rights movement)
Zabunyan, Elvan. "Une histoire des arts visuels afro-americains depuis les annees 1960". Paris, EHESS, 1999. http://www.theses.fr/1999EHES0A36.
The tradition of african american visual arts has developed in relation to a number of parameters linked to the place occupied by african american artistic practices as regards the social and art history of the united states from the end of the 19th century onwards. From the 1950s, african american artists began to incorporate elements of the social and cultural claims being made by the emerging political force of the civil rights movement into their artistic production. This became even more prevalent during the 1960s and 1970s as the history of the civil rights movement progressed. In order to establish an historical understanding of african american art up until the present it is necessary to consider several points: the affirmation of a cultural visibility through the constitution of an african american cultural identity; the desire to produce an authentic art in response to 20th century european art practices that drew sources from the so-called 'primitive arts' (pablo picasso for example); the desire to affirm the value of a visual culture considered for so long to be secondary in its reception to the african american music tradition. From the 1980s onwards, the debate in relation to multiculturalism has developed as an important current affair in the united states and the various research shows that marginalization may be turned back on itself, permitting the creation of an artistic form anchored in a perceptive observation of daily life. A stronger emphasis has been placed on the questioning of cultural identity. The notion of 'invisibility' and the wish to make it visible has contributed a great deal to african american visual arts over the last thirty years, notably in the use of the body in performance in the public and/or urban sphere, but also its representation as a principal artistic model in painting, sculpture
Zrann, Fatma. "La problématique identitaire dans la photographie noire américaine : de l'identité comme revendication communautaire à l'identité comme principe d'autonomie esthétique". Paris 7, 2010. http://www.theses.fr/2010PA070112.
This work is a reflection of the problem of identity in photographic and more generally pictorial production. It questions Black American photographers' works and the way they portray or mask the African American reality. My aim was to study the Black identity in the sense of the African identity or African origin asserted by Black Americans and the way contemporary artists deal with it, especially in the works of Black photographers. It looks at the past and present, using various and overlapping archived images, paintings, photographs and evidence, based on real, historical or imaginary events which give an in-depth, objective analysis of complex problems related to slavery, discrimination, the existence of a Black identity and the portrayal of African Americans and other minorities in the United States in general. In the end, it's a cultural study, which looks at how Black identity takes shape across very different works in which the photographer brings into play persona! motivations and common problems
Kane, Abdou Aziz. "Le leadership indépendant noir aux États-Unis (1980-1999) : perspectives et limites". Toulouse 2, 1999. http://www.theses.fr/1999TOU20095.
The contemporary independent black leadership in the USA appears as a new manifestation of the integration vs radicalism opposition which is characteristic of the historic attitude of the African-American minority. It is then a result of the lessons learnt from the disappointments which have accumulated in the past. Today, the question is not which of the two – integration or radicalism – is more effective, but whether the two should not be combined. From the 18th century, the struggle of Blacks for their liberation has gone through many developments. But, despite the many gains of the civil rights movement, integration is still not accomplished. And, facing the inability of the black leaders of the establishment (and that of the State) to find solutions to the serious problems of the black community, the "independent" black leadership, represented by the radicals Louis Farrakhan, Al Sharpton and Lenora Fulani, appeared at the beginning of the 1980's. This new kind of leadership tries to succeed there where the civil rights movement failed: the effective and durable improvement of the condition, of the black masses. But radicalism and independence have shown their limits, and today the question is whether the independent black leadership has perspectives which can allow Blacks, as a community, to improve their miserable condition. Reality shows that it has not. The intolerant and radical character of the independent leaders plus their lack of unity seem to be among the main reasons of their failure
Clary, Françoise. "Rebellion et sexualité dans le roman noir américain de Chester Himes à Hal Bennet". Paris 3, 1985. http://www.theses.fr/1985PA03A022.
Sanpere, Charlotte. "La désillusion dans le mélodrame et le film noir américain des années quarante et cinquante". Paris 3, 1994. http://www.theses.fr/1995PA030116.
This thesis is devoted to a socio-historical approach to cinema through a study of american film noir of the 1940s and 1950s, and of melodrama as a genre. The use by film noir of the melodramatic model is presented as a means of projecting a commentary, a point of view, which characterizes a set of meanings through which a society attempted to describe itself. Two specific qualities of film noire are singled out : its reference to a narrative genre (melodrama) and its expression of a particular feeling (disillusion). Melodrama is distinguished by multiple representations in time and space which remain linked to a specific formal core that determines its own relatively stable ideological content. Film noir, in using certain melodramatic figures and themes, assigns to them a different function. Disillusion is defined by freud, and allows two observation : the expression of a concept of the other (a relationship which is implied through the figure of the double and through repetition), and a specific disposition, created by the feeling of disillusion, toward belief
Freitas-Ekué, Franck. "Corps Black : généalogie d’une production et d’une valorisation marchande du corps noir sous l’industrialisation capitaliste". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080064.
Social advancement through sports or music - where the body is used as a selling argument - presents itself as one of the rare conceivable horizons for inner city black youth. This market valuation of bodies would be anecdotal if it weren’t for its resonance with a particular history of black otherness: namely that of the black body emerging as a commodity produced in the slave system. I intend here to present a genealogy of the commodification of black bodies between the 18th century and the end of the 20th century, that is between slavery and the post-industrial era. I analyze commodification as the actual condition required to access a form of emancipation. This analysis examines two antagonistic visions of black emancipation in the United States since the abolition of slavery (1865). The first is intended to be a critique of capitalism that is made possible by the reduction of black lives to a commodity-body. The second vision is about adherence to the values of the market economy, which implies a commodification of black otherness. The focus is furthermore directed toward a representation of African Americans and provides the principal models of emancipation for black working classes, including those located in continental France. At the heart of this study lies a fundamental tension: how to explain the terms under which Black domination was structured--the market valuation of bodies in a capitalist regime--also translate into a path for emancipation? In the end, is the body an impassable horizon of black existence? The answer to this problem anchors my thesis in a resolutely transdisciplinary approach at the crossroads of history, political theory, information and communication sciences
Guillaume, Isabelle. "Le personnage noir dans le cinéma américain : entre remise en question et rémanence des formes classiques". Paris 8, 2011. http://www.theses.fr/2011PA083975.
The subject matter of this doctoral work is the process by which black characters have become stereotypes in American cinema. The work shows how, very early on, American cinema, the first appearances of black people on screen gave rise to stereotypical black characters. The purpose of this work is to try and show that these very first caricatured, stereotypical, reductive and set images of black people have endured thereafter, in more or less varied forms, throughout American cinema’s history. The work is based on the five major stereotypical black figures listed by American historian Donald Bogle. The categories of stereotypes drawn by Bogle form the backbone of this work. Throughout the work, these black figures will be used as a benchmark to show that American cinema has both, tried to improve its portrayal of black characters while, at the same time, given in to the easy endless repetition of traditional figures. The aim of this dissertation being to provide an overview of black identity’s evolution in American cinema from the early days up until now, it will, therefore, focus on several genres, black and white actors and directors, and independent films, as well as films financed by Hollywood’s movie industry. By way of conclusion, the journey of black characters throughout this study is a long, arduous one. Inequalities remain. American audiences must, therefore, be wary of the persistence of classical representations of black characters, as such representations bring back ghost images that will continue to haunt American cinema for many years
Maury, Cristelle. ""He was some kind of a man" : les représentations de la masculinité dans le film noir américain, 1941-1958". Montpellier 3, 2008. http://www.theses.fr/2008MON30076.
The film noir protagonist has been a subject of research for an array of Anglo-American film scholars who have introduced the notion of anti-hero after coming to the conclusion that there was a crisis of masculinity. According to them, the consequences of the Second World War (the return of veterans, disillusion, and upheavals in American society) account for this crisis. However, film noir has its roots deeper in the history, literature and mythology of the United States: the winning of the West and the myth of the Frontier, the Great Depression, hard-boiled novels and earlier gangster films. It also takes from other genres such as the melodrama and the western. This multi-layered heritage has given birth to complex works that a Zeitgeist theory of film clearly does not suffice to explain. Indeed, formal and narrative analyses reveal that the crisis of masculinity is but one of the many components of representation. Most film noir protagonists are ordinary heroes whose roles do not come down to those of helpless victims. Three concepts could therefore summarise the representation of masculinity in film noir: heterogeneity, ambivalence, and hybridity
Issolah, Nacéra. "Le programme politique de Jesse Jackson de 1963 à 1984 : contribution à l'étude du discours politique noir-américain depuis les années 1960". Paris 13, 1996. http://www.theses.fr/1996PA131028.
This is the study of jesse jackson's political platform from his entry into the civil rights movement in 1963 till his presidential campaign in 1984. In order to understand his political thought better, it seemed necessary to show the influence exercised over him by some black leaders, especially martin luther king. Malcolm x and the black power theoricians. The historical study over twenty years enables us to understand better the historical moment jackson's campaign represented in black americans' political life. It enables us too, to a certain extent, to understand better the political evolution experienced by black americans during this period. For jackson embodied, successively, black americans' different attempts to enter into their country's political life. The first part deals with blacks' struggle to obtain their whole place in the american political system during these two decades. We analyse their fight for the voting right and their electoral participation ; their relations with the two major political parties and especially with the democratic party ; their different attempts to gain political independence and the means they chose to gain a greater influence in this field. The second part is dedicated to jackson : we analyse his political commitment from 1963 till 1984. This part enables us to see his evolution from the position of a civil rights leader, then a human rights advocate, to that of a presidential candidate. We analyse the influence of the civil rights movement and religion over his political thought and action, and his relation with the two major political parties. The third part deals with his presidential campaign. We analyse the reasons of his candidacy, then four aspects of his electoral campaign : its organization, his home and foreing policy platform, his constituency and his results at the democratic convention
Benabdellah-Pickel, Alia. "Un portrait géographique de la techno de Détroit : analyse du genre dans son contexte de naissance noir américain, et de sa diffusion mondiale". Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30021.
The main aim of my dissertation is to analyze Detroit techno and presents a geographical portrait of its diffusion, from Detroit to Europe (mostly the UK and Berlin) and back, in order to study the evolution of the musical genre at different scales and to highlight the whitening process it is a victim of. Thus, the problem statement relies on understanding how does techno perform a continuity and discontinuity within African American musical genres; and what are the spaces of diffusion of techno music in the world, particularly in Europe on a transatlantic scale? I am also studying the spaces of creation and diffusion of techno music in contemporary Detroit, once it came back from Europe, with a focus on Black Feminist critics which open the musical genre to a decolonizing process. Since techno uses few codes classically present in African American music and because mastering technology is usually perceived as the matter of the Western community, this music is perceived in the collective imagination as White music rather than Black, created in Berlin rather than intrinsically attached to Detroit. Thus, my argument is that techno music is an essential component of Detroit's sound and music environment and embodies the transatlantic hybridity. The fluidity of Techno echoes the fluidity of the Afrodiasporic identity described best by Paul Gilroy in his seminal book Black Atlantic (1993). Techno proves that the Black identity prefigures many elements of the post-modern identity and redefines the work of Du Bois on double consciousness (1903), and the work about the Afrodiasporic identity from Stuart Hall (1996) in the digital era. This body of theories also allows me to show how techno music is pursuing the tradition of coded music at the core of African American culture rather than rejecting it like Europeans media presenting it. My dissertation is structured by three main parts, themselves subdivided by 3 chapters: (1) State of the Art, (1.1) Theoretical and Historical Presentation of Detroit, (1.2) Black Atlantic and Geography of Black Music, (1.3) Sociocultural (radical, feminist) Geography; (2) A Geographical Portrait of Detroit Techno, (2.1) "Detroit is Techno city and techno is black", cultural and urban context of the pretechno decade in Detroit (2.2) Techno crossing the Atlantic, (2.3) From Berlin to Detroit, the return of techno to its homeland; (3) For a definition of Detroit techno, (3.1) Black Atlantic and Black music, is there a Black techno?, (3.2) The European Whitening/Economical Spoliation of Detroit techno, (3.3) The Detroit Techno scene and its local urban implications
TRIKI, DORRA. "L' écriture romanesque de Toni Morrison". Chambéry, 1997. http://www.theses.fr/1997CHAML001.
This dissertation deals with the writing techniques in Toni Morison’s six novels. First it applies to the division of the different sections of the text and its deep structure. This structure is depicted on the one hand, as a strategy alluding to "signification" and on the other hand as a mirror reflecting relationships between characters. This relationship, in turn, is considered as a path full of riddles and false tracks where sometimes linearity breaks out and the end remains open. Second, it shows the distinction between male's space and women's places. House, family and home all places, from a geagraphical stand point, are associated to an envionment proper to women as if these places aretheir stage of mobility. Whereas space of modernity, territories of "la grande migration" are supposed to be male's space. Still this study proves, with multiple examples from the novels, the possible discorder of the landmarks. Third, the framework and levels of times put up a theory of women's time and black time. In other words, the linear lived time and the cyclic one, including notions like return to origins, expansion of the temporal, call to memory the notion of transcending the past into the present. The name plays an important role in this study. It is presented as a broad hint to identity that is a sign of belonging to the group and anchored in the genealogy. But, at times, it appears as a parody of the christian symbolism or a mark of indetermination. Naming on the other hand goes beyond its role of power and becomes an indivisible part of the novel. The analysis of the narratives reveals the unequality of the narrators. In fact we find that, in jazz, the narrator is more present, more powerful and can also influence the reader's opinion. In jazz the narrator speaks and illustrates the artistic intrusions. Finally, the study speaks about creative expression, metaphor of working, the reccurents themes of "l'artiste manquée" and the collective expression of the community, including flight, creative expansion and the practice of oral communications (tales, chant, songs. . . ). Emphacising on the refusal of the "cliché" and "l’oeuvre ouverte", the conclusion leads to almost a constant use of the "differance" and to the coexistance of multiple meanings
Aurore, Agnès. "Hégémonie des stéréotypes racistes et stratégies de résistance dans trois séries télévisées américaines créées, écrites et produites par des femmes noires". Thesis, Antilles, 2020. http://www.theses.fr/2020ANTI0512.
African-American women have generally been stigmatized in their film and television performances. This stigma testifies their film and television performances. This stigma can be understood through the concepts of hegemomic ideology and violence symbolique (Bourdieu) that are at the origins of these representations. The roles of Black women on television have increased and varies, especially after the arrival of the series Scandal (Shonda Rhimes, 2012). This series has a Black woman as the main character. Her role is different from the traditional strereotypical roles and can be seen as a breakthrough in the depictions of Black women on screen. This series was created, written and produced by an African-American woman, Shonda Rhimes. Other similar series followed: being Mary Jane (Mara Brock Akil, 2013) and Insecure (Issa rae, 2016). They all have in common that they been created, written and produced by Black women. They use the same strategy of deconstruction od the stereotypes associated to Blackness, doing so they propose a reconstruction of the term. In all these series, there is a negociation of the American citizenship by the Black community in order to get out of the invisibility
Laurent-Audiat, Dominique. "La quête d'identité Africaine-Américaine, de l'émergence de la négritude à l'accession au Rêve Américain : "Not without laughter" Langston Hughes, "Jubilee" Margaret Walker, "The autobiography of Miss Jane Pittman" Ernest Gaines, "Dreams from my father" Barack Obama". Paris 13, 2010. http://www.theses.fr/2010PA131010.
For a long time African Americans have been confronted with a dilemma: how to exist in a society living in contradiction with the Principles of Liberty and Equality enunciated by the Founding Fathers, and how to affirm one‘s personal identity without disavowing one‘s community? This study analyzes, through literature, the long way from denial to recognition of the sacred and unalienable rights included in the Declaration of Independence. Not Without Laughter was published in 1930, at the height of the Harlem Renaissance. Jubilee and The Autobiography of Miss Jane Pittman were written during the second part of the twentieth century, when the Black Aesthetic movement was in vogue. Both literary movements are built on a racial pride that pervades the quest for identity of the heroes. The three novels illustrate the major stages of African American history. Barack Obama‘s autobiography, analyzed as a literary work, throws light on this study in presenting his own quest for identity at the end of the twentieth century: Dreams From My Father bears the burden of the past, but also contains the seed of change which allowed Barack Obama to reach the American Dream. Through its promise of equality, wealth and happiness, embodying the values of courage and work, this dream has developed individualism in the American society; while being inaccessible to the black people, it has developed a strong community link. This individual longing will be called ―personal identity‖, and the belonging to the community will be called ―collective identity. ‖ The African American quest for identity is constantly oscillating between these two poles, the prevalence of the one on the other reflecting historic and social evolution
Sayni, Kouamé. "L'identité afro-américaine et le rapport avec l'Afrique dans la fiction, de James Baldwin à Toni Morrison". Tours, 2004. http://www.theses.fr/2004TOUR2012.
What conditions are at the basis of the changes in African American fiction from the fifties to the late seventies affecting the portraiture of the black hero through the various narrative discourses ? What impacts did these conditions have on the quest of Black idendity ? In other words, does the passage from the "protest novel" to the "novel of memory" modify contemporary African American literary militantism [. . . . ]
Diarra, Amara. "Le nationalisme noir aux etats-unis et l'image de l'afrique dans la litterature afro-americaine contemporaine". Paris 3, 1987. http://www.theses.fr/1987PA030079.
We have been trying to show in this dissertation that africa has never ceased to have a major role to play in the history of blacks in the united states, as a cultural component which guarantees their specific identity in the first place, and in the second place, as a reference of nationality that they claim as openly as the refusal of their integration in the american mainstream is implacable. Their claim of membership of an african world has gone through the times, from the initial attempts to emigrate to africa to the recent and more realistic pan-africanist trend. But their endeavour to break away from the traditional integrationist feelings seems to have been painful and the identification with africa is often coupled with ambivalence as in the case of the novelists who very often remain dependant on the traditional euro-american cliches of the primitive african. This being one of the reasons why their image of africa seems less precise than the one presented in the poetry. Indeed, the black poets have developed a more coherent image of africa which evolves as follow: they have reasserted the value of the past of their african ancestors, glorified the beauty of blackness, before they can claim an african identity, as they feel and present the problems of nowadays africa as their own. This celebration of an african personality by the afro-american writers, though it may reveal some romanticism, cannot be disregarded as a temporary extravaganza, for its echo reaching as far as the african continent itself, has helped to re-establish the links of kinship which had been broken for a long time, leading the afro-americans through a major turning point in their long and painful search of an identity
Tiaya, Tiofack Prospere. "L'écriture musicale dans les oeuvres de Toni Morrison et de Léonora Miano". Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0245.
This thesis is based on the general assumption that Toni Morrison and Léonora Mian take as a starting point the Afro-American music in their work of writing, with particular methods and for quite precise objectives. If this field of the literary transposition of the Afro-American music has already caused a certain number of researches, it however has not yet been the object of a study of synthesis such as we consider it. By adopting the methodological approach of semiotics and comparative literature, the analysis is interested in the treatment of the musical loans by the two novelists, and in the convergences and the divergences which appear when the various contexts are taken into consideration. Divided into four parts, the analysis describe first the Afro-American literary tradition in whom the authors fit, before explaining the way in which the musical reference is mobilized in the development of the fiction, then in the treatment of the narrative voice and the narrative structure, and finally in the treatment of the language and the style of writing. This reveals that the literary transposition of the Afro-American music, particularly blues and jazz, involves a systematic renewal of the aesthetic of the novel, on the levels of the formal and generic categories, the symbolic dimension, the ideological aimings. The theme of identity, the deconstruction, the orality and the hybridity become the principal paradigms of a writing which becomes an act of resistance and subversion in response to oppression
Tchamitchian, Raphaëlle. "Dramaturgie / jazz. Le théâtre de Suzan-Lori Parks ˸ poétique et expérience créatrice". Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030038.
This dissertation in Theatre Studies aims to theorize the tension between “drama / jazz” through the works of African American playwright Suzan-Lori Parks. Born in 1963, Suzan- Lori Parks is as famous in the United States as she is little known in France. Informed by the memory of slavery and the African slave trade, her theatre dis(re)members History to reverse the dominant discourse, make a new story and provide reparation to the living and the dead. By approaching her writing through jazz, we take into account the “double consciousness” that is constitutive of her poetics, and the anthropological, historical and political issues it raises. In her theatre, jazz is not only a form of music, but also a way of looking at the world, a cluster of poetic conduits and an organic presence that sets the writing in motion from within. From this paradoxical presence/absence what emerges is not a model but instead a group of converging lines of flight. Liquidity and fugitivity appear to be key jazz-shaped elements of a poetics of mutability. This poetics is linked to the creative experience of the playwright, which in turn gives birth to a creative experience for the spectator during performance. In short, the task is to understand the ways jazz affects theatre to the point of producing a new kind of theatre
Djon, Ndoum Benoît-Pierre. "La stratégie d'implantation des banques américaines en Afrique noire". Paris 9, 1988. https://portail.bu.dauphine.fr/fileviewer/index.php?doc=1988PA090022.
This thesis is a contribution to the analysis of international banking direct investments with a reference to the implantation of many USA commercial banks in Africa during 1970's. On the light of the strategic groups theory of porter and caves, we have tried to show that American banks creating agencies in black Africa during 1970's set some fundamental options which traduce a behavior of a strategic group. If these options permit to USA commercial banks to eliminate some entry or exit barriers and to move as a group of banks, they repercussions on the competitive structure of the African banking systems were very low. The European banks (French, English) which were almost represented in Africa during the colonial period are still playing a predominant role on this market
Sy-Wonyu, Aïssatou. "L'image de l'Afrique chez les romancières noires américaines contemporaines". Paris 3, 1996. http://www.theses.fr/1996PA030191.
Africa is a constant feature of african-american literature. Contemporary african-american female novelists deal with the theme of africa in an original manner, both as a literary theme and as a functional element of their personal world construct. Through a selection of novels by barbara chaseriboud, paule marshall, toni morrison and alice walker, the following questions will be answered : what is the referential value of the representation of africa ? do contemporary female novelists passively imitate the representations stylized by their predecessors and a long tradition of ambivalent attitudes to africa ? is their literary craft a mere play on intertextuality and distanciation ? or must their representation of africa be considered as a tentative (re)definition of the african-americans' bond with africa and a an attempt to define new ways of being part of the diaspora ? in order to answer these questions, two rhetorical categories have been chosen as figurations of the bond with africa : the metonymy and the metaphor. The relationship between the african-americans and africa is metonymic in so far as black america is an extension of the motherland. That relationship is also metaphoric because it has to be explained and validated for contemporary uses. Consequently, contemporary female novelists have managed to cast a more critical view on africa, while, paradoxically harbouring the same cliches and stereotypes as their predecessors. But they also produce a general discourse on blacks and redefine their position in world history
Soumahoro, Maboula. "La couleur de Dieu ? Regards croisés sur la Nation d'Islam et le Rastafarisme, 1930-1950". Thesis, Tours, 2008. http://www.theses.fr/2008TOUR2009/document.
Using the analytical tool of the African diaspora and based on the historical context that immediately followed the activities of Marcus Garvey and the Universal Negro Improvement Association, this work delves into the contexts that gave rise to the American Nation of Islam and the Jamaican Rastafarianism. These two black nationalist expressions chose to launch their respective struggle for self-determination through religion. The Nation of Islam and Rastafarianism, through the discourse they have initially articulated, both raise fundamental questions regarding distinctive historical and social processes of racialization in the African diaspora of the Americas
Fortes, Lima César Augusto. "Tracing the genetic origin of african descendants from South America". Thesis, Toulouse 3, 2015. http://www.theses.fr/2015TOU30237/document.
Background The transatlantic slave trade, from the 15th to the 19th centuries, changed dramatically the demography of the Americas. Thousands of enslaved Africans managed to escape from the plantations of European colonizers, and formed independent African settlements of free people (or 'Marron'). Here, we study four Noir Marron communities from French Guiana and Surinam, as well as other populations with noteworthy African heritage in Brazil and Colombia, and West African populations in Benin, Ivory Coast, and Mali. To uncover different population histories, these populations were specifically characterized using different genetic markers based on 17 Y-STRs, 96 Y-SNPs, whole mtDNA genome, and genome-wide SNP data (4.5 million autosomal SNP). Results Paternally and maternally inherited DNA highlighted different patterns of sex-biased gene flow in both Afro-Brazilian and Afro-Colombian populations that suggest different preferential marriage behaviours. In sharp contrast, the Noir Marron communities presented the highest African ancestry in all genetic systems analysed (above 98%). These communities have apparently a null gene flow with non-African groups, and also present elevated inbreeding coefficients. In good agreement with linguistic studies, the Noir Marron communities showed a biogeographical ancestry associated with historical West African Kingdoms that existed in modern Benin during the slave trade. Afro-Colombians indicated genetic ancestry linked with the Gold Coast region. While Afro-Brazilian genetic ancestry was linked with the West Central African region, also supported by historical research. Conclusions This study provides specific genetic information in African Americans and thereby helps us to reconstruct broken links with their African past. The Noir Marron communities revealed a remarkably high African identity, which is still linked to Bight of Benin region. The Afro-Brazilian and Afro-Colombian populations present different demographic histories because of their different colonial pasts. Within an appropriate historical framework, genetic ancestry can add further understanding of ethnicity in African populations throughout the Atlantic world
Kekeh-Dika, Andrée-Anne. "Lieux et stratégies de résistance dans les discours romanesques de Gayl Jones, Paule Marshall, Toni Morrison, Alice Walker et Sherley Anne Williams". Paris 7, 1991. http://www.theses.fr/1991PA070067.
Le, Dantec-Lowry Hélène. "Familles noires et culture afro-américaine". Paris 7, 1987. http://www.theses.fr/1987PA070146.
This study examines domestic networks in the united states within a minority culture in white america. After a historiographic analysis, the author examines male-female relationships, child sociolization and the organisation of the black family, as well as its relations to two other black institutions : the church and the ghetto. The study was made in st louis, missouri, based on interviews with persons working among blacks or with members of the community itself varying in age, economic status and place of residence. The black family appears not only as an economic and social, but also cultural, unit at the center of american political and ideological debate; it reflects the relationships among blacks and with the wider society. There is not a single pattern but rather a variety of family types that change with class status and the level of integration into white america. This diversity may lead to conflicts and ambiguities within families. The black family is the center of acculturation but can also be the place where cultural specificities are preserved. It is within the family that social differences may occur, but also that blacks be reunited despite disparities as an increasing number are now integrating into the wider society while the entire group is still discriminated against. Domestic groups are also "lieux de memoire" in which blackness is expressed and reaffirmed
Tifnouti, Soumaya. "L'islam noir americain : identite et nationalisme". Paris 4, 1997. http://www.theses.fr/1997PA040045.
The purpose of this study is to analyse the role of islam as a religion and as an ideology in the black american community. Through a historical discussion of the rise and development of black american islam since slavery, we show the extent to which this religion has always been closely related to black nationalism in the united states. Also, through a field work in baltimore, maryland, we shed light on the psychological and social functions of islam in the black community. The last part of the study is devoted to an analysis of the ideological and political implications of louis farrakhan's nation of islam
Parent, Emmanuel. "Lore noir : contribution à une anthropologie du jazz et de la culture noire américaine depuis et à travers l'oeuvre de Ralph W. Ellison". Paris, EHESS, 2009. http://www.theses.fr/2009EHES0397.
Taking a principal source material the theoretical writings of Afro-American writer Ralph Waldo ellison (1913-1994), this thesis deals with jazz as a tool for a global anthropological understanding of XXth century Black culture. In this perspective, the thought of Ellison - considered as a native informant - is first put back in its biographical and intellectual context. The following paradox is then displayed: how did an exigent modernist, with a particular interest in Black music, come to refuse modern jazz's evolution after 1945? To try and solve this paradox, one must gather the author's whole cosmovision, in order to consider the conflicting relationship it entertains with certain key concepts of western aesthetics. The various elements of this cosmovision agglomerate around the concept of "Black lore", which is used to signify the incompressible modernity of the Black American condition. From a methodological point of view, one of the stakes of this thesis is to decompartmentalize jazz studies, to reunite them with popular music studies by updating Ellison's mid-century theoretical stance: a democratic focus on contemporary forms of vernacular culture
Kabous, Patricia. "John Edgar Wideman : au-delà de l'héritage". Bordeaux 3, 2011. http://www.theses.fr/2011BOR30042.
John Edgar Wideman is the author of a powerful, profound, unsettling and lyrical writings ranging from novels, essays to meditations. The present study examines how coming out of the African American tradition while contributing to its survival by way of celebrating its richness, John Edgar Wideman who is referred to as a–beyond heritage writer–reveals himself through empirical, creative and complex writings. This study points to the author’s life since its genesis as well as its structure, are entirely embedded with biographical insights about Wideman. The study then moves in depth into history in order to underline how its repeats itself, while at the same token points to the psychological trauma caused by the social slavery that African Americans are still undergoing in the twenty-first century as racism continues to shape American race relation. The persistent unsolved Black question gives tools to Wideman to focus on a very personal level upon the father/son race relation paradigm yet putting him in the collective history experienced by African Americans as it is related to race relation in America. This study further discusses the socio-political landscape without which Wideman’s writings would be non-existent. This study aims at generating a thoughtful analysis of the American society dysfunctions. Wideman’s fictional writings criticize and forcefully points to economic mechanisms, social exclusion and the alienation resulting from these social evils affecting and contributing to the decaying of the African American community. Wideman’s writing also discusses processes put into place to structure, idealize reality and account from a stylistic standpoint for a social and political reality by way of producing beauty effect and reading pleasure. The artistic work and the author’s unlimited writing experiments are unique and cannot be dissociated from their political and social dimensions. Wideman’s works examine a host of questions manely cultural survival, durability, racial paradigm, sexuality, historical trauma, incarceration system, family and the African American community. His writings also lay out unconventionnal questions that many among us would rather be consciously or unconsciously in denial of so as to disregard them
Weets, Tatiana. "L'oeuvre de John Wideman : une écriture de la clandestinité". Paris 3, 1998. http://www.theses.fr/1998PA030200.
John edgar wideman is the author of multilayered, complex texts. His novels, stories, memoirs and critical essays are characterised by the fluidity of their language and style which reflect a broad array of influences ranging from t. S. Eliot to past and present african-american writers as well as the blues. A most prominent influence is the author's past. The result is the creation of a very specific voice where lyricism and realism coexist. It is the creation of this personal idiom which has enabled wideman to reappropriate the stories of his community and to tell them in a language that does not betray them. The complexities of wideman's writing reveal his interest in literary experimentation but more fundamentally the necessity of a search for a form that will allow these stories, often verging on the unspeakable, to be spoken. These texts which mostly deal with testimony, memory and inheritance and which are thus profoundly personal nevertheless retain a collective value. In drawing from the most intimate wideman reaches the universal. This study of wideman's works as the writing of the unspeakable is threefold and relies mostly on the technique of close reading. It deals first with wideman's narrative choices and their opposition to what could be termed a narrative norm. My study then turns to the way in which the unspeakable and its metaphors inform these texts and finally with the links between loss, or absence, and writing. Ultimately this study concludes that if wideman's texts are so resistant to analysis it is largely because they attempt at recovering all that has been forgotten, at naming the nameless
Benson, Malika. "Étude sur le mouvement des Noirs américains musulmans". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ48134.pdf.
Bastien-Schmit, Sévrine. "La représentation de l'histoire africaine américaine dans les manuels scolaires du XXe siècle : une étude comparative de manuels d'histoire américains publiés entre 1930 et 1992". Paris 7, 1999. http://www.theses.fr/1999PA070071.
Chavanelle, Sylvie. "Mémoire individuelle et collective dans les romans de Gayl Jones, Paule Marshall, Toni Morrison, Gloria Naylor et Alice Walker". Paris 7, 1994. http://www.theses.fr/1994PA070054.
How individual and collective memory are intertwined. Names contain history, the history of an individual, an family, or a community. Female characters and the elders are the guardians of african-american memory, a memory that includes historical reality, myths and legdns, music, songs and dances, public and private rituals. The language reflcts an ethnic identity and cultural values. The places chosen by the novelists have a symbolic value. The narrative "refigures" time, highlighting various temporal schemes : chronological, "experienced", mythical, sacred, cyclical. The afro-american imagination is at work in the novels by jones, marshall, morrison, naylor and walker
Sylvanise, Frédéric. "L'idéologie des formes dans le parcours poétique de Langston Hughes". Paris 10, 2003. http://www.theses.fr/2003PA100133.
The African-American poet Langston Hughes (1902-1967) has produced a considerable poetic oeuvre. Taking part in the aesthetic moment of the Harlem Renaissance, he stands out by defending the African-American folklore against the upholders of a British tradition of making verse. In his first works, he draws his inspiration from the rhythms of blues and jazz music to compose his poems which make him the mouthpiece of the Black people. The anti-authority ideology of his work is inscribed in his formal choices as much as in the content of the poems which was barely disturbing at the time. Contrary to what he did in the 1920s, he uses the poetic form as a means of Bolshevik propaganda in the 1930s and 1940s. Finally, in his last works, published between 1951 and 1961, he revives the musical experimentations of the 1920s, but in a more complex manner, inherited from Modernist techniques. The influence of Hughes's formal research on other poets is undeniable, especially in the musical field
Dualé, Christine. "La réussite universitaire des noirs américains de New York city". Paris 3, 2004. http://www.theses.fr/2004PA030085.
Although we know much about the failure of Blacks at school, there is a significant lacunae concerning success at university and the reasons underlying this phenomenon. Many black students obtain excellent results and go on to receive diplomas at selective universities and colleges. How do they reach this level of excellence? In reality, the testimonies of black New-Yorkers show that parental and social environments have much impact on the future of black students. This is not to say, however, that either financial factors or the different programs available should be overlooked. Education and prosperity have provided Blacks with new opportunities, but it is still not possible to speak in terms of full integration. Blacks may well be more successful at university, but in which fields? Does their academic achievement occur within fields where they do not represent a threat for their white counterparts? Concerning their mobility, can Blacks in New York easily leave the ghetto to settle in other parts of the town? This study explores the image of Blacks within the press and illustrates how they continue to be objectified in relation to stereotypes that recycle terminology and images reminiscent of an earlier epoch in American history. It also argues that while black celebrities represent a reassuring group, the success they embody is neither the most representative nor the most accessible form of success for the majority of black students
Molon, Myriam. "Jean-Michel Basquiat : l'intronisation de la figure noire dans l'espace pictural américain". Paris 1, 1997. http://www.theses.fr/1997PA010559.
Our study is examining the hapax of the crowing of the black figure in the american pictorial scene. Jean-Michel Basquiat puts an end to the marginalization of the black in the fine arts and legitimates his pictorial re-presentation. We start with an essay of an iconographic typology that establishes the omnipresent motif of the black figure in basquiat's art. We then distinguish how the latter elaborates the subject of the work through academic genres of portrait and self-portrait and historic and moral painting. Basquiat's body of work articulates an artistic criticism of the eurocentric context that has therefore initiated the black's exclusion and stereotype and he claims relativism. Basquiat's design is to go against the academic models and thus be subversive. He masters the iconographical corpus of which we give the main iconological characteristics. Those components dictate the choice of the "trait figural". This technique aims to eradicate the relation to the skin which has long determined the representation of the black. Basquiat treats at the same time the manipulation and the detour around the artistic anatomy in order to expose the matrix which defines the new figurative model of the black. We further study the stylistic specifications of the black figure's picture. The morphological analysis shows the eclectic references. They split between low and high sources. Basquiat selects the cannibalization of signs, styles and genres that convey a new order for reading the picture. This hybrid form induces multi-culturalism and the mixing that determines the man of the third millennium. This existential mediation roots basquiat's theme squarely within a socio-cultural anthropological tradition and make his art meeting with life
Coquet, Cécile. "Le predicateur afro-americain et l'art du sermon : une poetique de l'election". Paris 7, 1998. http://www.theses.fr/1998PA070111.
The purpose of this study is to discuss the tradition of afro-american folk preaching as a form of oral/aural literature, considering it not only as a means of expression of a community, but also as a mode of communication between a man -the preacher, who is seen as inspired by the holy spirit-and his audience-the congregation, made up of already-converted "saints" and of "sinners" also, who are still to be converted. The aim of such an oratory art is inseparable from a number of religious definitions. The most crucial certainly is that of a divine election of each particular soul, be it that of a sinner or a saint, of a layman or a preacher, by god whose message of salvation is conveyed by the sermon as it works on spiritual regeneration ("new birth"). The first step in the investigation is an attempt at delineating historically the religious landscape in which this oratory is rooted, by explaining how the slaves assimilated and re-shaped certain tenets and rituals born during the great awakenings in the second half of the 18th century. The second is a discussion of a selection of typical folk sermons recorded in the 1950s. The point here is to grasp a sense of the temporal continuity and the consistency of spiritual preaching as it redefines the concepts of space, time, and assertion of self, for each of the participants in a sunday service. The third step is to further examine the nature of the link between preacher(s) and congregation(s), as this is the social and moral backstage of the sermon as oral literature. Finally, the scope widens with an analysis of the echoes of the art of folk sermon in a selection of poems, novels and plays from the harlem renaissance (1920s-1930s), as this was a period in which most authors believed afro-american folk religion was bound to die soon
Sylvanise, Vanessa. "Poétique de la dissimulation dans les œuvres de Toni Morrison et de Derek Walcott : différence et nouveauté dans la culture". Electronic Thesis or Diss., Paris 8, 2014. http://www.theses.fr/2014PA080033.
Toni Morrison and Derek Walcott, both English mother tongue writers from Afro-descendants, being part of the "black diaspora", are famous for the poetic analysis they propose about their history and their culture; the United States for Morrisson on the one hand, the Caribbean for Walcott on the other hand. However in their works, instead of the revelation and visibility standards, one can perceive a "no-power" to see culture along with a "no-power" to tell the history that gave birth to the cultural groups which are represented. Despite their poetic specificities, both give shape to the same poetics of dissimulation that puts the concept of culture into question submitting it to the secrets related to the history of slavery and colonialism that they both have in common. Shaking up the enonciation standards, using characters struck by the same ontological evil related to racial difference, both writings give shape poetically to the "black problem" enounced by Frantz Fanon and "say without saying while saying anyway" (Édouard Glissant) historical and cultural secrets that we share. As a performative poetics perturbing the linguistic and enunciative frontiers, the dissimulation produces the following questions: What does "black" mean, referring to a racial difference in English (black) as well as in French, but also in literature and within our context? How do we shift from a racial difference to a cultural difference? How is this difference produced? What does "diaspora" mean? How poetic works can renew culture when it appears problematic and negative from the very start?
Noël-Linnemer, Magali. "Le préférentialisme intra-racial dans la communauté noire américaine des origines à nos jours". Paris 8, 2001. http://www.theses.fr/2001PA081935.
Urbanowski, Anne. "Les Concepts de race et de classe dans les processus identificatoires des afro-américains : l' exemple de la bourgeoisie noire". Tours, 2004. http://www.theses.fr/2004TOUR2011.
Mahéo, Olivier. "« Divided we stand » ˸ tensions et clivages au sein des mouvements de libération noire, du New Deal au Black Power". Electronic Thesis or Diss., Sorbonne Paris Cité, 2018. https://books.openedition.org/pur/194642.
In this dissertation I hope to contribute to the criticism of the dominant narrative that has long been at the center of the historiography of the black liberation movement. Different consensus-building mechanisms, both external and internal to the movement, masked its tensions and tended to delineate it exclusively around race. This narrative artificially unified the black mi-nority by mostly obliterating the movement’s class divisions as well as the gender, generation-al, and spatial tensions, that existed prior to the 1960s, and by limiting its objectives to the demand for legal rights. Furthermore, McCarthyism and the triumph of the liberal consensus marginalized the black left and relegated women to the background while politically radical currents and the demands of women were also erased from the historical narrative. This nar-row vision of the black liberation movement was integrated into the US national narrative at the expense of the discordant voices of radicalization and Black Nationalism of the post-1966 era. This work adopts the perspective of a long civil rights movement by focusing on the con-tinuities that linked various generations, from the 1930s to the 1970s, thus going beyond the traditional and the spatial divides, which oppose an essentialized regional divide between North and South in the dominant narrative to focus instead on the diversity of local movements The sources used focus on autobiographies and on photography, making it possible to account for the differences in point of view between local activists and their national leaders, from the years of the New Deal to the Black Power era. Militant autobiographies constitute counter-narratives that challenge the master narrative and reveal political tensions and minority projects, including those of the black left; they also point to gendered, generational and spatial divides as well as to economic and feminist demands, and they show the international dimen-sion of the black liberation movement. Mainstream photography participated in the erasure of the tensions in the movement through the iconization of famous figures. Still, in spite of McCarthyism, the themes and ideas of the black left are visible through their own images. With such sources, this doctoral dissertation attempts to give voice to the anonymous leaders of the movement, to those whose ideas have been masked or distorted and whose testimony testifies to the complexity of a struggle where class, gender and race both concur and compete
Blec, Yannick. "Le Blafringo-Arumerican dans l’œuvre de William Melvin Kelley : l’afro-américanité entre concept et expérience vécue". Thesis, Paris Est, 2016. http://www.theses.fr/2016PESC0009.
Blackness is one of the keywords of the African American literature of the 1960s. It is to be read in each and every word that an Afro-American writer would put down on the paper. As a Black Arts Movement writer, William Melvin Kelley sets blackness forth in his works so that the black population can better struggle against segregation and other forms of racism. Yet, he does not only conceptualize the African American person by writing him or her up, but above all, he depicts them. For Kelley, the role of the author is primarily to show people, not disguised ideas resulting from some other black ideology. It is this pattern – the passage from a real world to a fictitious one, as well as to an ideological representation – that I will study in my dissertation. However, I am first going to note down the transformation in Kelley’s conduct toward race relations as he goes from the narrator to the activist. This change is to be seen in the difference that exists in the verve between his first novel and the last that was published. This renovation will also be linked to the recent direction taken by Kelley in his more recent writings. Phenomenology, Black existentialism, sociology and of course literature will be the bases for this dissertation. The analysis will insist on black existence as seen by William Melvin Kelley. The writer does not only act as a representative of black people, but as one who must help the “Africamerican understand the American society in order to improve his or her social and cultural position.”
Fossé, Noëmie. "Libération, délinquance et trafics en Seine-et-Oise : restrictions, consommation et marché noir des produits de l'U.S. Army (1944-1950)". Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010588.
At the Liberation, in circumstances of scarcity and restrictions, barter between civilians and American servicemen developed quite naturally. But the U.S. Army goods quickly became the object of illicit sales, mainly for cash. In Seine-et-Oise, during the first months of freedom, this economic phenomenon developed rapidly, facilitated by the installation of American troops and infrastructures as well as by the disillusionment that followed Liberation. In 1945, given the military, economic and social context, the expansion of black market traffic was sensational. Moreover, the gangsterization of relations between some civilians and servicemen and the inertia of Franco-American policing and French justice contributed significantly to this expansion. The professional and occasional traffickers stole, received stolen goods and dealt mainly in clothing, shoes, textiles, foodstuffs, gasoline or tires. With the redeployment of the American troops and the return of the free market, these convenience transactions lost their importance abruptly. The year 1946 marked the last surge of this illicit market. From 1947 to 1949, the traffickers saw the decline of black market traffic and the end of a golden era. Despite local misunderstandings and mutual antipathy, this traffic was phenomenally successful. The civilians and the American servicemen were aware that this opportunity would be brief. However, in 1950, in a very different economic context, the traffic in U.S. Army goods would reappear around the American military bases established as part of NATO
Sylvanise, Vanessa. "Poétique de la dissimulation dans les œuvres de Toni Morrison et de Derek Walcott : différence et nouveauté dans la culture". Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080033.
Toni Morrison and Derek Walcott, both English mother tongue writers from Afro-descendants, being part of the "black diaspora", are famous for the poetic analysis they propose about their history and their culture; the United States for Morrisson on the one hand, the Caribbean for Walcott on the other hand. However in their works, instead of the revelation and visibility standards, one can perceive a "no-power" to see culture along with a "no-power" to tell the history that gave birth to the cultural groups which are represented. Despite their poetic specificities, both give shape to the same poetics of dissimulation that puts the concept of culture into question submitting it to the secrets related to the history of slavery and colonialism that they both have in common. Shaking up the enonciation standards, using characters struck by the same ontological evil related to racial difference, both writings give shape poetically to the "black problem" enounced by Frantz Fanon and "say without saying while saying anyway" (Édouard Glissant) historical and cultural secrets that we share. As a performative poetics perturbing the linguistic and enunciative frontiers, the dissimulation produces the following questions: What does "black" mean, referring to a racial difference in English (black) as well as in French, but also in literature and within our context? How do we shift from a racial difference to a cultural difference? How is this difference produced? What does "diaspora" mean? How poetic works can renew culture when it appears problematic and negative from the very start?