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Дисертації з теми "Abidji (peuple d'Afrique) – Côte d'Ivoire – Rites et cérémonies"
Gnamba, Adou Pascal. "Etude psycho-sociologique et clinique du kpon dans la cérémonie du dipri chez les Abidji de Côte d'Ivoire." Lyon 2, 1991. http://www.theses.fr/1991LYO20026.
Повний текст джерелаKpon is a tension regulating phenomenon - one of the defense against collective, micro-grouping or individual frustration of the Abidji people. Through dipri in which it shows itself, kpon assumes a stabilising role within the personality of the followers. This ceremony of dipri is founded on reviving traditional myth and enabling evil miasma that accumulate in the community to disappear. Through it, the Abidji people affirme their unique real unity and go into trade with divinities which constitute their existance, protect them, give them security consciousness and confidence. Participation through observation, free discussion of conducted themes as well as the Rorschach enable us to maintain that dipri has the role of harnessing enguish and aggressive behaviours of its followers
Bouloré, Vincent. "Les masques baoulé dans la Côte-d'Ivoire centrale : (approches historique et stylistique comparées)." Paris 1, 1996. http://www.theses.fr/1996PA010525.
Повний текст джерелаThe Baule are famous for their masquerades and masks. Around 1700 migrations waves of Akan coming from Ghana arrived in central Ivory Coast, they integrated autochtonous, south-mande and senufo peoples, then creating baule culture. Contrary to the present non-Akan Baule's neighbors (guro, wan, yaure and senufo) wich form with them central Ivory Coast area the Akan usually do not have any masks. A brief analyze of the three baule masquerades (Goli, Bonu Amuen and Ngblo) and the ones of their neighbors shows formal and functional similarities. This thesis starts from the assumption that baule art has built-in on gradually from different sources and borrowings since the XVIIIe century during bade culture was developing. Its purpose is to comparatively understand how and when the style of the baule's masks has flourished, how can this style had becoming aesthetically and culturally independent from the other styles of central Ivory Coast. Comparisons take place in three ways: from the artistic context to the locating of the different relationships between Baule's masks and those of their neighbors', going through an analysis of forms. Regarding the colonialism statement that one style does correspond to one tribe, one must had created a more realistic an opening view of the African people and their art's styles. Thus after studying the formal meanings of the art works, searching and sometime discovering their own personal style (one of a specific artist), looking for the iconographic tendencies, one have tried to explore and go back to the routes of borrowings. By this way, we give an extremely contrastive and very complex spectrum of the stylistic relationships. Datings, as the evolutive account of the styles and their aesthetic characterizations -three themes who has been developed in conclusion- are very essential datas in history of art. In central Ivory Coast as in other areas of black Africa, history and styles, history and arts are undoubtedly linked. Also in order to analyze them there is an absolute necessity to recognize history of African art as a complete and genuine discipline this last aspect making up the ultimate topic of these research
Guiblehon, Bony. "Violence et séduction : la société des hommes-panthères chez les Wè (Côte d'Ivoire)." Paris, EPHE, 2004. http://www.theses.fr/2004EPHE5040.
Повний текст джерелаThis research outlines the world-vision of the Panthermen Society among the Wè (Ivory Coast) as organized in accordance with two underlying principles: violence and seduction. The thesis is composed of seven chapters. The first concerns the implantation and the diffusion of this secret society which developed in a context of inter- and intra-lineage conflict and matrimonial uncertainty. The second describes the internal composition of this society. The third studies the different versions of its founding myth. The fourth and fifth chapters are devoted to the initiatory process: initiation rituals in the bush on the one hand, and the celebration of the novices’ return on the other. The sixth chapter is concerned with the novices’ songs which speak of the hardships of their initiation and of the beauty of women. The seventh and last chapter deals with the antagonism that opposes the Panthermen and Protestant Christians. Violence and seduction are shown to be closely linked, violence being but the response to the seduction of others’ women. The Panthermen, while seducers themselves, present themselves as the defenders of matrimonial stability, fighting against adultery whenever other are involved. It is by integrating the violence of others that one can become non-violent, and it is by seducing that on can become an anti-seducer. This is this contradiction that underlines th Panthermen’s vision of the world
Bana, Jeanne. "Rituel du Séké chez les Akan lagunaires en Côte d’Ivoire : approche dramaturgique de l’exemple Krobou." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0552.
Повний текст джерелаThe study aims to offer a new perspective by deconstructing conventional analysises, which most often remain confined to conceptions of imaginary folklore. Through a dramaturgical analysis of séké tchédi, the ritual is resituated in its ethnological framework as a cultural, religious, and politcal phenomenon, and as playful, tension-relieving space. Multiple questions have enabled reflection on this dramaturgical approach: how does the séké tchédi reveal itself as a dramatic creation? What is the role of play and of lived experience? What creative representations may we establish between the dramatic arts and séké tchédi? In responding to these questions, we aim to shed light on relations between theater and ritual and their modes of theatrical transposition. Thus, dramaturgical analysis of séké tchédi acts as a springboard for grasping for grasping the ritual's nature as simultaneously sacred and profane, in which the unexpected exists complimentaryly with a certain mise-en-abîme. --In examining the different elements and theatrical techniques of séké tchédi, this study adheres to a plurality of approaches as well as to a relation on the social and dramaturgical aspects of séké tchédi. Through this research we attempt to show that the ritual is conceived and represented by the community and for the ccommunity. Aesthetically, it reveals itself as a collective creation, a drama through which life and death collide, a game both visible and invisible through which social rebalancing and confrontation of powers take place, a momentary restoration of links between human beings and the invisible
Blanchard, Catherine. "Les statues dites "Anyi de Krinjabo" dans la statuaire en terre cuite du quart sud-est de la Côte d'Ivoire : étude stylistique et historique." Paris 1, 1998. http://www.theses.fr/1998PA010692.
Повний текст джерелаThis stylistic and historical study of the statues called "Anyi de Krinjabo" is an attempt to reunite and give sense to a set of objects which have been cut off from their original environement and dispersed all over the world. The study focuses on a specific type of statues, the Mma Anyi, which are anthropomorphic funerary figures in terra cotta whose production was stopped at the turn of the century. It almost replaces them on a more general framework that of the traditional portraiture in terra cotta of the south-east of the ivory coast and the south-west of ghana. The "Krinjabo-Anyi" style does exist, it is a royal art found in the kingdom of sanwi whose capital is Krinjabo. But this traditional practice was also found in other population before the anyi's arrival in the region. Thus this art does not belong exclusively to the latter and it is not the trace of their cultural and political hegemony. It was whide-spread on the whole forest area of "Akan", it covers three centuries and offers a great variety of styles. The study is made up of an ethnographic part which describes how the information and the corpus were collected. A stylistic part which analyses the shapes and sizes of the figures. Two historical parts which set this tradition one in the local history, the other in the regional and the international history and questions their possible interactions and influences
Dogba, Ahidje. "La perte ou l'affaiblissement de l'identité socio-culturelle ancestrale de l’Afrique noire : exemple du groupe ethnique Dida : le cas précis de la région de Zikisso en Côte d'Ivoire." Paris 4, 2001. http://www.theses.fr/2000PA040278.
Повний текст джерелаKambou, Sié Daniel. "Le Joro et l'éducation à la foi : fonctions et enjeux d'une démarche d'initiation." Doctoral thesis, Université Laval, 2006. http://hdl.handle.net/20.500.11794/18470.
Повний текст джерелаBouttiaux, Anne-Marie. "La danse des hommes, la jubilation des esprits: masques guro de la région de Zuenoula, Côte d'Ivoire." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211693.
Повний текст джерелаM'bra, Jean-Claude. "Usages funéraires et mission de l'Eglise chez les Baoulés de Côte d'Ivoire : jalons pour une théologie thanatique africaine à la lumière de l'inculturation." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAK007.
Повний текст джерелаThe question of the celebration of Christian funerals in a context of dual religious affiliation among the Baoulés of Côte d'Ivoire obliges us to focus our reflection on the theology of the inculturation of faith. On reconsidering moreover the concept of dual affiliation, it can be argued that this notion becomes a requirement of inculturation understood as a "dramadialogy". It fits into a logic of dialogue between Christianity and Baoulé religious beliefs in the course of which the elements of the Baoulé culture die off to their non-values for a transfigurative resurrection. But at the same time, by welcoming this message, this culture enriches the heritage of the Church. The reappropriation of the Christian theological discourse on death and funeral rituals from a perspective of African sense is the peculiar feature of this theological construction which is also to be situated within the limits of this same semantic field of the process of inculturation seen as a "dramadialogy". We should not forget, however, to point out that this entire trajectory of inculturated thanatic theology, enlightened by the actuality of the paschal mystery, must also open up to the Pentecostal catholicity of the Church