Дисертації: "African modernity"

1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

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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13

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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14

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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15

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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16

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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17

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.

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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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18

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 spécificité Any 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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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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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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Noah, Onana Godefroy. "Tradition et modernité, quel modèle pour l’Afrique ? Une étude du concept tradition dans ses rapports avec la modernité des Lumières jusqu’à l’époque contemporaine." Thesis, Paris Est, 2012. http://www.theses.fr/2012PEST0022/document.

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Wirz, Albert, Klaus Hock, Roman Loimeier, et al. "Transculturation: Mission and Modernity in Africa." Universität Leipzig, 2003. https://ul.qucosa.de/id/qucosa%3A34429.

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This volume is a collection of papers dealing with cultural interaction between Europe and Africa resulting from missionary activity in Africa. The main focus is on the premises and impact of Protestant missionary work, both in Africa and in Europe, but one paper deals with similar processes in Islam.

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Greenfield-Liebst, Michelle. "Livelihood and status struggles in the mission stations of the Universities' Mission to Central Africa (UMCA), north-eastern Tanzania and Zanzibar, 1864-1926." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/270105.

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This thesis is about the social, political, and economic interactions that took place in and around the Universities’ Mission to Central Africa (UMCA) in two very different regions: north-eastern Tanzania and Zanzibar. The mission was for much of the period a space in which people could – often inventively – make a living through education, employment, and patronage. Indeed, particularly in the period preceding British colonial rule, most Christians were mission employees (usually teachers) and their families. Being Christian was, in one sense, a livelihood. In this era before the British altered the political economy, education had only limited appeal, while the teaching profession was not highly esteemed by Africans, although it offered some teachers the security and status of a regular income. From the 1860s to the 1910s, the UMCA did not offer clear trajectories for most of the Africans interacting with it in search of a better life. Markers of coastal sophistication, such as clothing or Swahili fluency, had greater social currency, while the coast remained a prime source of paid employment, often preferable to conditions offered by the mission. By the end of the period, Christians were at a social and economic advantage by virtue of their access to formal institutional education. This was a major shift and schooling became an obvious trajectory for future employment and economic mobility. Converts, many of whom came from marginal social backgrounds, sought to overcome a heritage of exploitative social relations and to redraw the field for the negotiation of dependency to their advantage. However, as this thesis shows, the mission also contributed to new sets of exploitative social relations in a hierarchy of work and education.

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Murray, Noëleen. "Architectural modernism and apartheid modernity in South Africa a critical inquiry into the work of architect and urban designer Roelof Uytenbogaardt, 1960-2009." Doctoral thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/11183.

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Roelof Sarel Uytenbogaardt who died in 1998 was, and remains, an important and influential figure in the disciplines of architecture and urban design in South Africa. As a prolific practitioner and academic at the University of Cape Town his influence has been far-reaching. Making use of previously unexamined archival material, this study examines - in detail - the extent of this influence. Importantly the thesis seeks to situate Uytenbogaardt’s work in relation to the rise of apartheid and speculates about the persistence of modernism in contemporary spatial practice. Through examining both the conception and reception of Uytenbogaardt’s buildings and urban plans, the work locates modernist approaches to design prevalent in architecture and urban design as products of apartheid modernity. The controversial and contested nature of Uytenbogaardt’s works provides space for critical analysis and this is evident in the uneven reception of his projects. Architects and urban designers revere him as a ‘master’ while pubic sentiment has very often been strongly negative. This is most strikingly evident in the case of the recent proposed destruction of one of Uytenbogaardt’s most controversial works, the Werdmuller Centre. Constructed in the 1970s after forced removals in Cape Town’s suburb of Claremont, since 2007 architects and urban designers have argued passionately for its retention as an example of ‘timeless’ modernist heritage. Through this and other examples, the thesis explores the complexities presented by professional practice in architecture and urban design in the context of designing buildings for designated publics under apartheid. It argues that the work of practitioners and academics such as Uytenbogaardt is intimately linked to the social crisis of apartheid and that the resultant relationship is one of the complex and interrelated crises of modernist design that persist in post-apartheid South Africa.

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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 Thomaz Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas Made available in DSpace on 2018-08-12T06:18:42Z (GMT). No. of bitstreams: 1 Silva_Lucianeda_M.pdf: 2397447 bytes, checksum: 06291cf53022bd6ae929960c11e0aa0f (MD5) Previous issue date: 2008 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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Gonçalves, Cecília Maria Ferreira. "Mensageiras entre o mundo da tradição e o da contemporaneidade: as mulheres negras do candomblé." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/13087.

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Made available in DSpace on 2016-04-27T19:31:55Z (GMT). No. of bitstreams: 1 Cecilia Maria Ferreira Goncalves.pdf: 2806648 bytes, checksum: 03178b5af75b84a11de39344a8902e85 (MD5) Previous issue date: 2008-10-24 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior This essay almed at the identification of the African-Brazilian women who profess the Candomblé as narrators of a part the brazilian history, as well as presagers of a linked culture. The denomination of messengers between two worlds was granted to them as a consequence of their constant motion between tradition and contemporaneity. In the execution of the research for justifying the points discussed, theoretical discussions together with verbal sources were applied Esta dissertação visou identificar as mulheres negras praticantes do Candomblé como narradoras de parte da história do Brasil, bem como pressagiadoras de uma cultura hifenizada. A elas foi conferida a denominação de mensageiras entre dois mundos por transitarem com a mesma desenvoltura entre a tradição e a contemporaneidade. Na consecução da pesquisa para embasamento das questões discutidas, foi utilizada a discussão teórica aliada às fontes orais

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Mhlambi, Thokozani Ndumiso. "Early radio broadcasting in South Africa: culture, modernity & technology." Doctoral thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/17260.

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Includes bibliographical references This thesis tells the story of the events that led to a broadcasting culture in South Africa. It then proceeds to show how listeners were gradually brought into the radio community, notwithstanding all the prejudices of the time. Africans were the last ones to be considered for broadcasting, this was now in a time of crisis, during the Second World War. Through a look at the cultural landscape of the time, the thesis uncovers the making of radio in South Africa, and shows how this process of making was deeply contested, often with vexing contradictions in ideas about race, segregation and point of view. The thesis is useful to scholars of history, culture and, more importantly, of music, as it lays the necessary groundwork for in-depth explorations of music styles played and the African artists who grew out of broadcasting activities. In its appeal to a broader audience of literate and illiterate, it sparked the formation of a South African listening public. It also facilitated the presence and domestication of the radio-set within the African home. Radio could account for a whole world out there in the presence of one's home, therefore actively situating African listeners into a modern- global imaginary of listeners. By bringing news from faraway places nearer, radio was a new kind of colonial modern encounter as it sought to redefine the nature of the local. The thesis therefore understands broadcasting as part of those technological legacies through which, in line with V Y Mudimbe (1988: xi), "African worlds have been established as realities for knowledge." Technology therefore appears as a recurring theme throughout this thesis. The primary material was gathered using archival methods. In the absence of an audio archive of recordings of the early broadcasts, the thesis relies to a large extent on written resources and interviews.

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Ghirello, B?rbara Campidelli. "Negros e brancos: identidade e territ?rio em Campinas (1888-1956)." Pontif?cia Universidade Cat?lica de Campinas, 2018. http://tede.bibliotecadigital.puc-campinas.edu.br:8080/jspui/handle/tede/1096.

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Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2018-05-07T13:57:39Z No. of bitstreams: 1 BARBARA CAMPIDELLI GHIRELLO.pdf: 4896677 bytes, checksum: fe6880c1a0abec4ce6c3cd5407d12961 (MD5) Made available in DSpace on 2018-05-07T13:57:39Z (GMT). No. of bitstreams: 1 BARBARA CAMPIDELLI GHIRELLO.pdf: 4896677 bytes, checksum: fe6880c1a0abec4ce6c3cd5407d12961 (MD5) Previous issue date: 2018-01-20 Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES The present work aimed to investigate the spatial location of the population and the black culture in Campinas-SP between 1888 and 1956 and to analyze the urban interventions carried out in the period, identifying its disciplinary and authoritarian character. With the aim of making african ancestrality visible in the history of the city and deconstructing the idea of inevitability and political neutrality related to the consolidation of urban space and the growth of cities, the research aimed to contribute to recent studies on the importance of african matrix culture and to debate the thoughts behind the brazilian territoriality, especially in Campinas city. The research was based on bibliographic, cartographic, iconographic and journalistic documentation, urban legislation and cartography analyzes, through which it was found that euro-brazilian culture and identity, with its sense of domination and power, imposed itself and coerced afro-brazilian culture and identity, giving birth to a urban environment marked by the white identity and the invisibility not only of blackness but also of any other possibility of urban scenery, other than that established in the imaginary of this city. O presente trabalho desejou investigar a localiza??o espacial da popula??o e da cultura negra em Campinas-SP entre os anos 1888 e 1956 e analisar as interven??es urbanas realizadas no per?odo, identificando seu car?ter disciplinador e autorit?rio. Com os objetivos de visibilizar a ancestralidade africana na hist?ria da cidade e de desconstruir a ideia de inevitabilidade e de neutralidade pol?tica relacionada ? consolida??o do espa?o urbano e ao crescimento das cidades, a pesquisa pretendeu contribuir com os estudos recentes sobre a import?ncia da cultura de matriz africana e levantar debate acerca dos pensamentos por tr?s da territorialidade brasileira e, em especial, da cidade de Campinas. A pesquisa se pautou em analises bibliogr?ficas, cartogr?ficas, iconogr?ficas, de legisla??o urban?stica, de documenta??o jornal?stica, e constru??o de cartografias, atrav?s das quais se constatou que a cultura e identidade euro-brasileira, com seu senso de domina??o e poder, neste per?odo, se imp?s e coagiu a cultura e identidade afro-brasileira, fazendo nascer um ambiente urbano campineiro marcado pela identidade branca dos bar?es do caf? e pela invisibiliza??o n?o s? da negritude mas tamb?m de qualquer outra possibilidade de cen?rio urbano, que n?o aquele estabelecido no imagin?rio desta cidade.

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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'écrivain The 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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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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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 cinéma Modernity 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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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 Africain By 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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33

West, Laura Elizabeth. ""The Negro Experiment": Black Modernity and Liberia, 1883-1910." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/32399.

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This thesis explores the notion of "black modernity" in the context of the Liberia at the turn of the twentieth century. Despite Liberia's recognition by the international community as a sovereign nation, Liberia fell subject to the imperial ploys of the European powers in the Scramble for Africa. Americo-Liberians, the governing elite of Liberia, toiled to preserve Liberia's status as an autonomous nation and the only self-governed black republic in Africa. This thesis examines the complexities of Liberia's sovereignty crisis, highlighting the ways in which Americo-Liberians used methods of "modernity" for their own purposes. Using Liberia as a case study, this thesis argues that the concept of "black modernity" hinges on contextual factors such as the plight of the people, pending circumstances, power structures, and understanding of self in relation to these variables. Americo-Liberians, unlike most black people at this time, were protected from race-based oppression by the state. Thus, when Liberia's sovereignty was in jeopardy, Americo-Liberians diligently fought to ensure that the Republic of Liberia maintained its sovereignty by using methods of colonialism and diplomacy. While these methods mirrored those of the European imperialists, Americo-Liberians employed these methods to preserve Liberia and, accordingly, challenge the prevailing notions of black inferiority. Master of Arts

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34

Obasi, Solomon Okezie. "Evangelisation and modernity cultural issues as missiological imperative in Ecclesia in Africa." Hamburg Kovač, 2002. http://www.verlagdrkovac.de/978-3-8300-3526-8.htm.

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35

Obasi, Solomon Okezie. "Evangelisation and modernity : cultural issues as missiological imperative in "ecclesia in Africa" /." Hamburg : Verlag Dr. Kovač, 2008. http://www.verlagdrkovac.de/978-3-8300-3526-8.htm.

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36

Hållen, Nicklas. "Travelling objects : modernity and materiality in British Colonial travel literature about Africa." Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-46365.

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This study examines the functions of objects in a selection of British colonial travel accounts about Africa. The works discussed were published between 1863 and 1908 and include travelogues by John Hanning Speke, Verney Lovett Cameron, Henry Morton Stanley, Mary Henrietta Kingsley, Ewart Scott Grogan, Mary Hall and Constance Larymore. The author argues that objects are deeply involved in the construction of pre-modern and modern spheres that the travelling subject moves between. The objects in the travel accounts are studied in relation to a contextual background of Victorian commodity and object culture, epitomised by the 1851 Great Exhibition and the birth of the modern anthropological museum. The four analysis chapters investigate the roles of objects in ethnographical and geographical writing, in ideological discussions about the transformative powers of colonial trade, and in narratives about the arrival of the book in the colonial periphery. As the analysis shows, however, objects tend not to behave as they are expected to do. Instead of marking temporal differences, descriptions of objects are typically unstable and riddled with contradictions and foreground the ambivalence that characterises colonial literature.

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Okezie, Obasi Solomon. "Evangelisation and modernity : cultural issues as missiological imperative in "Ecclesia in Africa /." Hamburg : Dr. Kovač, 2008. http://catalogue.bnf.fr/ark:/12148/cb41342478g.

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38

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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39

Powell, Catherine. "Meditations on culture, land, and memory in the drama of the new South Africa." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/10593.

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Includes bibliographical references (leaves 101-107). This work deals with the current state of the South African theatre; it focuses primarily on 'white' theatre: scripted plays with a single author produced for mainstream South African and international theatres. This study examines the historical, political, and social forces that have brought about a period of pronounced turmoil in the post-apartheid South African theatre; it then explores how particular playwrights have engaged with key crisis points in their society. This dissertation focuses on four plays, one from the late 1980s - Pieter-Dirk Uys' Just Like Home' and three from the first decade of the 21st century: Lara Foot's Reach, Craig Higginson's Dream of the Dog, and John Kani's Nothing But the Truth. Other plays are drawn on briefly for comparison. The theme of the study is 'places' of whiteness, as it explores how, in the new South Africa, identities are shaped by different ideas of place: temporal, cultural, and physical. Key questions arise from each of these places. Debates about land, public versus private identities, the right to belong, guilt and forgiveness, and reconciliation across cultural boundaries are addressed, if not fully resolved, in all of the plays under discussion. The study is divided into four chapters. The first chapter provides historical background for the works under discussion, highlighting the debates currently taking place about the state of South African arts and culture. It then lays out theoretical frameworks that will be useful for analyzing these plays, in particular Peter Brook's discussion of the deadly theatre, Bertolt Brecht's aesthetic models, and Raymond Williams' analysis of subjunctive dramaturgy. The second chapter compares Uys' play, which displays the exhaustion of struggle theatre aesthetics, with Foot's work, which seeks to find a new, post-apartheid 'aesthetic of the ordinary.' By doing so, Foot's work posits a model of reconciliation through care that, although flawed, is nonetheless worthy of analysis. The third chapter turns to Higginson's and Kani's plays. Drawing parallels with the work of the Truth and Reconciliation Commission, this chapter explores questions of guilt, memory, and forgiveness; this provides a foundation for a further exploration of the redefining of identities in the new South Africa. The final chapter highlights the strengths and weaknesses of all four plays, each of which is only partially successful as a dramatic work. While emphasizing the contributions of all four plays to the task of building the new South Africa, this chapter also outlines the work that remains to be done in the South African theatre and suggests possible ways forward for later generations of theatre artists.

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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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Dance Ph.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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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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42

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 - DLit Roy 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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Stephen, Michael F. "Between tradition and modernity : politics and citizenship of the Swazi land community." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296108.

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Ingle, M. K. "Prospects for tourism as a catalyst for development in South Africa." Journal for New Generation Sciences, Vol 7, Issue 1: Central University of Technology, Free State, Bloemfontein, 2009. http://hdl.handle.net/11462/518.

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Published Article The potential for tourism to contribute to development in South Africa has been enthusiastically embraced by the government and by many scholars. This article examines tourism from two perspectives 'Tourism First' and 'Development First' and tries to reconcile each of these modes with developmental dictates. A number of obstacles to the realisation of the developmental potential of tourism are identified. The inherent tensions between traditionalism and tourism, as an expression of modernity, are explored. It is concluded that, although the tourism industry is an excellent generator of positive economic multipliers, it does not readily lend itself to functioning as a 'lead sector' for development.

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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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47

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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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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Moldram, Timothy Neil. "Treading the diverse paths of modernity : theorising ethnicity and nationalism in twentieth century southern Africa." Thesis, University of Bristol, 1997. http://hdl.handle.net/1983/453edf23-5be5-4a77-bd3b-c2f1ac81a2af.

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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'humanite The 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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