Дисертації з теми "African modernity"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 дисертацій для дослідження на тему "African modernity".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте дисертації для різних дисциплін та оформлюйте правильно вашу бібліографію.
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.
Повний текст джерелаTamalet, 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.
Повний текст джерелаTitle from first page of PDF file (viewed July 21, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 234-252).
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.
Повний текст джерелаLazenby, Nicola. "Afterlives: resurrecting the South African border war." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/12031.
Повний текст джерела[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.
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.
Повний текст джерелаMirmotahari, 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.
Повний текст джерелаThoma, 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.
Повний текст джерелаThis 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'.
Bin, Karubi Kikaya. "The modernity of Bantu traditional values: testing the invariance hypothesis." Thesis, Boston University, 1989. https://hdl.handle.net/2144/32778.
Повний текст джерелаThis 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.
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.
Повний текст джерелаBrooks, 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.
Повний текст джерелаThis 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.
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.
Повний текст джерелаHerrmann, 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.
Повний текст джерелаBlack 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.
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.
Повний текст джерелаENGLISH 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.
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.
Повний текст джерелаThe 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.
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.
Повний текст джерелаWafula, 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.
Повний текст джерелаWafula, 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.
Повний текст джерелаNgowet, Luc. "Les fondements théoriques de la modernité politique africaine : essai de phénoménologie politique." Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC337.
Повний текст джерелаAny 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
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/.
Повний текст джерелаThe 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.
Wagner, Madison. "La modernité tunisienne dévoilée : une étude autour de la femme célibataire." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1368.
Повний текст джерелаNoah, 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.
Повний текст джерелаWirz, Albert, Klaus Hock, Roman Loimeier, Sonia Abun-Nasr, Rainer Alsheimer, Henry C. Jatti Bredekamp, and Andrea Schultze. "Transculturation: Mission and Modernity in Africa." Universität Leipzig, 2003. https://ul.qucosa.de/id/qucosa%3A34429.
Повний текст джерелаGreenfield-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.
Повний текст джерелаMurray, 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.
Повний текст джерелаSilva, 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.
Повний текст джерелаDissertação (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
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.
Повний текст джерелаCoordenação 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
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.
Повний текст джерелаThis 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.
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.
Повний текст джерелаMade 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.
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.
Повний текст джерелаThe 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
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.
Повний текст джерелаMbollé, 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.
Повний текст джерелаModernity 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
Nimonte, Bêtiboutinè Georges Malkiel. "Le droit pénal africain sous tensions : entre tradition et modernité." Thesis, Perpignan, 2019. http://www.theses.fr/2019PERP0007.
Повний текст джерелаBy 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
West, Laura Elizabeth. ""The Negro Experiment": Black Modernity and Liberia, 1883-1910." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/32399.
Повний текст джерелаMaster of Arts
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.
Повний текст джерелаObasi, 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.
Повний текст джерелаHållen, 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.
Повний текст джерелаOkezie, 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.
Повний текст джерелаHester-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.
Повний текст джерелаPowell, 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.
Повний текст джерелаThis 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.
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.
Повний текст джерелаPh.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
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.
Повний текст джерелаENGLISH 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
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.
Повний текст джерелаBirch, 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.
Повний текст джерелаRoy 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.
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.
Повний текст джерелаIngle, 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.
Повний текст джерелаThe 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.
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.
Повний текст джерелаGALLI, 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.
Повний текст джерелаWright, 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.
Повний текст джерелаMoldram, 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.
Повний текст джерелаChevrier, Jacques. "Williams Sassine, un écrivain africain au carrefour du mythe et de la modernité." Paris 12, 1992. http://www.theses.fr/1992PA120008.
Повний текст джерелаThe 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