O romance Les soleils des Indépendances, de Ahmadou Kourouma suscitou inúmeros estudos críticos desde sua publicação, em 1968, pelas Presses Universitaires du Canada. A despeito da orientação temática ou ideológica dos autores, o romance negro-africano reflete, freqüentemente, os conflitos gerados pela imposição da cultura européia. Os estudos relativos à primeira incursão de Kourouma na literatura apontam, em geral, a introdução de estruturas lógico-cognitivas do pensamento malinké na língua francesa como a efetiva inovação do autor, marcando assim, uma nova orientação na literatura africana. Propondo uma outra via de interpretação à tendência crítica de reforçar os conflitos entre as culturas africana e ocidental, a presente pesquisa tem por objetivo analisar as estruturas de ruptura estética e temática do romance a fim de mostrar como a passagem da tradição à modernidade leva o indivíduo a reorganização de sua identidade. As análises mostraram que, em contraposição à recusa de Fama, personagem principal, em negociar suas pertenças culturais, sua primeira esposa, Salimata, torna-se um exemplo da transculturação, integrando em sua vida quotidiana elementos da modernidade sem, contudo, renunciar ao ideal feminino tradicional. Além dessa composição binária, Papillon, em sua rápida e leve participação na trama, encarna, de maneira subliminar, um traço atribuído por Zygmunt Bauman à modernidade tardia, ou seja, a fluidez dos laços sociais e afetivos dos contatos breves. / The novel Les soleils des Indépendances, written by Ahmadou Kourouma engendered a number of criticism studies since its publication in 1968 by the Presses Universitaires du Canada. In spite of the authors\'s thematic or ideological orientation, the black African novel frequently reveals the conflicts generated by the imposed European culture. Most of the studies concerning the first published work of Kourouma underline the introduction of logicalcognitive structures of the Malinké thinking within the French language, representing an effective innovation from this author that marked a new orientation of the African literature. Proposing a new analysis for \"Les soleils des Indépendances\" to the criticism tendency that reinforce the conflicts between the African and Occidental cultures, the present research, evaluated the disrupture of aesthetic and thematic structures, showing how the route from tradition to modernity, takes the individual to re-organize its identity. This work also showed that, in contrast with the refusal of Fama, main character of the novel, to trade his cultural identification, his first wife, Salimata, becomes an example of transculturation, by integrating elements of modernity in her life, without renouncing, however, to the traditional feminine ideals. Besides this binary composition, Papillon, in his fast and shallow participation at the novel, incarnates, in a subliminal manner, an aspect attributed by Zygmunt Bauman to the post-modernity, i.e., the fluidity of the social and affective bonds, characteristics from the ephemeral relationships.

Memória da Cultura, textos constantes e textos excluídos pelo esquecimento. A memória do sonho como a primeira obra de ficção jamais criada pelo homem. O sonho enquanto embrião narrativo de fábulas. Cânones, mecanismos culturais de controle. A performance da palavra. A movência das narrativas orais. O projeto poético e a rede intersemiótica de criação. Inconsciente coletivo, matizes arquetípicos e o mar como metáfora da metáfora do manancial das fábulas imemoriais. / The memory of culture, constant texts versus excluded texts, fables doomed to be forgotten. Remembering dreams as the first work of fiction ever created by mankind. Dreaming as telling tales. Standards as cultural controlling devices. Words as performances. Travelling through oral folktales. Poets and their artistic approach to life, plus the intersemiotic net for art creation. Unconscious collective, archetypical blending of nuances and the sea as the universal metaphor of the everlasting source of long forgotten fables.

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2016-06-16T23:48:33Z No. of bitstreams: 1 BOI ROUBADO - UMA TRADICAO DO TRABALHO EM FESTA NA REGIAO SISALEIRA.pdf: 2882711 bytes, checksum: 71c70bf32cd7c9343ac03f0d55779409 (MD5) / Made available in DSpace on 2016-06-16T23:48:33Z (GMT). No. of bitstreams: 1 BOI ROUBADO - UMA TRADICAO DO TRABALHO EM FESTA NA REGIAO SISALEIRA.pdf: 2882711 bytes, checksum: 71c70bf32cd7c9343ac03f0d55779409 (MD5) Previous issue date: 2015-04-28 / The dissertation entitled Stolen Boi: a party in labor tradition in sisal region studies the cultural expression of Bahia sisal region called Stolen Boi. It consists of a playful collective expression held in Sisal territory communities, integrating agricultural work, songs, dances, performers and linguistic elements and the presence of rituals and to man the way and the peasant woman. The choice of this theme grew out of curiosity to understand the symbology of a group of Stolen Boi, as well as its impact and contribution to the strengthening of sisal culture. To mount the analysis corpus, consisting of the work songs and the performative elements, the methodological procedures of Oral History, Anthropology and Ethnography, passing by the theories of memory and cultural hybridity were used. Without ignoring the traditional folklore studies (Camara Cascudo), contemporary scholars, like Alcoforado (1989, 1990, 2008), Anderson (2009), Bauman (2005) and Canclini (2008), Paul Zumthor (1993, 1997, 2007), give support to the text. Throughout this trodden path sought to show that since the pioneering work by the current approaches to culture, much progress has been made in relation to the theoretical and methodological apparatus that area. In this sense, another aspect becomes relevant: contemporary studies seek to promote the various languages and demonstrations that are in the cultural text, moving away from the disappearance of fear of the traditions surrounding folklorists and made them believe in redemption through the registry (ALBUQUERQUE J?NIOR, 2007). How is ratified in all the work, traditions (re)invent (HOBSBAWM, 1997) so that the man, as a producer and historical agent, maintain and reframes the culture of your community. This dynamic inherent in the traditions and culture demands more attention to the researcher's speech and the specificities of each social group, as well as greater flexibility and adequacy of theories and tools of study. / A disserta??o intitulada Boi Roubado: uma tradi??o de trabalho em festa na regi?o sisaleira estuda a express?o cultural da regi?o sisaleira baiana denominada Boi Roubado. Consiste em uma express?o coletiva l?dica realizada nas comunidades do territ?rio do Sisal (Valente, S?o Domingos, Ichu, Candeal e Serrinha), que integra trabalho agr?cola, cantigas, dan?as, elementos perform?ticos e lingu?sticos e a presen?a de rituais bem ao modo do homem e da mulher camponesa. A escolha por esse tema originou-se da curiosidade em compreender as simbologias de um grupo de Boi Roubado, bem como sua repercuss?o e contribui??o para o fortalecimento da cultura sisaleira. Para montar o corpus de an?lise, constitu?do pelos cantos de trabalho e pelos elementos perform?ticos, foram utilizados os procedimentos metodol?gicos da Hist?ria Oral, da Antropologia e da Etnografia, perpassando pelas teorias acerca da mem?ria e do hibridismo cultural. Sem ignorar os estudos folcl?ricos tradicionais (C?mara Cascudo), os estudiosos contempor?neos, a exemplo de Alcoforado (1989, 1990, 2008), Anderson (2009), Bauman (2005) e Canclini (2008), Paul Zumthor (1993, 1997, 2007) oferecem sustenta??o ao texto. Em todo esse percurso trilhado buscou-se demonstrar que desde os trabalhos pioneiros at? os estudos atuais sobre a cultura, muito se avan?ou em rela??o ao aparato te?rico e metodol?gico dessa ?rea. Nesse sentido, outro aspecto ganha relev?ncia: os estudos contempor?neos buscam favorecer as diversas linguagens e manifesta??es que se encontram no texto cultural, distanciando-se do receio de desaparecimento das tradi??es que cercava os folcloristas e os faziam crer no resgate por meio do registro (ALBUQUERQUE J?NIOR, 2007). Como ? ratificado em todo o trabalho, as tradi??es se (re)inventam (HOBSBAWN, 1997) de modo que o homem, enquanto produtor e agente hist?rico, mant?m e ressignifica a cultura de sua comunidade. Essa din?mica inerente ?s tradi??es e ? cultura demanda mais aten??o ao discurso do pesquisador e ?s especificidades de cada grupo social, al?m de maior flexibilidade e adequa??o das teorias e instrumentos de estudo.

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Ccna [ʃ:na], est une poésie féminine traditionnelle kabyle chantée publiquement lors des fêtes de mariages dans la région d’Ighil n Zekri de Tizi-Ouzou en Algérie. Elle traite essentiellement de la condition socio-affective de la composante féminine des communautés villageoises. Bien qu’elle s’apparente à d’autres types poétiques relevant de la tradition orale kabyle, cette poésie possède des spécificités propres et une originalité expressive, tant du point de vue de son contexte de performance que du point de vue des fonctions qu’elle assure au sein des sociétés productrices. En effet, les cérémonies de ccna donnent lieu à la production d’un espace virtuel de communication et de gestion des conflits qui mérite indéniablement une étude approfondie. Ce projet de recherche est construit autour d’un corpus traduit et annoté, son étude implique nécessairement une approche, à la fois proprement littéraire des textes et anthropologique (acteurs, conditions de création, diffusion et réception). / Ccna [ʃ:na], is a female traditional Kabylian poem sung publicly at weddings in the area of Ighil n Zekri in Tizi-Ouzou, Algeria. It mainly deals with women’s socio-emotional conditions in rural communities. Although it is similar to other poetic types in the kabylian oral tradition, this poetry has specificities and a meaningful originality, from the point of view of its performance context as well as from the functions it ensures within the producing societies. Indeed, ccna ceremonies lead to the creation of a virtual space of communication and conflict management that deserves an in-depth study. This research project is built around a corpus translated and annotated, its study necessarily implies an approach, both literary of the texts and anthropological (actors, conditions of the creation, dissemination and reception).

Bibliography: pages 259-274. / In this thesis I examine the way in which Xhosa speakers create humour, what forms (e.g. satire, irony, punning, parody) they favour in both oral and textual literature, and the genres in which these forms are delivered and executed. The functions of Xhosa humour, both during and after apartheid, are examined, as is its role in challenging, contesting and reaffirming traditional notions of society and culture. The particular techniques Xhosa comedians and comic writers use in order to elicit humour are explored with specific reference to the way in which the phonological complexity of this language is exploited for humorous effect. Oral literature sources include collections of praise poems, folktales and proverbs, while anecdotal humour is drawn from recent interviews conducted with domestic workers. My analysis of humour in literary texts initially focuses on the classic works of G.B. Sinxo and S.M. Burns-Ncamashe, and then goes on to refer to contemporary works such as those of P.T. Mtuze. The study on the techniques of Xhosa humour uses as its theoretical base Walter Nash's The language of humour (1985), while that on the functions of Xhosa humour owes much to the work of sociologists such as Michael Mulkay and Chris Powell and George E.C. Paton. The study reveals the fact that Xhosa oral humour is personal and playful - at times obscene - but can also be critical. In texts it explores the comedy of characters as well as the irony of socio-political realities. In both oral and textual discourses the phonology, morphology, syntax and semantics of Xhosa are exploited to create a humour which is richly patterned and finely crafted. In South Africa humour often served to liberate people from the oppressive atmosphere of apartheid. At the same time humour has always had a stabilizing role in Xhosa cultural life, providing a means of controlling deviants and misfits.

Bibliography: pages 58-62. / This study focuses on stories of witchcraft within the Batlokwa - a sub-group of the Northern Sotho community living in the northern Transvaal. Having grown up in this society where witchcraft beliefs are predominant, my fears, as a child, of witches were very real. In later life I have attempted to ignore these fears. However, I do not think they will ever disappear entirely, as I will never be able to extricate myself from my origins. This experience of the dangerous witch is one of the reasons that compelled me to respond pictorially to some of these perceptions for the purpose of highlighting the concerns of ordinary people and the extent to which they have been affected by belief in witchcraft. My paintings are a translation of real and unreal incidents fused together producing a visual narrative.

Magister Artium - MA / I read representations of Sojourner Truth in her Spiritual Narrative, The Narrative of Sojourner Truth with a focus on the portrayal of her unconventional character, through a close analysis of language, structure, photographs and narrative voice. Truth’s editor Olive Gilbert’s raises questions about whether the daguerreotype offers a more accurate form of representation than text. I explore the similarities and differences between visual and written portraits in representations of Truth as a unique figure. I question critical readings of Sojourner Truth’s dress in photographs as conservative, reading instead for a combination of conservative and subversive elements. I suggest that her interest in aesthetic forms such as dress and décor is symbolic of her yearning for home, her heritage, her agency, and unique taste. Her many references to her family indicate that she was more than just an empowered figure, but also one who still grieved. I read Truth’s description of domestic space as representing ambivalently, both her sense of loss, and her attempts to acquire agency. I consider how Truth attempts to recreate a sense of family and belonging through fragments of memory. In my reading of how she questions and extends conventional notions of family and community, I explore how she adapts and includes song, and quotations from the Bible in her sermons, by drawing on elements of African folktale and music. Most critics focus on Truth’s strong voice as an activist, there is little attention to the significance of spiritual solitude for her reimagining of community. I suggest that Truth offers alternative ideas of community as fluid rather than as fixed in one place. I explore how her ideas challenge the notion of nation as exclusive. I consider the genre of The Narrative by analyzing Olive Gilbert’s role as editor and writer. I propose that her role in The Narrative is a more complex one than suggested by critics, as it challenges conventional concepts of autobiography creating a conversation between two voices and lives.

A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts. Johannesburg, 1993. / This dissertation examines the work of Bessie Head with a view to sophisticating prevailing understandings of her texts which tend to concentrate on Head's place in a tradition of African women writers. Current critical works emphasise selected aspects, of Head's biography and assume her presentation of the 'tradition' and 'orality' of Serowe to be accurate. We argue in this dissertation that Head has constructed and manipulated concepts of 'tradition' and 'orality' in her texts to suit both her intellectual concerns and her fictional intentions. Broadly these are to present her works as the recorded history of an 'oral African' society. Head's six novels as well as aspects of her letters and interviews are examined in order to demonstrate this assertion. / AC2017

Writing has long been seen as a solitary affair, but this was not always the case. Before widespread literacy, stories were told and retold through the power of speech. Whole communities came together to weave tales and myths. Recently that tradition has been making a return to mainstream media with the renaissance of tabletop role-playing games, which serve as a standard vehicle for group collaboration. A Tale of the Terminally Fey is an attempt to reconcile the collaborative, off-the-cuff nature of oral storytelling with traditional narratives. The author has adapted the transcripts of live sessions into the first chapter of a novel that would follow the characters through one of these storytelling campaigns.