The past is the prologue. We must understand where we have been before we can understand where we are going. To understand the Blackfoot Nation and how we have come to where we are today, this thesis examines our history through Indian eyes from time immemorial to the present, using traditional narratives, writings of early European explorers and personal experience. The oral tradition of the First Nations people was a multi-media means of communication. Similarly, this thesis uses the media of the written word and a series of paintings to convey the story of the Blackfoot people. This thesis provides background and support, from the artist’s perspective, for the paintings that tell the story of the Blackfoot people and the events that contributed to the downfall of the once-powerful Nation. With the knowledge of where we have been, we can learn how to move forward. / x, 153 leaves : col. ill. ; 29 cm

Résumé Cette thèse de doctorat porte sur le cinéma envisagé comme un agent de réappropriation culturelle pour les Premières Nations du Québec et les Inuit du Nunavut. De manière plus spécifique, nous avons cherché à comprendre comment les peuples autochtones et inuit se servent d’un médium contemporain pour prendre la parole, revendiquer leurs droits politiques et réécrire une histoire ayant été jusqu’à récemment racontée selon le point du vue de médiateurs externes. À cet effet, l’emprunt d’éléments propres aux méthodologies autochtones, autant dans la forme que dans le contenu, auront permis de faire ressortir un aspect particulier des cultures autochtones, soit la manifestation d’une pensée orale centrée autour de la notion du sacré. La première partie de cette recherche est ainsi consacrée à la théorisation d’un sacré autochtone omniprésent dans toutes les sphères de leur quotidien, et qui se transpose à l’écran sous la forme d’une esthétique particulière, que nous nommons esthétique du sacré. En outre, le visionnement et l’analyse de courts et de long-métrages autochtones et inuit ont fait ressortir avec force les principaux éléments d’une esthétique du sacré qui s’exprime entre autres à travers une éthique de travail privilégiant la collaboration communautaire et une écoute attentive de la parole de l’interlocuteur, ainsi qu’à travers la remédiation des récits issus de la tradition orale. Ainsi, l’exploration de l’œuvre documentaire d’Alanis Obomsawin met de l’avant l’importance du rôle joué par les femmes autochtones au sein de leurs communautés, celles-ci se présentant comme les principaux agents de changement et médiatrices de leur culture. Dans la même veine, l’étude du projet Wapikoni Mobile nous a permis d’esquisser un portrait nouveau de la jeunesse autochtone, les œuvres réalisées par ces cinéastes néophytes reflétant l’importance pour eux de réactualiser la tradition tout en nourrissant des liens de confiance avec leurs aînés, ces gardiens de la mémoire. Enfin, le dernier chapitre portant sur l’élaboration d’une nouvelle cinématographie inuit démontre comment le cinéma est un outil apte à traduire avec justesse les subtilités présentes dans les récits issus de la tradition orale. / This Ph.D. dissertation addresses the subject of First Nations and Inuit cinema, in Quebec and Nunavut. More specifically, we examine the role of cinema as an agent of cultural re-appropriation for Indigenous and Inuit communities, who have been using a western and contemporary medium to both claim their political and economic rights, and re-write a history that, until recently, has been told by external mediators. Therefore, choosing to borrow elements found in indigenous methodologies, will have allowed us to bring into light a particular aspect of First Nations cultures, i.e. the manifestation of an oral thought process centered on the notion of the sacred. The first part of this thesis is thus dedicated to the theorization of the sacred, a notion that is envisioned by the First Nations peoples as a way of life that can be transposed on-screen through what we chose to name the aesthetics of the sacred. Furthermore, the viewing and analysis of short and long-length films have allowed us to identify the principal elements of an aesthetic of the sacred that reveals itself in the work ethics of the filmmakers (participation of the community in the filmmaking process, attentive listening by the filmmakers of the person speaking) as well as in the remediation, on-screen, of oral tradition. Thereby, the exploration of Abénaquis filmmaker Alanis Obomsawin’s documentary films has put forward the importance of the role played by native women in their communities, the latter remaining the principal agents of cultural change as well as the mediators of their stories and cultures. In the same way, examining the contents of the short films produced by the young Wapikoni Mobile filmmakers has allowed us to discover new facets of native youth, the majority of those short films reflecting a desire to update tradition while building relationships based on trust with the elders of their community. Finally, the last chapter addressing the subject of Inuit cinematography, demonstrates how cinema presents itself as the medium most fit to translate accurately the subtleties found in stories hailing from oral tradition.

No description available.

Biblical and Ancient Studies / D. Litt. et Phil. (Semitic Languages)

A la limite entre le Cameroun et le Nigéria, la région du Faro est une zone d’extraordinaire diversité, tant du point de vue des populations que de la topographie. Pas moins de 13 groupes ethnolinguistiques y sont documentés, qui appartiennent à 3 grands ensembles linguistiques et se répartissent dans la plaine et les montagnes. Les données de la linguistique indiquent que les représentants des langues adamaoua seraient présents dans la plaine de la Bénoué et du Faro depuis environ quatre mille ans. Au niveau de l'ethnohistoire, on sait que les habitants des plaines sous soumis à l’autorité des Foulbé depuis deux siècles. Mais au delà de cette période, de nombreuses zones d'ombre demeurent. L’histoire des populations de cette partie du bassin de la Bénoué avant le 19ème siècle semblait donc hors d’atteinte, car la région du Faro restait vierge du point de vue archéologique. <p>Dans ce travail, j’apporte par le biais d'une approche historique et comparative des éléments susceptible d’expliquer, d’une part la complexité qui caractérise le peuplement du Faro et, d’autre part, la façon dont le peuplement de cette région a évolué au cours du dernier millénaire. Il est également question de faire progresser la réflexion méthodologique, en évaluant la façon dont les modèles obtenus par l’archéologie peuvent être confrontés avec ceux qui se basent sur les traditions orales, les éléments de la culture matérielle actuelle et la linguistique.<p>L’étude des traditions orales a permis de classer par ordre chronologique les éléments historiques importants et d’établir une histoire du peuplement durant ces derniers siècles. Elle confirme qu’il est possible de reconnaître des racines remontant au delà du 19ème siècle à la plupart des groupes qui peuplent encore la région aujourd’hui, ainsi que de nombreuses ruptures dans l’histoire du peuplement du Faro. Contrairement aux travaux antérieurs, la plus importante de ces fractures date du début du 19ème siècle, avec l’occupation des conquérants foulbé, qui ont provoqué l’insécurité généralisée, la division de la région en deux et les plus importantes déportations de populations des plaines vers les montagnes refuges.<p>L’approche archéologique a permis d’établir la première séquence chrono-culturelle du Faro au cours du dernier millénaire. Si la présence d’un peuplement ancien dans la plaine était envisagée, l’étude archéologique apporte la preuve que des communautés humaines vivent dans le Faro depuis environ 1000 ans. A partir du 15ème siècle, des modifications surviennent. Celles-ci se manifestent surtout par l’apparition d’une nouvelle poterie ornée au Blepharis sp. Lorsque l’on compare la carte de distribution des sites associés à cette céramique, au trajet suivi par les Bata, qui remontent le cours du Faro en implantant des villages et à l’aire d’extension des langues tchadiques au Faro, il semble plausible que de nouvelles populations occupent la région vers le milieu du dernier millénaire de notre ère. Pour le 19ème siècle bien documenté par les traditions orales, les données archéologiques viennent renforcer l’idée d’une profonde rupture durant cette période.<p>En abordant l’histoire du peuplement du Faro, il était nécessaire d’examiner le concept de l’ethnicité comme il est classiquement employé dans la région. D’une manière générale, l’étude conforte l’idée qu’il est très difficile d’aborder la profondeur historique des identités des groupes actuels.<p>La confrontation entre les faits des cultures vivantes et les résultats archéologiques a permis d’évaluer les potentialités de raisonnements historique et comparatif. On ne peut que constater, dans cet exemple concret, le grand intérêt qu’il y a à fonder la reconstitution du passé sur de multiples sources. <p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

Orientador: Anna Christina Bentes da Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-26T12:22:49Z (GMT). No. of bitstreams: 1 Goulart_Claudia_D.pdf: 2362444 bytes, checksum: 66898c7fa5e37eebef6809fa0abaf88b (MD5) Previous issue date: 2014 / Resumo: Esta tese tem como objetivo geral investigar como a diversidade e a variação linguísticas são tratadas no interior dos Livros Didáticos de Português (LDP) nos anos finais do ensino fundamental. Para tanto, verificamos se o conceito de língua anunciado pelos autores dos LDP nos Manuais do Professor (MP) é coerente com o conceito de língua que está na base das atividades apresentadas nos livros. O desdobramento dessa proposta é verificar se há, nessas atividades, questões que conduzam os alunos a uma reflexão sobre certos fenômenos importantes para se entender a diversidade e a variação linguísticas, já que a concepção de língua assumida pelos autores de LDP é aquela ligada ao processo dialógico, cujo discurso se manifesta por meio de textos e, portanto, de base interacionista. A partir de um corpus formado pelas cinco coleções didáticas recorrentes nos PNLDs de 2005 a 2011, investigamos como esses materiais promovem o conhecimento sobre três aspectos importantes para o desenvolvimento de habilidades, comportamentos e práticas de uso da língua necessárias tanto para o processo de progressão escolar dos alunos como também para a inserção deles no mundo social como cidadãos de uma sociedade democrática, a saber: (i) as relações entre fala e escrita e entre oralidade e letramento; (ii) as questões de norma linguística; e (iii) o estilo linguístico. As análises revelaram haver uma tipologia em relação às atividades: (i) atividades de correção nos diferentes níveis (fonético-fonológico, morfossintático e lexical); (ii) atividades de proposição de exercícios estruturais (exercícios envolvendo ações de substituição; transformação, preenchimento de lacunas e retextualização). Grande parte dessas atividades trabalha as relações entre fala e escrita e entre oralidade e letramento de forma dicotômica, na perspectiva da polarização diglóssica. Tais atividades, sobretudo as que propõem correção (do coloquial para o formal e do oral para o escrito), comprovam a submissão das marcas da diversidade linguística aos processos de padronização/normatização da língua, um dos aspectos linguísticos do processo mais amplo de "legitimação" da violência simbólica de que nos fala Pierre Bourdieu / Abstract: This thesis aims at investigating how diversity and linguistic variations are treated within the Portuguese Textbooks (LDP) at final Elementary School years. Therefore, we analyzed whether the concept of language announced by LDP authors in Teachers¿ Manuals (MP) is consistent with the concept of language that underlies the activities presented in the books. The unfolding of this proposal is to determine whether there are, in these activities, questions that lead students to reflect on some major phenomena for understanding the diversity and linguistic variation, since the conception of language assumed by the LDP authors is that linked to the dialogic process, whose discourse is manifested through texts and therefore have interactional basis. Based on a corpus formed by five teaching collections recurrent from 2005 to 2011 PNLDs, we investigated how these materials promote knowledge of three important aspects for skills development, expertise and practices of language. These skills use is required for students¿ progression process as well as for their membership in the social world, as citizens of a democratic society, that is: (i) the relationship between speech and writing and between orality and literacy; (ii) the issues of linguistic norm; and (iii) the linguistic style. The analyses revealed that there was a typology in relation to the activities: (i) remediation activities at different levels (phonetic, phonological, morphosyntactic lexical); (ii) proposal of structural exercise activities (replacement actions, processing, filling gaps and retextualization exercises). Most of these activities work out the relations between speech and writing and between orality and literacy in a dichotomous fashion, from a diglossic polarization perspective. Such activities, especially those that propose correction (from colloquial to formal and from oral to written), prove the linguistic diversity marks submission to standardization/normalization processes of language, one of the linguistic aspects of the wider process of symbolic violence "legitimation" mentioned by Pierre Bourdieu / Doutorado / Linguistica / Doutora em Linguística

This study focuses on the teaching of Indigenous African Music (IAM) in Zimbabwean primary schools, and proposes a new Experiential Open Class Pedagogy relevant to its multicultural contexts. A postcolonial theoretical paradigm informs the discussion of secondary literature, and the analysis of empirical data obtained through the following methods: interviews, lesson observations, focus group discussions, and the analysis of teaching documents. Case studies were conducted at ten schools in the Gweru district of Zimbabwe. These schools were chosen from a mix of urban, peri-urban, and rural communities. The findings show the continued effects of colonialism on IAM teaching practices and pedagogy. The effects of globalization and the high levels of migrancy in and out of Zimbabwe are discussed as factors shaping the teaching of IAM. Formal models of learning have undermined the status of IAM in favour of Western classical music. Recognizing this bias, but also the fact that culture is dynamic, this study strikes a balance by proposing a new pedagogy that integrates Western and African approaches to music education. The study findings feed into the development of a new hybridised model called the Experiential Open Class Pedagogy (EOCP), which is suitable for multicultural contexts. This pedagogy encourages learners to use their personal experience of IAM practices in the home, and to draw on expertise from their local communities. The participation of children and their elders in the community contributes to the openness of the learning process. A combination of learning at home, in communities, and in classrooms is vital in utilising all the critical avenues to acquiring knowledge and experience of IAM. Recommendations on policy and practice in Zimbabwean primary school education offer solutions to the present challenges. It is important for teachers to be active stakeholders in documenting the very IAM practices they teach by carrying out research, and through continuous improvement initiatives in multicultural contexts. / Art History, Visual Arts and Musicology / D. Phil. (Music)

Book review of the collection titled ´East African literature: Essays on Written and Oral Tradition´ edited by J.K.S. Makokha, Egara Kabaji and Dominica Dipio

This thesis examines narrative strategies and the representation of trauma in Toni Morrison's trilogy consisting of Beloved, Jazz and Paradise. Morrison's novels illustrate the black experience in the US throughout history; the trilogy begins in the 1870's with Beloved and continues through 1920's in Jazz to 1970's in Paradise. The main focus of this thesis is the exploration of the narrative strategies in the connection to trauma in order to showcase how Morrison manipulates the narrative to draw attention to the unheard traumatic experiences of black people, and consequently criticises the racist master narrative. Beloved depicts the immediate impact of slavery, and the following two novels expose how the underlining traumatic effects of slavery are reproduced long after its abolishment. Selected theoretical approaches to narrative and trauma are introduced in the first chapter. Mieke Bal's approach to narrative, combined with Henry Louis Gates Jr.'s African- American literary theory described in The Signifying Monkey, provides the basis for the analysis of the use of voice, narrative structure, retroversion, and repetition in the trilogy. The postcolonial view of trauma, informed mostly by Judith L. Herman's Trauma and Recovery: The Aftermath of Violence from Abuse to Political Terror, is...

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.