The validity of two measures of dietary diversity derived from a qualitative diversity questionnaire (reference periods of 1 or 7 days) by comparison with nutrient intake from three 24-hour recalls was investigated in 51 women (18--45 y) in a peri-urban community in Senegal, West Africa. Significant positive correlations (range: r = 0.30 to r = 0.64) were found between intakes of calcium, iron, zinc, vitamin A, vitamin C, thiamine, riboflavin and vitamin B6 and diversity score based on number of different individual foods derived from data obtained from the 7-day reference period. Data from the diversity score from the 1-day reference period was less well correlated with the 24-hr recalls. Our data suggest that a diversity measure based on foods derived from a diversity questionnaire would be useful in the monitoring of nutrient intake changes over time within populations.

Thesis (Ph. D.)--University of Chicago, Department of Anthropology, June 2003. / Includes bibliographical references. Also available on the Internet.

A partir de quatre romans sénégalais, MaTmouna d'Abdoulaye Sadji, O Pays mon beau peuple ! de Sembène Ousmane, Les Bouts-de-Bois-de Dieu du même auteur et de Buur Tilleen de Cheik Aliou N'dao, nous avons étudié la condition de la femme africaine telle que les auteurs la décrivent. Le choix des oeuvres a été guidé par le sujet d'étude, aussi avons-nous retenu les romans satisfaisant aux conditions suivantes : l'importance de la place de la femme dans l'oeuvre et le lieu de l'action limité en Afrique. Les femmes y apparaissent sous deux aspects distincts, d'une part les femmes attachées à la vie traditionnelle, d'autre part les femmes participant à la vie moderne. Entre les deux, se détachent les femmes traditionalistes en voie d'évolution qui indiquent que les romanciers s'intéressent à une société de transition. Il se dégage que les personnages féminins portent le reflet du conflit entre la tradition et le modernisme dans la société africaine en évolution constante au contact des sociétés européennes. Ce conflit s'incarne plus particulièrement dans l'aspect contradictoire du rôle de la femme en tant que mère et dans le rôle de la femme en tant qu'épouse. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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In the Senegalese musical tradition, there is a big number of cultural expressions and publicevents where the style, as well as the vibrant creativity of the Sabar percussion isdemonstrated. But if there is a moment on which this idea becomes most clear, this would bethe Tandibéer.The expressive and stylistic character of the Sabar drum playing is virtually exposed in theTandibéer where drummers and dancers have the opportunity to show their creative strengthand personality / <p><strong>Concert Program and Specifications</strong></p><p>”Music Approaching Differences”</p><p>Davide Rodrigues ExamensKonsert</p><p><strong>Introduction</strong></p><p>with Sabar Drum ”Baye Faal”(Coming on stage…)Concert starts with tradicional religious Baye Fall chant and drumming from Senegal on which thesinging and the percussion have a close interaction.</p><p>Yirime Gueye- Nder drum &amp; Thiou</p><p>lDavide Rodrigues- Nder drum &amp; Baala</p><p>Dawcoumba Diop- Thioul</p><p>Abdulaye Diop- Tungunee &amp; Baye Fall Chant</p><p>Nikolas Viisanen- Mbenguembengue</p><p><strong>Davide´s Percussion Solo</strong></p><p><strong></strong>On this solo totally improvised, an overview of the concert´s rhythmical landscape isdemonstrated. A lot of dynamics are explored in this self chosen set of sounds.</p><p>”<strong>Abrigo</strong>”</p><p>Using a small theme composed by the accordionist Isak Bergstrom as inspiration, this pieceexplores the interesting dynamic between the Accordion and the Drum with a short vocal choirintro with swedish Kulning.</p><p>Davide- Perc. &amp; Vox</p><p>Isak Bergstrom- Accordion &amp; Vox</p><p>Malin Gunnarsson Thunell- Kulning</p><p><strong>Malin &amp; Davide</strong></p><p>Voice and Drums are two of the most intuitive instruments and this duo explores this basicaspect of the music. A mix of musical language and texture springs up a very melodic piecewhere both interpreters find a good balance between this two intruments.</p><p>Malin Gunnarsson- Vox</p><p>Davide- Perc. &amp; Vox</p><p>”<strong>Zarabatana</strong>”</p><p>For long time Johannes Hellman (Velvlira) and Davide Rodrigues (Percussion) were aiming towork together and put in practice this interesting duo. This song ”Zarabatana” makes apowerful statement on that. Not only with a lot of vocal percussion but also with the melodicand very rhythmical intepretation from Johannes velvlira.</p><p>Johannes Hellman- VelvLira</p><p>Davide- Perc. &amp; Vox</p><p>”<strong>No TransversAu</strong>”</p><p>In this piece the music intends to reveal the great contrast between a simple and pentatonicmelody and the full expressed free improvisation.</p><p>Elias Frigård- Sax Soprano</p><p>Guto Lucena- Sax Baritono</p><p>Davide- Perc.</p><p>”<strong>Deslize</strong>”This piece started as a duo with bass (Rickard Jokela) and percussion and evolved naturally toa sextet with a interesting sound palette. The clear tipical senegalese groove supports an openspreaded melody that “slides” through the piece.</p><p>Malin Gunnarsson- Vox</p><p>David Lombardi- Violin</p><p>Elias Frigård- Sax Soprano</p><p>Rickard Jokela- Acoustik Bass</p><p>Filipe Raposo- Piano</p><p>Davide- Perc.</p><p>”<strong>Sagaz</strong>”A challenging theme that also started as a duo with the violinist David Lombardi became thisoctet with Strings, Piano and Sax Soprano. On this piece, inspired on the music from theswedish group Väsen, the Senegalese grooves and the ”SvenskSväng” are brought together ona very much arranged song.</p><p>Malin Gunnarsson- Vox</p><p>Davide Lombardi- Violin 1</p><p>Anna Karlsson- Violin 2</p><p>Johanna Nolgård- Viola</p><p>Elias Frigård- Sax Soprano</p><p>Rickard Jokela- Acoustik Bas</p><p>Filipe Raposo- Piano</p><p>Davide- Perc. &amp; Vox</p><p>"<strong>Navegar Navega</strong>r”(Fausto)</p><p>A version of the portuguese song ”Navegar Navegar” from Fausto with a percussion arrangementon the Sabar and tradicional portuguese drums.</p><p>Malin Gunnarsson- Vox</p><p>Karl Tirén- Mandolin</p><p>Johan Nilsson- Nylon Guitar</p><p>Isak Bergstrom- Accordion</p><p>Rickard Jokela- Acoustik Bass</p><p>Filipe Raposo- Piano</p><p>Guilherme Piedade- Perc.</p><p>Davide- Perc. &amp; Vox</p><p>"<strong>Tandibeer &amp; Dance"</strong></p><p>A small but yet intense taste of the tradicional senegalese ”Tandibéer”Some of the most popular rhythms are performed for the dance with the complex and intrincatesolo language of the Sabar drum aswell.</p><p>Yirime Gueye- Nder drum &amp; Thioul</p><p>Davide Rodrigues- Nder drum &amp; Baala</p><p>Dawcoumba Diop- Thioul</p><p>Abbe Diop- Tungunee</p><p>Nikolas Viisanen- Mbengue mbengue</p><p>____________________________________________________________________________Davide Rodrigues</p>

De 1919 à 1940, le corps des tirailleurs sénégalais s’affirma davantage au sein de l’armée coloniale. Auréolée de ses succès relatifs dans la Grande Guerre, l’armée noire fut dès lors pensée comme une armée permanente, ayant vocation à combattre sur les fronts extérieurs. Dès juillet 1919, le recrutement reposa sur un appel par tirage au sort avec possibilité de remplacement. Des règles précises se mirent donc en place afin d’encadrer l’ensemble des étapes amenant ces soldats depuis l’Afrique occidentale et équatoriale française vers la métropole ou le bassin méditerranéen. L’hivernage et l’alimentation furent ainsi abordés avec davantage de soin. Le corps des sous-officiers africains offre quant à lui un panel de parcours présentant au plus près les carrières de ces hommes, leurs origines et les soldats qu’ils furent. Leur formation et leurs résultats aux différents examens permet également de mieux cerner les attentes de l’état-major et de la 8e direction. En définitive, le corps des tirailleurs sénégalais fut davantage pensé afin de l’améliorer. Pour autant en 1940, ces efforts de pensée n’avaient abouti à aucune réforme en profondeur et l’armée noire connut les mêmes déboires que l’armée française. / From 1919 to 1940, The Senegalese Infantry Corps firmly established itself within the colonial army. Crowned by its relative success in World War I, the black army was subsequently considered a permanent army, tasked with fighting worldwide. After July 1919, recruitment relied on a draft lottery with the possibility of substitution.Detailed rules at the time were put in place to offer a means of placing soldiers from West African and Equatorial French colonies in France itself or in the Mediterranean basin. In this way, winter quarters and food supplies were given greater consideration.The African non-commissioned officer corps offered a training experience to further the careers of these men, considering their origins and their abilities as soldiers. Their training and their results on different tests also helped to better understand the expectations of the French Army General Staff and their respective divisions.In the end, the Senegalese Infantry Corps was assumed to be a stronger component of the French army. But in 1940, it became apparent that none of these efforts bore substancial reform and the black army suffered the same setbacks as the regular French army.

Abridged version of the author's Thesis (doctoral)--Freiburg i Br., 1981. / Includes bibliographical references (p. 233-243) and index.

Thesis (Ed. D.)--State University of New York at Binghamton, School of Education, 2007. / Includes bibliographical references.

Pendant très longtemps, la littérature sénégalaise d’expression française s’est enrichie suivant les canons de l’esthétique occidentale. Du point de vue du style et des techniques de narration, les écrivains sénégalais de la première génération montraient une certaine maîtrise et dépendance de ceux-là. À une période récente, d’autres écrivains ont exprimé, dans leur choix d’écriture, une liberté de style et de ton vis-à-vis de la tradition littéraire. Le corpus choisi dans cette étude, s’inscrivant dans une dynamique de rupture d’avec les anciens récits de héros positifs, est constitué d’échantillons d’oeuvres d’écrivains appartenant à toutes les générations. Ces derniers, ne s’alignant pas sur les anciens canons esthétiques, offrent un nouveau regard à la littérature sénégalaise sous le prisme de la marginalisation.Dans cette étude nous relevons et analysons les éléments constituant l’esthétique de la marginalisation dans le texte sénégalais d’expression française. Pour situer le lecteur dans le contexte sénégalais, il nous incombe de signaler la diversité ethnique et religieuse qui fait du wolof l’une des langues nationales, du français, la langue officielle et de l’Islam, la religion dominante. Ces différentes composantes s’interfèrent dans les textes à travers des procédés narratifs et stylistiques mis en place pour créer d’autres types de discours. Pour donner corps et forme à ceux-là, les écrivains ont créé des figures marginales à cet effet.En définitive, analyser l’esthétique de la marginalisation dans la littérature sénégalaise d’expression française, c’est interroger les formes de discours, de structures des récits et d’images que les auteurs mettent en oeuvre pour transgresser les normes établies. Et quand leur écriture s’approprie la marginalisation, le renouvellement des effets stylistiques et le changement de champs thématiques deviennent des formes de refus et de rébellion. / For a very long time, the Senegalese literature of French expression has expanded following the canons of Western aesthetics. From a stylistic and narrative techniques perspective, the Senegalese writers of the first generation showed a sense of mastery and dependence on the former. Of recent, other writers have expressed in their choice of writing, their freedom of style and tone in relation to literary tradition. The chosen corpus in this study, following a dynamic break from old stories of positive heroes, consists of samples of works by writers belonging to all generations. These, aligning with the old aesthetic canons, offer a new look to the Senegalese literature under the prism of marginalization.In this study we identify and analyze the elements constituting the aesthetics of marginalization in the French-speaking Senegalese text. To place the reader in a Senegalese context, we deem it necessary to point out the ethnic and religious diversity which makes Wolof one of the national languages, French, the official language and Islam, the dominant religion. These different components interfere in the texts through narrative and stylistic processes used in order to create other types of discourse. To give concrete form to them, the writers have created marginal figures to that effect.Finally, to analyze the aesthetics of marginalization in Senegalese literature of French expression, it is to reflect on speech forms, story and image structures that the authors use to transgress the established standards. And when their writing appropriates marginalization, the renewal of the stylistic effects and the change of thematic fields become forms of rejection and rebellion