The purpose of this thesis is to investigate the life and works of Muhamadi Kijuma of Lamu. Lamu is one of the districts of Kenya's Coast Province. Kijuma's life (1855-1945) spans almost the entire colonial period.;Little was known about his life and works before this research worker started collecting Kijuma's own manuscripts found in Europe and East Africa, documents of the period, and facts from the memories of the old people at Lamu who were still alive when this worker arrived there in 1980.;Kijuma was a scribe, calligrapher, composer of songs and dances, musician and maker of musical instruments. In the first chapter, Kijuma's genealogy and his life is dealt with in detail. The remaining chapters investigate more closely the various activities in which he engaged, particularly after his return from Zanzibar in 1908.;The first of these was the singing competitions in which Kijuma took an active part, and by which the Colonial Office in Lamu managed to change the political, economic and social structure of Lamu to replace it with its own. The cultural and the religious aspects of these singing competitions are discussed. The origin of what is called in Swahili tarabu has been discovered, as well as the fact that it was Kijuma who imported it into Lamu, that Kijuma was a moving force amongst those who made tarabu known all over East Africa, and that he was the first to make a kinanda in Lamu, and to compose the dances called Mwasha and Kinanda.;The main tool of the singing competitions was the Swahili song, and the following subject discusses Kijuma's songs, and deals especially with Kijuma's mafumbo "Riddles and metaphors", and to show that these mafumbo were used by Kijuma in his songs only, not in his poems. The bulk of these songs were collected from Kijuma's compatriots in Lamu, Matondoni and Mombasa in Kenya, and are edited here for the first time. Kijuma's composing of songs inspired him to compose also long poems and to copy them out artistically. Therefore, the third subject comprises all the literary works which Kijuma either composed and scribed, or only scribed. Some of these have been identified for the first time as being Kijuma's compositions, or as simply scribed by him. Other manuscripts have been identified as being the works of other poets, although it has been alleged by other Swahili scholars that they were Kijuma's compositions. Kijuma's sources for composing these poems have also been identified. This third subject shows that Kijuma indirectly participated in preserving Northern Swahili literature, and producing valuable data upon which the scholars of Swahili are still depending. The main sources for this subject were Kijuma's manuscripts found at the School of Oriental and African Studies, London, in the University College of Dar-es-Salaam, and in Hamburg, and Kijuma's correspondence with his European clients. Kijuma's talents enabled him to produce many works of visual art, including title-pieces for his manuscripts. So, the fourth subject is: Kijuma as a craftsman (Fundi). Under this heading, all Kijuma's available works of visual art are discussed, showing that he was skilled in sculpture, wood-carving, drawing, calligraphy, tailoring, and decorative knitting. It is important to note that Kijuma introduced many symbols in these artistic works. These symbols are discussed and displayed for the first time. The fifth subject deals with Kijuma's religion.;This research worker came, later, to realise that the title of this thesis might have been; Kijuma's religion, because it was found out, by reading all about this subject, that all the preceding subjects are relevant to the questions which arise in the consideration of this subject. In addition to this, it is the only aspect of Kijuma's life which Swahili scholars and missionaries have written about in some detail. They have considered Kijuma as a Christian, but judging by the available data, Kijuma must have been a Muslim. The sixth and final subject, discusses Kijuma's personality, extrapolating from his own poem Siraji which is transliterated, translated, and given in the appendix.

Offentlig upphandling är inte endast ett sätt att tillförskaffa sig varor, utan kan också användas som ett samhällspolitiskt instrument för att verka för sociala mål som ställts upp. Hur de varor och tjänster som upphandlas produceras inverkar på de arbetsrättsliga och sociala förhållandena i leverantörskedjan, och genom att ställa sociala krav vid en offentlig upphandling kan den upphandlande myndigheten förstärka förtroendet hos invånarna. Trots en omfattande EU-rättslig reglering på området är det idag dock osäkert vilka möjligheter den upphandlande myndigheten ges att ställa arbetsrättsliga krav på leverantören av upphandlingsföremålet. Syftet med uppsatsen är att utreda i vilken omfattning en upphandlande myndighet kan ställa arbetsrättsliga krav vid en offentlig upphandling, samt utreda om förslaget till nytt klassiskt upphandlingsdirektiv kommer innebära några förändringar för den upphandlande myndigheten vad gäller möjligheten att ställa arbetsrättsliga krav.  Av uppsatsen framkommer att det inte finns någon klar gräns vilka arbetsrättsliga krav den upphandlande myndigheten får ställa på leverantören vid en offentlig upphandling. Den största möjligheten att ställa ett arbetsrättsligt krav torde föreligga om kravet ställs såsom ett tilldelningskriterium, då EU-domstolen har klargjort att sociala krav får ställas för att tillgodose behov hos personer samt att ett tilldelningskriterium inte behöver vara kopplat till upphandlingsföremålet, utan det kan vara kopplat till hur en vara eller tjänst produceras. Förändringarna i förslaget till nytt klassiskt upphandlingsdirektiv innebär inte att möjligheterna att ställa arbetsrättsliga krav vid en offentlig upphandling ökar, dock ges den upphandlande myndigheten genom förslaget mer stöd i valet av vilka arbetsrättsliga krav som är tillåtna att ställa. / Public procurement is not only a method to acquire goods, but can also be used as a sociopolitical device to gain social visions. The method that supplied goods and services are produced by affect the labor and social conditions in the supply chain. By acquiring social conditions in a public procurement the procuring authority may strengthen the reliance of the citizens. Despite a comprehensive EU legislation in the area, it is uncertain which labor requirements the procuring authority may impose the supplier. The purpose of this thesis is to investigate to what extent a procuring authority may impose labor requirements in a public procurement, and to investigate if the proposal to a new procurement directive will result in an opportunity to impose labor requirements on the supplier. This thesis has concluded that it is not clear what labor requirements the procuring authority may demand the supplier of a public procurement. The biggest opportunity to demand a labor requirement to a supplier is by using award criteria. The Court of Justice of the European Union have clarified that social requirements may be used to meet needs of individuals and that award criteria do not need to be connected to the object of the procurement, but can be connected to the production of the goods or services of the contract. The thesis has also shown that the changes in the proposal to a new procurement directive do not increase the possibilities to require labor requirements in a public procurement. However, it does give the procuring authority further support in the choice of which labor requirements it may require.

Taking an interdisciplinary approach, this research explores Zimbabwean literary and other cultural texts within the broader context of the construction of identities and the politics of inclusion and exclusion in nationalist and oppositional discourses. It also analyzes two texts by major non-Zimbabwean African writers to examine the thematic links between Zimbabwean and other African writing. Through combining historical, anthropological and political approaches with postcolonial, postmodern and feminist critical theories, the thesis explores the ways in which African writing and performance represent alternative histories to official versions of the nation. It further investigates questions of gender and their significance in nationalist discourses and shows how writing on war, trauma and healing informs and develops readers’ understanding of the relationship of the past to the present. Considered together as a coherent body of work, the published items submitted in this thesis explore how Zimbabwean and other African writers, through re-visioning history and writing from oppositional or marginal positions, intervene in political debates and suggest new transformative ways of constructing and negotiating identities in postcolonial societies.

Personnage de l'entre-deux mettant à mal les frontières communément admises entre l'enfance et l'âge adulte, entre la puissance et la vulnérabilité, entre la victime et le bourreau, l'enfant-soldat est une figure marquante de notre contemporanéité. Il n'est donc guère étonnant de le voir devenir un personnage littéraire. Cette étude a cherché à déterminer, dans une approche comparatiste, quel traitement les oeuvres littéraires réservaient à ce personnage et la manière dont elles en faisaient une figure singulière. Loin de simplement reprendre un répertoire exogène de significations et prolonger la figure médiatique de l'enfant-soldat, loin de miser uniquement sur la violence de son hybridité, les romans africains anglophones et francophones construisent une figure de témoin. Ce que l'étude a souhaité rendre visible, ce sont alors les visions tant historiographiques, éthiques que politiques que porte l'enfant-soldat témoin des guerres civiles africaines / As an in-between character questioning the usually admitted borders between childhood and adulthood, power and vulnerability, victim and executioner, the child soldier is a gripping figure of our contemporaneity. It is thus not surprising he became a literary character. In a comparative approach, this study has sought to determine the literary works treatment of this character and how they turn it into a singular figure. Far from simply resorting to an exogenous list of significations and extending the media figure of the child soldier, far from only focusing on the violence of its hybridity, English and French African novels build a figure of a witness. This study has therefore been interested in revealing the historiographicalas well as the ethical and political visions of the child soldier who experiences African civil wars

Le renouvellement des écritures afro-francophones subsahariennes dans les années 1980 se traduit par un remarquable dépassement des traditionnelles frontières géographiques, linguistiques, culturelles et identitaires. S’ouvrant ainsi aux lettres universelles, nombre d’écrivains africains s’orientent vers l’univers latino-américain qui les fascine pour son espace, ses thèmes, son esthétique, son imaginaire. C’est cette orientation latino-américaine du roman africain, la mise en œuvre d’une parenté dans les modes d’expression et de représentation du réel, que nous appelons phratrie de l’imaginaire. Phénomène aux enjeux multiples, l’examen de la phratrie de l’imaginaire permet de dévoiler comment, au nom d’une histoire et d’une culture en partage, les univers africain et latino-américain sont littérairement rapprochés dans une posture fraternelle traduisant une certaine solidarité transatlantique. / The renewal of sub-Saharan French-speaking writings in the 1980s results in a remarkable overtaking of the geographical, linguistic, cultural and identical traditional borders. So opening to the universal letters, many African writers turn to the Latin American universe which fascinates them for its space, topics, aesthetics, imaginary. It is this Latin American orientation of the African novel, the implementation of a relationship in the modes of expression and the representation of reality, that we call imaginary phratry. A phenomenon with multiple issues, the analysis of the imaginary phratry can reveal how, inspired by a common history and culture, the African and Latin American universe are literally brought closer in a fraternal posture reflecting some transatlantic solidarity.

Trois phases se distinguent nettement lorsqu’on étudie la médiatisation du roman d’Afrique noire en France. Les premiers romanciers africains francophones suscitent, au cours des années 1950, l’engouement des journalistes métropolitains car ils incarnent - à leurs yeux - le succès de la « mission civilisatrice » de la France dans ses colonies. Cet intérêt s’émousse peu après les indépendances, survenues en 1960, au moment où la Guerre d’Algérie connaît ses derniers soubresauts. Pendant près de vingt ans, le roman africain souffre d’une faible visibilité médiatique dans l’Hexagone. Il est alors réservé à un public d’initiés. L’année 1980 marque, cependant, un tournant : la célèbre émission télévisuelle Apostrophes met en vedette, cette année là, « l’Afrique noire racontée par des romanciers ». Les œuvres littéraires de ce continent bénéficient depuis lors d’un regain d’attention, qui atteint son apogée la décennie suivante. Ainsi, l’écrivain togolais Kossi Efoui s’enthousiasme en 2002, dans le magazine Jeune Afrique, pour ce « boom des écrivains africains ». Mythe ou réalité ? Cette thèse entend explorer, d’une part, les conditions de la production romanesque africaine - soit sa création et son édition en France et en Afrique subsaharienne - et d’autre part, les modalités de sa réception par la presse écrite, la radio et la télévision françaises. Dans une perspective d’histoire culturelle, elle met en lumière un phénomène majeur de la seconde moitié du XXème siècle : l’introduction progressive du star-system dans les industries culturelles (celles du livre et des médias notamment) et ses répercussions sur les pratiques des différentes professions concernées, à savoir les écrivains, éditeurs, attachés de presse, critiques littéraires et journalistes. / The study of the media coverage of the black African novel in France reveals three distinct phases. In the 1950s, metropolitan journalists were full of enthusiasm for the first francophone African novelists, because they embodied - in the journalists’ eyes - the success of the French colonial “civilising mission”. This interest waned following the independences, around 1960, at the time when the Algerian war was in its final phases. Over a period of 20 years the African novel suffered from a lack of visibility in the French media. It became the preserve of a limited circle of connoisseurs. The year 1980 marked a turning point however: in this year the famous television programme Apostrophes turned the spotlight on « l’Afrique noire racontée par des romanciers » (“Black Africa as recounted by novelists”). Henceforth the literary works of this continent enjoyed renewed attention, which reached its apogee in the following decade. In 2003, the Togolese writer Kossi Efoui spoke enthusiastically of this “boom time for African writers” in the magazine Jeune Afrique. Was this a myth or reality? This thesis seeks to explore, first, the conditions of the literary production in Africa - both its creation and publication in France and sub-Saharan Africa - and second, its reception in the French printed press, on the radio and television. This cultural history sheds light on a major phenomenon of the second half of the 20th century: the progressive introduction of the cult of the celebrity in the cultural industries (the book and media notably) and its repercussions for the practices of the professions concerned, in other words writers, publishers, PR agents, literary critics and journalists.

In 896 Pope Stephen VI put the corpse of his predecessor, Pope Formosus, on trial in a Church synod in Rome, known since as the Cadaver Synod. The pontificate and the ordinations of Formosus were annulled and he was reburied in a pilgrims' cemetery from which his body was quickly removed and thrown into the Tiber. It still is generally assumed that Formosus was tried as revenge for his having betrayed Lambert of Spoleto by inviting Arnulf of Carinthia to become emperor, and that Pope Stephen VI was carrying out the wishes of Lambert and his mother. This dissertation, by examining the entire career of Formosus as well as the manuscript evidence for the Cadaver Synod and the 898 Synod of Ravenna, which overturned it, will present a new view of what happened in this neglected period of European history. In so doing, it has reached very different conclusions about the trial and its purpose.

Los cambios tecnológicos, y el comportamiento de los consumidores en los medios digitales han convertido al marketing digital en una pieza fundamental para las pequeñas y medianas empresas. Hoy marcas tienen el deber de estar donde su consumidor está y realizar ahí sus estrategias digitales bien planificadas, monitorizadas y ejecutadas para llegar a sus objetivos con éxito; eso ha motivado a esta investigación, que tuvo por objetivo proponer estrategias de marketing digital para la empresa Saola Boutique, ubicada en la Ciudad de Chiclayo, con la intención de establecer a la empresa en el mercado de manera sostenida en el tiempo. El estudio fue de tipo propositivo, de enfoque cuantitativo, no experimental y de corte transversal. Para ello, se consiguió información importante tanto como de las clientes de la empresa y suscriptoras a sus redes sociales, mediante encuestas, en cuanto al procesamiento de datos se recurrió a la estadística descriptiva con los programas Excel y SPSS; se interpretó la información obtenida de acuerdo con los resultados de las encuestas aplicadas. Obteniéndose como resultados que casi el 90% de las encuestadas sigue a un fanpage de ropa femenina y el 60% ha adquirido alguna prenda por internet, concluyéndose así que es posible generar ventas y desarrollar una relación con el cliente, a través de estrategias de marketing digital, siendo de vital importancia establecer un plan de contenidos, lanzar mensualmente campañas publicitarias mediante sus redes sociales y no descartar la implementación de una página web, con un contenido atractivo.

La problématique centrale de ma thèse consiste en l’étude anthropologique du théâtre berbère d’expression kabyle à travers les « adaptations » de Mohia. Elle consacre les conditions explicites qui ont permis l’émergence de l’œuvre de l’auteur et ce qui la caractérise : interculturalité, oralité, contemporanéité. Soulignant le fait émancipateur et réformateur du théâtre de Mohia à l’égard des genres traditionnels, notre démarche évolue vers une analyse des faits anthropologique, sociologique et ethnographique du spectacle-rituel. Elle propose une méthode scientifique interdisciplinaire des phénomènes syncrétiques. Dans un premier temps, elle étudie le rituel kabyle dans ses formes syncrétiques, et restitue les fragments originels qui motivent la dimension « laïque » du spectacle théâtral moderne. Dans un deuxième temps, elle reconstitue par le fait des révoltes des populations autochtones, seul fait visible de l’histoire sociale kabyle (souvent en opposition entre les écrits des chefs militaires étrangers et la mémoire collective), des scènes ethno-dramatiques. Le principe est de pouvoir regarder dans l’ethno-scène une logique dans l’évolution de l’histoire sociale kabyle. Les caractéristiques qui découlent de l’ethnoscène renoue avec l’œuvre de Mohia, analyse son rapport à la sociologie kabyle, à son ancrage culturel, à sa présence dans l’assemblée théâtrale kabyle et son apport dans la réforme de la« convenance kabyle » à travers les acteurs dits « passeurs de parole ».Tout le processus de cette recherche est subordonné à des discussions, avec des anthropologues de terrain, auxquelles ma contribution concourt d’une participation effective à la vie sociale, militante et artistique du monde kabyle. / The central problems of my thesis consist of the anthropological study of the Berber theatre of Kabylian expression through the “adaptations” of Mohia. It devotes the explicit conditions which allowed the emergence of the work of the author and what characterizes it : interculturality, orality, contemporaneity. Underlining the emancipatory and reforming fact theatre of Mohia with regard to the traditional kinds, our approach evolves to an analysis of the facts anthropological, sociological and ethnographic of theritual one. She proposes an interdisciplinary scientific method of the syncretic phenomena. Initially, she studies the Kabylian ritual in her syncretic forms, and restores the original fragments which justify the “laic” dimension of the modern theatrical show. In the second time, it reconstitutes by the fact of the revolts of the populations autochtones, only visible fact of the Kabylian social history (often in opposition between the writings of the foreign military chiefs and the collective memory), of the ethno-dramatic scenes. The principle is to be able to look in the ethno-scene a logic in the evolution of the Kabylian social history. The characteristics which rise from the ethno scene joins again with the work of Mohia, analyzes his report with Kabylian sociology, its cultural anchoring, its presence in the Kabylian theatrical assembly and her contribution in the reform of “Kabylian suitability” through the actors known as “frontier runners of word”. All the process of this research is subordinated to discussions, with anthropologists of ground, to which my contribution contributes of one effective participation to the social life, militant and artistic of the Kabylian world.

On peut identifier une longue pratique autobiographique en Afrique, si l’on remonte aux Confessions de St Augustin, et l’écriture de soi s'est de surcroît développée dans les langues africaines, aux époques précoloniales puis coloniales. C’est toutefois à l’initiative d’anthropologues et d’éducateurs africanistes que les premières autobiographies africaines (souvent rédigées par des instituteurs ou des élèves) ont été collectées, tandis que parallèlement émergeait une écriture autobiographique dans le roman africain francophone. Avec le combat anticolonial, apparaît une forme nouvelle : l’écriture de mémoires par de grands acteurs politiques africains, qui accentue la dimension réflexive des écritures africaines de soi. A l’ère postcoloniale, l’autobiographie tend à devenir de plus en plus intellectuelle, oscillant entre l’essai autobiographique et l’auto-analyse. A partir d’un corpus majoritairement francophone et anglophone, composé d’auteurs aussi divers que Wole Soyinka, Kwame Anthony Appiah, Joseph Emmanuel Nana Appiah, William E. B. Du Bois, Léopold-Sédar Senghor, Lamine Gueye, Amadou Hampâté Bâ, Valentin Yves Mudimbe, Achille Mbembe, Célestin Monga, Barack Obama, Paulin Hountondji ou Rasna Warah, notre thèse retrace les mutations des écritures africaines de soi, de l’ère coloniale à l’époque postcoloniale, en insistant au passage sur les formes de dialogue qui s’établissent entre ceux-ci et les penseurs africanistes français, pour lesquels l’autobiographie fut bien plus qu’un récit de vie. Dans ces perspectives d’histoire et de sociologie littéraire, nous empruntons à Jérôme Meizoz sa notion de posture pour étudier les positionnements esthétiques, politiques et littéraires des écrivains et penseurs africains dans les champs littéraires africains et occidentaux. Nous mettons également en relief diverses modalités de l’auto-réflexivité en confrontant les écritures africaines de soi avec certaines autobiographies intellectuelles de penseurs et écrivains afro-américains. Cette mise en regard permet une réflexion sur les "postures postcoloniales" de nos auteurs, et débouche sur une nouvelle problématique : la visée postraciale ou le dépassement des projets et des interprétations racialistes de l’histoire et de l’identité qui ont caractérisé nombreuses idéologies africaines comme le panafricanisme et la négritude. En nous appuyant pour finir sur l’idée de « postblackness » désormais en vogue aux États-Unis, nous tâchons de montrer que le postracial reste malgré tout davantage un horizon qu’une réalité des écritures africaines de soi, du milieu du XXe siècle au seuil du XXIe siècle. / We can identify a long autobiographical practice in Africa, if we go back to the Confessions of St. Augustine, and selfwriting has moreover developed in African languages, in pre-colonial and colonial times. At the initiative of anthropologists and Africanists, the first African autobiographies (often written by teachers or students) were collected, while autobiographical writing simultaneously emerged in the French African novel. With the anti-colonial struggle, memoirs were written by leading African politicians, which emphasized the reflexive dimension of African selfwritings. In the postcolonial era, autobiography tends to become more intellectual, oscillating between autobiographical and self-analytic projects. Through a predominantly french-and english speaking corpus, consisting of authors as diverse as Wole Soyinka, Kwame Anthony Appiah, Joseph Emmanuel Nana Appiah, William E. B. Du Bois, Léopold-Sédar Senghor, Lamine Gueye, Amadou Hampâté Bâ, Valentin Yves Mudimbe, Achille Mbembe, Célestin Monga, Barack Obama, Paulin Hountondji or Rasna Warah, our dissertation traces back the mutations of African selfwriting, from the colonial times to the post-colonial era, emphasizing the dialogues established between African authors and French Africanist thinkers, for whom autobiography was much more than a life story. In these literary historical and sociological perspectives, we borrow from Jerome Meizoz his notion of “posture” to study the esthetical, political and literary positions, of various writers and thinkers in African and Western literary fields. We also highlight how self-reflexivity occurs by confronting African self writings to some intellectual autobiographies produced by African-American thinkers and writers. This comparison allows a reflection on the "postcolonial posture" of our authors, and leads to a new problem : the post-racial project that runs through the racialist interpretations of history and identity that characterized many African ideologies such as Pan-Africanism and negritude. Ultimately relying on the idea of "postblackness" now in vogue in the United States, we strive to show that the postracial remains nevertheless a horizon more than a reality of African writings itself, the mid-twentieth century to the twenty-first century.