Cette étude vise à analyser la question de l’identité culturelle dans un corpus dramatique de seize textes écrits en français et en anglais par des Kenyans à l’occasion du Kenya National Drama Festival (KNDF). Tenant compte de l’histoire coloniale et du contexte post-colonial du Kenya, il s’est agi de relever dans ce corpus les marqueurs de la post-colonialité, à y identifier les thèmes majeurs et les traits constructifs de l’identité culturelle kenyane et à y déterminer les particularités culturelles. Dans une optique comparatiste, l’étude s’appuie sur les théories aussi bien post-coloniales que du théâtre. Les concepts post-coloniaux touchant la question de l’identité à travers la langue, la culture et la représentation sont identifiés et analysés dans le contexte kenyan. Pour cette raison, l’on s’est appuyé sur les travaux d’Edward Saïd, d’Homi K. Bhabha, de Chinua Achebe et de Ngugi wa Thiong’o. L’étude révèle que la population kenyane se trouve face à une multiplicité de choix culturels résultant de l’expérience coloniale, de nouvelles pratiques liées à la globalisation ainsi que des complexités et des défis de la vie quotidienne du monde moderne. Le KNDF s’avère un dispositif de sensibilisation du public aux nouveautés, de dénonciation des maux sociétaux et de promotion de normes culturelles africaines. Il apparaît ici que le recours aux langues européennes n’empêche pas de représenter des réalités culturelles locales. Le Kenya fait ainsi preuve d’une mobilité culturelle qui se manifeste dans la progression du système traditionnel vers une disposition mondialisée. / This study analyszes the representation of cultural identity in sixteen drama texts written by Kenyans in English and in French for the Kenya National Drama Festival (KNDF). Considering the colonial history and the postcolonial context of Kenya, the task involved identifying the postcolonial markers within the texts, identifying major themes and traits constituting a Kenyan cultural identity and determining specific cultural identity. Using a comparative approach, the study draws from both postcolonial and theatre theories. The postcolonial concepts touching on identity through language, culture and representation are identified and analyzed in respect to the Kenyan context. For this reason, the study narrows down to the theoretical works of Edward Saïd, Homi K. Bhabha, Chinua Achebe and Ngũgĩ wa Thiong’o. The study reveals that the Kenyan population is faced with a multiplicity of cultural choices brought about by the colonization experience, the new practices associated with globalization, as well as the complexities and challenges of daily life. The KNDF proves to be an avenue for sensitizing the public on new phenomena, for denouncing societal ills and for promoting African traditional norms. It is apparent that the use of European languages does not hinder the representation of cultural reality of the local society. Kenya therefore attests to cultural mobility seen in the progression from the traditional system towards a more globalized disposition.

This dissertation chronicles the development of a series of plays, collectively referred to as The Arab Shakespeare Trilogy, from the perspective of their playwright Sulayman Al-Bassam. Together, The Al-Hamlet Summit (2002-2005), Richard III, An Arab Tragedy (2007-2009), and The Speaker's Progress (2011-2012) register the eruptive social, political, and cultural contexts of the Arab world during the first decade of the twenty-first century while negotiating the adaptation of Shakespeare's plays to a form thought-provoking and entertaining to audiences both within and outside the Middle East. The document outlines the inception of the project, which includes both personal and historical context, and provides more specific commentary on the production of each play individually. In addition to its focus on the specific impact of 9/11, and its global consequences, on the development of these dramatic works, it attends to topics including the technical and ideological challenges of linguistic and cultural translation, the adaptation of Shakespeare in Arabic theatre, the politics of art and drama in the Arab world, and the involvement of art in the shaping of the ethics of cross-cultural representation. Of particular interest are the linguistic conditions bearing upon the adaptation of English language texts into multi-lingual and cross- cultural works, the effects of the globalisation of politics and media, and the international touring life of the plays between the Arab region and wider world. The play texts of the Trilogy make up the second part of the document. The methodology of this dissertation deploys historical contextualisation, autobiographical memoir, literary analysis and creative improvisation. The play-texts are dramatic adaptations of specific Shakespeare texts to the Arab world.

No romance O Deus das Pequenas Coisas (1997) de Arundhati Roy, as transgressões são atitudes que se configuram como abundantes na narrativa, sendo realizadas em sua maioria pelos personagens marginalizados. A fim de obter uma compreensão mais profunda das razões que impulsionam tanto a narrativa quanto os personagens a cometer estas infrações, elas foram divididas em três níveis neste trabalho: pós-colonial, sociopolítico e afetivo. São aqui analisadas as transgressões dos personagens Velutha, Ammu, Estha, Rahel e Sophie. Os níveis das transgressões, suas motivações e os conceitos de trauma individual e cultural são colocados em contraponto para aprofundar a análise da narrativa do romance. No nível pós- colonial, são empregados conceitos de Panikkar (1969), Festino (2007), Forter (2014) e Outka (2011), enquanto Sztompka (2000, 2004), Alexander (2000) e Joseph (2010) permeiam o nível sociopolítico, finalizando o nível afetivo com Caruth (1995), Bose (1998) e Almeida (2002). A hipótese deste trabalho é de que Roy foca nas transgressões para, em primeiro lugar, criticar determinados elementos da sociedade indiana, e para provocar reações em seus leitores. Esta é sustentada através da citação de seus ensaios e discursos na análise do romance. / In The God of Small Things (1997), from Arundhati Roy, the transgressions are substantial throughout the narrative, as the majority of them are performed by marginalized characters. In order to comprehend more deeply the reasons which propel the narrative and the characters to such violations, they were divided into three levels in this work: post-colonial, socio-political and affective. The transgressions analyzed here are the ones performed by the characters Velutha, Ammu, Estha, Rahel and Sophie. The levels of the transgressions, their motivations and the concepts of individual and cultural trauma are all correlated so that the intentions of the narrative are elucidated. In the post-colonial level, the concepts of Panikkar (1969), Festino (2007), Forter (2014) and Outka (2011) are applied, whereas Sztompka (2000, 2004), Alexander (2000) and Joseph (2010) are used for the socio-political level; the affective level is observed with notions from Caruth (1995), Bose (1998) and Almeida (2002). The hypothesis of this work is that Roy focuses on the transgressions of minor characters not only to criticize particular elements from the Indian society but also to trigger the reaction of the readers. This is supported by her essays and speeches quoted along the analysis of the novel.

No romance O Deus das Pequenas Coisas (1997) de Arundhati Roy, as transgressões são atitudes que se configuram como abundantes na narrativa, sendo realizadas em sua maioria pelos personagens marginalizados. A fim de obter uma compreensão mais profunda das razões que impulsionam tanto a narrativa quanto os personagens a cometer estas infrações, elas foram divididas em três níveis neste trabalho: pós-colonial, sociopolítico e afetivo. São aqui analisadas as transgressões dos personagens Velutha, Ammu, Estha, Rahel e Sophie. Os níveis das transgressões, suas motivações e os conceitos de trauma individual e cultural são colocados em contraponto para aprofundar a análise da narrativa do romance. No nível pós- colonial, são empregados conceitos de Panikkar (1969), Festino (2007), Forter (2014) e Outka (2011), enquanto Sztompka (2000, 2004), Alexander (2000) e Joseph (2010) permeiam o nível sociopolítico, finalizando o nível afetivo com Caruth (1995), Bose (1998) e Almeida (2002). A hipótese deste trabalho é de que Roy foca nas transgressões para, em primeiro lugar, criticar determinados elementos da sociedade indiana, e para provocar reações em seus leitores. Esta é sustentada através da citação de seus ensaios e discursos na análise do romance. / In The God of Small Things (1997), from Arundhati Roy, the transgressions are substantial throughout the narrative, as the majority of them are performed by marginalized characters. In order to comprehend more deeply the reasons which propel the narrative and the characters to such violations, they were divided into three levels in this work: post-colonial, socio-political and affective. The transgressions analyzed here are the ones performed by the characters Velutha, Ammu, Estha, Rahel and Sophie. The levels of the transgressions, their motivations and the concepts of individual and cultural trauma are all correlated so that the intentions of the narrative are elucidated. In the post-colonial level, the concepts of Panikkar (1969), Festino (2007), Forter (2014) and Outka (2011) are applied, whereas Sztompka (2000, 2004), Alexander (2000) and Joseph (2010) are used for the socio-political level; the affective level is observed with notions from Caruth (1995), Bose (1998) and Almeida (2002). The hypothesis of this work is that Roy focuses on the transgressions of minor characters not only to criticize particular elements from the Indian society but also to trigger the reaction of the readers. This is supported by her essays and speeches quoted along the analysis of the novel.

This thesis examines the first Citizenship School, its location, participants, and success. Johns Islanders, Esau Jenkins, Septima Clark, Myles Horton, Bernice Robinson, and the Highlander Folk School all collaborated to create this school. Why and how this success was reached is the main scope of this manuscript. Emphasis is also placed on the school's impact upon the modern Civil Rights Movement. Primary sources such as personal accounts, manuscripts, and archive collections were examined. Secondary sources were also researched for this manuscript. The conclusion reached from these sources is that faith was the driving force behind the success of the Citizenship School. The schools unlocked the chains of political, social, and economic disenfranchisement for Gullah Islanders and African Americans all over the South, greatly affecting the outcome of the Civil Rights Movement. African Americans, who had once been forced into second-class citizenship, now through faith and the vote, obtained first-class citizenship.

Zara Neale Purston has re-emerged as an author of promise due to the re-appraisal of her works led by Alice Walker and Robert Hemenway. In both literary and folklore academic circles, Hurston's work has been reclaimed by African-American female scholars and writers, but still a significant study has yet to be done about her ethnographic contributions to folklore and her farsightedness in fieldwork methodology. This thesis seeks to validate her work as a folklorist, thereby dismissing the charges of popularization and amateurishness by re-examining her work. Mules and Men and Jonah's Gourd Vine are Hurston's two most influential folklore texts and will be evaluated for their approach and contribution to the study of ethnography.

This study examined the predictive validity of the WAIS in an academic setting. Traditional WAIS IQ scores and subtests of 127 male and 163 female college students were correlated with Grade Point Averages at the end of four semesters and within five academic areas. Five groups were examined including the total group, male group, female group, black group, and white group. The academic University's general and Communication of areas investigated corresponded to the education requirements; Organization Ideas, Humanities, Social and Behavioral Studies, Natural Science and Mathematics, and Physical Development. Results indicated that dictor of both semester GPA and five groups. Full Scale IQ was Verbal IQ was the best preacademic area GPA for the the second best overall indicator. Verbal IQ for blacks was a better predictor of success in college than it was for whites. Verbal abilities appeared more important for blacks than whites in terms of how well they did in school. WAIS IQ tended to best predict first semester GPA and the areas of Social and Behavioral Studies, Organization and Communication of Ideas, Natural Sciences and Mathematics, Humanities and Physical Development, in that order. WAIS Verbal subtests were more efficient predictors than were the Performance subtests. The Digit Span and Arithmetic subtests of the Verbal scale and all five of the Performance subtests appeared to be of negligible value in predicting academic achievement. The highest correlations were found in the Vocabulary subtest, then Similarities and Information, and finally Comprehension. The female group had consistently higher correlation coefficients in every Performance subtest across all semesters and in each of the five academic areas.

The educational quality of Erie County and Buffalo, New York, as represented by school district performance was examined and the relationship between school district performance and the social environment was analyzed. Socioeconomic status, social stability and race were all found to be strongly correlated to school district performance. Within Erie County, Buffalo has the poorest school performance levels while Snyder and Williamsville, two high status suburban districts, have the highest school performance levels. The overall spatial pattern of school district performance based on the PEP test results for 1974 reveal a strong correspondence between school district performance and the social structure of Erie County. The distribution of Regents Scholarship winners within Erie County also straws the strong relationship between social status and school performance. The performance of the Buffalo schools schools a strong relationship to the social structure of the city. The performance of third, sixth and ninth grade pupils on reading and math PEP tests reveals an inner city-periphery contrast in school performance, especially for the elementary schools. The low-achieving schools are located in the inner city, especially the black ghetto, and the high-achieving schools are located on the periphery of the city. Elementary school performance is strongly correlated to income (SES), minority enrollment (race) and the percentage of broken hares (family stability).

The purpose of this study is to examine attitude change toward a particularly salient political and social issue "over time." A second purpose is the examination of the perception of party differences in their positions toward the aforementioned issues "over time."

Analysis of theme, style and structure of the chanted sermons of a Virginia preacher shows that the chanted sermon is a powerful ritualistic expression in certain communities. As practiced among Afro-American groups the chanted sermon is a ritual expression which serves to resolve conflicts, affirm values, and meet certain socio-psychological needs.