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En el presente estudio aplicamos la perspectiva poscolonial a dos novelas peruanas de temática afroperuana: Matalaché (1928) de Enrique López Albújar y Malambo (2001) de Lucía Charún-Illescas con el fin de aportar conocimientos sobre ellas. Dentro del marco de nuestro análisis queremos identificar cómo las caracterizaciones de los personajes, y la influencia de algunos factores determinantes relacionados a ellos, se diferencian según el grupo al que pertenecen dentro de la jerarquía colonial. Partimos de la premisa de que la literatura poscolonial tiene diferentes etapas de distanciamiento de la colonialidad y que las novelas escogidas pertenecen a dos etapas distintas. Consecuentemente, el análisis busca revelar las diversas formas en las que las caracterizaciones de los personajes, la influencia de los factores determinantes y la imagen de la jerarquía colonial, se distinguen entre las dos obras. El análisis señala que los personajes pueden ser caracterizados a base del tipo de personaje retratado, del nombre del personaje, del uso de títulos y el trato personal, del lenguaje, y a través de la influencia de los factores determinantes religión, raza, clase, economía y trabajo, y género. A base de los resultados encontrados en el análisis concluimos que las caracterizaciones y la influencia de los factores determinantes en las imágenes de los personajes en las novelas manifiestan una valoración que define a qué grupo social pertenecen estos personajes. Además, identificamos una valoración de los grupos de personajes que influye en el posicionamiento de los mismos en la jerarquía colonial. Finalmente concluimos que las caracterizaciones en Matalaché (1928) se acercan más a la estructura colonial que las caracterizaciones en Malambo (2001), lo que, por consiguiente, indica que ambas novelas sí pertenecen a diferentes etapas de distanciamiento de la colonialidad dentro de la literatura poscolonial peruana de temática afroperuana. / In this investigation, we apply a postcolonial perspective on two novels with afro-peruvian thematics: Matalaché (1928) by Enrique López Albújar and Malambo (2001) by Lucía Charún-Illescas, aiming to contribute to an increased understanding of these novels. Within the framework of our analysis we try to identify how the characterizations of the characters, and the influence of some determining factors relating to these, vary depending on the group they belong to within the colonial hierarchy. As a starting point, we assume that the postcolonial literature has different stages in which it distances itself from its colonial past, and that the chosen novels belong to two different stages. The analysis tries to reveal the different forms in which the characterizations of the characters, the influence of the determining factors and the image of the colonial hierarchy differs between the two novels. The analysis shows that characters can be characterized through the way they are depicted, the name of the characters, the use of titles and the way they are addressed, and through their language, also through the influence of the determining factors religion, race, class, economy and labor, and gender. Considering the results encountered in the analysis we conclude that the characterizations and the influence of the determining factors in the images of the characters in the texts shows a valuation that defines in which social group these characters belong. We also identify a valuation of the character groups that influences the positioning of said groups in the colonial hierarchy. Finally, we conclude that the characterizations in Matalaché (1928) more closely resembles those of the colonial structure than the characterizations in Malambo (2001). This indicates that the novels do belong to different stages of distance to colonialism within the peruvian postcolonial literature with afro-peruvian thematics.

No Ocidente moderno, o vampiro é mais do que uma personagem, é um tipo. Ao se tornar objeto de diversas modalidades de produção simbólica desde teórico-investigativa a poética e ficcional o vampiro é constituído em uma temática. Esta pesquisa busca compreender o alcance de tal tematização: premissas, procedimentos comuns. Muito problemático é o pressuposto de uma correlação derivativa entre vampiro literário e conteúdos folclóricos. De resto, ao longo do séc. XIX, o que será chamado de cultura popular sofrerá uma radical matização de significados. O trabalho consiste no esforço de contextualização histórico-interpretativa de um grande conjunto de textos; busca averiguar os modos pelos quais são relacionados os elementos tematicamente agrupados. / More than a character, the vampire is best described as a type in the modern Western culture. Lending itself to many modalities of symbolic production comprehending viz. the theoretical-investigative bias as well as poetic and fictional treatments the vampire takes shape in its corresponding thematics. The scope of the present study lies in elucidating the extent of such thematisation: premises, common proceedings. The assumption of a derivative correlation between literary vampire and folkloric repertoires involves problematic underlying aspects. Furthermore, in the course of the Nineteenth century the meanings of what may be called popular culture achieve a radical variance. This study attempts to re-contextualize a large ensemble of texts from a historical-hermeneutical point of view; to instantiate some modes and means by which the thematically grouped elements are conformed to a mutual relation.

La présente étude analyse les lignes de force et les structures thématiques d´une écriture hybride, conçue comme un réseau organisé de motifs récurrents et d´images obsédantes. Elle recense les traits pertinents de l´esthétique romanesque d´António Lobo Antunes. Cette esthétique se conçoit comme le lieu d´un travail linguistique préalable à la subversion de l´héritage idéologique et narratif du centre impérial, grâce à des procédés s´inspirant, entre autres, de la carnavalisation bakhtinienne. La thématique se conjugue ici à la psychanalyse pour aboutir au dévoilement d´un projet poétique postcolonial privilégiant les voix discordantes et les discours déviants des aliénés et des sans voix. / This study provides an analysis of the main thematic structures involved in a hybrid writing conceived as an organized network of recurring motifs and haunting images. It identifies relevant features of the aesthetics of António Lobo Antunes. The writer´s poetics is the place where the Portuguese language is subverted prior to .changes in the narrative and ideological colonial inheritance. Those disruptions are inspired, among other theories, by the Bakhtinian carnivalization. The thematics is combined in the study with psychoanalysis to unveil a postcolonial literary project which aims at highlighting conflicting views from alienated and voiceless people

No Ocidente moderno, o vampiro é mais do que uma personagem, é um tipo. Ao se tornar objeto de diversas modalidades de produção simbólica desde teórico-investigativa a poética e ficcional o vampiro é constituído em uma temática. Esta pesquisa busca compreender o alcance de tal tematização: premissas, procedimentos comuns. Muito problemático é o pressuposto de uma correlação derivativa entre vampiro literário e conteúdos folclóricos. De resto, ao longo do séc. XIX, o que será chamado de cultura popular sofrerá uma radical matização de significados. O trabalho consiste no esforço de contextualização histórico-interpretativa de um grande conjunto de textos; busca averiguar os modos pelos quais são relacionados os elementos tematicamente agrupados. / More than a character, the vampire is best described as a type in the modern Western culture. Lending itself to many modalities of symbolic production comprehending viz. the theoretical-investigative bias as well as poetic and fictional treatments the vampire takes shape in its corresponding thematics. The scope of the present study lies in elucidating the extent of such thematisation: premises, common proceedings. The assumption of a derivative correlation between literary vampire and folkloric repertoires involves problematic underlying aspects. Furthermore, in the course of the Nineteenth century the meanings of what may be called popular culture achieve a radical variance. This study attempts to re-contextualize a large ensemble of texts from a historical-hermeneutical point of view; to instantiate some modes and means by which the thematically grouped elements are conformed to a mutual relation.

The authors closely analyzed 45 children's books featuring characters with refugee backgrounds that had been published since 2013. With the concept of culturally sustaining pedagogy underpinning the review, analysis revealed that these texts are rich and detailed, providing a starting point for discussing the global refugee crisis with students, but they occasionally fall short in providing complex, multidimensional representations of characters’ lives and experiences. A majority of the texts analyzed focus on the journey in search of a safe place to live, whereas very few focus on the complexity of making a life in a new place. The findings highlight the importance of identifying texts that provide complexity, dimension, and specificity in depicting experiences of refugee‐background characters across settings. Opening classrooms to texts about the diversity of refugee experiences invites teachers and their students to critically explore the important global issues of migration, equity, and ways of being human.

OPSOMMING: 'n Literatuurstudie is onderneem oor musikale ontlening soos dit in verskillende tydperke in die verlede gemanifesteer het. 'n Literatuurstudie is ook onderneem oor die historiese verband tussen Buxtehude en Bach, musikaal en andersins. 'n Indringende ondersoek na ooreenkomste in melodiese openingsformasies in die vrye orrelwerke van Buxtehude en Bach is gedoen. Die resultate is gesistematiseer deur dit in kategorieë in te deel. Repertoriums uit voorafgaande tydperke is betrek, om daaruit gemeenskaplike historiese spore, wat verband hou met die ooreenkomste in tematiese materiaal in die vrye orrelwerke van Buxtehude en Bach, aan te dui. Vroeëre repertoriums wat betrek is, sluit byvoorbeeld Middeleeuse cantus plani, Joodse melodieë soos opgeteken deur Idelsohn, die Geneefse Psalter en vroeë klawerbordliteratuur in. Die resultate van die ontleding is gesistematiseer in 'n nuut-ontwerpte model wat gebaseer is op ooreenkomstige melodiese aanvangspatrone in die vrye orrelwerke van Buxtehude en Bach. Hierdie sistematiese model is nie slegs op die tematiese materiaal van Buxtehude en Bach van toepassing nie, maar ook op tematiese materiaal wat veer verder in die verlede teruggevind kan word, tot sover as die Delfiese himnes van 127 v.C. In hierdie studie is insig in musikale ontlening verkry uit die merkbare ooreenkomste tussen die melodiese aanvangspatrone in die tematiek van Bach se vrye orrelwerke en die van Buxtehude. Die insig is verdiep deur die sistematiese ordening van hierdie ooreenkomste, en die vasstelling dat die ooreenkomste op gemeenskaplike historiese spore teruggaan. In die tradisionele studie van musiektekstuur is harmoniese progressies gesistematiseer met die vier kadense aan die eindes van frases as uitgangspunt. 'n Ooreenkomstige sistematisering van melodiese patrone wat aan die begin van frases voorkom, is egter, sover vasgestel kon word, nog nie voorheen onderneem nie. 'n Nuwe bydrae tot die musiekwetenskap is dus gelewer deurdat die melodiese openingspatrone volgens 'n nuut-ontwerpte model gesistematiseer is. / SUMMARY: Musical borrowing in Western music is a vast field, the history of which, according to J. Peter Burkholder, still has to be written. The main objective of this study is to provide a historical perspective on musical borrowing to serve as a background for a comparative study of thematics in the free organ works of Buxtehude and Bach. However, to provide a more comprehensive perspective on the phenomenon of musical borrowing and traces from the past, one requires a historical consciousness which goes further than Bach's immediate past. The research includes a study of literature on musical borrowing as it has manifested itself in various eras. This literature study also includes an investigation into the historical connection between Buxtehude and Bach, musically and otherwise. Similarities in melodic opening formations in the free organ works by Buxtehude and Bach are pointed out. The results are systematicised by the classification into categories. The classification draws on repertoires from previous eras in order to indicate common historical traces relating to correspondences of thematic material in the free organ works by Buxtehude and Bach. Earlier repertoires include Medieval chants, Jewish melodies recorded by Idelsohn, the Genevan Psalter and early keyboard literature. The results of the analysis are systematised in a newly designed model which is based on corresponding melodic opening patterns in the free organ works by Buxtehude and Bach. This systematic model applies not only to thematic material of Buxtehude and Bach but also to thematic material which can be traced back far further into the past, in fact, as far back as the Delphic hymns of 127 BC. This study provides insight into musical borrowing based on the noticeable similarities between melodic opening phrases in the thematics of the free organ works by Bach and Buxtehude. This insight is enhanced by the systematic ordering of these similarities and the realisation that the similarities are based on common historical traces. In the traditional study of musical texture harmonic progressions are systematised, using the four cadences at the ends of phrases as the point of departure. However, melodic patterns which occur at the beginnings of phrases, have not, as far as I know, been similarly systematised. This systemisation of melodic opening patterns according to a newly designed model therefore constitutes a new contribution to research in musicology. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2010.

OPSOMMING: 'n Literatuurstudie is onderneem oor musikale ontlening soos dit in verskillende tydperke in die verlede gemanifesteer het. 'n Literatuurstudie is ook onderneem oor die historiese verband tussen Buxtehude en Bach, musikaal en andersins. 'n Indringende ondersoek na ooreenkomste in melodiese openingsformasies in die vrye orrelwerke van Buxtehude en Bach is gedoen. Die resultate is gesistematiseer deur dit in kategorieë in te deel. Repertoriums uit voorafgaande tydperke is betrek, om daaruit gemeenskaplike historiese spore, wat verband hou met die ooreenkomste in tematiese materiaal in die vrye orrelwerke van Buxtehude en Bach, aan te dui. Vroeëre repertoriums wat betrek is, sluit byvoorbeeld Middeleeuse cantus plani, Joodse melodieë soos opgeteken deur Idelsohn, die Geneefse Psalter en vroeë klawerbordliteratuur in. Die resultate van die ontleding is gesistematiseer in 'n nuut-ontwerpte model wat gebaseer is op ooreenkomstige melodiese aanvangspatrone in die vrye orrelwerke van Buxtehude en Bach. Hierdie sistematiese model is nie slegs op die tematiese materiaal van Buxtehude en Bach van toepassing nie, maar ook op tematiese materiaal wat veer verder in die verlede teruggevind kan word, tot sover as die Delfiese himnes van 127 v.C. In hierdie studie is insig in musikale ontlening verkry uit die merkbare ooreenkomste tussen die melodiese aanvangspatrone in die tematiek van Bach se vrye orrelwerke en die van Buxtehude. Die insig is verdiep deur die sistematiese ordening van hierdie ooreenkomste, en die vasstelling dat die ooreenkomste op gemeenskaplike historiese spore teruggaan. In die tradisionele studie van musiektekstuur is harmoniese progressies gesistematiseer met die vier kadense aan die eindes van frases as uitgangspunt. 'n Ooreenkomstige sistematisering van melodiese patrone wat aan die begin van frases voorkom, is egter, sover vasgestel kon word, nog nie voorheen onderneem nie. 'n Nuwe bydrae tot die musiekwetenskap is dus gelewer deurdat die melodiese openingspatrone volgens 'n nuut-ontwerpte model gesistematiseer is. / SUMMARY: Musical borrowing in Western music is a vast field, the history of which, according to J. Peter Burkholder, still has to be written. The main objective of this study is to provide a historical perspective on musical borrowing to serve as a background for a comparative study of thematics in the free organ works of Buxtehude and Bach. However, to provide a more comprehensive perspective on the phenomenon of musical borrowing and traces from the past, one requires a historical consciousness which goes further than Bach's immediate past. The research includes a study of literature on musical borrowing as it has manifested itself in various eras. This literature study also includes an investigation into the historical connection between Buxtehude and Bach, musically and otherwise. Similarities in melodic opening formations in the free organ works by Buxtehude and Bach are pointed out. The results are systematicised by the classification into categories. The classification draws on repertoires from previous eras in order to indicate common historical traces relating to correspondences of thematic material in the free organ works by Buxtehude and Bach. Earlier repertoires include Medieval chants, Jewish melodies recorded by Idelsohn, the Genevan Psalter and early keyboard literature. The results of the analysis are systematised in a newly designed model which is based on corresponding melodic opening patterns in the free organ works by Buxtehude and Bach. This systematic model applies not only to thematic material of Buxtehude and Bach but also to thematic material which can be traced back far further into the past, in fact, as far back as the Delphic hymns of 127 BC. This study provides insight into musical borrowing based on the noticeable similarities between melodic opening phrases in the thematics of the free organ works by Bach and Buxtehude. This insight is enhanced by the systematic ordering of these similarities and the realisation that the similarities are based on common historical traces. In the traditional study of musical texture harmonic progressions are systematised, using the four cadences at the ends of phrases as the point of departure. However, melodic patterns which occur at the beginnings of phrases, have not, as far as I know, been similarly systematised. This systemisation of melodic opening patterns according to a newly designed model therefore constitutes a new contribution to research in musicology. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2010.