This study looks at the economic, political and social history of women in the Yoruba area of south-western Nigeria in the 19th century using contemporary sources which have remained previously largely untapped for historical studies of women. The century encompassed many key historical developments which affected women; in particular, the decline of the Atlantic slave trade and the growth of an export trade in locally produced palm oil and kernels. Whereas the slave trade had been dominated by men, the processing, transport and trade of palm produce was dominated by women. The extent, nature and effects of women's role in this and other industries such as pottery manufacture, dyeing and food vending, which also expanded and developed during this period, are examined. As demand for palm produce and other goods increased, the labour of both free-born and slave women became more valuable since it was vital for industry at all stages. The study looks at changing labour demands and sources and alterations in the established pattern of the sexual and generational division of labour. Important changes in gender relations are evident and the study illuminates how tensions between men and women and between women themselves were manifest and how both men and women expressed and dealt with these problems. Economic changes were accompanied by largely internal political developments which favoured a few wealthy women. overall, many men perceived and/or experienced that increasing female autonomy posed a threat to the established patriarchal order. The evidence represented in the thesis clearly shows how men attempted to subordinate women in general, tap into their income and limit their political involvement, mainly through the development of exploitative and restrictive aspects of male-dominated politico-religious cults, which were directed specifically at women.

À l‟instar de la mutation des Sciences Humaines et Sociales soutenues par le bouleversement des paradigmes des sciences de l'information et de la communication, et des systèmes de l‟organisation des connaissances vers ceux portés par les sociétés du savoir, il est important, de réétudier la relation entre les individus, les communautés et la technologie dans un contexte d‟apprentissage pour une capitalisation des connaissances.L‟objectif de cette thèse est de proposer un modèle hybride de capitalisation des savoirs soutenu par le management des connaissances dans un contexte béninois. Cette proposition vise à une amélioration des résultats de la réutilisation des connaissances en entreprise.Ainsi, nous sommes parti d‟une interrogation sur l‟existence d‟un modèle de capitalisation des connaissances endogènes pouvant booster le développement des entreprises ouest-africaines en général et béninoises en particulier. Pour vérifier la possibilité de l‟application ou de la transposition de ce modèle traditionnel aux réalités de l‟entreprise, nous nous sommes intéressé aux facteurs pouvant affecter l‟efficacité des processus de transfert pour une capitalisation. Ces facteurs ont été identifiés lors de notre revue de littérature pendant laquelle nous avions constaté une multitude de techniques et d‟approches théoriques permettant d‟appréhender le phénomène. Cependant, au cours de cette recherche, nous sommes partagé entre deux courants de pensée dominants, dans ce champ disciplinaire, que sont le constructivisme et le positivisme.Dans cet élan, nous sommes parti d‟une perspective anthropologique vers la mise en place d‟un dispositif de capitalisation des connaissances en Afrique de l‟ouest. Ainsi, nous nous sommes inspiré de la manière dont les communautés Yoruba Nago du Fa perçoivent la vie de l‟entreprise et la transmission du savoir (quelle connaissance transférée, par quels outils, et l‟impact de ce transfert sur la communauté).Pour atteindre cet objectif évoqué plus haut, nous avons procédé par une méthode exploratoire qualitative auprès des différents acteurs de la communauté de pratique Fa et aussi auprès de certaines entreprises béninoises. Ceci a été fait à travers l‟implémentation (adaptation) d‟un dispositif de capitalisation des connaissances dans l‟entreprise en tenant compte des réalités culturelles et anthropologiques dont le cas est présenté dans cette thèse par une étude empirique. / As the mutation of Humanities and Social Science supported by the disruption of information science paradigms and communication, knowledge organization systems to those worn by knowledge societies, it‟s important to reconsider the relationship between individuals, communities and technology in a learning process environment for knowledge capitalization. The objective of this thesis is to propose a hybrid model of knowledge capitalization supported by knowledge management in Benin context.The aims of this proposal, is to improve the results of the re-use of business knowledge. So we will start with a questioning of the existence of an endogenous knowledge capitalization model which can boost the development of West African enterprises in general and Benin in particular.To verify the possibility of the application or transposition of this traditional model to the realities of the business, we focuse on the factors that may affect the efficiency of the transfer process for capitalization. These factors were identified in our literature review in which we found multitude of techniques and theoretical approaches to understand the phenomenon. However, in this research, we are divided between two dominant schools of thought in this subject area that are constructivism and positivism. In this momentum, we start from an anthropological perspective towards the establishment of a knowledge capitalization system in West Africa. Inspired by the way the Yoruba Nago communities and Fa perceive corporate life and the transmission of knowledge (what knowledge transferred, for which tools and the impact of this transfer on the community).To achieve this goal mention above, we will conduct a qualitative exploratory approach to the various players in the Fa community of practice and also in some enterprises in Benin. This through the implementation (adaptation) of a knowledge capitalization device in the company, taking into account cultural and anthropological realities whose case is presented in this thesis by an empirical study.

The study examines two selected Yorùbá movies, focuses on the oral tradition, feelings, and messages in them. Its purpose is to show that the classification or categorisation by previous scholars is not limited to Yorùbá movies; it is adaptable to other movies. Consequently, the study sets out to find an identity for Yorùbá movies and is able to accomplish its aim. It draws on copious examples of oral tradition genres in the selected movies, extract their examples from the movies, and use the extracts to make an argument that the unique way to identify Yorùbá movies is the Yorùbá oral tradition which frequents in the movies. In its attempt to find its focus, it highlights scholars’ ideas of oral tradition worldwide and narrows the concept to the Yorùbá paradigm. The dissertation contains information on research approach, theories, analysis, and findings. Also, it presents the weaknesses of the study and offers useful recommendations. Finally, the study asserts its claim and proves it with evidence from its data. / African Languages / D. Litt. et Phil. (African Languages)

The study examines two selected Yorùbá movies, focuses on the oral tradition, feelings, and messages in them. Its purpose is to show that the classification or categorisation by previous scholars is not limited to Yorùbá movies; it is adaptable to other movies. Consequently, the study sets out to find an identity for Yorùbá movies and is able to accomplish its aim. It draws on copious examples of oral tradition genres in the selected movies, extract their examples from the movies, and use the extracts to make an argument that the unique way to identify Yorùbá movies is the Yorùbá oral tradition which frequents in the movies. In its attempt to find its focus, it highlights scholars’ ideas of oral tradition worldwide and narrows the concept to the Yorùbá paradigm. The dissertation contains information on research approach, theories, analysis, and findings. Also, it presents the weaknesses of the study and offers useful recommendations. Finally, the study asserts its claim and proves it with evidence from its data. / African Languages / D. Litt. et Phil. (African Languages)

The Cuban-born artist Ana Mendieta (1948-1985) created the Silueta Series during the 1970s and ‘80s. It consists of earth-body works in situ featuring the silhouette of the artist's body fashioned from mud, plants, rocks, gunpowder and other materials. Underlying the creation of the Silueta Series is Mendieta's belief that the elements are sentient and powerful beings. This perception is particularly strong in the Afro-Cuban religion Santeria, a creolized form of the Òrìsà tradition of the Yoruba of West Africa introduced to the Americas during the trans-Atlantic slave trade. While scholars have noted Mendieta's incorporation of Santeria in her art, a thorough analysis of the iconographical references to the deities have yet to be explored. This thesis aims to provide such an analysis of Mendieta's works; thus enriching the current discourse on the Silueta Series.

Considerando a existência de poucos estudos sobre os iorubás e o fato de constituirmos uma sociedade de marcante presença africana, esta investigação debate, entre outros temas, pertença grupal, relações étnico-raciais e liberdade de crença no Brasil. Tendo por objeto de estudo a metamorfose identitária de sacerdotisas e sacerdotes não-africanos do coletivo Egbé Oduduwa, inspirada no convívio com lideranças religiosas iorubás, nascidas e residentes em Abeokutá (Ogun State, Nigeria), a pesquisa foi realizada em espaços de prática da Religião Tradicional Iorubá em Mongaguá (São Paulo, Brasil), Pium (Tocantins, Brasil), Abeokutá, Liubliana (Liubliana, Eslovênia) e La Coruña (Galícia, Espanha). O percurso teórico desta investigação permitiu traçar um panorama de estudos sobre as religiões de matrizes africanas no Brasil e reunir dados sobre: raça-etnia como bases ideológicas do colonialismo e do pós-colonialismo; caminhos de enfrentamento do racismo e marcos do pensamento psicológico brasileiro. As definições de Psicologia da Religião adotadas, próprias das Ciências Psi no continente africano, particularmente na Nigéria e África do Sul, privilegiaram a ótica negro-africana. O percurso das investigações em campo permitiu aprofundar conhecimentos sobre a concepção iorubá de universo, tempo e pessoa e a Religião Tradicional Iorubá como princípios socializadores. O procedimento de coleta de dados incluiu observação participante, entrevistas com as lideranças religiosas que compuseram a amostra de pesquisa e diálogos com informantes orais; para sua análise os dados foram organizados em torno de eixos temáticos emergentes das falas das lideranças entrevistadas; a interpretação dos dados foi realizada com base na sabedoria iorubá veiculada por tradicionalistas da palavra oral e em relevantes expoentes do pensamento científico africano e europeu. Além de estimular e subsidiar debates sobre a construção de uma psicologia inspirada em saberes tradicionais, entre os quais os negro-africanos, se pode concluir, com base no corpo teórico de referência e no conteúdo dos diálogos entabulados, que sociedades tradicionais têm muito a oferecer ao processo contínuo de (re)construção teórico-metodológica dos Saberes Psi, e que o conhecimento desses Saberes Ancestrais pode instrumentalizar agentes sociais em seus esforços por combater a discriminação étnico-racial , em favor da Justiça e da Paz / Considering the existence of few studies on the Yorubás and the fact that we constitute a society with a strong African presence, this research debates, among other subjects, group membership, ethnic-racial relations and freedom of belief in Brazil. The object of study was the identity metamorphosis of the collective Egbé Oduduwanon-African priests, inspired by the relationship with Yoruba religious leaders born and resident in Abeokuta (Ogun State, Nigeria). The research was carried out in spaces of practice of Yoruba Traditional Religion in Mongagua (São Paulo, Brazil), Pium (Tocantins, Brazil), Abeokuta, Ljubljana (Ljubljana, Slovenia) and La Coruña (Galicia, Spain). The theoretical course of this investigation allowed to draw a panorama of studies on African matrices of Brazilian religions and to gather data on: race-ethnicity as ideological bases of colonialism and post-colonialism; fight against racism and historic landmarks of Brazilian psychological thinking. The definitions of Psychology of Religion adopted, proper to the Psi Sciences on the African continent, particularly in Nigeria and South Africa, favored the Black African optics. The course of the investigations in the field allowed to deepen knowledge on the Yoruba conception of universe, time and person and the Traditional Religion Yoruba as socializers principles. The data collection included participant observation, interviews with the religious leaders who composed the research sample and dialogues with oral informants; for their analysis the data were organized around thematic axes emerging from the speeches of the leaderships interviewed; the data´s interpretation were carried out on the basis of Yoruba wisdom conveyed by traditionalists of the oral word and in relevant exponents of African and European scientific thought. Besides stimulating and subsidizing debates on the construction of a Psychology inspired by traditional knowledge, among them Black Africans, based on the theoretical body of reference and the content of the dialogues one can conclude that traditional societies have much to offer to the continuous process of theoretical and methodological (re)construction of the Psi knowledge, and that the knowledge of these Ancestral Knowledge can instrumentalize social agents in their efforts to combat ethnic-racial discrimination in favor of Justice and Peace

Biyi Bandele est un écrivain d'origine nigériane dont l'œuvre novatrice et très riche reste encore peu connue du milieu universitaire en France. Aucune étude de grande ampleur n'a encore été consacrée à sa production et le présent travail essaie de combler ce grand vide. Cette étude qui s'appuie principalement sur les quatre romans de l'auteur a pour objectif de montrer que Biyi Bandele est un romancier carnavalesque et que tout son effort consiste à s'interroger sur les conditions de vie de ses concitoyens nigérians, la nature du pouvoir politique et ses modes d'exercice et les raisons pour lesquelles la construction d'une vraie nation semble impossible au Nigeria tant d'années après l'indépendance. A travers ces diverses interrogations, Biyi Bandele peint surtout un pays dont l'état de déconfiture et d'anomie est tel qu'il semble inconcevable d'en rendre compte avec les moyens traditionnels du roman réaliste européen. Mais grâce à son exceptionnel talent de conteur, Biyi Bandele réussit à nous faire prendre conscience de cette réalité grâce à une langue riche, et un nouvel art de conter inspiré des traditions yoruba et d'autres éléments de la culture populaire nigériane. / Biyi Bandele is a Nigerian writer whose innovative and very rich writings are still little known by academics in France. No large-scale study has been devoted to his writings yet, and this work tries to make up for this gap. This study which is mainly based on the four novels written by Biyi Bandele aims at showing that he is a Carnivalesque novelist and that all of his effort consists in raising questions about the living conditions of his fellow countrymen, the nature of political power and its functioning, and the reasons why nation-building seems impossible in Nigeria so many years after independence . Through these different questions, Biyi Bandele mainly portrays a country in shambles, in such a state of anomy that one can no longer rely on the means of the Europen realist novel to render its situation. But thanks to his exceptional talent as a storyteller, Biyi Bandele manages to make us become aware of this reality by inventing a rich language and a new way of telling story inspired by yoruba traditions and other elements of Nigerian popular culture.

This study is a critique of Aso Ebi in Owambe social uniform and social performance phenomena of the Yoruba culture of Nigeria in West Africa. The Aso Ebi phenomenon is a social uniform that is inextricable from the Owambe spectacle of the Yoruba culture, which, in itself, is a social performance. Aso Ebi is a fabric that is selected, made into garments and worn by groups of people who are related to one another in various ways such as family, friends or comrades. The uniforms are worn for social gatherings, especially celebrations, which are popularly called Owambe. These celebrations are very elaborate and loud, much like a grand spectacle put on to show wealth, unity and flamboyance. The research is the explanation of how the Aso Ebi and Owambe social uniforms manifest themselves and this manifestation is presented through a body of artworks. The artworks seek to expose the unseen actualities involved in participating in these social performances and issues of social survival within these cultural phenomena. The analysis addresses the impacts and influence of conformity in cooperative behaviour by an individual within his/her social identity and relationships. The main question this study addresses is whether the positive factors of unity, social order and expressive visual flamboyance of the social phenomena outweigh the negative impacts particularly on the individuals who participate in these social performances. This is done by acknowledging the experiences of the participating individuals in the conformity and transmission modes of these phenomena in this culture. The visual productions of the concepts in the research are achieved through performance, collages, photography and a sculptural installation. The significance of these emergent visual productions is that they shift the focus from the impression of the group to the conformity by the individual. This highlights the problems faced by the participating individuals in the pursuit and participation of this cultural phenomenon. / Department of Art History, Visual Arts & Musicology / M.A. (Visual Arts)

Submitted in fulfillment of the requirements of the degree of Master of Technology: Language Practice, Durban University of Technology, Durban, South Africa, 2016. / The diversified ways of language use in different geographic areas of the world present valid reasons for the study of various usages of language. Invectives are a major aspect of language that have been greatly neglected in intellectual discourse. Motivated by the paucity of academic literature on invective-related studies and other stereotypes in human communication, the thrust of this work is to discuss the socio-cultural factors embedded in the two cultures in their approach of invectives. The study examines a comparative taxonomy of invectives in isiZulu and Yoruba languages from a socio-semiotic perspective. Drawing examples from the two languages, the study explores instances of semiotic analysis that are created by the assumption that signs, utterances and messages are situated within the context of social relations and processes. The study indicates that invectives are context and culture-dependent and may be perceived differently in line with the field of discourse, tenor of discourse and mode of discourse. The research tools included observation, interviews, and archival materials. Our research also identified and classified pre-assigned invectives, ritualized insult chants, innovative songs and visual insults. Adeosun’s (2012) proposed model of analyzing written poetry in Yoruba was used in analyzing the insults. The following typologies of insults (among others) were observed in the two languages: ethnophaulism, dehumanization, sexotypes and body parts. The study reveals striking similarities and differences in the invective-related discourses of isiZulu and Yoruba. / M

This study is a critique of Aso Ebi in Owambe social uniform and social performance phenomena of the Yoruba culture of Nigeria in West Africa. The Aso Ebi phenomenon is a social uniform that is inextricable from the Owambe spectacle of the Yoruba culture, which, in itself, is a social performance. Aso Ebi is a fabric that is selected, made into garments and worn by groups of people who are related to one another in various ways such as family, friends or comrades. The uniforms are worn for social gatherings, especially celebrations, which are popularly called Owambe. These celebrations are very elaborate and loud, much like a grand spectacle put on to show wealth, unity and flamboyance. The research is the explanation of how the Aso Ebi and Owambe social uniforms manifest themselves and this manifestation is presented through a body of artworks. The artworks seek to expose the unseen actualities involved in participating in these social performances and issues of social survival within these cultural phenomena. The analysis addresses the impacts and influence of conformity in cooperative behaviour by an individual within his/her social identity and relationships. The main question this study addresses is whether the positive factors of unity, social order and expressive visual flamboyance of the social phenomena outweigh the negative impacts particularly on the individuals who participate in these social performances. This is done by acknowledging the experiences of the participating individuals in the conformity and transmission modes of these phenomena in this culture. The visual productions of the concepts in the research are achieved through performance, collages, photography and a sculptural installation. The significance of these emergent visual productions is that they shift the focus from the impression of the group to the conformity by the individual. This highlights the problems faced by the participating individuals in the pursuit and participation of this cultural phenomenon. / Department of Art History, Visual Arts and Musicology / M. A. (Visual Arts)