Afrika südlich der Sahara
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Yonasi
(2010)
Yezu owedda vaddulu va manje
(2010)
Yezu onokurumuca pevo
(2010)
Yakobo
(2010)
Enthält:
Bibel. Genesis, 25,19-34
Bibel. Genesis, 27,1-28,22
Yaakopo
(2010)
The article consists in a comparative reading of three novels: Um rio chamado tempo by Mia Couto, Le pain des corbeaux by Lhoussain Azergui and Paw królowej by Dorota Masłowska. In spite of the difference of the historical circumstances of Mozambique, Morocco and Poland, these three books meet at an intersecting point: the emergence of an intelligentsia that uses literacy and writing as an instrument to deconstruct the post-colonial concept of nation and to operate a trans-colonial renegotiation of identity. By the notion of trans-colonial, I understand the opposition against new kinds of symbolic violence that emerged after the end of the colonial period; here this new form of oppression is related to the concept of national unity – an artificial construct that leaves no place for a dualism or pluralism of cultural reality (two shores of the Zambezi river, Arab and Berber dualism in Morocco, "small homelands" in Poland).
The young heroes of the novels grasp the pen in order to break through the falseness or the taboos created by the fathers, establishing, at the same time, the relation of solidarity with the world of the grandfathers. The act of writing becomes an actualization of the ancestral universe of magic. The settlement of accounts with the parental generation concerns the vision of nation built upon the resistance against the colonizer (it also refers to the Polish cultural formation, based on the tradition of uprisings and resistance against the Russians).
Wazili-Ilahi
(2010)
Sans qu'il soit besoin de faire la ronde des romans de la dernière période, force est de constater qu'aucun auteur ne prend le risque d'aller au-devant de ce qu'ils semblent tous considérer comme des «sujets de danger», de ces sujets qui touchent à la politique et à la vie de leurs acteurs. La problématique des romans gabonais se construit alors sur la base du consensus de la peur. Écrire sur les politiques crée une névrose dont aucun écrivain ne voudrait payer les frais. À noter pour conclure que le silence du romancier gabonais pourrait bien sourdre du « prince », lui-même écrivain et capable comme tel d'influencer le monde de l'écriture. Dire le politique dans le roman pourrait porter à contredire les publications dithyrambiques qui font l'apologie de ce que les poètes souhaitent voir se concrétiser en vain. Alors, qui prendra le risque de faire le démenti?
Un moment de ma vie
(2008)
The reason is not small
(2010)
"Don’t forget the sugar!" my husband called after our son who was already running down the road, hopping across puddles and skirting garbage mounds. He leaned back in his chair and sighed. The plastic covered wires were stretching to the point that they would break soon. We would get it restrung again. (...)
Le présent ouvrage représente la version électronique d’un numéro spécial des Cahiers du Centre d’Études et de Recherche en Lettres Sciences Humaines et Sociales, publié en 2001 par la Direction des Presses Universitaires de l’Université de Ouagadougou, pour l’Unité de Formation et de Recherche (UFR/LAC & UFR/SH)
Sulo na nkhalamu
(2010)
This study analyzes storyline structure in three Hausa home videos; Mai Kudi (The Rich Man), Sanafahna (with time truth shall dawn) and Albashi (Salary). The study measures storyline structure in these films against a Hollywood film industry model of story writing “the Hero's Journey”. It uses narrative analysis as its analytical tool, and narrative theory as its framework. After analyzing these videos, the study found that the major elements of storyline structure in Vogler's model formed the framework of the storyline structure in Hausa home videos analyzed. However, in spite of the preponderance of these elements within the storyline structure, there are significant variations to Vogler's model. Specifically, Vogler's model has some twelve stages spread on the universal structure of storytelling, i.e. beginning, middle and end. Few of these stages were found to exist in Hausa narrative structure, perhaps due to cultural differences between Western, Indian and Hausa cultures. The study therefore recommends screenwriters and producers to be aware of the existence of standard models of scriptwriting. It also recommends more training for script writers in the Hausa film industry.
Siita: mamusepelo
(2010)
SIDA : ungaichenkhe tani
(2010)