Ziguehi
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128897 , vital:36188 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-02
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128897 , vital:36188 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-02
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Koussougro-Sery
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129005 , vital:36202 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-08
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129005 , vital:36202 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-08
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Kpihi-Gou
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129021 , vital:36205 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-10
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129021 , vital:36205 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-10
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Zougo
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128960 , vital:36197 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-05
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128960 , vital:36197 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-05
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Zahi
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128889 , vital:36187 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-01
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128889 , vital:36187 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-01
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Nouveau II
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128992 , vital:36201 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-07
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128992 , vital:36201 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-07
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Bidi Djehoua
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129014 , vital:36204 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-09
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129014 , vital:36204 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-09
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Dissahouan
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128987 , vital:36200 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-06
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128987 , vital:36200 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-06
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Tebello Nyokong
- Authors: Goldberger, Corine
- Language: French
- Type: Article
- Identifier: vital:7194 , http://hdl.handle.net/10962/d1006358
- Full Text:
- Authors: Goldberger, Corine
- Language: French
- Type: Article
- Identifier: vital:7194 , http://hdl.handle.net/10962/d1006358
- Full Text:
Ma Ya
- Habib Koite (lead singer, guitar, chorus, lyrics, composer), Baba Sissoko (n'goni, balafon), Abdoul W. Berthe (bass guitar, kamale n'goni), Souleymane Ann (drums, calebasse, chorus), Boubacar Sidibe (guitar, chorus, harmonica), Fanga Diawara, Mahame Cisse, Alhousseini Dicko (violon peuls, Malian instrument ensemble), Coutre-Jour, Putumayo World Music
- Authors: Habib Koite (lead singer, guitar, chorus, lyrics, composer) , Baba Sissoko (n'goni, balafon) , Abdoul W. Berthe (bass guitar, kamale n'goni) , Souleymane Ann (drums, calebasse, chorus) , Boubacar Sidibe (guitar, chorus, harmonica) , Fanga Diawara, Mahame Cisse, Alhousseini Dicko (violon peuls, Malian instrument ensemble) , Coutre-Jour, Putumayo World Music
- Date: 1998
- Subjects: Popular music , Popular music--Africa, West , Africa Mali Bamako f-ml
- Language: Bambara , English , French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/131297 , vital:36556 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC51-01
- Description: Relaxed intimate vocal style accompanied by talking drum, guitar, bass, drum set, harmonica violon, calabash and balafon
- Full Text: false
- Date Issued: 1998
- Authors: Habib Koite (lead singer, guitar, chorus, lyrics, composer) , Baba Sissoko (n'goni, balafon) , Abdoul W. Berthe (bass guitar, kamale n'goni) , Souleymane Ann (drums, calebasse, chorus) , Boubacar Sidibe (guitar, chorus, harmonica) , Fanga Diawara, Mahame Cisse, Alhousseini Dicko (violon peuls, Malian instrument ensemble) , Coutre-Jour, Putumayo World Music
- Date: 1998
- Subjects: Popular music , Popular music--Africa, West , Africa Mali Bamako f-ml
- Language: Bambara , English , French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/131297 , vital:36556 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC51-01
- Description: Relaxed intimate vocal style accompanied by talking drum, guitar, bass, drum set, harmonica violon, calabash and balafon
- Full Text: false
- Date Issued: 1998
Kome ne
- Habib Koite (lead singer, guitar, chorus, lyrics, composer), Baba Sissoko (n'goni, balafon), Abdoul W. Berthe (bass guitar, kamale n'goni), Souleymane Ann (drums, calebasse, chorus), Boubacar Sidibe (guitar, chorus, harmonica), Fanga Diawara, Mahame Cisse, Alhousseini Dicko (violon peuls, Malian instrument ensemble), Coutre-Jour, Putumayo World Music
- Authors: Habib Koite (lead singer, guitar, chorus, lyrics, composer) , Baba Sissoko (n'goni, balafon) , Abdoul W. Berthe (bass guitar, kamale n'goni) , Souleymane Ann (drums, calebasse, chorus) , Boubacar Sidibe (guitar, chorus, harmonica) , Fanga Diawara, Mahame Cisse, Alhousseini Dicko (violon peuls, Malian instrument ensemble) , Coutre-Jour, Putumayo World Music
- Date: 1998
- Subjects: Popular music , Popular music--Africa, West , Africa Mali Bamako f-ml
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/131302 , vital:36557 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC51-02
- Description: Relaxed intimate vocal style accompanied by talking drum, guitar, bass, drum set, harmonica violon, calabash and balafon
- Full Text: false
- Date Issued: 1998
- Authors: Habib Koite (lead singer, guitar, chorus, lyrics, composer) , Baba Sissoko (n'goni, balafon) , Abdoul W. Berthe (bass guitar, kamale n'goni) , Souleymane Ann (drums, calebasse, chorus) , Boubacar Sidibe (guitar, chorus, harmonica) , Fanga Diawara, Mahame Cisse, Alhousseini Dicko (violon peuls, Malian instrument ensemble) , Coutre-Jour, Putumayo World Music
- Date: 1998
- Subjects: Popular music , Popular music--Africa, West , Africa Mali Bamako f-ml
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/131302 , vital:36557 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC51-02
- Description: Relaxed intimate vocal style accompanied by talking drum, guitar, bass, drum set, harmonica violon, calabash and balafon
- Full Text: false
- Date Issued: 1998
Mansane Cisse
- Habib Koite (lead singer, guitar, chorus, lyrics, composer), Baba Sissoko (n'goni, balafon), Abdoul W. Berthe (bass guitar, kamale n'goni), Souleymane Ann (drums, calebasse, chorus), Boubacar Sidibe (guitar, chorus, harmonica), Fanga Diawara, Mahame Cisse, Alhousseini Dicko (violon peuls, Malian instrument ensemble), Coutre-Jour, Putumayo World Music
- Authors: Habib Koite (lead singer, guitar, chorus, lyrics, composer) , Baba Sissoko (n'goni, balafon) , Abdoul W. Berthe (bass guitar, kamale n'goni) , Souleymane Ann (drums, calebasse, chorus) , Boubacar Sidibe (guitar, chorus, harmonica) , Fanga Diawara, Mahame Cisse, Alhousseini Dicko (violon peuls, Malian instrument ensemble) , Coutre-Jour, Putumayo World Music
- Date: 1998
- Subjects: Popular music , Popular music--Africa, West , Africa Mali Bamako f-ml
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/131315 , vital:36558 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC51-03
- Description: Relaxed intimate vocal style accompanied by talking drum, guitar, bass, drum set, harmonica violon, calabash and balafon
- Full Text: false
- Date Issued: 1998
- Authors: Habib Koite (lead singer, guitar, chorus, lyrics, composer) , Baba Sissoko (n'goni, balafon) , Abdoul W. Berthe (bass guitar, kamale n'goni) , Souleymane Ann (drums, calebasse, chorus) , Boubacar Sidibe (guitar, chorus, harmonica) , Fanga Diawara, Mahame Cisse, Alhousseini Dicko (violon peuls, Malian instrument ensemble) , Coutre-Jour, Putumayo World Music
- Date: 1998
- Subjects: Popular music , Popular music--Africa, West , Africa Mali Bamako f-ml
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/131315 , vital:36558 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC51-03
- Description: Relaxed intimate vocal style accompanied by talking drum, guitar, bass, drum set, harmonica violon, calabash and balafon
- Full Text: false
- Date Issued: 1998
Chris McGregor, musician, white and South African.
- Authors: Hervé, Jane
- Subjects: McGregor, Chris--1936-1990 , Brotherhood of Breath (Musical group) , Jazz , Jazz musicians
- Language: French
- Type: Article
- Identifier: vital:13540 , http://hdl.handle.net/10962/d1006335 , McGregor, Chris--1936-1990 , Brotherhood of Breath (Musical group) , Jazz , Jazz musicians
- Description: Photocopied article in French about Chris McGregor and his life. "He didn't want to separate Whites and Blacks in his band. Neither his South African white origins. A South African musician out of Apartheid." There is a picture of Chris McGregor with this article.
- Full Text:
- Authors: Hervé, Jane
- Subjects: McGregor, Chris--1936-1990 , Brotherhood of Breath (Musical group) , Jazz , Jazz musicians
- Language: French
- Type: Article
- Identifier: vital:13540 , http://hdl.handle.net/10962/d1006335 , McGregor, Chris--1936-1990 , Brotherhood of Breath (Musical group) , Jazz , Jazz musicians
- Description: Photocopied article in French about Chris McGregor and his life. "He didn't want to separate Whites and Blacks in his band. Neither his South African white origins. A South African musician out of Apartheid." There is a picture of Chris McGregor with this article.
- Full Text:
L'image du peuple dans Le premier homme d'Albert Camus
- Heynderickx, Nathalie Marcel Madeleine
- Authors: Heynderickx, Nathalie Marcel Madeleine
- Date: 1996
- Subjects: Camus, Albert, 1913-1960. Premier homme
- Language: French
- Type: Thesis , Masters , MA
- Identifier: vital:3577 , http://hdl.handle.net/10962/d1002150 , Camus, Albert, 1913-1960. Premier homme
- Full Text:
- Date Issued: 1996
- Authors: Heynderickx, Nathalie Marcel Madeleine
- Date: 1996
- Subjects: Camus, Albert, 1913-1960. Premier homme
- Language: French
- Type: Thesis , Masters , MA
- Identifier: vital:3577 , http://hdl.handle.net/10962/d1002150 , Camus, Albert, 1913-1960. Premier homme
- Full Text:
- Date Issued: 1996
Chris McGregor's memory
- Authors: Houssin, Monique
- Subjects: McGregor, Chris--1936-1990 , Brotherhood of Breath (Musical group) , Jazz , Jazz musicians
- Language: French
- Type: Article
- Identifier: vital:13541 , http://hdl.handle.net/10962/d1006336 , McGregor, Chris--1936-1990 , Brotherhood of Breath (Musical group) , Jazz , Jazz musicians
- Description: Photocopied article from the French newspaper l'Humanité Dimanche about a concert at the music festival MIDEM 91 in memory of Chris McGregor. A photo of Chris McGregor is also accompanying this article.
- Full Text:
- Authors: Houssin, Monique
- Subjects: McGregor, Chris--1936-1990 , Brotherhood of Breath (Musical group) , Jazz , Jazz musicians
- Language: French
- Type: Article
- Identifier: vital:13541 , http://hdl.handle.net/10962/d1006336 , McGregor, Chris--1936-1990 , Brotherhood of Breath (Musical group) , Jazz , Jazz musicians
- Description: Photocopied article from the French newspaper l'Humanité Dimanche about a concert at the music festival MIDEM 91 in memory of Chris McGregor. A photo of Chris McGregor is also accompanying this article.
- Full Text:
Winter Ceres
- Ignition
- Authors: Ignition
- Subjects: McGregor, Chris--1936-1990 , Brotherhood of Breath (Musical group) , Jazz , Jazz musicians
- Language: French
- Identifier: vital:13571 , http://hdl.handle.net/10962/d1006525 , McGregor, Chris--1936-1990 , Brotherhood of Breath (Musical group) , Jazz , Jazz musicians
- Description: Original poster for a concert by Chris McGregor's Brotherhood of Breath at Notre Dame Hall, Leicester Square, London, England.
- Full Text:
- Authors: Ignition
- Subjects: McGregor, Chris--1936-1990 , Brotherhood of Breath (Musical group) , Jazz , Jazz musicians
- Language: French
- Identifier: vital:13571 , http://hdl.handle.net/10962/d1006525 , McGregor, Chris--1936-1990 , Brotherhood of Breath (Musical group) , Jazz , Jazz musicians
- Description: Original poster for a concert by Chris McGregor's Brotherhood of Breath at Notre Dame Hall, Leicester Square, London, England.
- Full Text:
Transgression and transcultural blending: reading the work of Adelaide Fassinou
- Authors: Ishaya, Nandi Salome
- Date: 2017
- Subjects: Fassinou, Adélaïde, 1955- -- Criticism and interpretation , Fassinou, Adélaïde, 1955- -- Jeté en pâture , Fassinou, Adélaïde, 1955- -- Modukpè, le rêve brisé. , African literature (French) -- History and criticism
- Language: French , English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/7500 , vital:21266
- Description: In Adelaide Fassinou’s novel Jete en pature (“Thrown to the lions/wolves”), the female character Fifame declares that “novels/books have sides that one is attached to. The lives of people roll pass our eyes. Some stories resemble ours” (JP, 147). Fassinou herself says: By reading this book dear friend, the stories of all these women who lived nowhere except in my imagination, may be like yours. But the fiction in which they themselves moved makes it so close and we share in their tragedy (MRB, 7). The above comments reflect the idea of sociocriticism which opines that a literary work could be a representation of the society of its author. This goes to say that real events can feed literary imagination more and more. Also, Fifame continues that “a book/novel is a path marked by steps, falls, and races towards a future that is bright or a bleak” (JP, 147). The verbs which connote ‘bright’ and ‘bleak’ in this comment unveil the writing idea/conception which Fassinou adheres to. “Bright” in our opinion could connote the gains of cross cultural blending, the precise outcome/result of modernity. “Bleak” on the other hand could refer to the violation of certain cultural values and or better still to transgressive attitudes in a society that is in the process of radical transformation. As such, transgression and cross cultural blending are the focal points of our discussion in this research. We have chosen to analyse some literary works of Adelaide Fassinou, a beninoise who came into the literary scene at the threshold of the new millennium, in 2000. It could then be said that Fassinou belongs to a new generation of African writers, the writers of the new millennium. The title of her first novel is revealing. Its title, Modukpe, le reve brise could imply that man always has a dream but in the course of time, this dream could be broken due to one factor or the other. In Fassinou, the lack of the realization of dreams could be the result of our vision of the world where new ideas oppose tradition to the extent that modernity is seen simply as a transgression of the laws of tradition. Admittedly, it is transgression in the fictional novel, a transgression against tradition and or nature because “nature has its laws”. The life experiences of man especially the female gender, “A whole lifetime is not enough to speak about it” And the story of being “Thrown to the lions” is one of such experiences. Reading Fassinou’s work, one vi could note that she presents enough social problems which reflect the notion of transgression. As a result, for the woman to liberate herself, the author who represents the woman, resorts to writing “Poems of love and brambles” of “Her exiles and her loves” because it is needful to speak so as to feel better within oneself. This action of breaking the silence by the woman constitutes in itself a transgression because, in the culture of the author, the woman should be reduced to silence. Fassinou has the urge to show that cruelty in the home, inflexible will, excessive masculinity and insensibility could lead to rebellion, dissatisfaction and violence which could affect the whole society. In view of this, to love one child above the others could compromise family cohesion. It is in this regard that suicide formed part of the theme of this research. This could represent the image of national violence provoked by tribalism and geopolitics which could be noticed in many countries on the African continent. For most critics, the transgression of traditional values is due to cultural blending because this blending is seen as the evolution of the society and the culture which represent a society that finds itself at the cross roads. Transgression in Fassinou’s works is the demystification of certain traditional beliefs. The transgression of some characters leads to bitter and traumatic experiences. Be that as it may, the author recommends/advocates, through her writing, a way of escape: hope. It shows through the representations made by the author that determination to overcome the challenges faced and the decision to put a cross on past bitter experiences are strong indications for individual transformation which would lead to the desired transformation and development of Africa. Transgression and cultural blending in the works of Fassinou are not limited to thematic study; it is also about the transgression of standard language codes and the mixing of languages. The second part of this thesis is devoted to the stylistic study of Fassinou’s works. As such, we are going to equally study formal aspects of Fassinou’s writing as a symbol of transgression and transcultural blending. , Dans le roman Jete en pature d’Adelaide Fassinou, le personnage feminin, Fifame, declare que « les livres ont un cote attachant. Ils deroulent sous nos regards la vie de personnes qui nous semblent si proches que nous nous identifions a elles. Certaines histoires ressemblent a la notre » (JP, 147). Fassinou elle-meme dit : En lisant ce livre, chere amie, tu feras egalement tienne I ’histoire de toutes ces femmes qui n ’ont vecu nulle part, sauf dans mon imagination. Mais la fiction dans laquelle elles se meuvent nous les rend encore plus proches st nous faitpartager leurs drames (MRB, 7). Ces propos refletent l’idee de la sociocritique qui indique qu’une reuvre litteraire pourrait etre une representation de la societe de son auteur(e). Ceci revient a dire que des evenements reels peuvent alimenter de plus en plus l’imagination litteraire. Aussi, poursuit-elle, « un livre est un chemin jalonne de marches, de chutes et de courses vers des lendemains qui chantent ou qui dechantent » (JP, 147). Les verbes « chanter » et « dechanter » dans ces propos devoilent la conception de l’ecriture a laquelle Fassinou adhere. « Chanter », a notre avis, pourrait denoter les gains des croisements des cultures, le resultat meme du modernisme. « Dechanter » pour sa part pourrait renvoyer a la violation de certaines valeurs traditionnelles et ou mieux encore aux attitudes transgressives dans une societe en pleine mutation. Ainsi donc la transgression et le metissage culturel constituent le point central de la discussion de cette recherche. Nous avons choisi d’analyser quelques reuvres litteraires d’Adelaide Fassinou, une ecrivaine beninoise qui est entree sur la scene litteraire au seuil du nouveau millenaire, en 2000. Par ce fait, on dirait que Fassinou appartient a une nouvelle generation d’ecrivains : les ecrivains du nouveau millenaire. Le titre du premier roman de Fassinou est revelateur. Il s’institule Modukpe, le reve brise, qui implique que l’homme a toujours un reve mais au cours du temps, ce reve pourrait etre brise. Chez Fassinou, ce manque de materialisation de reves serait le resultat de notre vision du monde ou les conceptions nouvelles rivalisent avec la tradition au point que la modernite soit simplement vue comme une transgression de lois de la tradition. C’est certes la transgression dans l’univers romanesque, une transgression contre la tradition et / ou la nature car « la nature a ses lois ». Et les experiences vecues par l’homme et surtout par la femme, Toute une vie ne viii suffirait pas pour en Parler. Et l’histoire d’etre Jete en pature est l’une de ses experiences. En lisant l’reuvre de Fassinou, on peut constater qu’elle presente assez de problemes sociaux qui renvoient a la notion de la transgression. Il en resulte que, pour se liberer, l’auteure qui represente la femme, recourt a ecrire des Poemes d ’amour et de ronces, de [S]es exiles, [s]es amours car il faut parler pour se sentir bien en soi-meme. Cette action de briser le silence par la femme constitue aussi en elle, une transgression car dans la tradition de l’auteure, la femme devrait etre reduite au silence. Fassinou a besoin de montrer que la cruaute au foyer, la volonte inflexible, la masculinite excessive et l’insensibilite conduisent a la revolte, au mecontentement et a la violence pouvant affecter toute la societe. Eu egard a cela, aimer un enfant au-dessus des autres compromettrait la cohesion familiale. C’est ainsi que le sujet du suicide fait partie de cette recherche. Ceci pourrait representer l’image de la violence nationale provoquee par le tribalisme et la geopolitique qu’on pourrait remarquer dans plusieurs pays sur le continent africain. Pour la plupart des critiques, la transgression des valeurs traditionnelles est due au metissage culturel car ce metissage est vu comme une evolution de la societe et de la culture qui represente une societe qui se trouve a la croisee des chemins. La transgression dans l’reuvre de Fassinou est la demystification de certaines croyances traditionnelles. La transgression de certains personnages conduit aux experiences ameres et traumatisantes. Quoi qu’il en soit, l’auteure preconise toujours, au moyen de son ecriture, une voie de sortie : l’espoir. Il transparait des representations que fait l’auteure que la determination pour surmonter les defis et la decision de mettre une croix sur les experiences ameres du passe sont des indications fortes pour la transformation individuelle qui amenera a la transformation et au developpement tant desire de l’Afrique. La transgression et le metissage culturel dans l’reuvre de Fassinou ne se limitent pas aux etudes thematiques ; il s’agit egalement de la transgression du code langagier standard et du melange des langues. La deuxieme partie de cette these est consacree a une etude stylistique de l’reuvre de Fassinou. Pour cela, nous avons etudie egalement les aspects des aspects formels de l’ecriture de Fassinou comme symbole de la transgression et du metissage culturel.
- Full Text:
- Date Issued: 2017
- Authors: Ishaya, Nandi Salome
- Date: 2017
- Subjects: Fassinou, Adélaïde, 1955- -- Criticism and interpretation , Fassinou, Adélaïde, 1955- -- Jeté en pâture , Fassinou, Adélaïde, 1955- -- Modukpè, le rêve brisé. , African literature (French) -- History and criticism
- Language: French , English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/7500 , vital:21266
- Description: In Adelaide Fassinou’s novel Jete en pature (“Thrown to the lions/wolves”), the female character Fifame declares that “novels/books have sides that one is attached to. The lives of people roll pass our eyes. Some stories resemble ours” (JP, 147). Fassinou herself says: By reading this book dear friend, the stories of all these women who lived nowhere except in my imagination, may be like yours. But the fiction in which they themselves moved makes it so close and we share in their tragedy (MRB, 7). The above comments reflect the idea of sociocriticism which opines that a literary work could be a representation of the society of its author. This goes to say that real events can feed literary imagination more and more. Also, Fifame continues that “a book/novel is a path marked by steps, falls, and races towards a future that is bright or a bleak” (JP, 147). The verbs which connote ‘bright’ and ‘bleak’ in this comment unveil the writing idea/conception which Fassinou adheres to. “Bright” in our opinion could connote the gains of cross cultural blending, the precise outcome/result of modernity. “Bleak” on the other hand could refer to the violation of certain cultural values and or better still to transgressive attitudes in a society that is in the process of radical transformation. As such, transgression and cross cultural blending are the focal points of our discussion in this research. We have chosen to analyse some literary works of Adelaide Fassinou, a beninoise who came into the literary scene at the threshold of the new millennium, in 2000. It could then be said that Fassinou belongs to a new generation of African writers, the writers of the new millennium. The title of her first novel is revealing. Its title, Modukpe, le reve brise could imply that man always has a dream but in the course of time, this dream could be broken due to one factor or the other. In Fassinou, the lack of the realization of dreams could be the result of our vision of the world where new ideas oppose tradition to the extent that modernity is seen simply as a transgression of the laws of tradition. Admittedly, it is transgression in the fictional novel, a transgression against tradition and or nature because “nature has its laws”. The life experiences of man especially the female gender, “A whole lifetime is not enough to speak about it” And the story of being “Thrown to the lions” is one of such experiences. Reading Fassinou’s work, one vi could note that she presents enough social problems which reflect the notion of transgression. As a result, for the woman to liberate herself, the author who represents the woman, resorts to writing “Poems of love and brambles” of “Her exiles and her loves” because it is needful to speak so as to feel better within oneself. This action of breaking the silence by the woman constitutes in itself a transgression because, in the culture of the author, the woman should be reduced to silence. Fassinou has the urge to show that cruelty in the home, inflexible will, excessive masculinity and insensibility could lead to rebellion, dissatisfaction and violence which could affect the whole society. In view of this, to love one child above the others could compromise family cohesion. It is in this regard that suicide formed part of the theme of this research. This could represent the image of national violence provoked by tribalism and geopolitics which could be noticed in many countries on the African continent. For most critics, the transgression of traditional values is due to cultural blending because this blending is seen as the evolution of the society and the culture which represent a society that finds itself at the cross roads. Transgression in Fassinou’s works is the demystification of certain traditional beliefs. The transgression of some characters leads to bitter and traumatic experiences. Be that as it may, the author recommends/advocates, through her writing, a way of escape: hope. It shows through the representations made by the author that determination to overcome the challenges faced and the decision to put a cross on past bitter experiences are strong indications for individual transformation which would lead to the desired transformation and development of Africa. Transgression and cultural blending in the works of Fassinou are not limited to thematic study; it is also about the transgression of standard language codes and the mixing of languages. The second part of this thesis is devoted to the stylistic study of Fassinou’s works. As such, we are going to equally study formal aspects of Fassinou’s writing as a symbol of transgression and transcultural blending. , Dans le roman Jete en pature d’Adelaide Fassinou, le personnage feminin, Fifame, declare que « les livres ont un cote attachant. Ils deroulent sous nos regards la vie de personnes qui nous semblent si proches que nous nous identifions a elles. Certaines histoires ressemblent a la notre » (JP, 147). Fassinou elle-meme dit : En lisant ce livre, chere amie, tu feras egalement tienne I ’histoire de toutes ces femmes qui n ’ont vecu nulle part, sauf dans mon imagination. Mais la fiction dans laquelle elles se meuvent nous les rend encore plus proches st nous faitpartager leurs drames (MRB, 7). Ces propos refletent l’idee de la sociocritique qui indique qu’une reuvre litteraire pourrait etre une representation de la societe de son auteur(e). Ceci revient a dire que des evenements reels peuvent alimenter de plus en plus l’imagination litteraire. Aussi, poursuit-elle, « un livre est un chemin jalonne de marches, de chutes et de courses vers des lendemains qui chantent ou qui dechantent » (JP, 147). Les verbes « chanter » et « dechanter » dans ces propos devoilent la conception de l’ecriture a laquelle Fassinou adhere. « Chanter », a notre avis, pourrait denoter les gains des croisements des cultures, le resultat meme du modernisme. « Dechanter » pour sa part pourrait renvoyer a la violation de certaines valeurs traditionnelles et ou mieux encore aux attitudes transgressives dans une societe en pleine mutation. Ainsi donc la transgression et le metissage culturel constituent le point central de la discussion de cette recherche. Nous avons choisi d’analyser quelques reuvres litteraires d’Adelaide Fassinou, une ecrivaine beninoise qui est entree sur la scene litteraire au seuil du nouveau millenaire, en 2000. Par ce fait, on dirait que Fassinou appartient a une nouvelle generation d’ecrivains : les ecrivains du nouveau millenaire. Le titre du premier roman de Fassinou est revelateur. Il s’institule Modukpe, le reve brise, qui implique que l’homme a toujours un reve mais au cours du temps, ce reve pourrait etre brise. Chez Fassinou, ce manque de materialisation de reves serait le resultat de notre vision du monde ou les conceptions nouvelles rivalisent avec la tradition au point que la modernite soit simplement vue comme une transgression de lois de la tradition. C’est certes la transgression dans l’univers romanesque, une transgression contre la tradition et / ou la nature car « la nature a ses lois ». Et les experiences vecues par l’homme et surtout par la femme, Toute une vie ne viii suffirait pas pour en Parler. Et l’histoire d’etre Jete en pature est l’une de ses experiences. En lisant l’reuvre de Fassinou, on peut constater qu’elle presente assez de problemes sociaux qui renvoient a la notion de la transgression. Il en resulte que, pour se liberer, l’auteure qui represente la femme, recourt a ecrire des Poemes d ’amour et de ronces, de [S]es exiles, [s]es amours car il faut parler pour se sentir bien en soi-meme. Cette action de briser le silence par la femme constitue aussi en elle, une transgression car dans la tradition de l’auteure, la femme devrait etre reduite au silence. Fassinou a besoin de montrer que la cruaute au foyer, la volonte inflexible, la masculinite excessive et l’insensibilite conduisent a la revolte, au mecontentement et a la violence pouvant affecter toute la societe. Eu egard a cela, aimer un enfant au-dessus des autres compromettrait la cohesion familiale. C’est ainsi que le sujet du suicide fait partie de cette recherche. Ceci pourrait representer l’image de la violence nationale provoquee par le tribalisme et la geopolitique qu’on pourrait remarquer dans plusieurs pays sur le continent africain. Pour la plupart des critiques, la transgression des valeurs traditionnelles est due au metissage culturel car ce metissage est vu comme une evolution de la societe et de la culture qui represente une societe qui se trouve a la croisee des chemins. La transgression dans l’reuvre de Fassinou est la demystification de certaines croyances traditionnelles. La transgression de certains personnages conduit aux experiences ameres et traumatisantes. Quoi qu’il en soit, l’auteure preconise toujours, au moyen de son ecriture, une voie de sortie : l’espoir. Il transparait des representations que fait l’auteure que la determination pour surmonter les defis et la decision de mettre une croix sur les experiences ameres du passe sont des indications fortes pour la transformation individuelle qui amenera a la transformation et au developpement tant desire de l’Afrique. La transgression et le metissage culturel dans l’reuvre de Fassinou ne se limitent pas aux etudes thematiques ; il s’agit egalement de la transgression du code langagier standard et du melange des langues. La deuxieme partie de cette these est consacree a une etude stylistique de l’reuvre de Fassinou. Pour cela, nous avons etudie egalement les aspects des aspects formels de l’ecriture de Fassinou comme symbole de la transgression et du metissage culturel.
- Full Text:
- Date Issued: 2017
Personnages dans l’espace, Personnages comme espace: une analyse du conte « Barbe Bleue » par Charles Perrault et les révisions de Tahar Ben Jelloun et d’Amélie Nothomb
- Authors: Jimu, Kundai Michelle
- Date: 2023-10-13
- Subjects: Uncatalogued
- Language: French
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/424943 , vital:72195
- Description: Dans un couple, la négociation de l’espace domestique est contesté. Dans le conte « La Barbe Bleue » (1697) de Charles Perrault, cette négociation de l’espace est particulièrement dangereuse. Le mari a un espace privé à lui, interdite à sa femme, dans lequel il cache un secret sinistre : il a tué toutes les épouses précédentes. L’existence de cette pièce menace l’équilibre du foyer, mettant en question le droit à un espace privé, et révélant le danger de garder un secret quand on vit en couple. Quand l’épouse franchit le seuil de la pièce interdite, son mari se met en colère et s’apprête à la tuer. Il s’ensuit une lutte acharnée entre homme et femme, devenus adversaires. Puisque la chambre interdite joue un rôle capital dans ce récit, cela suggère que les éléments spatiaux jouent un rôle significatif au sein du couple. Alors, on vise à analyser le cadre domestique et son rôle dans le rapport entre les personnages. Avant leur mariage, l’épouse avait déjà une idée que Barbe Bleue n’était pas honorable, ce qui remet en question sa décision d’épouser cet homme. Au même temps, on se demande pourquoi l’époux aurait tué toutes les épouses précédentes. Cela incite le lecteur à chercher à mieux comprendre les personnages. A cette fin, on vise à considérer les personnages comme des espaces, eux aussi, ce qui permettra une analyse approfondie de leur caractère et de leurs rapports personnels. Nous ferons la comparaison du conte perraultien avec les versions contemporaines de notre époque de Tahar Ben Jelloun et d’Amélie Nothomb. Dans la version jellounienne, l’intrigue se déroule dans un cadre musulman et maghrébin, tandis que le récit nothombien se situe à Paris. Ces ouvrages présentent donc des perspectives neuves sur Barbe Bleue et sa dernière épouse, et sur le cadre dans lequel ils se trouvent. , For a couple, negotiating the spatial dynamics of their home can be a challenging feat. In the story of “Bluebeard” (1697) by Charles Perrault, this negotiation is presented in an even more grim light. The husband sets aside a private room for himself, off-limits to his wife, in which he conceals a deadly secret, that he has murdered his previous wives. The very existence of this forbidden chamber threatens the stability of the household and raises the question about whether secret unshared spaces between partners are tenable, and indeed whether spouses have the right to keep secrets. When the wife enters this forbidden room and discovers the corpses of his previous wives she provokes the anger of her husband, who then attempts to kill her as punishment. A fierce struggle ensues between husband and wife, who have now become adversaries. Because the forbidden chamber plays a key role in this story, this tells us that space is very important to the relationship between the couple. Thus, we intend to explore the domestic sphere and its role in the relationship between the characters. Prior to their marriage, the wife already has an indication as to her husband’s dubious character, which calls into question her decision to marry him. We also wonder why Bluebeard might have murdered his previous wives. To understand them better, the characters will be considered as spaces, an approach which has the potential to offer a deeper and more holistic analysis of their characters and their personal relationships. We will be comparing Perrault’s tale to two revisions by Tahar Ben Jelloun and Amélie Nothomb, which place the story into different contexts: the Islamic world and modern-day Paris respectively. These two revisions provide interesting and new perspectives on the couple in the domestic space and the ways in which the characters are represented. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Jimu, Kundai Michelle
- Date: 2023-10-13
- Subjects: Uncatalogued
- Language: French
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/424943 , vital:72195
- Description: Dans un couple, la négociation de l’espace domestique est contesté. Dans le conte « La Barbe Bleue » (1697) de Charles Perrault, cette négociation de l’espace est particulièrement dangereuse. Le mari a un espace privé à lui, interdite à sa femme, dans lequel il cache un secret sinistre : il a tué toutes les épouses précédentes. L’existence de cette pièce menace l’équilibre du foyer, mettant en question le droit à un espace privé, et révélant le danger de garder un secret quand on vit en couple. Quand l’épouse franchit le seuil de la pièce interdite, son mari se met en colère et s’apprête à la tuer. Il s’ensuit une lutte acharnée entre homme et femme, devenus adversaires. Puisque la chambre interdite joue un rôle capital dans ce récit, cela suggère que les éléments spatiaux jouent un rôle significatif au sein du couple. Alors, on vise à analyser le cadre domestique et son rôle dans le rapport entre les personnages. Avant leur mariage, l’épouse avait déjà une idée que Barbe Bleue n’était pas honorable, ce qui remet en question sa décision d’épouser cet homme. Au même temps, on se demande pourquoi l’époux aurait tué toutes les épouses précédentes. Cela incite le lecteur à chercher à mieux comprendre les personnages. A cette fin, on vise à considérer les personnages comme des espaces, eux aussi, ce qui permettra une analyse approfondie de leur caractère et de leurs rapports personnels. Nous ferons la comparaison du conte perraultien avec les versions contemporaines de notre époque de Tahar Ben Jelloun et d’Amélie Nothomb. Dans la version jellounienne, l’intrigue se déroule dans un cadre musulman et maghrébin, tandis que le récit nothombien se situe à Paris. Ces ouvrages présentent donc des perspectives neuves sur Barbe Bleue et sa dernière épouse, et sur le cadre dans lequel ils se trouvent. , For a couple, negotiating the spatial dynamics of their home can be a challenging feat. In the story of “Bluebeard” (1697) by Charles Perrault, this negotiation is presented in an even more grim light. The husband sets aside a private room for himself, off-limits to his wife, in which he conceals a deadly secret, that he has murdered his previous wives. The very existence of this forbidden chamber threatens the stability of the household and raises the question about whether secret unshared spaces between partners are tenable, and indeed whether spouses have the right to keep secrets. When the wife enters this forbidden room and discovers the corpses of his previous wives she provokes the anger of her husband, who then attempts to kill her as punishment. A fierce struggle ensues between husband and wife, who have now become adversaries. Because the forbidden chamber plays a key role in this story, this tells us that space is very important to the relationship between the couple. Thus, we intend to explore the domestic sphere and its role in the relationship between the characters. Prior to their marriage, the wife already has an indication as to her husband’s dubious character, which calls into question her decision to marry him. We also wonder why Bluebeard might have murdered his previous wives. To understand them better, the characters will be considered as spaces, an approach which has the potential to offer a deeper and more holistic analysis of their characters and their personal relationships. We will be comparing Perrault’s tale to two revisions by Tahar Ben Jelloun and Amélie Nothomb, which place the story into different contexts: the Islamic world and modern-day Paris respectively. These two revisions provide interesting and new perspectives on the couple in the domestic space and the ways in which the characters are represented. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2023
- Full Text:
- Date Issued: 2023-10-13
Le theme de l'absence dans le theatre d'Arthur Adamov
- Authors: Jones, Rosalind
- Date: 1978
- Subjects: Adamov, Arthur -- Criticism and interpretation , French drama -- History and criticism , Absurd (Philosophy) in literature
- Language: French
- Type: Thesis , Masters , MA
- Identifier: vital:3637 , http://hdl.handle.net/10962/d1013401
- Description: [From Introduction]. L'oeuvre dramatique d'Arthur Adamov (1908-1970) s'lténd sur une trentaine d'années et révèle une grande variété d'influences et d'intérêts. Depuis son point de départ "absurde" des années quarante en passant par une période oú s'imposent des préoccupations d'ordre social et politique pour aboutir á une fusion des sujets métaphysiques et des sujets engagés dans un théâtre qui est de nouveau non-réaliste et onirique, nous pouvons tracer des influences aussi diverses que celle provenant de Flaubert et des premiers surréalistes, de Strindberg et de Kafka, de Dostoîevsky et des expressionnistes russes et allemands, de Buchner, d'Antonin Artaud, de Brecht et de Karl Marx.
- Full Text:
- Date Issued: 1978
- Authors: Jones, Rosalind
- Date: 1978
- Subjects: Adamov, Arthur -- Criticism and interpretation , French drama -- History and criticism , Absurd (Philosophy) in literature
- Language: French
- Type: Thesis , Masters , MA
- Identifier: vital:3637 , http://hdl.handle.net/10962/d1013401
- Description: [From Introduction]. L'oeuvre dramatique d'Arthur Adamov (1908-1970) s'lténd sur une trentaine d'années et révèle une grande variété d'influences et d'intérêts. Depuis son point de départ "absurde" des années quarante en passant par une période oú s'imposent des préoccupations d'ordre social et politique pour aboutir á une fusion des sujets métaphysiques et des sujets engagés dans un théâtre qui est de nouveau non-réaliste et onirique, nous pouvons tracer des influences aussi diverses que celle provenant de Flaubert et des premiers surréalistes, de Strindberg et de Kafka, de Dostoîevsky et des expressionnistes russes et allemands, de Buchner, d'Antonin Artaud, de Brecht et de Karl Marx.
- Full Text:
- Date Issued: 1978
O refa
- Joseph Tumba, Performer not specified, Composer not specified, Tracey, Hugh
- Authors: Joseph Tumba , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1952
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zambia city not specified f-za
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/388324 , vital:68328 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , AC0744-F1C11
- Description: Indigenous music
- Full Text: false
- Date Issued: 1952
- Authors: Joseph Tumba , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1952
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zambia city not specified f-za
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/388324 , vital:68328 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , AC0744-F1C11
- Description: Indigenous music
- Full Text: false
- Date Issued: 1952