Relevant bibliographies by topics / Cameroon drama

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Cameroon drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Cameroon drama"

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Doho, Gilbert. "Change Aesthetics in Anglophone Cameroon Drama and Theater, by Hilarious N. Ambe." Research in African Literatures 39, no. 3 (September 2008): 223–24. http://dx.doi.org/10.2979/ral.2008.39.3.223.

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Nkealah, Naomi. "Rethinking Women’s Empowerment in Cameroon in the Drama of Anne Tanyi-Tang." Journal of Literary Studies 34, no. 2 (April 3, 2018): 48–63. http://dx.doi.org/10.1080/02564718.2018.1466449.

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Sanko, Hélène. "Considering Molière in Oyônô-Mbia's Three Suitors: One Husband." Theatre Research International 21, no. 3 (1996): 239–44. http://dx.doi.org/10.1017/s0307883300015352.

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Juxtaposed these quotations, which are separated by three centuries and two continents, suggest that seventeenth-century classical French drama serves as a model for African theatre of the early post-colonial period. The first quotation is, of course, from Moliere, the Old Regime's brilliant comic writer. The second is taken from a play by Oyônô-Mbia, a contemporary dramatist from Cameroon. Given the powerful grip France held over its colonies, it is not surprising to find residual influence of France's theatrical culture on African drama. By the end of World War One, French authority in sub-Saharan Africa extended from Cape Verde to the Congo river. The Third Republic established French schools in the larger colonial towns which attracted the children of well-to-do urban families. France therefore held strong political and cultural sway over the development of African leaders and writers.
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Chia, Ngam Confidence. "Bamenda Grassland Elites in the Race for Titles within the Multiparty Liberal Space in Cameroon." International Journal of Research and Innovation in Social Science VII, no. VIII (2023): 1684–700. http://dx.doi.org/10.47772/ijriss.2023.7931.

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The decade spanning from the 1990s inaugurated the Cameroon Political outfit with trans-mutations and opportunities under the New Deal Regime that commands special attention. Each of these new adjustments warranted alternative positioning by the emerging political elites who had been circumstantially trapped within the threshold of so many opportunities that this liberal landscape was brandishing. One interesting outgrowth in this changing atmosphere was the fact that; traditional titles plus modern credentials turned out to be one of the key elements required for positioning and lobbying by these opportunistic elites. This article combines evidence combed from primary and secondary sources to answer key questions patterning to the tussle for titles by grassland elites in the guise of positioning themselves in the hub of opportunities that the somewhat liberal phase of the Cameroon New Deal era offered as from the 1990s. It particularly seeks to situate (a) The special climate that engineered these paradigmatic shifts by those presumed to be sufficiently savvy of tradition (b) the different categories of titles these elites raced for as well the reasons behind such a mad rush (c) the methods plus raison d’être of title conferment as well as (d) the impact of such deals in political positioning. Away from the positions/opportunities that were gained and lost by elites of this niche in this title drama, the paper proffer that the race to own titles and the politics around it played a big role in washing away the authority /command that titled men carried before this time not only within the grasslands but largely everywhere in Cameroon where such gimmicks became part of the game for gaining space in the realm of power. In all, it submits that this game rather polarized the elites against each other since each title holders proofed to be so ready to play or perform any mean deal so as to get appointed or other forms of compensations that mattered in the realm of opportunities. It opines therefore that such moves disgracefully eclipsed other genuine methods of getting the right people into the power trail on the basis of merit thereby, ruining the political space with wrong people from hence and any time after.
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Grieve, Alexandra. "Surface tensions: Race, costume and the politics of texture in Claire Denis’s Chocolat (1988)." Film, Fashion & Consumption 10, no. 2 (October 1, 2021): 335–52. http://dx.doi.org/10.1386/ffc_00029_1.

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This article examines the costumes of Claire Denis’s Chocolat. A highly aestheticized drama of pressed khaki uniforms and pith helmets in colonial Cameroon, clothing is, as this article argues, enfolded into a far broader topography of material power; it is an apparatus through which racialized and gendered difference is actively ‘fashioned’ for the screen. In Chocolat, it becomes clear that fashion and celluloid are intimately intertwined (‘sutured’ together, through Denis’s editing), with the bio-political containment of white femininity, historically underwritten by French society’s anxieties concerning racial miscegenation and sexual excesses in the colonies. Concurrently, however, dress also grants expression to transgressive currents of desire, which, in Denis’s provocative portrait of interracial attraction, intersect vividly with the sexual politics of fetishism. In the very fabrics of its material content – costumes, the pliable ‘skin’ of its images and the tissue of human relationships – Chocolat portrays colonial identity as deeply conflicted, and Denis affirms the material world as an agile and highly transgressive force in the theatre of colonial power.
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Lebdai, Benaouda. "Ambe (Hilarious N.), Change Aesthetics in Anglophone Cameroon Drama & Theatre. Eckersdorf : Pia Thielman & Eckhard Breitinger, coll. Bayreuth African Studies n 83, 2007, 220 p. – ISBN 978-3-939661-02-3." Études littéraires africaines, no. 25 (2008): 100. http://dx.doi.org/10.7202/1035251ar.

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DOH, EMMANUEL FRU. "MFORBE PEPETUAL CHIANGONG , Rituals in Cameroon Drama: a semiological interpretation of the plays of Gilbert Doho, Bole Butake and Hansel Ndumbe Eyoh, Bayreuth African Studies 90. Bayreuth: University of Bayreuth (pb $30 – 978 3 93966 111 5). 2011, 228pp." Africa 82, no. 4 (November 2012): 670–71. http://dx.doi.org/10.1017/s0001972012000630.

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Groeneveld, Leanne. "Sussex: Records of Early English Drama ed. by Cameron Louis." ESC: English Studies in Canada 27, no. 1-2 (2001): 205–7. http://dx.doi.org/10.1353/esc.2001.0011.

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Corts, Alicia. "Drama and Digital Arts Cultures by David Cameron, Michael Anderson and Rebecca Wotzko." Theatre Journal 74, no. 3 (September 2022): 405–6. http://dx.doi.org/10.1353/tj.2022.0080.

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Wilcox, Dean. "Drama and Digital Arts Cultures. By David Cameron, Michael Anderson and Rebecca Wotzko. London: Bloomsbury Methuen Drama, 2017. Pp. 332. £75/$102 Hb; £28.99/$39.95 Pb." Theatre Research International 45, no. 2 (June 24, 2020): 223–24. http://dx.doi.org/10.1017/s030788332000019x.

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Dissertations / Theses on the topic "Cameroon drama"

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Cameron, James Henry. "Sosio-politieke verset in die Afrikaanse drama / James Henry Cameron." Thesis, 1991. http://hdl.handle.net/10394/14662.

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Revolt manifests itself in the spirit of man that "steps forth out of its repose despite of all satisfaction therein, and involves itself in the contradictions of the broken and confused medley of earthly existence" (Hegel, 1975:97). Revolt against socio-political structures is one of the themes of primitive, classical Greek, neo-classical and modern drama. Throughout the ages the dramatist has used drama as an instrument to criticize society and to bring about change. It is because of this that Brustein (1964:14) can affirm that under the drama of appearances lies a pattern of solid facts. In the Afrikaans drama socio-political revolt is represented in three different categories: • like Prometheus and Hamlet in world drama, characters (Kemp and Frederik Bezuidenhout) are depicted in the drama protesting directly against injustices and existence; • situations are dramatized (Die verminktes, Kanna hy ko hystoe) to expose as in French drama, for example man's inhumanity to man in Le Roi se meurt; and • revolt is also represented in drama (Die keiser) that refers allegorically to reality like Lucifer in world drama. Characterization in world drama shows the following progression: from gods and kings to angels and amplified men and women, to ordinary humanity, caricatures and symbolic characters. Since 1952 the following line of development has unfolded in Afrikaans drama: amplified characters (Die Generaal), ordinary men and women (Kanna, Makiet), caricatures (Man, Vrou, Kruier) and symbolic characters (Kultuur, Nar ... ). Characters protesting against the socio-political structures developed in Afrikaans drama from secondary characters to main characters, from antagonists to protagonists. It was only in 1960 and 1976 that brown and black characters respectively appeared as the equal of the Afrikaner in the fictional world of the drama. Revolt against the injustices and socio-political structures developed from the protest of Afrikaners against the English colonial rulers to Afrikaners in revolt against Afrikaners. It also developed from protest on behalf of the brown and black people to revolt of the people of this country against injustices. Colour orientated racism is a unique South African cause for revolt. Racism as a cause for socio-political protest has a very high frequency in the drama of revolt in Afrikaans. It developed from protest against the English in the drama before 1952, to protest emanating from a confrontational situation between black, brown and white characters. The remaining reasons for socio-political revolt are universal. The views of Hegel, Camus, Brustein and Leach were used to identify these. The study further reveals that religion and political ideologies are also used by characters as alibis and masks in Afrikaans drama. The representation of socio-political revolt in Afrikaans drama has enriched the form and structure of the drama. The influence of contemporary world dramatists such as Brecht, Ionesco and Miller is evident in the Afrikaans drama after 1952. A marked deviation from classical to non-classical drama is also observed in Afrikaans. The study finally reveals that revolt has estranged some of the Afrikaans dramatists from officialdom (Smit, Brink,). All the dramatists of revolt are or were involved in the South African socio-political struggle. Their dramas are used as instruments to change the scene to a more humane and just world for all its peoples. As such, the role of the Afrikaans dramatists is in many ways similar to that of dramatists like Aeschylus, Shakespeare, Ionesco and other famous world artists in that they share a strong prophetic voice. W.A. de Klerk, for example, prophesizes in Die jaar van die vuur-os that hard times are waiting on the Afrikaner and that ultimately a new Trek will be their future fate. In conclusion it was found that the modern Afrikaans dramatists of revolt are - like their European counterparts - essentially metaphysical rebels. They are militants of the ideal, anarchic individualists, concerned with the impossible rather than the possible, and their discontent extends to the very roots of existence. In Afrikaans the drama also becomes "a subversive gesture - a more imaginative reconstruction of a chaotic, disordered world" (Brustein, 1964:9).
PhD--North-West University, Vaal Triangle Campus, 1991
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Hills, Paul R. "Neural narratives and natives: cognitive attention schema theory and empathy in Avatar." Diss., 2020. http://hdl.handle.net/10500/26659.

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This study offers a fine-grained analysis of James Cameron’s film, Avatar (2009), on several theoretical fronts to provide a view of the film from a cognitive cultural studies perspective. The insights gained from cognitive theory are used to situate the debate by indicating the value cognitive theories have in cultural criticism. The critical discourse analysis of Avatar that results is a vehicle for the central concern of this study, which is to understand the diverse, often contradictory, meaning-making exhibited by Avatar audiences. A focus on the construction of empathic responses to the film’s messages investigates the success of this polysemy. Ihe central propositions of the study are that meanings and interpretations of the experience of viewing Avatar are made discursively; they are situated in definable traditions, mores and values; and this meaning-making takes place in a cognitive framework which allows for the technical reproduction and reception of the experience while providing powerful, emerging and cognitively plausible narratives. In an attempt to situate the film’s commercial success and its plethora of awards, including an Oscar for best art direction, the analysis takes a critical view of Cameron’s use of cultural stereotypes and the framing of the exotic other, and considers the continuing development of these elements over the whole series and product line or, as Henry Jenkins (2007) defines it, “transmedia”. In drawing the theoretical boundaries of the methodologies used in this study and in arguing for their complementarities, the study contributes to a renewal of Raymond Williams’ (1961) mostly forgotten claim of the cross-disciplinary cognitive dimension of cultural studies and demonstrates an affirmation of this formulation as cognitive cultural studies.
Art History, Visual Arts and Musicology
M.A. (Art History)
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Cameron, Margaret. "I shudder to think: performance as philosophy." Thesis, 2012. https://vuir.vu.edu.au/25677/.

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Margaret Cameron’s artistic practice performs as philosophy—an investigation that seeks insight through the body’s visceral capacities to perceive and to transform experience into material realities, which then become the substance of art. In order that this research project may take a congruent (or kind of equivalent) form to its proposition, this journey through Cameron’s practice is also a dramaturgical mapping. The research begins with an introduction that provides autobiographical context, proceeding to an exposition of methodology. This is followed by an excavation of an exegetical voice from personal, cultural and philosophical contexts, and arrives at a viva voce that is the performance score for a work of theatre called Opera for a small mammal. Set in the context of contemporary performance and a working life, the research traverses Cameron’s solo artistic practice from 1989 to 2012. A methodology for the overall thesis is demonstrated and enacted through strategies that serve as tools to delay closure and generate possibilities. This methodology includes the consideration of consciousness as performance. Linguistic practices are used to engage language as a perceptual instrument to hold open paradox, endure ambiguity and leverage new relationships between things. The thesis is constructed as a composition of carefully held parts, and parts of parts, that perform many perspectives of the subject in a discursive play between works. Engaging with perceptual practices and provocations from artists, theorists, philosophers, critics and colleagues, the reader is invited to participate with the artist in the perceptual encounters that conceive each work. These include the transformation of one’s self and the thinking, feeling and kinaesthetic events of live performance on a stage. This stage is underscored as a perceptual space that is active—a practising proposition that works in the body of the artist, the audience and the larger corpus of cultural reception. Perceiving many perspectives in space, poising relationships on an axis of form and content, the artist works through a synergy of modes of knowing, such as thinking, intuition, memory and feeling. These are underpinned by the proposition that art is a verb. Art invites us to audience, and it does so through unique and reciprocal acts of participation rather than spectatorship.
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Books on the topic "Cameroon drama"

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Ambanasom, S. A. Education of the deprived: Anglophone Cameroon literary drama. Mankon, Cameroon: Langaa Research & Publishing, 2010.

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Zimmer, Wolfgang. Répertoire du théâtre camerounais. Paris: Harmattan, 1986.

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M, Jua Roselyne, Musinga Victor Elame 1946-, Musinga Victor Elame 1946-, and Musinga Victor Elame 1946-, eds. The barn: 3 plays. Mankon, Bamenda, Cameroon: Langaa Research & Publishing CIG, 2008.

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Fotso, Henri. Cameroun: Le drame d'une histoire de droits. Douala, Cameroun: Editions du GRACAS, 1996.

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Franklin, J. E. A lesson for Cameron. Alexandria, VA: Alexander Street Press, 2008.

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Fiorella, Paino, and Higgins Sydney, eds. European medieval drama, 1999: Papers from the fourth International conference on Aspects of European medieval drama, Camerino, 5-8 August 1999 = Dramma medievale europeo ... Camerino: Università degli studi di Camerino, 2000.

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Fiorella, Paino, and Higgins Sydney, eds. European medieval drama, 1998: Papers from the third international Conference on Aspects of European Medieval drama, Camerino, 3-5 July 1998 = Dramma medievale europeo ... Camerino (Macerata): Università degli studi di Camerino, 1999.

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International Conference on European Medieval Drama (3rd 1998 Camerino, Italy). European medieval drama: Papers from the Third International Conference on European Medieval Drama : Camerino, July, 1998. Turnhout: Brepols, 2000.

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Sydney, Higgins, and European Medieval Drama Council, eds. European medieval drama: Papers from the First International Conference on European Medieval Drama : Camerino, 4-6 July 1997. Turnhout: Brepols, 1998.

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International, Conference on Aspects of European Medieval Drama (4th 1999 Camerino Italy). European medieval drama, 1999: Papers from the fourth International Conference on Aspects of European Medieval Drama, Camerino, 5-8 August 1999. Camerino: Università degli studi di Camerino, Centro linguistico di ateneo, 2000.

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Book chapters on the topic "Cameroon drama"

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"Theatre/Drama, Therapy, Therapeutic:." In Theatrical Therapeutic Interventions in Cameroon, 15–44. Langaa RPCIG, 2023. http://dx.doi.org/10.2307/jj.12949082.5.

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"Masquerades of Tradition: Recent Anglophone Drama in Cameroon." In Shades of Empire in Colonial and Post-Colonial Literatures, 139–64. BRILL, 1993. http://dx.doi.org/10.1163/9789004484788_012.

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Page, Ben. "Chapter 8 Domestic Dramas: Class, Taste and Home Decoration in Buea, Cameroon." In Social Im/mobilities in Africa, 178–98. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781789204865-009.

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Ryder, Andrew. "Boris Johnson: Getting Brexit Done?" In Britain and Europe at a Crossroads, 145–64. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781529200515.003.0008.

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This chapter provides an overview of the premiership of Boris Johnson between July and December 2019, detailing the progress of Brexit negotiations and the General Election – events that shaped the final trajectory of Brexit but also in all probability the course of Britain’s future for the coming decades. The events described are thus literally nation defining. Brexit from its inception in 2016 had brought to society and politics extreme convulsions, drama and chaos and those characteristics were especially evident in the Johnson premiership, prior to the election. The former Prime Minister David Cameron was moved to describe some of the antics as “sharp practice”. Such traits were compounded by the fact that under the Johnson premiership Brexit resembled a game theory stratagem. Game theory is where individual agents or institutions are assumed to interact strategically and is a concept used in the chapter to try and decipher the machinations and tactics of a radicalised section of the political class through the application of the chicken game, madman theory and the opposition through Mexican standoff.
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Burghardt, Gordon M., and James M. Schwartz. "Geographic Variations on Methodological Themes in Comparative Ethology: A Natricine Snake Perspective." In Geographic Variation in Behavior. Oxford University Press, 1999. http://dx.doi.org/10.1093/oso/9780195082951.003.0008.

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The most distinctive and characteristic emphasis of early ethology was also what set it off from other post-Darwinian studies of animal behavior. This was the view that behavior varied among species in the same way as did morphological characters and that behavioral differences were as much a product of the evolutionary drama as were the characters that could be measured in museum collections (Tinbergen 1960, Lorenz 1981, Burghardt 1985, Burghardt and Gittleman 1990, Gittleman and Decker 1994). The logical extensions of this view were that behavioral phenotypes could be used in reconstructing phylogenetic histories, that the evolution of behavioral phenotypes could be studied in the same way as the evolution of other classes of traits, and that many of the behavioral differences among taxa reflected underlying genetic differentiation at both the species (Hinde and Tinbergen 1958) and population (Foster and Cameron 1996) levels. Behavior may also initiate evolutionary changes in other attributes of organisms (Mayr 1960, 1965, Wcislo 1989, Gittleman et al. 1996). Although the role of genes in behavioral determination remained controversial for years (see Gottlieb 1992, de Queiroz and Wimberger 1993 for current critiques), many behavior patterns have proven heritable (Mousseau and Roff 1987; papers in Boake 1994b). Indeed, some complex, “species-typical” behavior patterns are performed normally without opportunity for learning (Lorenz 1965). Such behavior patterns can be expressed early or late in development (Lorenz, 1981). At the other extreme, many complex behavioral phenotypes are learned with only slight, if any, genetically based predisposition to perform particular behavior patterns. Between these extremes is a diversity of interactions between genes and environment, including imprinting and complex developmental trajectories produced by interactions between neural development and experience. Many of the currently interesting and controversial questions in the nature–nurture debate do not center around species-typical behavior patterns. Instead, they concern the nature of genetic differences among individuals and populations in the performance of particular behavior patterns and in the ability to modify their performance with experience. Thus the problem must be conceptualized as one in which the interactions of specific genetic constitutions with specific environmental contexts need to be evaluated.
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