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Journal articles on the topic 'Efoui'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Soubrier, Virginie. "Tragédie et utopie chez Kossi Efoui." Africultures 86, no. 4 (2011): 228. http://dx.doi.org/10.3917/afcul.086.0228.

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Ngilla, Sylvie. "Engagement et sacrifice :Happy Endde Kossi Efoui." Africultures 86, no. 4 (2011): 41. http://dx.doi.org/10.3917/afcul.086.0041.

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3

Nony, Anaïs. "Dés-encrage poétique : l'exil dansConcessionsde Kossi Efoui." Africultures 86, no. 4 (2011): 112. http://dx.doi.org/10.3917/afcul.086.0112.

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4

Dechaufour, Pénélope. "Kossi Efoui en compagnonnage avec le Théâtre Inutile." Skenegraphie, no. 1 (December 31, 2013): 41–46. http://dx.doi.org/10.4000/skenegraphie.1045.

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5

Traoré, Dominique. "Pour une herméneutique du théâtre de Kossi Efoui." Africultures 86, no. 4 (2011): 22. http://dx.doi.org/10.3917/afcul.086.0022.

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Dechaufour, Pénélope. "La poétique du mouvement dansIo (Tragédie)de Kossi Efoui." Africultures 86, no. 4 (2011): 88. http://dx.doi.org/10.3917/afcul.086.0088.

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7

Delas, Daniel. "EFOUI Kossi, La fabrique de cérémonies, roman, Seuil, 249 p." Études littéraires africaines, no. 11 (2001): 51. http://dx.doi.org/10.7202/1041893ar.

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8

Laurence Barbolosi. "Le Théâtre de Kossi Efoui: polyphonie épique ou épopée lyrique." L'Esprit Créateur 48, no. 3 (2008): 33–40. http://dx.doi.org/10.1353/esp.0.0017.

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9

Chalaye, Sylvie. "Nicolas Saelens hisse la grand-voile du théâtre de Kossi Efoui." Africultures 86, no. 4 (2011): 222. http://dx.doi.org/10.3917/afcul.086.0222.

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10

Lafleur, Maude. "L'impossible retour de Kossi Efoui : quand les racines africaines deviennent fantômes." Études romanes de Brno, no. 1 (2017): 123–32. http://dx.doi.org/10.5817/erb2017-1-11.

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11

de Jesus dos Santos Costa, Daniel. "LE CARREFOUR DE KOSSI EFOUI: OS DIALÓGOS POTENTES DO TEXTO DRAMÁTICO." Revista África e Africanidades 14, no. 38 (2021): 123–32. http://dx.doi.org/10.46696/issn1983-2354.raa.2021v14n38.dossieartefatos2020.p123-132.

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12

Poli, Gianni. "Sylvie Chalaye (dir.), Le théâtre de Kossi Efoui: une poétique du marronnage." Studi Francesi, no. 168 (LVI | III) (December 1, 2012): 622. http://dx.doi.org/10.4000/studifrancesi.3901.

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13

Le Guen, Fanny. "L'évaporation du corps de la femme dans le théâtre de Kossi Efoui." Africultures 86, no. 4 (2011): 141. http://dx.doi.org/10.3917/afcul.086.0141.

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14

Gbanou, Sélom. "EFOUI Kossi, La Polka, roman, Paris, Editions du Seuil, 1998, 157 p." Études littéraires africaines, no. 8 (1999): 56. http://dx.doi.org/10.7202/1042035ar.

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15

Malela, Buata B. "Jeu littéraire et transformation du sujet diasporal : La postmodernité de Léonora Miano." Articles 42, no. 1-2 (2014): 153–74. http://dx.doi.org/10.7202/1021302ar.

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Notre propos porte sur le jeu littéraire, entendu comme le réseau littéraire dans lequel évoluent des agents comme Kossi Efoui, Calixthe Beyala, Sami Tchak, Fatou Diome, Abdourahman Waberi, Alain Mabanckou, Léonora Miano et bien d’autres encore. Plus précisément, il s’agit d’en appréhender l’incidence sur le sujet diasporal qui tente de se (ré)inventer une postmodernité, et ce, à partir de l’exemple paradigmatique de Léonora Miano. L’objectif principal vise à articuler sa production littéraire Tels des astres éteints (2008) et Blues pour Élise (2010) avec le débat portant sur la modernité et la postmodernité dans l’espace public en France. D’où l’interrogation suivante : par quelle modalité se constitue-t-elle une singularité littéraire dans la continuité de l’existant?

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16

Dinh Van, Aurélie. "Plasticité du désir de dévoration du monde dans le théâtre de Kossi Efoui." Africultures 86, no. 4 (2011): 156. http://dx.doi.org/10.3917/afcul.086.0156.

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17

Suriam, Suzie. "Désappropriation / réappropriation du corps et de l'espace dans le théâtre de Kossi Efoui." Africultures 86, no. 4 (2011): 180. http://dx.doi.org/10.3917/afcul.086.0180.

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18

Ndome Ngilla, Sylvie. "D'un KO à l'autre : boxe, théâtre et musique chez Kossi Efoui et Koffi Kwahulé." Africultures 77-78, no. 2 (2009): 42. http://dx.doi.org/10.3917/afcul.077.0042.

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19

Bouchard, Marie-Pierre. "Topographie de la perte. La Fabrique de cérémonies de Kossi Efoui ou l’antéthèse d’une certaine cartographie de la mémoire volontaire d’un continent." Études littéraires 46, no. 1 (2016): 65–76. http://dx.doi.org/10.7202/1035084ar.

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Articulé autour de la notion de « lieu de mémoire », telle que développée depuis les années 1990 notamment par Pierre Nora, et du marché mémoriel qui s’est développé depuis sur les différents sites marqués par le sceau de la violence, cet article propose une lecture de La Fabrique de cérémonies (Éditions du Seuil, 2001), deuxième roman du Togolais Kossi Efoui, intéressée à la fois par la logique et la charge sémantique qu’impose le développement de ce nouvel espace transnational. Concrètement, à travers l’étude de la spatialité tant géographique que textuelle mise en scène dans le roman, il analyse les mécanismes par lesquels l’auteur de La Fabrique travaille sa (to/typo)graphie de façon à miner la rhétorique des « lieux » qu’il décrit pour mieux imposer les mouvements involontaires de la mémoire d’un territoire qu’il cherche à faire voir.

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20

Chalaye, Sylvie. "L'Entre-deux rêves de Pitagaba conté sur le trottoir de la radio, de Kossi Efoui." Africultures 55, no. 2 (2003): 210. http://dx.doi.org/10.3917/afcul.055.0210.

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21

Tervonen, Taina, and Kossi Efoui. "Kossi Efoui : « On n'entend pas toutes les voix en même temps dans la même histoire »." Africultures 74-75, no. 3 (2008): 172. http://dx.doi.org/10.3917/afcul.074.0172.

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22

Sylvie Ngilla. "Frapper les rythmes, frapper les corps: dramaturgie du k.o. chez Koffi Kwahulé et Kossi Efoui." L'Esprit Créateur 48, no. 3 (2008): 66–75. http://dx.doi.org/10.1353/esp.0.0026.

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23

Ndour, Emmanuel Mbégane. "La Relation Histoire-Écriture dans Cantique de l'acacia de Kossi Efoui: Pour l'énonciation d'une esthétique diasporique." Nouvelles Études Francophones 34, no. 2 (2019): 84–98. http://dx.doi.org/10.1353/nef.2019.0040.

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24

Gbanou, Sélom Komlan. "Le fragmentaire dans le roman francophone africain." Tangence, no. 75 (April 20, 2005): 83–105. http://dx.doi.org/10.7202/010785ar.

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Résumé Au centre des constellations esthétiques dans le roman africain d’expression française est apparue, ces deux dernières décennies, une forme particulière d’écriture qui rompt avec le récit-fleuve linéairement compact des écrivains de la première génération. L’écriture participe désormais d’un travail de plus en plus conscient d’invention et d’intervention tant sur le langage que sur le corps du projet romanesque pour aboutir à un ensemble hétérogène, à la limite hétéroclite, qui échappe à la forme classique du roman. Les transformations annoncées par des auteurs comme Ahmadou Kourouma, Mohamed-Alioum Fantouré ou Henri Lopes se poursuivent avec bonheur chez les écrivains de la postcolonie (Sami Tchak, Kossi Efoui, Abdouhraman Wabéri, etc.), surtout en situation d’exil, et donnent à penser que le romanesque cherche à souscrire aux différents fantasmes et soubresauts qui remuent la conscience des exilés/migrants ou, à l’inverse, veut tirer profit de l’esthétique postmoderne de l’éclatement, de l’émiettement et du chaos découvert dans le nouveau rapport au monde, favorisé par la mondialisation. Chez un grand nombre d’écrivains, l’écriture devient un exercice de sclérose de la forme et est entièrement absorbée par le goût et, peut-être même, l’obsession de la fragmentation, du chaos, du micmac et du non-sens de la vie.

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25

Chavelet, Diane. "Kossi Efoui, Dieudonné Niangouna et Bill Kouélany : la figure du trickster au cœur du geste d’écriture et de sa traduction scénique." Horizons/Théâtre, no. 14 (June 1, 2021): 10–27. http://dx.doi.org/10.4000/ht.1299.

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26

Amedegnato, Ozouf Sénamin. "L’Afrique à rebours: la décadence dans un corpus de littérature Togolaise." Nordlit 15, no. 2 (2012): 89. http://dx.doi.org/10.7557/13.2046.

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During the past fifteen years, the West African country of Togo has witnessed the emergence of a new generation of writers - a third generation since independence from colonisation - working in the French language. Born around 1960, these writers have been making their way onto the literary scene since approximately 1990. A certain number of distinctive traits, which have attracted the attention of critics, unequivocally delineate this generation from the two that preceded it. Among these is a new literary aesthetic that resonates with the fin de siècle - with the end of the twentieth century, but also with the end of the second millennium. Moreover, such ends of time cycles, because they exacerbate apprehension about the future and provoke a desire to re-evaluate the past, are propitious to the development of Decadent literatures.The goal of this contribution is to examine parallels between the nineteenth century Decadence movement and the new literary aesthetic being employed by Togolese writers of the third generation - and to thereby demonstrate that their aesthetic is without question a neo-Decadent one. Not only does it emerge at the end of the century/millennium, a time when humanity is inevitably reflecting on its fate, but it also coincides with the accelerating globalisation of information (the Internet) and of commercial markets, a context worth taking into account in that it represents a symbolic loss of landmarks, and a doing away with traditional frontiers - both themes that have preoccupied Decadents of all times and all places. Using the work of two Togolese writers (Kossi Efoui and Sami Tchak), this article will explore in exactly what ways these writers can be categorized as Decadents, and the different methods of transgression they use to depict their discontent with their society of origin, which, at the end of the twentieth century, is in a situation of political, economic and social decay.

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27

Li, Ji-Bin, Li-Fen Feng, Anise M. S. Wu, et al. "Roles of Psychosocial Factors on the Association Between Online Social Networking Use Intensity and Depressive Symptoms Among Adolescents: Prospective Cohort Study." Journal of Medical Internet Research 23, no. 9 (2021): e21316. http://dx.doi.org/10.2196/21316.

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Background The potential mechanisms underlying the association between online social networking use intensity and depressive symptoms are unclear and underresearched. Objective We aimed to investigate the potential roles of interpersonal psychosocial factors on the association between online social networking use intensity and depressive symptoms among early adolescents. Methods A total of 4237 adolescents from a 9-month longitudinal study were included. Score changes (indicated as △) for the social function use intensity (SFUI) and entertainment function use intensity (EFUI) subscales of the Online Social Networking Activity Intensity Scale and for friendship quality, perceived family support, perceived friend support, parent–adolescent conflict, social nonconfidence, and depressive symptoms were analyzed. The potential mediation effects of unfavorable psychosocial factors and suppression effects of favorable psychosocial factors on the association of △SFUI with △CES-D and the association of △EFUI with △CES-D were tested using hierarchical regression models. Results The association between △SFUI and △CES-D was partially mediated by △mother–adolescent conflict (mediation effect size 5.11%, P=.02) and △social nonconfidence (mediation effect size 20.97%, P<.001) but partially suppressed by △friendship quality, △perceived family support, and △perceived friend support, with suppression effects of –0.011 (P=.003), –0.009 (P=.003), and –0.022 (P<.001), respectively. The association between △EFUI and △CES-D was partially mediated by △social nonconfidence (mediation effect size 30.65%, P<.001) but partially suppressed by △perceived family support and △perceived friend support, with suppression effects of –0.036 (P<.001) and –0.039 (P<.001), respectively. Conclusions The association between online social networking use intensity and depressive symptoms was partially mediated through the indirect increase in social nonconfidence and mother–adolescent conflict; however, better perceived social support and friendship quality would partially compensate for the harmful impact of online social networking use intensity on depressive symptoms among early adolescents.

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28

Shen, Rongbo, Fuhao Zou, Jingkuan Song, Kezhou Yan, and Ke Zhou. "EFUI: An ensemble framework using uncertain inference for pornographic image recognition." Neurocomputing 322 (December 2018): 166–76. http://dx.doi.org/10.1016/j.neucom.2018.08.080.

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29

Yudha, Feizal Mandala, Nurizzati Nurizzati, and Yenni Hayati. "UNSUR BUNYI DALAM BUKU KUMPULAN PUISI TIDAK ADA NEW YORK HARI INI KARYA M. AAN MANSYUR." Jurnal Bahasa dan Sastra 6, no. 3 (2019): 276. http://dx.doi.org/10.24036/81037210.

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This study aimed to describe and analyze the form and use of sound in the Poetry Collection Book Tidak Ada New York Hari Ini by M. Aan Mansyur. To achieve these objectives the theory is used: (1) the nature of poetry, (2) theory of structuralism, (3) elements of poetry building, (4) sound elements in poetry, (5) alliteration and aconance, (6) cacophony and efoni, (7) anaphora and epiphora, and (8) the function of sound in poetry. Based on the analysis in the poetry collection, There is Tidak Ada New York Hari Ini, the work of M. Aan Mansyur, found 14 sounds of alliteration, 24 sounds of aconance, 17 sounds of cacophony, 23 sounds of ephony, 10 sounds of anaphora and 2 sounds of epiphora. There are 4 functions of the use of sound elements, namely: (1) expressive energy, (2) giving suggestions to the reader, (3) means of musicality, and (4) providing an atmosphere / special impression.Keyword: form, exploiting of sound, anthology poems, Tidak Ada New York Hari Ini, M. Aan Mansyur, sound.

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30

Braga, Ana Cláudia Vieira, Jorge Manoel Adão, and Zeli Ambros. "PNA 2019 – Alguns aspectos dos pensamentos pedagógicos que permeiam a Política Nacional de Alfabetização." Educação, Ciência e Cultura 25, no. 2 (2020): 239. http://dx.doi.org/10.18316/recc.v25i2.6410.

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Este texto faz umaanálisedo Caderno da Política Nacional de Alfabetização (PNA), publicado em abril do ano de 2019 pela Secretaria de Alfabetização (SENAF) do Ministério da Educação (MEC), com vistas à identificação de alguns aspectos dos pensamentos pedagógicos contemporâneos e as fundamentações teóricas educacionais que permeiam o documento.Para alcançarmos uma análise sincrônica, realizamos um resumo do histórico e metodológico da alfabetização no Brasil com o intuito de situar o alcance do pensamento pedagógico que influenciou a concepção da PNA e construímos um quadro comparativo entre o Pacto Nacionalde Alfabetização na Idade Certa (PNAIC) de 2012 e a PNA de 2019 com a fim de demarcar quais influências dos Pensamentos Pedagógicos Brasileiro foram substituídas na Política Nacional de Alfabetização. A pesquisa foi embasada em análise de documentos oficiais e em artigos científicos e teses de mestrado/doutorado de universidades brasileiras efoi realizada considerando somente o segmento da educação infantil.

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31

Guimarães, Emanuelle Frasson, Suliani Rover, and Denize Demarche Minatti Ferreira. "A participação no índice de sustentabilidade empresarial (ISE): Uma comparação do desempenho financeiro de bancos participantes e não participantes da carteira1." Enfoque: Reflexão Contábil 37, no. 1 (2018): 147. http://dx.doi.org/10.4025/enfoque.v37i1.34859.

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O Índice de Sustentabilidade Empresarial (ISE), criado em 2005 pela BM&FBOVESPA, procura estimular práticas sustentáveis e identificar as empresas consideradas socialmente responsáveis. O objetivo deste estudo é realizar uma comparação entre os indicadores contábil-financeiros de bancos participantes e não participantes da Carteira do ISE dos anos de 2014, 2015 e 2016 para verificar se a inserção influencia o desempenho financeiro.Por meio da aplicação de estatísticas descritivas e do teste não paramétrico de Mann-Whitney, não foi possível afirmar que a participação no ISE melhora o desempenho financeiro dos bancos em todos os aspectos efoi comprovado que não existem diferenças entre os grupos de bancos participantes e não participantes do ISE. Além disso, percebeu-se que os bancos não participantes apresentaram melhores resultados nos indicadores de Rentabilidade e Lucratividade.O estudo corrobora a Teoria Positiva da Contabilidade de Watts e Zimmerman (1986), que define o tamanho como um fator determinante para atenção política.

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32

Radhiyah, Isyatur. "DIKSI, GAYA BAHASA, DAN PERMAINAN BUNYI PADA LIRIK LAGU-LAGU MELAYU (DICTION, LANGUAGE STYLE, AND SOUND GAMES ON LYRICS OF MELAYU SONGS)." JURNAL BAHASA, SASTRA DAN PEMBELAJARANNYA 8, no. 2 (2018): 204. http://dx.doi.org/10.20527/jbsp.v8i2.5507.

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AbstractDiction, Language Style and Sound Games on Lyrics of Melayu Songs. This study aims to determinethe aesthetic value in the lyrics of melayu songs sung by Ahmad Jais. This research is directed towardsthe lyrics of melayu songs which are more prominent in terms of diction, language style and soundgames that are used specifically to create certain effects, especially aesthetic effects.This research is adescriptive qualitative research using content analysis method. The researchers took as many as 10 lyricsof melayu songs sung by Ahmad Jais.The results showed that the dictions or choice of words in the lyricsof melayu songs sung by Ahmad Jais use both connotative and denotative meanings. There are 160diction which meanings are divided into two; 80 data with connotative meanings and 80 data withdenotative meanings. This choice of words helps the author to convey the message he wants to deliver andto add the beauty of the songs’ lyrics. The most widely used language style based on the choice of wordsis the unofficial language style found as many as 8 data. The most widely used language style accordingto the tone contained in the discourse is the powerful noble language as many as 5 data. The most widelyused in language style according to mostly used sentence structure is the climax, as many as 7 data.The most widely used language style according to the direct or indirect meaning is the style of rhetoricallanguage, as many as 10 data. From the document analysis of the lyrics of melayu songs from soundelements, it can be seen that there are 174 data from taxation elements consisting of 34 alliteration data,134 assonance data and 6 data of the combination of alliteration and assonance. From the element ofrhythm, there are 10 kinds of euphony. From the elements of the tone and the atmosphere, which are 2data of sad atmosphere, 2 data of joyful atmosphere, and 6 data of powerless atmosphere.Key words: diction, language style and sound gamesAbstrakDiksi, Gaya Bahasa dan Permainan Bunyi pada Lirik Lagu-Lagu Melayu. Penelitian ini bertujuanuntuk mengetahui nilai keindahan yang terkandung dalam lirik lagu-lagu melayu yang dibawakanoleh Ahmad Jais. Penelitian ini diarahkan terhadap lirik dalam lagu-lagu melayu yang lebih menonjoldari segi diksi, gaya bahasa dan permainan bunyi yang digunakan secara khusus untuk menimbulkanefek tertentu, khususnya efek estetis.Penelitian ini merupakan penelitian deskriptif kualitatif denganmenggunakan metode analisis isi. Peneliti mengambil data sebanyak 10 lirik lagu-lagu melayu yangdibawakan oleh Ahmad Jais. Hasil penelitian menunjukkan bahwa diksi atau pilihan kata dalam liriklagu-lagu melayu yang dibawakan oleh Ahmad Jais menggunakan makna konotatif dan juga makna205denotatif. Ada 160 data terdapat diksi, yang bermakna konotatif 80 data dan diksi yang bermaknadenotatif 80 data. Pilihan kata ini membantu penulis untuk menyampaikan pesan yang ingindisampaikannya dan menambah keindahan lirik lagunya. Gaya bahasa menurut pilihan kata yangpaling banyak digunakan adalah gaya bahasa tidak resmi sebanyak 8 data. Gaya bahasa menurut nadayang terkandung dalam wacana yang paling banyak digunakan adalah gaya bahasa mulia bertenagasebanyak 5 data. Gaya bahasa menurut struktur kalimat yang paling banyak digunakan adalah klimakssebanyak 7 data. Gaya bahasa menurut langsung tidaknya makna yang paling banyak digunakanadalah gaya bahasa retoris sebanyak 10 data. Dari analisis dokumen lirik lagu-lagu melayu dari unsurbunyi dapat diketahui ada 174 data dari unsur persajakan yang terdiri dari 34 data aliterasi dan 134data asonansi serta 6 data kombinasi aliterasi dan asonansi. Dari unsur irama ada 10 jenis efoni. Dariunsur nada dan suasana, yaitu suasana sedih ada 2 data, suasana gembira ada 2 data, dan suasana takberdaya ada 6 data.Kata-kata kunci: diksi, gaya bahasa, permainan bunyi

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33

"Bibliographie de Kossi Efoui." Africultures 86, no. 4 (2011): 247. http://dx.doi.org/10.3917/afcul.086.0247.

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34

Garnier, Xavier. "Personnages obsédés et résistance du présent dans les romans de Kossi Efoui." ReS Futurae, no. 7 (May 4, 2015). http://dx.doi.org/10.4000/resf.798.

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35

Dante Cordeiro, Helena Talita, and Lindolfo Galvão De Albuquerque. "Validação da escala de atitudes de carreira sem fronteiras e carreira proteana no Brasil." Revista de Carreiras e Pessoas 6, no. 2 (2016). http://dx.doi.org/10.20503/recape.v6i2.29409.

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O objetivo do presente estudo é a validação da escala de atitudes de carreira sem fronteiras e carreira proteana para o Brasil. O estudo é descritivo, quantitativo e a coleta de dados foi realizada através de uma survey eletrônica. A amostra é não probabilística e intencional efoi composta por 2.376 pessoas. Foram utilizadas a análise fatorial exploratória e a análise fatorial confirmatória. Os resultados das análises fatoriais e do alfa de Cronbach afirmam a validade e a confiabilidade do instrumento utilizado. Espera-se que essa validação permita a utilização dessas escalas em futuros estudos nacionais sobre as novas carreiras.

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