Relevant bibliographies by topics / Fables, African

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Academic literature on the topic 'Fables, African'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Fables, African"

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Nhemachena, Artwell. "Hakuna Mhou Inokumira Mhuru Isiri Yayo: Examining the Interface between the African Body and 21st Century Emergent Disruptive Technologies." Journal of Black Studies 52, no. 8 (June 15, 2021): 864–83. http://dx.doi.org/10.1177/00219347211026012.

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Colonially depicted as a region distinctive for fables and fabrications, Africa has ever since not been allowed to reclaim anything original. Dispossessed of their original wealth, Africans have been forced to live in fabled and fabricated houses, eating fabled, and fabricated food—closer to animals. Similarly, dispossessed of their original human identities, Africans have been forced to adopt fabricated identities. With the 21st century not promising any return to original African human identities, Africans are set to be further nanotechnologically (using tiny nanoparticles) fabricated into cyborgs that speak to ongoing posthumanist and transhumanist experiments with emergent disruptive technologies. Inhabiting not only fabricated houses but also increasingly inhabiting nanotechnologically fabled and fabricated bodies, Africans should learn to, in terms of the Shona (a people of Zimbabwe) proverb, hakuna mhou inokumira mhuru isiri yayo (no cow lows for a calf that is not its own), repossess original mastery over their own lives.
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Quintero, Genevieve Jorolan, and Connie Makgabo. "Animals as representations of female domestic roles in selected fables from the Philippines and South Africa." Scholarship of Teaching and Learning in the South 4, no. 1 (April 28, 2020): 37. http://dx.doi.org/10.36615/sotls.v4i1.121.

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South Africa and the Philippines are home to a number of indigenous groups whose cultures and traditions have not been tainted by centuries of colonization. This paper compares the pre-colonial literature of cultural communities in two countries, where one is part of a continent (South Africa) while the other is an archipelago (the Philippines). Despite the differences in their geographical features, the two countries share common experiences: 1) colonized by European powers; 2) have a significant number of indigenous communities; 3) a treasury of surviving folk literature. Published African and Philippine folktales reveal recurring images and elements. One of these is the use of animals as characters, performing domestic tasks in households, and representing gender roles. This paper compares how animal characters portray feminine characteristics and domestic roles in selected fables from South Africa and the Philippines, specifically on the commonalities in the roles of the female characters. The research highlights the relevance of recording and publishing of folk literature, and the subsequent integration and teaching thereof within basic and higher education curricula.Key words: Indigenous, Cultural communities, fables, folk literature, Philippine folk tales, South African folk talesHow to cite this article:Quintero, G.J. & Makgabo, C. 2020. Animals as Representations of Female Domestic Roles in selected fables from the Philippines and South Africa. Scholarship of Teaching and Learning in the South. v. 4, n. 1, p. 37-50. April 2020. Available at:https://sotl-south-journal.net/?journal=sotls&page=article&op=view&path%5B%5D=121This work is licensed under the Creative Commons Attribution 4.0 International License.To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/
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Ulatowska, Hanna K., Robert T. Wertz, Sandra B. Chapman, CaSaundra L. Hill, Jennifer L. Thompson, Molly W. Keebler, Gloria Streit Olness, Sharon D. Parsons, Teya Miller, and Linda L. Auther. "Interpretation of Fables and Proverbs by African Americans With and Without Aphasia." American Journal of Speech-Language Pathology 10, no. 1 (February 2001): 40–50. http://dx.doi.org/10.1044/1058-0360(2001/007).

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There is a paucity of performance information for African American adults with aphasia on appraisal tasks, especially in comparison with performance by neurologically normal African American adults. We administered language impairment, functional communication, and discourse measures to neurologically normal African American adults and African American adults with aphasia. The neurologically normal group performed significantly better on the language impairment measure (Western Aphasia Battery), the functional communication measure (ASHA Functional Assessment of Communication Skills for Adults), providing the lesson in a fable discourse task, and spontaneous interpretation of proverbs. No significant differences between groups were observed on a picture description fable task or in performance on a multiple-choice proverb task. Few significant relationships were observed among measures in the neurologically normal group; however, the group with aphasia displayed a variety of significant relationships in their performance on the language impairment, functional communication, fable lesson, and interpretation of proverbs tasks. The results imply that fable and proverb discourse tasks may be valuable supplemental measures for characterizing communicative competence in African American adults who have aphasia.
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Udefi, Amaechi. "Dimensions of Epistemology and the Case for Africa’s Indigenous Ways of Knowing." Tattva - Journal of Philosophy 7, no. 1 (January 1, 2015): 1–16. http://dx.doi.org/10.12726/tjp.13.1.

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philosophical practice has taken a new turn since it survived the large scale problems and debates which characterized its early beginnings in an African environment and intellectual community. The metaphilosophical issues then concerned about its status, relevance and methodology appropriate or usable for doing it. Although the issues that troubled African philosophers then may have subsided, yet some of them have and are still expressing reservations on the possibility of having Africa‟s indigenous ways of knowing, just as they deny the possibility of „African physics‟ or „African arithmetic‟. Paulin Hountondji, a leading African philosopher, is reputed for denying African traditional thought as philosophy, which he prefers to type as ethnophilosophy, simply because it thrives on orality and other ethnographical materials like proverbs, parables, folklores, fables, songs etc. For him, the piece, at best can qualify as ethnographical or anthropological monographs as opposed to philosophical work which relies on written texts and documentation on the basis of which “theoretical knowledge and significant intellectual exchange and innovation can” be achieved in Africa. Hountondji‟s position is, to say the least, exclusionist, since it denies and debars African modes of thought and heritage a position in the on-going philosophical conversation or discourse. The paper shares Hountondji‟s vision of adoption of an attitude of critical, scientific and skeptical orientation in African societies. However, it rejects the views of Hountondji and other scholars who deny African intellectual and cognitive systems and argues that their position rests on one sided conception or dimension of epistemology. The other intention of the paper is to show that philosophical practice is as old as the history of mankind in Africa, though Hountondj has expressed the view that philosophy as an academic discipline started in African Universities only in the 1960’s and 1970’s.
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Jooste, G. A. "Fantasie en ideologie in Eugene Marais se Dwaalstories." Literator 11, no. 2 (May 6, 1990): 36–51. http://dx.doi.org/10.4102/lit.v11i2.799.

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In the four short stories published in the volume Dwaalstories, Eugène Marais achieves a very charming combination of fantasy and ideological coding. The fantasy seems, on the one hand, to camouflage the possible effects of certain ideological stances in the stories and also to predispose a naïve reading, while the more submerged ideological coding, on the other hand, invites closer inspection, which will uncover the real clout of the message. Traditionally, fables recount the victory of the weak over the powerful due to the intervention of some magical outside force. In these African fables this convention is employed to demonstrate the successful undermining of the despotic use of power which causes the innocent to suffer. Assisted by forces of magic residing in Nature, the weak react against injustice, so rectifying the social imbalances and counteracting the dangers caused by the inhumane use of group or institutional force. The purpose of this article is to describe the way in which fantasy and ideology are intercoded in Marais’s Dwaalstories.
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Mkhize, Khwezi. "Fables of death: Law, race and representations of African mine workers inUmteteli Wa Bantuin the 1920s." Current Writing 22, no. 2 (January 2010): 19–36. http://dx.doi.org/10.1080/1013929x.2010.9678346.

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Stiga, Kalliopi, and Evangelia Kopsalidou. "Music and traditions of Thrace (Greece): a trans-cultural teaching tool." DEDiCA Revista de Educação e Humanidades (dreh), no. 3 (March 1, 2012): 145–64. http://dx.doi.org/10.30827/dreh.v0i3.7094.

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The geopolitical location as well as the historical itinerary of Greece into time turned the country into a meeting place of the European, the Northern African and the Middle-Eastern cultures. Fables, beliefs and religious ceremonies, linguistic elements, traditional dances and music of different regions of Hellenic space testify this cultural convergence. One of these regions is Thrace. The aim of this paper is firstly, to deal with the music and the dances of Thrace and to highlight through them both the Balkan and the middle-eastern influence. Secondly, through a listing of music lessons that we have realized over the last years, in schools and universities of modern Thrace, we are going to prove if music is or not a useful communication tool – an international language – for pupils and students in Thrace. Finally, we will study the influence of these different “traditions” on pupils and students’ behavior.
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Pouwels, Randall L. "Reflections on Historiography and Pre-Nineteenth-Century History from the Pate “Chronicles”." History in Africa 20 (1993): 263–96. http://dx.doi.org/10.2307/3171975.

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The period from 1500 to 1800 was a particularly busy phase in the history of the East African coast. It was a time which witnessed massive demographic shifts in the interior regions, as well as heavy southern Arab immigration and external meddling from Portuguese and Umani interlopers. It saw the destruction of the medieval entrepot of Kilwa Kisiwani and a decline, followed by a slow resurgence, in the fortunes of another medieval powerhouse, Mombasa. Throughout this phase, the ancient northern coastal city of Pate enjoyed a pivotal, even at times a paramount, role in the affairs of the coast. Before the middle 1500s the town seems to have been of insufficient consequence to attract much attention. Thereafter, however, the city-state capitalized on mainland alliances with powerful Orma confederations like the “Garzeda” to become a major center for regional trade, as well as a crucial strategic location in the competing religious and political ambitions of Portugal and various Arab states. In the seventeenth and early eighteenth centuries Pate clearly was the most important state in the Lamu archipelago. Arguably, too, it was the most powerful Swahili sultanate on the entire coast.Given the significance of Pate in the affairs of the East African coast from the sixteenth through the early nineteenth centuries, scholars long have realized that a history of the sultanate is exigent to an understanding of the entire coast during this time. What would seem to be fortunate to this end is that historians have the Pate chronicles as a research aid. Taken together, these constitute the most detailed indigenous history of any coastal city-state up to the onset of the colonial era. However, as attested by the difficulties Chittick encountered in his attempts to work with them, these documents present the historian with a superabundance of (often confusing) information. Confronted with this, Chittick concluded that the only possible value of these chronicles was as a source of/for children's fables. Thus surmised, a historian of this important Swahili sultanate would seem to be left with very little indeed.
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Yakubovich, Ilya. "Legends, Tales, and Fables in the Art of Sogdiana. By Boris Marshak. School of Oriental and African Studies. Biennial Ehsan Yarshater Lecture Series, no. 1. New York: Bibliotheca Persica Press, 2002. Pp. xi + 187 + 106 figs. + 16 pls. $65." Journal of Near Eastern Studies 65, no. 3 (July 2006): 223–25. http://dx.doi.org/10.1086/508591.

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Ngong, David Tonghou. "Domination and Resistance: Lamin Sanneh, Eboussi Boulaga, and the Reinterpretation of Christianity in Africa." Exchange 49, no. 2 (May 28, 2020): 93–109. http://dx.doi.org/10.1163/1572543x-12341557.

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Abstract This article engages the work of two prominent but recently deceased scholars of African Christianity—the Gambian Lamin Sanneh and the Cameroonian Fabien Eboussi Boulaga. It argues that their reinterpretation of Christianity is designed to develop an imagination of resistance in the context of western domination in Africa. Sanneh approaches the matter from a historical perspective through which he narrates the emergence of a new form of Christianity, leading to his important distinction between “world Christianity” and “global Christianity.” Boulaga approaches the issue from the perspective of philosophical theology, through which he developed the “Christic model” as central to appropriating the Christian faith in Africa. The paper argues that one can hardly understand why Sanneh distinguishes between global and world Christianity and why Boulaga develops the radical Christic model, if one fails to locate their work within the framework of problematizing dynamics of western domination in Africa.
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Dissertations / Theses on the topic "Fables, African"

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Welborne, Eric Scott. "Tales of Thiès performance and morality in oral tradition among the Wolof of Senegal /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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Grobler, Adri. "The utility of a Düss fable for cross-cultural measurement of resilience in young children." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/23028.

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There is limited research on the utility of specific assessment measures for cross-cultural psychological and research measurement within the South-African context. In addition limited knowledge exists on cross-cultural measurement of resilience in young children. This study analyses purposefully selected (existing) data from the Kgolo Mmogo project (which investigated psychological resilience in South African mothers and children affected by HIV/AIDS) with the aim of exploring the utility of a Düss fable as projective story-telling technique to measure resilience in young children. The primary research question that guided this study was: ‘What is the utility of a Düss fable as cross-cultural measure of resilience in young children?’ Using the ecological and social cross-cultural model as theoretical framework, the concurrent mixed method study compares inductively derived themes from the Düss fables (qualitative: content analysis) with quantitative scores obtained from secondary analysis of Child Behavior Checklist scores. Subsequent to the data analysis themes of resilience and non-resilience emerged from the Düss fables as well as from the CBCL. The themes of both resilience (protective resources) and non-resilience (risk factors) emerged and where significantly situated within the children’s environments. The core themes of resilience as expressed by the child-participants related to their coping strategies, their sense of belonging, the availability of material resources and their ability to navigate towards positive institutions. The most prominent themes of non-resilience that emerged from the participants’ Düss fables related to their coping strategies (maladaptive coping), their awareness of chronic risk, adversity and death. The CBCL was included in the study to provide insight into the perspective of the participants’ mothers with regards to their children’s functioning. Predominantly the mothers mostly perceived their children as well adjusted. The risk-related behaviours mostly reported by the mothers were externalising problems that manifested as rule-breaking and aggressive behaviour. The Düss fables provided meaningful insights into the life experiences of the children. There were instances where the participants’ responses were rich and detailed. The majority of the participants’ stories were age-appropriate and informative, while in some instances the participants gave limited responses. Nonetheless, the Düss fable provided valuable insights into the child-participants’ thoughts, emotions and life-experiences.
Dissertation (MEd)--University of Pretoria, 2011.
Educational Psychology
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Murad, Machado Fernanda. "Construction d'un univers fabuleux : l'écrivain et le lecteur dans l'œuvre d'Amadou Hampâté Bâ." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040257.

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Au travers de ses écrits littéraires, Hampâté Bâ cherche à mettre en valeur la culture africaine. À l'instar d'autres écrivains de sa génération, son œuvre révèle la volonté de contribuer à la construction d'un discours qui permette de réinsérer l'Afrique dans un cadre universel. Dans cet objectif, il choisit de réactualiser la tradition orale. Chercheur infatigable, il recueille tout au long de sa vie des histoires et des croyances qu'il écrit en français pour un public de culture occidentale. L'écrivain se heurte ainsi à une difficulté première : il n'y a pas une vision du monde et un répertoire communs aux personnages, à l'instance narrative et au lecteur. Ce décalage de références pose des problèmes d'ordre esthétique à l'écrivain, qui cherche des stratégies pour représenter la réalité sociale à laquelle il se réfère, mais aussi pour la recréer de manière à interagir avec la réalité de son lecteur. Le rôle assumé par l'écrivain est ambigu. Fidèle transmetteur d'une part, Hampâté Bâ cherche d'autre part à séduire le lecteur en construisant un univers fabuleux. Il met en place différents niveaux de dialogue, à partir de la relecture de souvenirs, de traces du passé, de regards portés sur le monde, et déjoue le sens de ces derniers à la faveur des significations contextuelles recherchées. Le texte devient alors un lieu privilégié pour une réflexion sur la mémoire, l'histoire et le mythe ; plus largement, pour une réflexion sur le réel et la manière de le raconter
Through his literary writing, Hampâté Bâ aims at highlighting african culture. Similarly to other authors of his generation, his work shows the desire to contribute to the construction of a discourse that would allow Africa to be reinserted in an universal frame. For that purpose, he chooses to reactualize oral tradition. An indefatigable researcher, he collects, throughout his life, stories and beliefs later to be rewritten in french for an occidental audience. By so doing, the author is confronted to a major difficulty, namely the fact that there is not one worldview or a repertory common to both the characters, the narrative authority and the reader. This reference gap raises thus concerns of an aesthetic nature to the writer, who looks for strategies in order, not only to portray the social reality that he refers to, but, at the same time, to recreate the latter in a way such as to enable it to interact with the reality of the reader. The role taken by the writer is ambiguous. A faithful transmitter on the one hand, Hampâté Bâ attempts, on the other hand, to seduce the reader by constructing a fabulous universe. He implements different levels of dialogue out of the rereading of memories, as well as from traces of the past and worldviews, which meaning is eluded in favour of elaborate contextual significations. As a result, the text becomes a privileged place for a reflection on memory, history and the myth ; in a broader sense, it opens for a reflection on the Real and on the mode of storytelling
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Greyvenstein, Lisa. "An investigation of excess as symptomatic of Neo-Baroque identified in the work of selected South African artists." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/27466.

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This research investigates the Neo-Baroque aesthetic of excess in contemporary South African art, and explores reasons for the emergence of this style. It investigates artists who use their bodies as a site of resistance, to contest or reconstruct the dominant social values which establish differences between bodies to place them within the marginal position of ‘Other’. This investigation relates to post-colonial concerns. The artists’ exploitation of the Neo-Baroque aesthetic of excess as a comment on social concerns reveals a sense of crisis within South African society, similar to the conditions from which the seventeenth century Baroque style evolved. Neo-Baroque aesthetics of excess manifest in a variety of ways, and are particularly evident when artists transgress social boundaries placed on the body through abject and erotic associations. Excess ultimately arises from complexity, as hybrid art forms are created from the combination of media and content found within the art work.
Dissertation (MA)--University of Pretoria, 2012.
Visual Arts
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Trygstad, Emily J. "Excellence Redefined: The Evolution of Virtus in Ancient Rome." Miami University Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1271972341.

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Books on the topic "Fables, African"

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Bassey, Linus A. African fables. Newport News, Va: United Brothers Communication Systems, 1990.

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Bassey, Linus A. African fables. 3rd ed. Newport News, Va: United Brothers Communications Systems, 1990.

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Kuti, A. F. Demola. Fables by the fireside. Abuja, Nigeria: Tappax & Jef Associate Publications, 1991.

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Barksdale-Hall, Roland C. Under African skies. Cherry Hill, N.J: Nefu Books, 2010.

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Murray, Bill, 1955 Aug. 4- ill., ed. Under African skies. Cherry Hill, N.J: Nefu Books, 2010.

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Koram, Jamal. Aesop, tales of Aethiop the African. Beltsville, MD: Sea Island Information Group, 1989.

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Ema, Erhe. The smart cat and the foolish cow: A satire and a fable. Enugu, Nigeria: Fourth Dimennsion Pub. Co., 1993.

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Uchegbu, Chinedu. Great famine in the animal kingdom. [Enugu, Nigeria: Samuels Pub. Co., 2006.

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ill, Daly Niki, ed. Fly, eagle, fly!: An African fable. New York: Margaret K. McElderry Books, 2000.

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Gregorowski, Christopher. Fly, eagle, fly!: An African tale. [Harare]: College Press, 2000.

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Book chapters on the topic "Fables, African"

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Johnson, David. "Anti-Stalinist Dreams of Freedom." In Dreaming of Freedom in South Africa, 104–32. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474430210.003.0005.

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The alternative South African Marxist tradition derived from Trotsky’s critique of Stalinism and centred in the NEUM from the 1940s to 1960s is the focus of analysis. The South African adaptations of Trotsky’s fusion of critique and utopia in political discourse that are examined include: the writings of I. B. Tabata, Ben Kies, Goolam Gool and Baruch Hirson; the NEUM’s Ten-Point Programme of 1943; and the political journalism in publications loosely affiliated to the NEUM and the New Era Fellowship like Torch, The Bulletin and Discussion. The literary culture associated with the NEUM is discussed both by tracing the influence of the ideas of Marx, Trotsky and Brecht on South Africa’s counter-public sphere, and by analysing the literary-cultural writings of Dora Taylor (her poems, short stories, novels and book reviews); A. C. Jordan’s literary criticism and animal fables; Ben Kies’s newspaper columns; Neville Alexander’s letters; Livingstone Mqotsi’s novel House of Bondage (1990); and the widespread use of literary quotations in political speeches by NEUM leaders, including Tabata, Kies, Leo Sihlali and Goolam Gool.
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"FDI to Africa: Facts and fables." In Economic Development in Africa Report, 4–25. UN, 2005. http://dx.doi.org/10.18356/880a8302-en.

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Leman, Peter. "A Song Whose Time Has Come: Northern Uganda, Apocalyptic Futures, and the Oral Jurisprudence of Okot p’Bitek." In Singing the Law, 78–110. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621136.003.0003.

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In Artist, the Ruler (1986), Okot p’Bitek claims that the oral artist in Africa “proclaims the laws but expresses them in the most indirect language: through metaphor and symbol, in image and fable. He sings and dances his laws.” This provocative observation was one of the starting points for this book as a whole, and, here, I examine Song of Lawino (1966) and Song of Ocol (1967) in light of his claim that the oral artist is a lawmaker. I also situate his work in relationship to recent conversations about law and modernity in Northern Uganda’s struggle against the Lord’s Resistance Army (LRA). Although his work appeared long before the LRA, many of Okot’s texts have reemerged as part of a conversation about how to achieve reconciliation now that the conflict has largely ended. To account for this reception, I draw on Russell Samolsky’s concept of “apocalyptic futures,” arguing that the oral jurisprudence of Okot’s texts has “revealed itself to be ahead of its time,” taking on new significance in the context of the LRA, particularly in portraying Acholi legal principles critical to post-conflict reconciliation.
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Reports on the topic "Fables, African"

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Ellington, Tameka Nicole. Retold: African Fables Conceptualized into Fashion Artwork. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1449.

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