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Journal articles on the topic 'Mythologie africaine'
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Georget, Jean-Louis, and Richard Kuba. "Mythologie africaine, mythologie européenne: la question de l’Égypte." Africana Studia - Revista Internacional de Estudos Africanos, no. 35 (2021): 67–78. http://dx.doi.org/10.21747/0874-2375/afr35a6.
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Casti, Emanuela. "Mythologies africaines dans la cartographie française au tournant du XIXe siècle." Cahiers de géographie du Québec 45, no. 126 (April 12, 2005): 429–50. http://dx.doi.org/10.7202/023002ar.
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L'article essaie de montrer que, par le biais de la cartographie, sont créées des mythologies à propos de l'Afrique que nous pouvons baptiser « de retour », c'est-à-dire qu'elles sont créées par les Occidentaux et transférées dans le projet de domination comme s'il s'agissait de qualités africaines. La première mythologie concerne la transmission d'une Afrique riche de ressources et de possibilités d'exploitation; la seconde considère que c'est une terre à valoriser dans une perspective colonialiste, car elle semble dépourvue de significations sociale et politique. L'analyse du langage cartographique des cartes des revues du début du colonialisme en Afrique occidentale française (AOF) montre que, à travers les mécanismes sémiotiques concernant les toponymes basiques (originels), on n'accordait pas d'importance au territoire produit par les populations locales. De cette façon, on dotait l'Afrique de valeurs occidentales, justifiant ainsi la légitimité des choix imposés sans tenir compte de sa diversité. Les mythologies « de retour » créées par la cartographie sont donc des interprétations induites, mais aussi des instruments pour exclure une identité originelle.
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d’Huy, Julien. "Le Soleil est un mammifère. Origine africaine d’un motif mythologique." Cahiers d'études africaines, no. 244 (November 29, 2021): 799–829. http://dx.doi.org/10.4000/etudesafricaines.35629.
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Bonhomme, Julien. "Dieu par décret: Les écritures d'un prophète africain." Annales. Histoire, Sciences Sociales 64, no. 4 (August 2009): 887–920. http://dx.doi.org/10.1017/s0395264900022502.
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RésuméCet article s’intéresse à d’étranges graffitis qui couvrent les murs de Libreville (Gabon). Leur scripteur, André Ondo Mba, est un personnage excentrique, prophete autoproclamé qui prétend accomplir la création divine à travers ses écritures publiques. Ses graffitis manifestent, sous une forme excessive, une idéologie de l’écriture dont l’origine est à chercher dans la situation coloniale, notamment dans les deux pivots du pouvoir colonial que sont la mission et l’administration. Situés au croisement du document officiel et des Écritures saintes, les graffitis d’Ondo Mba possedent en outre une forte charge contestataire : ils défient les autorités en place. Toute la question est alors de savoir si Ondo Mba parvient à faire entendre son message. L’article s’intéresse ainsi à la réception des graffitis. Aussi extravagante soit-elle, la mythologie personnelle d’Ondo Mba fait appel a un imaginaire, notamment politico-religieux, qui trouve en réalité de nombreux échos dans la société gabonaise contemporaine.
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Temple, Christel N. "Africana Cultural Memory in the Afroeuropean Context." Journal of Black Studies 52, no. 4 (March 14, 2021): 418–40. http://dx.doi.org/10.1177/0021934721999296.
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With the publication of Black Cultural Mythology (2020), the discipline of Africology and African American Studies has a better resource that answers the call for methodological and theoretical tools to institutionalize Africana cultural memory studies as a robust subfield. This content analysis tests the applicability of the critical framework of Black cultural mythology—which emerges from a study of the African American Diaspora of the United States—with the Afroeuropean Diaspora, namely the Black British experience. A feature of this study’s methodology is evaluating the efficacy of the genre of anthology—in this case Kwesi Owusu’s Black British Culture and Society: A Text Reader (2000)—as a comprehensive source suitable for content analysis and from which to infer a sense of the region’s approaches to cultural memory and memory-adjacent worldviews.
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McDaniel, Lorna. "The flying Africans: extent and strength of the myth in the Americas." New West Indian Guide / Nieuwe West-Indische Gids 64, no. 1-2 (January 1, 1990): 28–40. http://dx.doi.org/10.1163/13822373-90002024.
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[First paragraph]The theme of human aerial flight permeates the mythology of Black America. Examples of the metaphor are found in major musical genres, myths and poetry in Black cultures that span the Caribbean and southern North America, embracing generations to testify to the depth of the cosmological and conscious projection of systems of flight escape and homeland return. While the theme of human flight does not occur in any significant proportion in West African mythology related themes of transformation and pursuit do appear. However, in African thought, witches and spirits possess the power of flight; a flight that can be blocked by the use of salt. The belief in spirit flight, ubiquitous in the Black diaspor of the New World, parallels that in African thought, but in the New World it is enlarged to include humans as possessors of the capability of flight.
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Michaelis, K. "A critical analysis of Pier Paolo Pasolini’s African Oresteia." Literator 17, no. 2 (April 30, 1996): 79–90. http://dx.doi.org/10.4102/lit.v17i2.604.
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Pasolini's Appunti per un’Orestiade africana (1970) is a metaphorical film, inspired by the Greek legend of Orestes, in which Pasolini views postcolonial African history through the lens of mythology. His portrait of the birth of “modern” Africa is an attempt to narrate the passage from past to present and to salvage "prehistory" through his dream of the unification of the rational, democratic state and the irrational, primal slate of being. It is, however, a dream punctuated by contradictions and paradoxes, a dream which Pasolini will later abandon. Yet it is significant in the overall development of Pasolini's genre.
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Berezkin, Yuri. "African Heritage in Mythology." Antropologicheskij forum 17, no. 48 (2021): 91–114. http://dx.doi.org/10.31250/1815-8870-2021-17-48-91-114.
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Our analytical catalogue contains information on many thousands of folklore and mythological texts. The systemic approach to this material argues in favor of an African origin of episodes and images that were recorded in sub-Saharan Africa, the Indo-Pacific border of Asia and in America but are absent in continental Eurasia. Such a pattern corresponds to genetic and archaeological data concerning the early spread of the modern human from Africa in two directions, i.e. to the East along the coast of the Indian Ocean to Southeast Asia and Australia, and to the North into Europe, Central Asia and Siberia. The natural conditions of humankind in the Indo-Pacific Tropics and in the African homeland are essentially similar; conversely, in the Eurasian North, deep cultural changes and a loss of the African heritage are to be expected. Though there are no cultures in Asia that could be considered to be related to the ancestors of the earliest migrants into the New World still being identified by archaeologists, similar sets of motifs in South America and in the Indo-Pacific part of the Old World provide evidence in favor of the East Asian homeland of the first Americans. Later groups of migrants brought those motifs typical for continental Eurasia to North America. Though we take into account conclusions reached by specialists in other historical disciplines, big data on mythology and folklore is argued to be an independent source of information on the human past.
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Witzel, Michael. "Water in Mythology." Daedalus 144, no. 3 (July 2015): 18–26. http://dx.doi.org/10.1162/daed_a_00338.
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Water in its various forms–as salty ocean water, as sweet river water, or as rain–has played a major role in human myths, from the hypothetical, reconstructed stories of our ancestral “African Eve” to those recorded some five thousand years ago by the early civilizations to the myriad myths told by major and smaller religions today. With the advent of agriculture, the importance of access to water was incorporated into the preexisting myths of hunter-gatherers. This is evident in myths of the ancient riverine civilizations of Egypt, Mesopotamia, India, and China, as well as those of desert civilizations of the Pueblo or Arab populations.
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Kaunda, Chammah J., and Mutale Mulenga Kaunda. "Gender and Sexual Desire Justice in African Christianity." Feminist Theology 30, no. 1 (September 2021): 21–36. http://dx.doi.org/10.1177/09667350211030874.
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This article explores the nexus of themes of sexual desire, gender and prayer in the Bemba mythology of creation. Approached from Sarah Coakley’s theology of participation in the divine desire, the article utilizes email technique to collect data from African scholars both women and men with an intention to find out their perspectives on the nexus of the entangled themes above as embodied within the widespread Bemba mythology. The second objective was to understand the ways in which these three themes are intersected in the mythology and demonstrate how the contemporary African Christian search for gender and sexual desire justice might be linked to a gendered prayer. The findings show that gendered prayer could be a place of sexual desire and gender healing and justice for women.
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Gohar, Saddik M. "The dialectics of homeland and identity: Reconstructing Africa in the poetry of Langston Hughes and Mohamed Al-Fayturi." Tydskrif vir Letterkunde 45, no. 1 (February 15, 2018): 42–74. http://dx.doi.org/10.17159/2309-9070/tvl.v.45i1.4460.
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The article investigates the dialectics between homeland and identity in the poetry of the Sudanese poet, Mohamed Al-Fayturi and his literary master, Langston Hughes in order to underline their attitudes toward crucial issues integral to the African and African-American experience such as identity, racism, enslavement and colonisation. The article argues that – in Hughes’s early poetry –Africa is depicted as the land of ancient civilisations in order to strengthen African-American feelings of ethnic pride during the Harlem Renaissance. This idealistic image of a pre-slavery, a pre-colonial Africa, argues the paper, disappears from the poetry of Hughes, after the Harlem Renaissance, to be replaced with a more realistic image of Africa under colonisation. The article also demonstrates that unlike Hughes, who attempts to romanticize Africa, Al-Fayturi rejects a romantic confrontation with the roots. Interrogating western colonial narratives about Africa, Al-Fayturi reconstructs pre-colonial African history in order to reveal the tragic consequences of colonisation and slavery upon the psyche of the African people. The article also points out that in their attempts to confront the oppressive powers which aim to erase the identity of their peoples, Hughes and Al-Fayturi explore areas of overlap drama between the turbulent experience of African-Americans and the catastrophic history of black Africans dismantling colonial narratives and erecting their own cultural mythology.
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Sylvester, Christine. "Zimbabwe's 1985 Elections: a Search for National Mythology." Journal of Modern African Studies 24, no. 2 (June 1986): 229–55. http://dx.doi.org/10.1017/s0022278x00006868.
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When Zimbabweans went to the polls in June and July of 1985, they decisively returned the Zimbabwe African National Union (Patriotic Front) to formal power, provided regional support for the Patriotic Front–Zimbabwe African People's Union and, in the case of the white roll, endorsed Ian Smith's Conservative Alliance of Zimbabwe. Questions raised in the wake of the elections tended to focus on the changes that the Z.A.N.U.(P.F.) Government could institute in the next three to five years – a one-party system, a complete abrogation of the Lancaster House privileges for whites, a vigorous turn towards Marxism.
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Bukuluki, Paul, and Christine Mbabazi Mpyangu. "The African Conception of Sacrifice and its Relationship with Child Sacrifice." International Letters of Social and Humanistic Sciences 41 (September 2014): 12–24. http://dx.doi.org/10.18052/www.scipress.com/ilshs.41.12.
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Although the practice of human sacrifice is not new in the mythology around sacrifice in Africa, the practice of child mutilation and sacrifice at least in Uganda was just spoken about as fairytale. However events that have unraveled since the late 1990s have shocked the country with real cases of children being mutilated and killed in the context of what is commonly referred to as child sacrifice in Uganda. This paper presents the “African” meaning of the concept sacrifice and how demonstrates how the in African religious theology disassociates itself from murder and mutilation of children‟s body parts as part of the rituals for healing, dealing misfortunes or even prevention of unfortunate events. There was consensus from our study participants that although historically, there has been human and child sacrifice in the African and Uganda cultural mythology, the actual practice of these vices is a new phenomenon, not recognized and accepted in indigenous/traditional religious theology and practice of African religion and culture.
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Merolla, Daniela. "Filming African Creation Myths." Religion and the Arts 13, no. 4 (2009): 521–33. http://dx.doi.org/10.1163/107992609x12524941450082.
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AbstractAfrican film directors have made use of mythology and oral storytelling in countless circumstances. These filmmakers have explored the core role that orality plays in ideas of African identity and used mythological themes as allegorical forms in order to address present-day issues while working under dictatorial regimes. They have turned to mythology and oral storytelling because of their determination to convey an African philosophical approach to the world, often to counter the colonial and neo-colonial oversimplification of African cultures seen as bereft of grand narratives on the self and the world. Identity construction, critical allegorical messages, and philosophical approaches are discussed in this paper by looking at the interplay between verbal narrative and images in two “epic” films: Keïta, l'héritage du Griot (1995) directed by Dani Kouyaté, and Yeelen (1987) directed by Souleymane Cissé.
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Villalba-Lázaro, Marta. "Guy Butler's Demea." Grove - Working Papers on English Studies 29 (December 23, 2022): 131–49. http://dx.doi.org/10.17561/grove.v29.6658.
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While the relation between classical mythology and postcolonialism may appear as an inconsistency, many postcolonial writers identify postcolonial issues in the literary reception of the classics, and look back to classical mythology and their own precolonial myths to gain a better understanding of their present. In the intersection of myth criticism and postcolonialism, this article discusses Guy Butler’s Demea, a postcolonial drama written in the 1960s but, due to political reasons, not published or performed until 1990. Butler’s play blends the classical myth of Medea with South African precolonial mythology, to raise awareness of the apartheid political situation, along with gender and racial issues.
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Villalba-Lázaro, Marta. "Guy Butler's Demea." Grove - Working Papers on English Studies 29 (December 23, 2022): 131–49. http://dx.doi.org/10.17561/grove.29.6658.
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While the relation between classical mythology and postcolonialism may appear as an inconsistency, many postcolonial writers identify postcolonial issues in the literary reception of the classics, and look back to classical mythology and their own precolonial myths to gain a better understanding of their present. In the intersection of myth criticism and postcolonialism, this article discusses Guy Butler’s Demea, a postcolonial drama written in the 1960s but, due to political reasons, not published or performed until 1990. Butler’s play blends the classical myth of Medea with South African precolonial mythology, to raise awareness of the apartheid political situation, along with gender and racial issues.
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Lepelley, Claude. "THE USE OF SECULARISED LATIN PAGAN CULTURE BY CHRISTIANS." Late Antique Archaeology 6, no. 1 (2010): 475–92. http://dx.doi.org/10.1163/22134522-90000142.
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The attitudes of educated Christians to the pagan literary culture of Late Antiquity have long attracted scholarly debate. Jerome and Augustine express the unease that many Christian men of letters felt, and Christian apologists repeatedly attacked the absurdity and immorality of pagan mythology. Yet both Jerome and Augustine nevertheless believed that classical culture could contribute to the Christian life, and mythology remained a source of inspiration for certain Christian authors. This is demonstrated vividly by the writings of two important late antique figures, Sidonius Apollinaris in 5th c. Gaul and the 6th c. African poet Corippus. In their works we can trace an evolving acceptance of classical mythology as a cultural rather than religious inheritance, moving towards the later Christian Humanism of the Renaissance.
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López Ramírez, Manuela. "Icarus and Daedalus in Toni Morrison's "Song of Solomon"." Journal of English Studies 10 (May 29, 2012): 105. http://dx.doi.org/10.18172/jes.183.
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In Song of Solomon Toni Morrison rewrites the legend of the Flying Africans and the Myth of Icarus to create her own Myth. Her depiction of the black hero’s search for identity has strong mythical overtones. Morrison rescues those elements of mythology black culture which are still relevant to blacks and fuses them with evident allusions to Greek mythology. She reinterprets old images and myths of flight, the main mythical motif in the story. Her Icarus engages on an archetypical journey to the South, to his family past, led by his Daedalic guide, on which he finally recovers his ancestral ability to fly. His flight signals a spiritual epiphany in the hero’s quest for self-definition in the black community.
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Bondarenko, D. "Global Governance and Diasporas: the Case of African Migrants in the USA." World Economy and International Relations, no. 4 (2015): 37–48. http://dx.doi.org/10.20542/0131-2227-2015-4-37-48.
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In 2013, the Institute for African Studies of the Russian Academy of Sciences began a study of black communities in the USA. By now, the research was conducted in six states (Alabama, Illinois, Massachusetts, Minnesota, New York and Pennsylvania); in a number of towns as well as in the cities of Boston, Minneapolis, New York, Philadelphia and Chicago. The study shows that diasporas as network communities have already formed among recent migrants from many African countries in the U.S. These are diasporas of immigrants from individual countries, not a single “African diaspora”. On one hand, diasporas as an important phenomenon of globalization should become objects of global governance by means of regulation at the transnational level of both migration streams and foreign-born communities norms of existence. On the other hand, diasporas can be agents of social and political global governance, of essentially transnational impact on particular societies and states sending and accepting migrants, as evidenced by the African diasporas in the USA. Most American Africans believe that diasporas must and can take an active part in the home countries’ public life. However, the majority of them concentrates on targeted assistance to certain people – their loved ones back home. The forms of this assistance are diverse, but the main of them is sending remittances. At the same time, the money received from migrants by specific people makes an impact on the whole society and state. For many African states these remittances form a significant part of national income. The migrants’ remittances allow the states to lower the level of social tension. Simultaneously, they have to be especially thorough while building relationships with the migrant accepting countries and with diasporas themselves. Africans constitute an absolute minority among recent migrants in the USA. Nevertheless, directly or indirectly, they exert a certain influence on the establishment of the social life principles and state politics (home and foreign), not only of native countries but also of the accepting one, the U.S. This props up the argument that elaboration of norms and setting the rules of global governance is a business of not only political actors, but of the globalizing civil society, its institutions and organizations either. The most recent example are public debates in the American establishment, including President Obama, on the problem of immigration policy and relationships with migrant sending states, provoked by the 2014 U.S.–Africa Leaders Summit. Remarkably, the African diasporas represented by their leaders actively joined the discussion and openly declared that the state pays insufficiently little attention to the migrants’ needs and insisted on taking their position into account while planning immigration reform. However, Africans are becoming less and less “invisible” in the American society not only in connection with loud, but infrequent specific events. Many educated Africans who have managed to achieve a decent social status and financial position for themselves, have a desire not just to promote the adaptation of migrants from Africa, but to make their collective voice heard in American society and the state at the local and national levels. Their efforts take different forms, but most often they result in establishing and running of various diaspora organizations. These associations become new cells of the American civil society, and in this capacity affect the society itself and the government institutions best they can. Thus, the evidence on Africans in the USA shows that diasporas are both objects (to date, mainly potential) and real subjects of global governance. They influence public life, home and foreign policy of the migrant sending African countries and of migrant accepting United States, make a modest but undeniable contribution to the global phenomena and processes management principles and mechanisms. Acknowledgements. The research was supported by the grants of the Russian Foundation for Humanities: no. 14-01-00070 “African Americans and Recent African Migrants in the USA: Cultural Mythology and Reality of Intercommunity Relations”, no. 13-01-18036 “The Relations between African-Americans and Recent African Migrants: Socio-Cultural Aspects of Intercommunity Perception”, and by the grant of the Russian Academy of Sciences as a part of its Fundamental Research Program for 2014. The author is sincerely grateful to Veronika V. Usacheva and Alexandr E. Zhukov who participated in collecting and processing of the evidence, to Martha Aleo, Ken Baskin, Allison Blakely, Igho Natufe, Bella and Kirk Sorbo, Harold Weaver whose assistance in organization and conduction of the research was inestimable, as well as to all the informants who were so kind as to spend their time for frank communication.
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Aboelazm, Ingy. "Africanizing Greek Mythology: Femi Osofisan’s Retelling of Euripides’the Trojan Women." European Journal of Language and Literature 4, no. 1 (April 30, 2016): 87. http://dx.doi.org/10.26417/ejls.v4i1.p87-103.
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Nigerian writer Femi Osofisan’s new version of Euripides' The Trojan Women, is an African retelling of the Greek tragedy. In Women of Owu (2004), Osofisan relocates the action of Euripides' classical drama outside the walls of the defeated Kingdom of Owu in nineteenth century Yorubaland, what is now known as Nigeria. In a “Note on the Play’s Genesis”, Osofisan refers to the correspondences between the stories of Owu and Troy. He explains that Women of Owu deals with the Owu War, which started when the allied forces of the southern Yoruba kingdoms Ijebu and Ife, together with recruited mercenaries from Oyo, attacked Owu with the pretext of liberating the flourishing market of Apomu from Owu’s control. When asked to write an adaptation of Euripides’ tragedy, in the season of the Iraqi War, Osofisan thought of the tragic Owu War. The Owu War similarly started over a woman, when Iyunloye, the favourite wife of Ife’s leader Okunade, was captured and given as a wife to one of Owu’s princes. Like Troy, Owu did not surrender easily, for it lasted out a seven-year siege until its defeat. Moreover, the fate of the people of Owu at the hands of the allied forces is similar to that of the people of Troy at the hands of the Greeks: the males were slaughtered and the women enslaved. The play sheds light on the aftermath experiences of war, the defeat and the accompanied agony of the survivors, namely the women of Owu. The aim of this study is to emphasize the play’s similarities to as well as shed light on its differences from the classical Greek text, since the understanding of Osofisan’s African play ought to be informed by the Euripidean source text.
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Butler, Paula. "Colonial Walls: Psychic Strategies in Contemporary Mining-Related Displacement." Refuge: Canada's Journal on Refugees 29, no. 2 (February 26, 2014): 87–99. http://dx.doi.org/10.25071/1920-7336.38169.
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In May 2011, African Barrick Gold, owner of the North Mara Gold Mine in northern Tanzania, announced a plan to erect a three-metre-high concrete wall to enhance security against incursions from local (displaced) populations. Taking this wall as both metaphorical and material, this paper questions the psychological impact of displacement on “displacers.” How does this subject avoid psychic implosion? My review identifies legal infrastructure, mythologies of Canadian benevolence, CSR discourses, and community consultations as operating to provide psychic scaffolding for this dominant subject, who is thus inured against psychic distress and implosion in response to conditions of what can be deemed routine structural violence.
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Laryea Adjetey, Wendell Nii. "In Search of Ethiopia: Messianic Pan-Africanism and the Problem of the Promised Land, 1919–1931." Canadian Historical Review 102, no. 1 (March 2021): 53–78. http://dx.doi.org/10.3138/chr-2019-0048.
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Whether native-born or immigrants from the United States, Caribbean Basin, or Africa, Black people have made Canada an integral – although still largely overlooked – site in the Black Atlantic and African Diaspora. This article examines interwar Pan-Africanism, a movement that enjoyed a popular following in Canada. Pan-Africanists considered knowledge of history and love of self as foundational to resisting anti-blackness and inspiring Black liberation. In North America, they fortified themselves with the memory of their ancestors and awareness of an ancient African past as requisites for racial redemption and community building. African-American and Caribbean immigrants embraced Ethiopianism – a messianic Pan-Africanism of sorts – which they mythologized on Canadian soil. Not only was this Black racial renaissance new in Canadian society, but also its quasi spiritualism and revanchism reveals the zeal and militance of interwar Black agency. Pan-Africanists in North America sowed the seeds of twentieth-century Black liberation in the interwar period, which helped germinate postwar Caribbean and African decolonization, and civil and human rights struggles in the United States and Canada.
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Dupuis, Annie. "Quelle muséographie pour l'art africain ? Cameroun, Art et architecture, MAO, 4 novembre 1988 - 13 février 1989 ; Art et mythologie. Figures Tshokwe, musée Dapper, 13 octobre 1988 - 25 février 1989"." Gradhiva 6, no. 1 (1989): 104–8. http://dx.doi.org/10.3406/gradh.1989.1211.
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Nkashama, Pius Ngandu. "Les « enfants-soldats » et les guerres coloniales." Études littéraires 35, no. 1 (September 20, 2004): 29–40. http://dx.doi.org/10.7202/008631ar.
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Résumé La thématique des « enfants-soldats » semble devenue depuis quelques années une découverte sensationnelle dans la thématique littéraire. Depuis Allah n’est pas obligé, on disserte avec beaucoup d’affectation sur une « trouvaille » qui met en scène des horreurs dégradantes dans lesquelles sont impliquées des enfants. Des rébellions inattendues, des cohues passionnées, des corps expéditionnaires. En prime, les cohortes des « small soldiers », que personne n’attendait. Pourtant, une observation attentive indique clairement que, en dépit de la médiatisation assourdissante, les textes publiés depuis la « culture coloniale », et qui sont considérés comme les plus représentatifs des « mythologies africaines », sont justement ceux qui exaltent à la caricature les souffrances des « enfants-soldats ». Les causes pour lesquelles ils sont suppliciés sont peut-être différées par rapport aux principes de leurs actes. Cette itérativité indique finalement que la thématique constitue désormais une postulation de sens, et que « l’irruption » récente n’est que la suite d’un processus de néantisation dans laquelle les adultes (en)traînent toujours les enfants.
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Adeniyi, Emmanuel. "Dispersion of the Yorùbá to the Americas: A Fatalist Hermeneutics of Orí in the Yorùbá Cosmos – Reading from Tutuoba: Salem’s Black Shango Slave Queen." Yoruba Studies Review 5, no. 1.2 (December 21, 2021): 1–19. http://dx.doi.org/10.32473/ysr.v5i1.2.130081.
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Studies in African Diaspora ofen privilege the transatlantic slavery, Columbus’ discovery of the New World, and African cultural codes in the Americas. To expand the scope of the studies, this article examines the metaphysical and ontological questions on the enslavement of the Yorùbá – an African ethno-nation whose members were condemned to slavery and servitude in the Americas during the inglorious transatlantic slave trade. I used metaphysical fatalism as a theoretical model to interrogate prognostications about dispersion of the Yorùbá from their matrix as expressed in their mythology. Being a predestining agent, I examined the role of orí (destiny) within the context of rigid fatalism and its textualisation in Prince Justice’s Tutuoba: Salem’s Black Shango Slave Queen. The article argues that the transatlantic enslavement of the Yorùbá is a fait accompli willed by their Supreme Deity. Tough traumatic, transatlantic slavery reworlded Yorùbá cultural codes, birthed the Atlantic sub-group of the ethno-nation, and aided the emergence of Yorùbá-centric religions in the New World.
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Byrne, Deirdre. "NEW MYTHS, NEW SCRIPTS: REVISIONIST MYTHOPOESIS IN CONTEMPORARY SOUTH AFRICAN WOMEN’S POETRY." Gender Questions 2, no. 1 (September 21, 2016): 52–66. http://dx.doi.org/10.25159/2412-8457/1564.
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Considerable theoretical and critical work has been done on the way British and American women poets re-vision (Rich 1976) male-centred myth. Some South African women poets have also used similar strategies. My article identifies a gap in the academy’s reading of a significant, but somewhat neglected, body of poetry and begins to address this lack of scholarship. I argue that South African women poets use their art to re-vision some of the central constructs of patriarchal mythology, including the association of women with the body and the irrational, and men with the mind and logic. These poems function on two levels: They demonstrate that the constructs they subvert are artificial; and they create new and empowering narratives for women in order to contribute to the reimagining of gender relations.
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Krueger, A. "Keeping it in the family: incest, repression and the fear of the hybrid in Reza de Wet’s English plays." Literator 31, no. 2 (July 13, 2010): 45–60. http://dx.doi.org/10.4102/lit.v31i2.46.
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Reza de Wet has more than once referred in interviews to the syncretic relationship she sees as existing in the “long history” between Afrikaner and black cultures. Due to its close association with black African cultures, she claims that Afrikaner culture has fused a belief in mythologies and “magical thinking” with a “European consciousness” (Solberg, 2003:180). This article investigates ways in which some of De Wet’s English translations – as well as her play “Concealment” (De Wet, 2004) – demonstrate the consequences of a fear of this amalgamation; a dread of hybridity. Concurrent with this anxiety is the danger inherent in a repression of desire. In a number of De Wet’s plays it seems that what is cloistered and protected within the purity of family (possibly a metaphor for the Afrikaner people) conceals an incestuous perversion.
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Mjaika, Ndifon Elias. "A Systematic Review Biodiversity and Conservation of Indigenous Mushrooms (Basidiomycotina, Ascomycotina) of Central Africa Countryside: Uses, Distribution and Checklists." Research in Ecology 4, no. 2 (June 30, 2022): 56. http://dx.doi.org/10.30564/re.v4i2.4746.
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Significant socio-economic, spiritual, nutritional and medicinal needs of the countrysides in Central Africa region are obtainable from macrofungi. Conversely, anthropogenic activities and climate change have led to a reduction in the habitats of mushrooms which has led to some mushrooms becoming endangered. A dearth of information on the ecology, management and composition of mushrooms in Central Africa exists. Hence a review was systematically carried out on published mycological research outcomes from Central African countryside, to delineate the way forward. It was observed that the level of indigenous mycological knowledge was very high (> 60%) in all the tribes. The highest number of edible mushrooms was from DRC (377 species), followed by Cameroon (50 species). The dataset showed that 448 edible mushrooms have been identified based on citable publications and 27 tribes/localities evaluated. Additionally the dataset showed 75 author-identified mushrooms that inhabitants did not identify and use. The most popular edible mushrooms from 79 key edible mushrooms were Russula (9 spp.), Termitomyces (8), Cantharellus (8), Plerotus (5), Amanita (5), Marasmius, Lactarius and Lactifluus (4 spp. each). The topmost consumed species were Pleurotus tuberregium (14 out of 27 localities), Auricularia cornea (13), Cantharellus congolensis (12), Marasmius bekolacongoli (12), Schizophyllum commune (11) and Cantharellus floridulus (11). Mushrooms for mythology uses: (Phallus indusiatus and Dictyophora sp.), Mythology+food: (Termitomyces robustus), Medicinal: (Daldinia concentrica, Ganoderma applanatum and Ganoderma lucidum), Medicinal+food: (Polyporus dictyopus, Schizophyllum commune and Termitomyces clypeatus) and Food+mythology+medicinal: (Termitomyces microcarpus and Termitomyces titanicus). Irrefutably, these previous ethnomycological and ecological studies have scarcely made a significant impact on fungi biodiversity.
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Santos, Maglandyo da Silva, and Otávio José Lemos Costa. "Symbolic territorialities in a terreiro de candomblé: the morphology of a sacred space." Terr Plural 16 (2022): 1–20. http://dx.doi.org/10.5212/terraplural.v.16.2217265.002.
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This work highlights the symbolic territorialities of a ‘terreiro de candomblé’ with fluid spatial dimensions, located in the city of Cajazeiras, Paraíba. The experiences are based on the ethnographic field research conducted between January and April. We outline the morphology of the sacred space represented by geosymbols and their meanings, which refer to the mythology of the African òrìṣà, rescued in the ‘terreiro’. We also describe, from the perspective of Costa’s micro-territoriality (2017), geosymbols outside the ‘terreiro’, eventually accessed by ritual occasion, revealing a symbolic extension of the territory that transgresses previously constructed determinations and constructs new identity spaces
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Charchalis, Wojciech. "Lusofonia – entre mito, história e futuro." Studia Romanica Posnaniensia 46, no. 3 (December 9, 2019): 95–104. http://dx.doi.org/10.14746/strop.2019.463.006.
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The paper discuss the problem of lusophony as a poscolonial neoimperial Portuguese ideology. The author claims that the lusophonic mythology, that is currently being created, is ingrained in the tradition of salazarist propaganda. Also the frequent mentions of lusotropicalism in the context of the modern lusophony is observed especially in the case of enunciations of the Portuguese dignitaries of whom Mario Soares is the most proeminent. The conclusion is that the idea of lusophony may resemble lusotropicalism in many aspects, especially if we take into account the Portuguese point of view. Also the approach towards the idea of lusophony of the Portuguese speaking African countries and Brasil is shortly discussed.
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Guindo, Bocary, and Petr A. Kutsenkov. "THE “FEEDBACK EFFECT” IN MODERN DOGON CULTURE (MALI)." Journal of the Institute of Oriental Studies RAS, no. 1 (19) (2022): 158–70. http://dx.doi.org/10.31696/2618-7302-2022-1-158-170.
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The ‘Feedback effect’ is a phenomenon of a ‘feedback’, repeatedly described for discussing the oral tradition: Back in 1982, German ethnologist David Henige noted that researchers of African traditional cultures more and more often encounter the practice when they are recounted the results of the field materials of their predecessors. In all such cases, informants reproduce the works of anthropologists, but the authenticity of recorded traditions in general is beyond doubt. That is not the case with Dogon. The example of this people shows that the phenomenon of ‘feedback’ can not only complicate the work of anthropologists, but also contribute to the growth of ethnic and national identity. Myths borrowed from anthropological literature began to penetrate rural folklore with the development of tourism in the 1990s– 2000s. But the purposeful imposition of a united mythology ‘according to Griaule’ began to play a very important role in the development of ethnic and national identity. The most important role belongs here to the festivals of Ogobagnia. Thus, using the example of the Dogon, one can see a kind of a ‘secondary’ mythology version based on the phenomenon of feedback. The imposition of this ideology is still opposed by local traditions and local folklore, which are very different from the “Dogon mirage” introduced by intellectuals, as well as local customs and rituals, sometimes having little in common with each other; so far, the linguistic and cultural diversity of the ethno-social organism of the Dogon has resisted the pressure of these myths, but perhaps the day is not far off when not only in the Sangha, but also in Semari and Tintan, visitors will be told about Nommo and Sirius names which do not exist (sigu tolo or pô tolo), and the mythology of the Dogon will really turn into a harmonious, but artificial system.
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Yoder, John. "The Quest for Kintu and the Search for Peace: Mythology and Morality in Nineteenth-Century Buganda." History in Africa 15 (1988): 363–76. http://dx.doi.org/10.2307/3171868.
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While Africa has produced ruthless and aggressive individuals, Africa has also provided thinkers and public officials with deep moral sensitivity and vision. The following essay discusses a perceptive and powerful African plea for peace and justice in nineteenth-century Buganda. In a country torn by strife, certain Ganda leaders expressed their deep distress about the growing incidence of state violence by reformulating the Kintu myth, the theological, constitutional, and social cornerstone of their kingdom. These concerned individuals boldly reshaped the Kintu story, the Ganda people's most sacred symbol, to describe the tension between peace and violence as the most important issue in Ganda politics.
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Knoblauch, William M. "Misremembering Reagan: A Decade of Cultural Dissent." American Studies in Scandinavia 52, no. 2 (November 1, 2020): 63–80. http://dx.doi.org/10.22439/asca.v52i2.6499.
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Presidential legacies are constructed, and for the Republican Party perhaps no figure has benefitted from mythology, hagiography, and misremembrances than Ronald Wilson Reagan. Popularly, America’s 40th President is frequently remembered as residing over a massive economic upswing, restoring faith in the American military, and ushering in the end of the Cold War—combining to construct an image of a beloved, even visionary leader. Looking back at popular culture from the 1980s, however, paints a very different picture. From Reagan’s relationship with the press, his shortcomings acknowledging struggles in the African American community, to his near-legacy shattering handling of the Iran Contra crisis, 1980s popular culture helps to remind us that Reagan was not so nearly beloved as today’s pundits would have us believe.
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Nartey, Mark. "“We must unite now or perish!”." Journal of Language and Politics 18, no. 2 (April 18, 2019): 252–71. http://dx.doi.org/10.1075/jlp.17051.nar.
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Abstract This paper presents a discourse-mythological analysis of the rhetoric of a pioneering Pan-African and Ghana’s independence leader, Kwame Nkrumah, drawing on Ruth Wodak’s discourse-historical approach to critical discourse analysis. The thesis of the paper is that Nkrumah’s discourse, in its focus on the emancipation and unification of Africa, can be characterized as mythic, a discursive exhortation of Africa to demonstrate to the world that it can better govern itself than the colonizers. In this vein, the paper analyzes four discursive strategies employed by Nkrumah in the creation and projection of his mythology: the introduction or creation of new discourse events, presupposition and implication, involvement (the use of indexicals) and lexical structuring and reiteration. This study is, therefore, presented as a case study of mythic discourse within the domain of politics.
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Goldstein-Shirley, David. "Black Cowboys In the American West: A Historiographical Review." Ethnic Studies Review 20, no. 1 (January 1, 1997): 79–89. http://dx.doi.org/10.1525/esr.1997.20.1.79.
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Few subjects in the ethnic experience of the United States are as fraught with mythology and misinformation as black cowboys. Although absent from most classic history texts of the American West, black cowboys probably constituted about a quarter of the working cowboys in the nineteenth century, although q uantitative data to establish a number are lacking. This essay reviews the historiography of black cowboys published during the last half-century, noting how much of it is marred either by glossing over the presence of black cowboys or by credulously repeating estimates of their numbers established by earlier work. The essay speculates whether such problematic scholarship stems from unacknowledged prejudice among mainstream historians or from carelessness and calls for more and improved scholarly attention to the role of African American cowboys in the American West.
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Kurbak, Maria. "Madness of the Society and Madness of the Writer: Wopko Jensma and the Politics of Apartheid." ISTORIYA 13, no. 3 (113) (2022): 0. http://dx.doi.org/10.18254/s207987840020554-8.
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This article focuses on the biography and works of South-African poet, writer and artist Wopko Jensma. He was often referred to as “the first South-African”, implying that he, like no other, was able to merge his own culture — that of Afrikaaners — with mythology, music and languages of black and coloured population of the SAR. His works had been exhibited in the USA and Europe and had been forbidden in his homeland as the consequence of his criticism of Apartheid. Jensma, like no other South-African poet, exploited the theme of loneliness, alienation and restlessness. He was not able to close his eyes on the crimes committed by his nation and unable to demonstrate ignorance towards the suppressed groups of people. This feeling of frustration had been growing and, combined with anxiety and helplessness, at the end brought him to schizophrenia. This article concentrates on the analysis of the challenging creative track pursued by Jensma against the background of historical events of Apartheid period. It demonstrates the way how aggressive politics of the State leads to the development of “sick” society, increasing aggression, disintegration, emergence of “double-thinking”, a maddening feeling of being involved in crime. It clearly gives birth to the trauma, which is extremely difficult to overcome, even for the entire generation — and sometimes even impossible to overcome.
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David, Janice Sandra, and V. Bhuvaneswari. "Interconnection of Nature and Yoruba Traditions in Okri’s Trilogies." Theory and Practice in Language Studies 12, no. 6 (June 1, 2022): 1220–24. http://dx.doi.org/10.17507/tpls.1206.23.
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Africa's history and ecology were shaped by colonization. The European invasion of eastern nations had a significant influence on the environment. The technical advancements due to colonization have been both beneficial and detrimental to the colonized countries. The harmful consequences have prompted several researchers and African writers to conduct a critical examination of the interaction between humans and their environment in terms of race, culture, economy, power, and belonging. Ben Okri is an internationally acclaimed poet, writer, artist, and public speaker. In his trilogies The Famished Road, Songs of Enchantment, and Infinite Riches Okri has depicted the repercussions of colonization and the process of decolonization on the individual and the environment in order to understand the African reality. This paper highlights the interconnection of nature and culture which is considered as one of the main tenets of African culture and tradition. Okri employs magical realism as a literary method to emphasize the interplay between the human and natural worlds. Okri has included vivid imagery of verdant forest that has been deforested and wounded. According to the Yoruba mythology, the forest is frequently associated with magic and the supernatural world, in keeping with West African customs. Therefore, the exploitation of the natural world has led to the abandonment of traditional values which is well depicted. Further, the paper attempts to examine the effect of colonialism in eroding the spirit world and the physical world in terms of social structure and the degrading culture and its relationship with the environment.
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Glaser, Jennifer. "The Jew in the Canon: Reading Race and Literary History in Philip Roth's The Human Stain." PMLA/Publications of the Modern Language Association of America 123, no. 5 (October 2008): 1465–78. http://dx.doi.org/10.1632/pmla.2008.123.5.1465.
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The evolving political landscape of a multicultural America grown disenchanted with the mythology of the melting pot had vast repercussions for the Jewish American literary imagination. Nonetheless, critical race theory has yet to take full stock of the role of Jewish writers in the debates over canonicity, representation, and multicultural literary genealogies occurring in the United States during the 1980s and 1990s. Philip Roth's The Human Stain, published in 2000, directly engages questions of literary history, race, and the position of the Jewish writer and intellectual in the canon wars. By depicting the tragedy of an African American man who passes into whiteness by passing for a Jewish professor, Roth uses the trope of passing to simultaneously critique the puritan impulse he perceives at the heart of the multicultural academy and write himself into the multicultural canon taking shape at the time.
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Sanchirico, Andrew. "Is Conventional Jazz History Distorted by Myths?" Journal of Jazz Studies 8, no. 1 (July 17, 2012): 55. http://dx.doi.org/10.14713/jjs.v8i1.30.
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<p>A recent book by jazz musician Randall Sandke strongly criticizes jazz writers and scholars for presenting a biased and misleading picture of jazz history. His basic thesis is that, because of ideology, the standard jazz texts exaggerate the importance of African American culture in the development of jazz, thereby creating a mythology of jazz. This article examines one aspect of Sandke’s thesis: his assertion that the myths created by earlier jazz writers are being perpetuated by present day writers. A content analysis of jazz history books published since 1990 indicates that Sandke’s assertion is largely false. Only one of seven myths that he identified appears with any regularity in the current jazz history books. The six other myths are rarely if ever found in the literature. After describing these findings, the article draws some conclusions.</p>
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Coombes, Annie E. "Gender, ‘Race’, Ethnicity in Art Practice in Post-Apartheid South Africa: Annie E. Coombes and Penny Siopis in Conversation." Feminist Review 55, no. 1 (March 1997): 110–29. http://dx.doi.org/10.1057/fr.1997.7.
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Siopis has always engaged in a critical and controversial way with the concepts of ‘race’ and ‘ethnicity’ in South Africa. For politically sensitive artists whose work has involved confronting the injustices of apartheid, the current post-apartheid situation has forced a reassessment of their practice and the terms on which they might engage with the fundamental changes which are now affecting all of South African society. Where mythologies of race and ethnicity have been strategically foregrounded in the art of any engaged artist, to the exclusion of many other concerns, the demise of apartheid offers the possibility of exploring other dimensions of lived experience in South Africa. For feminists, this is potentially a very positive moment when questions of gender – so long subordinated to the structural issue of ‘race’ under apartheid – can now be explored. Penny Siopis’ work has long been concerned with the lived and historical relations between black and white women in South Africa. The discussion focuses on the ambivalent and dependent relationships formed between white middle-class women and black domestic labour during apartheid. Siopis’ work engages with how the appropriation of black women's time, lives, labour and bodies has shaped her ‘own’ history.
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Gillespie, Michael Boyce. "Thinking about Watchmen: with Jonathan W. Gray, Rebecca A. Wanzo, and Kristen J. Warner." Film Quarterly 73, no. 4 (2020): 50–60. http://dx.doi.org/10.1525/fq.2020.73.4.50.
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Michael Boyce Gillespie leads a roundtable with scholars Jonathan W. Gray, Rebecca A. Wanzo, and Kristen Warner to discuss issues of medium, genre, fandom, and African American history in the highly regarded HBO series Watchmen. Characterizing the HBO series as a disobedient adaptation that modifies, extends, and redirects the world making of its source material—the famed twelve-issue comic-book series of the same name, written by Alan Moore and drawn by Dave Gibbons (1986–87)—Gillespie et al. explore the ways in which Watchmen remediates American history, starting with the Tulsa Race Massacre of 1921 that serves as the historical and ideological trigger that sets the series in motion. In a wide-ranging conversation that encompasses subjects including fan fiction, adaptation, cultural mythology, and black superheroes, the authors argue for Watchmen's significance as some of the most consequential television of the century so far.
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Klopper, E. M. M. "Die gebruik van die mite in Die werfbobbejaan van Alexander Strachan." Literator 17, no. 3 (May 2, 1996): 15–28. http://dx.doi.org/10.4102/lit.v17i3.619.
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The use of myths in Die werfbobbejaan by Alexander Strachan This article focuses on the rote of Zulu myths in Alexander Strachan’s novel Die werfbobbejaan. It lakes as point of departure sources on mythology like Cuddon (1991), Baldick (1990), Grimal (1969), Levi-Strauss (1979) and Jung (1969). Die werfbobbejaan essentially recounts the story of a man (the adventurer, the academic, the writer, the hunter) who also is the central character in Strachan's two preceding novels. Die werfbobbejaan focuses on the completion of an individuation process in the life of the central character, a process already begun in the preceding two novels and which in this novel finally culminates in the confrontation between hunter and baboon. The completion of this process is facilitated by the African milieu of Zululand where people give meaning to their existence by means of myths, and where no distinction is made between the mythic and rational modes of experiencing reality.
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knutson, chris. "Fishing with Ulysses and Bacchus: Two Roman Mosaics from Tunisia." Gastronomica 7, no. 4 (2007): 7–9. http://dx.doi.org/10.1525/gfc.2007.7.4.7.
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The mosaics of Roman Africa drew upon themes from mythology as well as daily life. Even "mythological" scenes can lend insight into real-life activities like food production. One such activity, fishing, is especially prominent in Roman African mosaics. Two mosaics from the so-called "House of Ulysses" in Dougga combine mythological themes with fishing scenes. One mosaic depicts Ulysses' encounter with the Sirens, while the second represents the god Bacchus transforming his would-be kidnappers into dolphins. The fishing scenes are incorporated into the mythological scenes and show fishermen harvesting the adjacent waters. The details of these fishing scenes are striking considering the inland location of Dougga, some 60 miles (100 km) from the sea, in the middle of Roman Africa's agricultural heartland. The inclusion of these fishing scenes in the "House of Ulysses" mosaics suggests that the house's owner had a close connection with the sea, and perhaps alludes to the Roman infrastructure that would have brought marine products to the interior.
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Chakravarty, Prerana. "Dangerous Femininity: Looking into the Portrayal of Daphne Monet as a Femme Fatale in Walter Mosley’s Devil in a Blue Dress." IAFOR Journal of Arts & Humanities 9, no. 1 (July 29, 2022): 62–72. http://dx.doi.org/10.22492/ijah.9.1.05.
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The phrase “femme fatale” is a well-known figure in the literary and cultural representations of women. Associated with evil temptation, the femme fatale is an iconic figure that has been appropriated into folklore, literature, and mythology. In the twentieth century, the figure finds space in literary and cinematic endeavours, particularly in crime fiction and noir thrillers. The progenitors of the hard-boiled genre of detective fiction popularised the figure of a sexually seductive and promiscuous woman who betrays men for material gain. Walter Mosley, an African American detective fiction writer, adapted the hard-boiled formula popularised by Dashiell Hammett and Raymond Chandler, but altered it to address socio-political issues concerning the condition of African Americans in the post-World War II era. Mosley followed Chandler’s lead in weaving a quest narrative around femme fatale Daphne Monet in his first novel, Devil in a Blue Dress (1990). The purpose of this paper is to look at Mosley’s treatment of the femme fatale figure in this novel. The methodology employed is a close analysis of the text, as well as an analysis of the figure of the femme fatale in its function as catalyst for men’s behaviour. The purpose of this study is to examine how the femme fatale was created, specifically what elements contributed to Daphne Monet’s transformation into a femme fatale.
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Alonso-Recarte, Claudia. "“They Stood like Men”: Horses, Myth, and Carnophallogocentrism in Toni Morrison’s Home." MELUS 46, no. 2 (June 1, 2021): 87–110. http://dx.doi.org/10.1093/melus/mlab019.
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Abstract Toni Morrison’s fiction has frequently attracted critical attention on account of her strategic use of myth (whether classical or Afrocentric) and symbols. This paper examines the role that horses have, as rhetorical constructs, in strengthening the mythical and symbolic unity of her tenth novel Home (2012). Horses have figured widely in the articulation of African American history and letters, often serving as symbols of the abused slaves upon whose bodies the equipment and instruments of oppression and bondage were violently placed. Within Morrison’s cornucopia of animal imagery, their presence is essential for an understanding of the rituals that are so much a part of the novel’s exploration of masculinity and the overcoming of trauma. The horses in Home stand as mythopoetic agents around whom the problematic completion of rituals revolves. As namely linguistic constructs, the rhetorical devices and choices employed in the description of the horses and their final fate points to a discourse that signifies on the structural tensions that are characteristic of classical mythology but that also draw on the African American communal experience. At the same time, they invite a reading of Morrison’s ritualistic pulse through Jacques Derrida’s carnophallogocentric schema. The schema links together the different motifs and interspecies similes and metaphors that populate the text, enabling a deconstruction of the “centaur” image that lies at the heart of the protagonist’s homecoming journey
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Lester, Neal A. "Curating Identities in the “Other” Office: My “Colored Museum”." Humanities 10, no. 1 (January 23, 2021): 19. http://dx.doi.org/10.3390/h10010019.
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In 1989, I began collecting and populating my university campus office with items reflecting what I knew—from my research, teaching, and lived experience as a Black American—was racist Americana. These items have supplemented my teaching of African American literature and culture for over thirty years, invigorating discussions and breathing life into the texts we study. My collection challenges one of the most esteemed aspects of our profession—alphabet literacy through reading, writing, and books. Embodying past and present, these artifacts are as powerful as books. As my personal traveling library, they go into human spaces in ways books cannot, allowing and inviting viewers’ sensory experiences. Every piece is a story and elicits a range of personal stories, documenting intersectional perspectives on race, gender, sexuality, class, ability, religion, and body size. An exercise in cultural literacy, this collection disrupts mythologies created to restrict and delegitimize the lives of Black people. Challenging my university campus office visitors to confront the reality of me—a Black male faculty member at a predominantly white institution—my collection invites open conversation about race on my terms. My “colored museum” invites all who experience it to reflect on how we experience community building and new meaning making.
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Lombard, J. "Mitisiteit as basis vir vergelykende literatuurstudie, met verwysing na waterslangsimboliek." Literator 25, no. 1 (July 31, 2004): 91–112. http://dx.doi.org/10.4102/lit.v25i1.247.
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Mythicity as basis for comparative literature, with reference to water snake symbolism Mythicity can be defined as the deliberate intention of probing the numinous dimensions of human existence by means of literature, i.e. mainly narrative forms. In this article the water snake is chosen as prominent archetypal symbol in order to investigate the functioning of mythicity. The water snake is an important symbol in the Southern African context, with its origins in Khoesan ritual and mythology. Recently several stories about water snakes and related mythological creatures have been published in Afrikaans novels and short stories. The water snake has also assimilated influences, inter alia from European, Asian and other African cultures. In this article the potential of mythicity is specifically investigated insofar as it can be utilised as basis for comparative literature. For this purpose the numinous dimensions of a mythic story are treated as equally important as the narrative dimensions. This dialectical balance is therefore used as the main criterion for the comparison of mythic texts. Other related aspects are discussed, namely the importance of the historical context, Jung’s theory of archetypes and the unconscious, and the role of interpretational devices such as metaphor, metonymy, symbolism and allegory. If the balance between numinosity and narrativity is not maintained, the mythic potential of a text is usually reduced. When writers succeed in utilising mythicity as an “open”, dynamic interpretational process, mythic relevance can still be guaranteed within a present-day, postmodern context.
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Yakovenko, I. "Resistance and liberation discourse in Audre Lorde’s “Sister Outsider”." Studia Philologica 1, no. 14 (2020): 107–13. http://dx.doi.org/10.28925/2311-2425.2020.1416.
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The article focuses on the essays of Audre Lorde — African American writer, Black feminist and activist. Through the lens of African American and Feminist Studies the essay collection “Sister Outsider” by Audre Lorde is analysed as a political manifesto which critiques the Second Wave feminism, and suggests a unique perspective on issues of racism, sexism, heterosexism, homophobia, women’s erotic and creativity. Although Lorde’s early poetry collections are characterised by the wide usage of authentic imagery and Afro-centric mythology, the later poetry, the 1982 biomythography “Zami: A New Spelling of My Name”, and the 1984 essay collection “Sister Outsider”, are politicised writings in sync with the Black / feminist consciousness. In the essays, Audre Lorde argues that institutionalised rejection of race / gender / class / sexual differences stems from the Western European patriarchal frame thus aggravating discriminating practices. The writer emphasises the role of the oppressed groups — ethnic minorities, women, the working class, in the destruction of the societal patriarchal ‘norms’. Audre Lorde’s essay collection has become instrumental in initiating the feminist discussion on intersectionality, which will later be theorized by Kimberle Crenshaw, and in articulation of the Black feminist ideology. Lorde’s critique of White feminists is triggered by their dismissal of the non-European women’s heritage, and by their unwillingness to acknowledge differences inside the gender group, which for the Black feminist Audre Lorde was an adoption of the patriarchal frame of reference. The poet’s timely theory of differences urges to break up silences concerning societal discriminating practices towards the oppressed groups, thus challenging the hierarchies of powers in the society.
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Tella, Abiola Opemipo. "Traditional Rain Control Practice Through Indigenous Knowledge System and Technology Among Ikire People of Osun State, Southwest Nigeria." International Journal of Social Science Research and Review 5, no. 9 (September 11, 2022): 155–65. http://dx.doi.org/10.47814/ijssrr.v5i9.451.
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This paper aims to trace the history of rain prevention, and examine for documentation, the rituals involved. Traditional rain control in this context is considered as a process involving the making and preventing of rain to modify atmospheric condition of a place using Indigenous Knowledge and Technology (IKT). Rain control ritual is an age-long indigenous knowledge and technology aimed at influencing weather condition. As part of a broadened African society, the art of preventing rainfall is a part of the heritage resources practised by the people of Ikire in Osun State. This ritualistic art which is put to use mainly during socio-cultural gatherings such as festivals, feasts, burials, weddings, and naming ceremonies is called òjòwíwó or òjòmímó in local parlance. The help of rain doctors is sought by people who want to carry out any of these activities during rainy seasons to avoid disruption. Ethnographic method was used to elicit information. Research findings traced the art of rain prevention to Orunmila a god in Yoruba mythology. The rituals involved the use of the details of IKT which is significant in the response of the people to the ever-changing climate
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Dawson, Michael C., and Lawrence D. Bobo. "THEMES AND VARIATIONS." Du Bois Review: Social Science Research on Race 4, no. 2 (2007): 267–70. http://dx.doi.org/10.1017/s1742058x07070154.
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As we write this introduction, Senator Barack Obama, son of an African immigrant to the United States, is in the middle of a fierce fight to secure the Democratic Party's nomination for president. Obama's candidacy brings into stark relief the fluid and evolving status of immigrants of color, regardless of either the outcome of the electoral battle or what one might think of the senator and his politics. Further, the Obama campaign is illuminating the complex and conflicted ways that racial and immigration politics intersect. Questions such as how our understandings of the constitution of racial groups are refigured, how the formation of arguably new racial groups proceeds, and what the role of racial and ethnic conflict and resentment are have all come into play during the course of the Democratic Party's contest. Obama's life story is a new one, in that it is the story of a descendent of an immigrant from a non-European part of the world, but the mythology of his story is also a very familiar one—the children of immigrants who take advantage of the opportunities available in this nation overcome large obstacles, and succeed in previously unimaginable ways.