Artigos de revistas: "Modernité africaine"

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Kadima-Nzugi, Mukala. "Alioune Diop, Présence Africaine et la modernité africaine". Présence Africaine 181-182, n.º 1 (2010): 169. http://dx.doi.org/10.3917/presa.181.0169.

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Bisanswa, Justin. "La fiction africaine de la modernité et ses problématiques". Présence Africaine 190, n.º 2 (2014): 155. http://dx.doi.org/10.3917/presa.190.0155.

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Kane, Cheikh Hamidou. "Économie et Culture africaine, rapports entre tradition et modernité". Présence Africaine 179-180, n.º 1 (2009): 23. http://dx.doi.org/10.3917/presa.179.0023.

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Taoua, Phyllis. "Présentation. Le rendez-vous d’Ousmane Sembène avec la modernité africaine". Études littéraires africaines, n.º 30 (2010): 6. http://dx.doi.org/10.7202/1027343ar.

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Lavou-Zoungbo, Victorien, e Jean-Godefroy Bidima. "Parole(s), Espaces Publics de Discussion: Oralités politiques en devenir". Oralidad-es 4 (22 de agosto de 2020): 1–11. http://dx.doi.org/10.53534/oralidad-es.v4a8.

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Jean Godefroy Bidima a fait ses études à L’Université de Yaoundé au Cameroun et à l’Université Paris I Panthéon-Sorbonne à Paris. Ses travaux de Doctorat à la Sorbonne ont porté sur l’Ecole de Francfort. Après avoir été Maître de Conférences invité (Gastdozent) à l’Université de Bayreuth, en Allemagne, et Directeur de programme au Collège International de Philosophie de Paris, il est actuellement Professeur Titulaire (Tenured Full Professor) à Tulane University (New Orleans) et détenteur de la Chaire Yvonne Arnoult. Il a publié : Théorie Critique et modernité négro-africaine : de l’École de Francfort à la « Docta Spes africana », Publications de la Sorbonne, 1993; La philosophie négro-africaine, Paris, Presses Universitaires de France, 1995; L’art négro-africain, Paris, Presses Universitaires de France, 1997; La palabre. Une juridiction de la parole, Paris, Editions Michalon, 1997, Traduction anglaise ; Law and Public Sphere in Africa : La Palabre and Other Writings, Indiana University Press, Bloomington, 1993.

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Rubio, Frédéric. "Lutte avec frappe, lutte africaine, lutte olympique : entre tradition et modernité". Corps N° 16, n.º 1 (2018): 201. http://dx.doi.org/10.3917/corp1.016.0201.

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Chouala, Yves Alexandre. "Éthique et politique internationale africaine du XXIe siècle". Articles hors thème 25, n.º 2-3 (13 de junho de 2007): 183–217. http://dx.doi.org/10.7202/015933ar.

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Résumé La politique internationale africaine en ce début de siècle connaît une profonde mutation en matière des principes, des normes et des valeurs de son fonctionnement. La caractéristique fondamentale de cette mutation est la civilisation des habitus et des moeurs politiques. L’État de droit, la démocratie, les droits de la personne, la gouvernance, la sécurité humaine sont désormais des références cardinales des relations internationales africaines et s’affirment en même temps comme des contraintes éthiques dont dépend la modernité des États. La nouvelle moralité politique qui émerge à la faveur de la civilisation politique continentale est aussi un terrain du jeu réaliste de construction d’un nouvel ordre continental et d’affirmation de la puissance symbolique entre les États. Toutefois, comme tout processus en cours, l’écart reste encore considérable entre la construction normative et les pratiques politiques.

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Biaya, Tshikala K. "Le pouvoir ethnique. Concept, lieux d'énonciation et pratiques contre l'État dans la modernité africaine". Anthropologie et Sociétés 22, n.º 1 (10 de setembro de 2003): 105–35. http://dx.doi.org/10.7202/015524ar.

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Résumé RÉSUMÉ Le pouvoir ethnique. Concept. lieux de pouvoir et pratiques contre l'État dans la modernité africaine. Analyse comparée des Mourides ISénégal) et Luba (Congo-Zaïre) La crise multiforme africaine est avant tout une crise de l'État moderne et exogène comme matrice d'individualisation. Analysée sous l'angle des pratiques et d'une rationalité endogènes, elle révèle la mise en place d'une formalité des pratiques et l'existence d'une culture politique ethnique. Dès la colonisation, ces deux phénomènes, en s'étayant l'un sur l'autre, ont construit et renforcé le pouvoir ethnique, ses structures organisationnelles et ses pratiques, un contre-pouvoir étatique dans la société postcoloniale. Les études de cas des pouvoirs mouride (Sénégal) et luba (Congo-Kinshasa) indiquent combien le modèle weberien de l'État moderne n'est pas une panacée et que son paradigme « État - société civile » et sa conceptualisation actuelle empêchent de penser autrement l'état et les réalités politiques et historiques en Afrique dans l'histoire universelle et la globalisation. Mots-clés : Biaya. ethnicité. contre-pouvoir. État moderne, société civile, mourides. Luba

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Ekpo, Denis, e Marie Emmanuelle Chassaing. "Festac 77 et projet de modernité africaine : des méfaits d'un nationalisme culturel excessif". Africultures 73, n.º 2 (2008): 26. http://dx.doi.org/10.3917/afcul.073.0026.

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Aka-Evy, Jean-Luc. "Alioune Diop et la naissance de la modernité africaine au temps de la Mondialisation". Présence Africaine 181-182, n.º 1 (2010): 345. http://dx.doi.org/10.3917/presa.181.0345.

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Chang, Leiling. "L’odyssée musicale afrocubaine". Circuit 17, n.º 2 (10 de dezembro de 2007): 93–106. http://dx.doi.org/10.7202/016843ar.

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À Cuba, les premières décennies du xxe siècle montrent un contexte social et culturel des plus intéressants pour l’historien, ceci dû à plusieurs facteurs : la société cubaine affronte une nouvelle situation démographique après l’abolition de l’esclavage et le conséquent déplacement de la population africaine esclave vers les villes ; la naissance de la république de Cuba, à la fin de la colonisation espagnole, est marquée par une forte dépendance des États-Unis ; des mouvements d’avant-garde politique et culturelle mènent une lutte sans répit contre les esprits les plus traditionalistes ; le monde politique est des plus controversés, entre la corruption, l’assassinat des étudiants universitaires, la présence de militaires américains, entre autres aspects. Dans ce contexte a lieu l’un des plus beaux mouvements artistiques de l’histoire de Cuba : l’afrocubanisme. Ce mouvement, cherchant à revendiquer l’origine africaine de la nation cubaine, est en même temps une quête de modernité accrue et sera le point de départ de l’art cubain du xxe siècle. Parmi les figures qui marquent ce mouvement, Amadeo Roldán, compositeur, en est le pionnier et le divulgateur. Dans ses oeuvres, comme dans sa poétique musicale, nous trouvons l’origine de la musique cubaine du xxe siècle, jusqu’à nos jours, ainsi que l’évidence d’une lutte plus large, panaméricaine, qui cherche modernité et universalité à partir des recherches folkloriques.

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Jovelin, Emmanuel. "Entre tradition et modernité : les familles d’origine africaine face à la maladie des jeunes enfants". Migrations Société N°178, n.º 4 (2019): 83. http://dx.doi.org/10.3917/migra.178.0083.

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Kemedjio, Cilas. "La Modernité africaine et l'écriture de la honte: le spectre du déshonneur dans les impasses postcoloniales". L'Esprit Créateur 39, n.º 4 (1999): 128–38. http://dx.doi.org/10.1353/esp.2010.0199.

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Barthélémy, Pascale. "« Je suis une Africaine… j'ai vingt ans »: Écrits féminins et modernité en Afrique occidentale française (c. 1940-c. 1950)". Annales. Histoire, Sciences Sociales 64, n.º 4 (agosto de 2009): 825–52. http://dx.doi.org/10.1017/s0395264900022484.

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RésuméÀ travers l’analyse des premiers textes produits par des Africaines en Afrique occidentale française dans les années 1940 et 1950, cet article explore les conditions et les usages de l’écriture par les femmes en situation coloniale ainsi que les rapports entre écrit et modernité. L’étude de manuscrits scolaires, de correspondances, d’articles de presse signés par une minorité de femmes diplômées de la section sages-femmes de l’École de médecine et de l’École normale de jeunes filles de Rufisque, permet de montrer l’émergence d’une culture de l’écrit partagée, fondée sur des réseaux tissés pendant les années d’études. Bien qu’elle soit le plus souvent suscitée par les autorités coloniales, la prise d’écriture féminine n’en comporte pas moins une dimension autonome et participe d’une subjectivité en construction.

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Mbambi, Julien. "La modernisation d’une ville capitale en Afrique centrale, Brazzaville: enjeux, réalités et perspectives". Géo-Regards 3, n.º 1 (2010): 123–33. http://dx.doi.org/10.33055/georegards.2010.003.01.123.

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Cet article, qui est une contribution à la réflexion sur la mondialisation urbaine, porte un regard critique sur la mondialisation, en se référant à une ville africaine, Brazzaville. L’auteur tente de saisir la rationalité qui sous-tend les travaux de modernisation de Brazzaville entrepris dans la perspective de la célébration du cinquantième anniversaire de l’indépendance. Il tente aussi, à travers les opinions recueillies auprès des citadins de Brazzaville, de cerner le regard qu’ils portent sur la modernité de la ville de Brazzaville et sur les travaux de modernisation en cours. Enfin l’article développe une analyse des effets de la mondialisation urbaine en Afrique et tente d’entrevoir quelques perspectives au regard des tendances actuelles.

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König-Pralong, Catherine. "L'histoire médiévale de la raison philosophique moderne (XVIIIe-XIXe siècles)". Annales. Histoire, Sciences Sociales 70, n.º 03 (setembro de 2015): 667–711. http://dx.doi.org/10.1353/ahs.2015.0106.

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Résumé L’histoire de la philosophie qui s’établit comme discipline académique aux XVIIIe et XIXe siècles narre l’histoire de la raison philosophique de l’Antiquité à son achèvement moderne. À l’âge qui s’est dit « moderne », cette historicisation de la raison procède d’une rationalisation de l’histoire de la philosophie, qui vise à légitimer la supériorité de la modernité européenne sur les autres cultures, notamment arabe, chinoise et africaine. À partir de 1780, les historiens de la philosophie et de la culture démarquent en effet la rationalité (indo-)européenne des cultures sémitiques. La raison européenne est caractérisée par une composante philosophique de nature « grecque » et par une culture chrétienne dont les racines sont découvertes durant le Moyen Âge. Dans cette construction, le Moyen Âge et les Arabes occupent des places centrales. Le Moyen Âge est en effet le lieu historiographique de l’acculturation chrétienne de la philosophie grecque. « Peuple sémitique », les Arabes se voient quant à eux dénier toute forme de rationalité scientifique ou philosophique, bien que la destinée de la philosophie grecque fût arabe avant d’être latine, au Moyen Âge précisément.

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Kruzh Morzhadinu, Da Fonseka Vera. "HISTORICAL RESEARCH OF MODERNISM IN AFRICAN ARCHITECTURE OF LOW-RISE SOCIAL HOUSING". Construction Materials and Products 3, n.º 2 (10 de julho de 2020): 55–62. http://dx.doi.org/10.34031/2618-7183-2020-3-2-55-62.

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the purpose of this study is to examine the emergence of modernism as a cultural response to the conditions of modernity to change the way people live, work and react to the world around them. In this regard, the following tasks were formulated: 1) study the development of modernism on the world stage, 2) identify its universal features, and 3) analyze how the independence of Central and sub-Saharan Africa in the 1950s and 1960s coincided with a particularly bright period of modernist architecture in the region, when many young countries studied and asserted their identity in art. The article analyzes several objects of modernist architecture in Africa: urban development projects in Casablanca (Morocco), Asmara (Eritrea), Ngambo (Tanzania). The main features and characteristics of modernism which were manifested in the African architecture of the XX century are also formulated. It is concluded that African modernism is developed in line with the international modernist trend. It is also summarized that modernism which differs from previous artistic styles and turned out to be a radical revolution in art is their natural successor.

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Love, Heather. "Introduction: Modernism at Night". PMLA/Publications of the Modern Language Association of America 124, n.º 3 (maio de 2009): 744–48. http://dx.doi.org/10.1632/pmla.2009.124.3.744.

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Is Queer modernism simply another name for modernism?As Douglas Mao and Rebecca L. Walkowitz note in their introduction to the 2006 collection Bad Modernisms, “[T]here were numerous ways of being outside in the early twentieth century” (7). Efforts over the past several decades to imagine modernism as an expanded field have been remarkably successful. Female modernism, African American modernism, queer modernism, sentimental modernism, low- and middlebrow modernism, and colonial, postcolonial, and anticolonial modernism have all been integrated into a renewed understanding of modernism (or modernisms, as it is often written). In addition, the rethinking of modernism as a set of aesthetic movements in relation to a larger context of global modernity and modernization has turned the inside out. Since few modernists, on closer inspection, appear to have stayed high or dry, bad modernism, outsider modernism, and marginal modernism begin to look more and more like modernism itself.

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Provost, René. "Les Droits de l'Homme en Afrique, and: La Charte Africaine des Droits de l'homme et des Peuples--une Approche Juridique des Droits de l'homme Entre Tradition et Modernité (review)". Human Rights Quarterly 17, n.º 4 (1995): 807–12. http://dx.doi.org/10.1353/hrq.1995.0036.

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Mallein, Jean. "OUGUERGOUZ, Fatsah. La charte africaine des droits de l'homme et des peuples. Une approche juridique des droits de l'homme entre tradition et modernité. Paris, Presses Universitaires de France, 1993, 479p." Études internationales 25, n.º 2 (1994): 381. http://dx.doi.org/10.7202/703338ar.

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Twitchin, Mischa. "Concerning “the Eurocentric African Problem” (Meschac Gaba)". Open Cultural Studies 3, n.º 1 (1 de janeiro de 2019): 276–85. http://dx.doi.org/10.1515/culture-2019-0025.

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Abstract Even as it is often eclipsed by reference to the “contemporary,” modernity is widely celebrated in European museums and galleries. When refracted through the commitments of an avowedly Black artistic agenda, how might these institutions reconceive their understanding of modernism in light of African, diasporic, or Afropean perspectives? How might concerns with African agency be enacted in these cultural spaces as they project historical narratives and produce a “public” memory in their own image? What are the implications of the fact that critical resistance to modes of cultural appropriation may, nonetheless, reproduce a discourse that attempts to immunise itself from the association of modernism with colonialism? In the formation of modernist canons, what role might an example of African conceptual art have to play, even when consigned to a museum’s storage space? This paper explores such questions through the paradoxes engaged by Mechac Gaba’s reflections on his 1997-2002 project, “Museum for Contemporary African Art,” now owned by Tate Modern. In particular, it considers the dichotomy between “modern” and “traditional” as this has been constitutive of twentieth-century art history, informing a sense of the African presence within European museums. How might reference to the “contemporary” here relate to the potentials of decolonial cultural politics within such spaces?

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Kyoore, Paschal Kyilripuo, e Jean Godefroy Bidima. "Theorie Critique et modernite negro-africaine: De l'Ecole de Francfort a la "Docta spes africana"". African Studies Review 40, n.º 2 (setembro de 1997): 213. http://dx.doi.org/10.2307/525163.

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Bertrand, Monique. "Villes africaines, modernités en question". Tiers-Monde 39, n.º 156 (1998): 885–904. http://dx.doi.org/10.3406/tiers.1998.5287.

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Marie, Alain. "La tradition africaine face � la modernit� occidentale". Le Genre humain N�14, n.º 1 (1986): 175. http://dx.doi.org/10.3917/lgh.014.0175.

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Liscombe, Rhodri Windsor. "Modernism in Late Imperial British West Africa: The Work of Maxwell Fry and Jane Drew, 1946-56". Journal of the Society of Architectural Historians 65, n.º 2 (1 de junho de 2006): 188–215. http://dx.doi.org/10.2307/25068264.

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This article situates the educational architecture of Maxwell Fry and Jane Drew in British West Africa in 1946-56 in the context of late British colonial policy. The analysis extends discursive readings of architecture with contemporary literary texts as aspects of what might be termed the material cultural fabric. These different forms of articulation illuminate the sociocultural dynamic underlying the migration of modernism in the postwar era, and the extent to which the movement affected and was appropriated by British colonial enterprise. It also discloses modernism's simultaneous disruption and reinforcement of the objectives of modernity, among which were the ideological and technical systems of British imperial expansion. On this basis, it is argued that Fry and Drew were constrained in their endeavor to resolve the divergent expectations within modernist theory concerning the application of universal principles to local conditions, and thus also in their aim of initiating a legitimate modern African architecture.

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Woodson, Jon. "The Group Composition of Literary Works by Esoteric Writers in the Modernist Period: A Critical Interruption of Afro-Modernism and Antimodernism". Journal of Foreign Languages and Cultures 4, n.º 2 (28 de dezembro de 2020): 21–34. http://dx.doi.org/10.53397/hunnu.jflc.202002003.

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Like the other “new modernisms” Afro-Modernism does not exist beyond its role as a critical catchword. The readings given to African-American texts of the modernist period have been subjected to reductive treatments that have overlooked many factors. In this paper I will examine an unacknowledged feature of modernist works that radically changes the understanding of many important texts. One assumption of the critics of literary modernism is that individualism is a touchstone of the movement. One sign of the inapplicability of individuality to American modernism is the occurrence of esoteric group composition. The esoteric does not come into consideration by the literary critics who have established Afro-Modernism, so it is not within the scope of those investigations that challenges to individuality have been considered.

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NEWBURY, DAVID. "Histoire d'une famine: Rwanda, 1927–1930. Crise alimentaire entre tradition et modernité. Par ANNE CORNET. (Enquêtes et documents d'histoire Africaine, 13.) Louvain-la-Neuve: Centre d'Histoire de l'Afrique, 1996. Pp. ii+156. Belg. francs 750, paperback (ISSN 0772-6112)." Journal of African History 39, n.º 3 (novembro de 1998): 481–514. http://dx.doi.org/10.1017/s0021853798447327.

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Callison, Jamie. "David Jones's ‘Barbaric-Fetish’: Frazer and the ‘Aesthetic Value’ of the Liturgy". Modernist Cultures 12, n.º 3 (novembro de 2017): 439–62. http://dx.doi.org/10.3366/mod.2017.0186.

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Much recent critical interest in the relationship between modernism and religion has concerned itself with the occult, spiritualism, and theosophy as opposed to institutional religion, relying on an implicit analogy between the experimental in religion and the experimental in art. I argue that considering Christianity to be antithetical to modernism not only obscures an important facet of modernist religious culture, but also misrepresents the at-once tentative and imaginative thinking that marks the modernist response to religion. I explore the ways in which the poet-painter David Jones combined sources familiar from cultural modernism – namely Frazer's The Golden Bough – with Catholic thinking on the Eucharist to constitute a modernism that is both hopeful about the possibilities for aesthetic form and cautious about the unavoidable limitations of human creativity. I present Jones's openness to the creative potential of the Mass as his equivalent to the more recognisably modernist explorations of non-Western and ancient ritual: Eliot's Sanskrit poetry, Picasso's African masks, and Stravinsky's shamanic rites and suggest that his understanding of the church as overflowing with creative possibilities serves as a counterweight to the empty churches of Pericles Lewis’ seminal work, Religious Experience and the Modernist Novel.

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DEMEFA TIDO, Simplice. "Enjeux de conservation et appels de la modernité". Revue Mosaïques, Volume 1, Numéro 7 (22 de dezembro de 2022): 179–92. http://dx.doi.org/10.17184/eac.5873.

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Un Chant écarlate de Mariama Bâ est un récit qui accorde une place de choix aux valeurs culturelles ancestrales africaines. Incarnées par des personnages dont l’attitude oscille entre repli identitaire et ouverture, ces valeurs culturelles ancestrales sont mises en texte dans l’optique de rendre compte du caractère et de l’encrage endogène et traditionaliste de la fiction. Loin d’être gratuite ni fortuite, cette tendance pour l’auteur à enraciner son écriture traduit sa volonté de mettre en valeur le patrimoine culturel ancestral africain de son milieu et surtout de l’inscrire comme l’une des isotopies majeures facilitant l’herméneutique du roman africain. À la lumière de ce roman, et à la faveur de l’approche multiculturaliste des relations interculturelles de Charles Taylor qui soutient l’idée du caractère non absolu et non figé de l’identité d’une collectivité humaine, la présente réflexion se propose d’analyser les aspects de cette africanité, avec pour finalité de relever sa complexité dans un contexte mondial marqué par la cohabitation et l’interaction des cultures.

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Ngo Mode, Cécile. "ABOMO-MAURIN (Marie-Rose) & UGOCHUKWU (Françoise), dir., La Femme dans la littérature orale africaine : persistance des clichés ou perception de la modernité ? Paris : L’Harmattan, coll. Littératures et cultures afro-américaines, 2015, 298 p. –ISBN 978-2-343-07429-0". Études littéraires africaines, n.º 42 (2016): 177. http://dx.doi.org/10.7202/1039414ar.

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Sané, Ansoumana. "Les croyances des enseignants africains : entre tradition et modernité". Revue internationale d'éducation de Sèvres, n.º 84 (1 de setembro de 2020): 101–14. http://dx.doi.org/10.4000/ries.9606.

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MORO, ADRIANA. "Tradition et Modernité dans le Théâtre Négro-Africain Francophone". Matatu 20, n.º 1 (26 de abril de 1998): 17–27. http://dx.doi.org/10.1163/18757421-90000278.

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Leprun, Sylviane. "Le design africain, un art de l'alliance". Figures de l'Art. Revue d'études esthétiques 7, n.º 1 (2003): 253–75. http://dx.doi.org/10.3406/fdart.2003.1278.

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Animiste et communautaire, l’objet d’Afrique ne séparait jamais la vie ordinaire de son cadre symbolique. Incontestablement, le regard extérieur porté sur les cultures primitives a modifié la perception de ces pièces domestiques et magico-religieuses que réalisaient des artisans inspirés. Les artistes designers de la ville moderne ont produit de nouveaux objets désacralisés qui cherchent leur place dans la cité d’aujourd’hui. À la frontière de la tradition, de l’histoire coloniale et de la modernité contemporaine, le design des créateurs africains présente une vision critique et esthétique des sociétés urbaines.

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Muthuma, Lydia W. "Modern Kenyan Identity: Crafting a Nation Through Monuments". AM Journal of Art and Media Studies, n.º 21 (15 de abril de 2020): 25–43. http://dx.doi.org/10.25038/am.v0i21.368.

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To define the identity of a modern African country, within the Eurocentric interpretive framework, imposes creative limits. Therefore, this is an insider’s perspective of Kenyan identity. It begins with a summary of what constitutes modernism as a philosophy that underpins various cultural expressions. While pointing out the danger of assigning expressions of cultural identity to a state as opposed to a nation, the article surveys monuments in Nairobi. And it is with qualified confidence that modernist-looking monuments are considered cultural expressions of Kenya; they are simply symbols that try to gather the peoples into a modern collective – with (un)certain success. The colonial authority assembled various monuments in an effort to imprint British identity; these are not in the style of modernism, though they were erected when Europe was experiencing the culture of modernism. The epitome is the statue of King George V. Post-colonial monuments, seeking to wipe off colonial identity, are also more classical and less modernist, bringing to the fore the paradox of a modern culture that does not employ the modernist style. Jomo Kenyatta’s statue in Nairobi’s City Square is the epitome of post-colonial monuments. Its mounting was the gesture par excellence of overthrowing British dominion. The only modernist monuments are those affiliated to President Daniel Moi. His regime had to fight to unite the citizens. A parallel is drawn between this political effort and the artistic style of choice. A discussion of the non-prevalence of the modernist style in articulating modern identity follows. And, in conclusion, the article points out that though both colonial and post-colonial monuments are fabricated out of modern materials and techniques, they cannot be termed modernist works of art. Modernism, as a style that bespeaks a culture, is unavoidably underpinned on western culture (European and American) of the 20th century. Article received: December 18, 2019; Article accepted: January 31, 2020; Published online: April 15, 2020; Original scholarly paper

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Nguimfack, Léonard, Rosa Caron, Daniel Beaune e Jacques-Philippe Tsala Tsala. "Traditionnalité et modernité dans les familles contemporaines : un exemple africain". Psychothérapies 30, n.º 1 (2010): 25. http://dx.doi.org/10.3917/psys.101.0025.

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Khokholkova, Nadezhda. "African Diaspora in the USA: History and Modernity". Uchenie zapiski Instituta Afriki RAN 61, n.º 4 (5 de dezembro de 2022): 115–24. http://dx.doi.org/10.31132/2412-5717-2022-61-4-115-124.

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In the context of the intensification of migration processes, the study of diasporas is becoming more relevant. Historically, Africa has been assigned the status of one of the main providers of human resources. As a result of forced and voluntary migrations of Africans, a global community has been formed. It is called the African diaspora. The geography of African migrations is vast. However, in some countries, African presence and influence on the cultural landscape are more prominent. The United States has become one of the largest recipients of migrants from countries in Sub-Saharan Africa. The article is devoted to the history of the formation and specifics of the development of African communities in the United States. The author focuses on the meaning and the application of the term “African diaspora.” The sociocultural experience of migrants is not uniform, which necessitated the distinguishing and examination of specific groups within the global African diaspora. The main emphasis is placed on the study of such concepts as “Old African diaspora” and “New African diaspora” in relation to the problem of identity. After analyzing several different definitions, the author comes to the conclusion that the concept of the “African diaspora” is fluid (constantly in progress) and inextricably linked with cultural identity, its preservation, and transformation.

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Decaux, Emmanuel. "La Charte africaine des droits de l'homme et des peuples, une approche juridique des droits de l'homme entre tradition et modernité. By Fatsah Ouguergouz. [Paris: PUF, Publications de l'Institut universitaire des hautes études internationales de Genève. 1993. xxix + 479 pp. ISBN 2-13-045325-2. FF.390]". International and Comparative Law Quarterly 44, n.º 1 (janeiro de 1995): 242. http://dx.doi.org/10.1093/iclqaj/44.1.242.

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Adebanwi, Wale. "The cult of Awo: the political life of a dead leader". Journal of Modern African Studies 46, n.º 3 (18 de agosto de 2008): 335–60. http://dx.doi.org/10.1017/s0022278x08003339.

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ABSTRACTThis essay examines the ‘posthumous career’ of Chief Obafemi Awolowo, the late leader of the Yoruba of Nigeria. It focuses on why he has been unusually effective as a symbol in the politics of Yorubaland and Nigeria. Regarding Awolowo as a recent ancestor, the essay elaborates why death, burial and statue are useful in the analysis of the social history of, and elite politics in, Africa. The Awolowo case is used to contest secularist and modernist assumptions about ‘modernity’ and ‘rationality’ in a contemporary African society.

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Meyer, Irma, e Rachel Barker. "metamodern model for managing stakeholder relationships in non-profit organisations". Communicare: Journal for Communication Studies in Africa 39, n.º 1 (6 de outubro de 2022): 56–79. http://dx.doi.org/10.36615/jcsa.v39i1.1529.

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It is posited that this article is an important theoretical addition in the field of strategic communication as it seeks to eradicate the conceptual tension between the two dominant discourses, namely modernist and postmodernist explanations of how organisations should manage stakeholder relationships. Modernists believe in a single truth, accept metanarratives and believe that grand theory represents knowledge and can explain everything, whilst postmodernists reject the absolute standards and grand theories typical of modernism in favour of awareness and tolerance of differences, ambiguity and conflict. This article links these two perspectives in a new metamodern model for stakeholder relationship management, aimed specifically at the South African non-profit sector. A conceptual theoretical framework was developed and tested by means of exploratory qualitative and interpretative research through interviews with senior management in the non-profit sector. The findings suggest that a metamodern perspective requires constant negotiation between modernism and postmodernism. We also highlight the need for formaltraining in stakeholder relationship management. This entails adopting a micro-perspective by regularly identifying current strategic issues, mapping the stakeholders involved and linking them to these issues, and designing focused communication strategies to manage stakeholder relationships. The main research implications are that stakeholder relationship management is afunction which should not simply be delegated to the communication specialist, and that it should be practised from a metamodern perspective and not a modernistic or postmodern perspective. The originality and value of this research initiative lies in the development of a metamodern model for stakeholder relationship management for the non-profit sector which has been proposed and tested in practice.

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Narbona, Inmaculada Díaz. "La ville africaine entre tradition et modernit�: Karim d'Ousmane Soc� Diop". International Journal of Francophone Studies 4, n.º 1 (abril de 2001): 24–32. http://dx.doi.org/10.1386/ijfs.4.1.24.

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Krueger, A. "Die moderne self as toneelpop in Woyzeck on the Highveld". Literator 32, n.º 2 (22 de junho de 2011): 65–78. http://dx.doi.org/10.4102/lit.v32i2.12.

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The modern self as puppet in Woyzeck on the HighveldThis article undertakes a semiotic investigation of identifications of the self in terms of a specifically South African modernism, via an exploration of an adaptation of Georg Büchner’s “Woyzeck”. William Kentridge’s production of “Woyzeck on the Highveld”(1992; 2009) marks at least three intersections of modernist and modernising discourses. Firstly, it uses as its principal source Georg Büchner’s protomodernist text, with its description of an individual alienated from his social context. Secondly, in making use of the puppets of the Handspring Puppet Company for its central characters, the play employs a style commensurate with modernist aesthetics, in terms of the objectification of subjectivity and the mechanisation of the subject. Thirdly, by re-contextualising Büchner’s German soldier as an African mineworker, the production deals with aspects of modernisation by examining the clash, confusion and concomitant syncretism of rural and urban cultures. The article concludes by identifying the all too human desire to be more than a puppet, more than machine, and the potential consequences of the fragmented modernist self on conceptions of identity and freedom.

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LeBlanc, Marie Nathalie. "Les trajectoires de conversion et l’identité sociale chez les jeunes dans le contexte postcolonial Ouest-africain". Anthropologie et Sociétés 27, n.º 1 (2 de outubro de 2003): 85–110. http://dx.doi.org/10.7202/007003ar.

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Résumé Dans le contexte postcolonial africain, les jeunes contribuent activement à l’émergence de nouvelles identités sociales qui s’articulent autour de la pratique religieuse, surtout en ce qui a trait aux nouvelles pratiques du christianisme et de l’islam. Dans un grand nombre de cas, l’émergence de ces nouveaux mouvements religieux s’affirme à travers des notions de modernité et de tradition. Dans un tel contexte, l’objet de cet article est de décrire le rôle des jeunes dans la construction de l’expérience religieuse. À partir d’études de cas réalisées auprès de jeunes musulmans et de membres de nouvelles Églises indépendantes en Côte-d’Ivoire, nous examinons, dans un premier temps, les modalités selon lesquelles la religion définit les pratiques et les enjeux de la modernité. Par la suite, nous explorons dans quelle mesure la religion permet aux jeunes de se négocier un espace de légitimité sociale face aux diverses relations de pouvoir, dont la gérontocratie. La juxtaposition de ces cas permettra de mettre en relief les dynamiques qui sont propres à chaque expérience religieuse, au contexte de leur manifestation, ainsi qu’aux différentes notions de la modernité qui sont renouvelées par ces jeunes.

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Bensaid, Benaouda, e Tarek Ladjal. "The Struggle of Traditional Religious Education in West Africa: The Case of Mahdara in Mauritania". Journal of Ethnic and Cultural Studies 6, n.º 1 (23 de junho de 2019): 152. http://dx.doi.org/10.29333/ejecs/202.

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Mahdara educational institution continues to play significant role in the shaping of Mauritania’s religious and cultural identity. As nomadic entity, it could maintain key position over the course of hundreds of time, and develop a unique African Muslim model of education, culture and mass religious thinking. However, following independence from the French colonial, the rise of Mauritania as nation state, alongside other serious problems associated with climate, modernity, and globalization, the fate of deterioration was inevitable. Today, the intense debate of Mahdara reform continues to sharpen between those proponents of the traditional religious education, modernists, and seekers of middle ground. This paper explores the struggle of Mahdara with those problems to better understand the factors causing its slow decline. This study concludes that Mahdara may even be vulnerable to extinction in the near future should there not be rescuing approach of reform which would blend modernity with tradition system.

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Ndoye, Bado. "Cultures africaines et modernité politique : entre politique de reconnaissance et exigence d’universalité". Présence Africaine 192, n.º 2 (2015): 99. http://dx.doi.org/10.3917/presa.192.0099.

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de Jong, Ferdinand, e Brian Valente-Quinn. "Infrastructures of utopia: ruination and regeneration of the African future". Africa 88, n.º 2 (maio de 2018): 332–51. http://dx.doi.org/10.1017/s0001972017000948.

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AbstractRuination has recently received much attention as a defining aspect of the materiality of modernity. Less attention is given to the processes of regeneration that occur within sites of ruination. In this article, we examine how processes of ruination and regeneration are folded into each other, by looking at the materiality of a single site, a small village in the vicinity of Dakar, Senegal. By building the University of the African Future at Sébikotane, the Senegalese president has sought to rekindle the spirit of excellence that inspired education at the École normale William Ponty in a Pan-African spirit. As part of a larger plan for urban expansion, the site of Sébikotane has inspired hope for development. Examining how the different temporalities of utopian modernism and Afro-nostalgia intersect in the ruined site, this article reflects on the ruination of African futures on a site of ever renascent utopian infrastructures.

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Diouf, Mamadou. "Les intellectuels africains face à l’entreprise démocratique. Entre la citoyenneté et l'expertise." Politique africaine 51, n.º 1 (1993): 35–47. http://dx.doi.org/10.3406/polaf.1993.5684.

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African intellectuals facing the democratic entreprise. From the period of elitist nationalism to the democratic transitions, the trajectories of African intellectuals have always been jerky. Even if they give themselves messianic and tribune roles, their statutes remain ambiguous regarding society, state power and modernity.

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CHRISMAN, LAURA. "American Jubilee Choirs, Industrial Capitalism, and Black South Africa". Journal of American Studies 52, n.º 2 (maio de 2018): 274–96. http://dx.doi.org/10.1017/s002187581700189x.

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Focusing on the Virginia Jubilee Singers, an African American singing ensemble that toured South Africa in the late nineteenth century, this article reveals how the transnational reach of commercialized black music informed debates about race, modernity, and black nationalism in South Africa. The South African performances of the Jubilee Singers enlivened debates concerning race, labor and the place of black South Africans in a rapidly industrializing South Africa. A visit from the first generation of global black American superstars fueled both white and black concerns about the racial political economy. The sonic actions of the Jubilee Singers were therefore a springboard for black South African claims for recognition as modern, educated and educable subjects, capable of, and entitled to, the full apparatus, and insignia, of liberal self-determination. Although black South Africans welcomed the Jubilee Singers enthusiastically, the article cautions against reading their positive reception as evidence that black Africans had no agenda of their own and looked to African Americans as their leaders in a joint struggle.

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Murray, Rachel. "Tradition et Modernité dans la Charte Africaine des Droits de l'Homme et des Peuples: Etude de contenu normatif de la Charte et de son apport à la théorie du droit international des droits de l'homme. By Jean Matringe [Brussels: Etablissements Emile Bruyant1996. 137 pp. ISBN 2-8027-0772-8. BFr.150]". International and Comparative Law Quarterly 47, n.º 1 (janeiro de 1998): 246. http://dx.doi.org/10.1017/s002058930006173x.

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Dem, Emmanuel Kam. "Ni taylor, ni folklore: pour un management africain interculturel et créatif". Organizações & Sociedade 3, n.º 6 (junho de 1996): 97–126. http://dx.doi.org/10.1590/s1984-92301996000300005.

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Dans les pays en développement industriel en général et en Afrique en particulier, le management est à la croisée des chemins. Son évolution et son avenir dépendent de la réconciliation de deux exigences fondamentales: Tune par rappor à la modernité, l'autre par rapport à la tradition. Cet article décrit tout d'abord ce qu'est le management d'inspiration industrielle occidentale. II présent ensuite quelques aspects spécifiques du management d'inspiration culturalle. Il s'interroge enfim sur l'opportunité de dépasser cette double vision du management en Afrique pou élaborer un modèle nouveau et authentique qui concilie l'efficacité productive de l'organisation et les aspirations psycho-affectives des individus.

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De Assuncao, Marcello. "Crioulidade no circuito transatlântico: Modernismo e modernidade caboverdiana no Boletim da Sociedade Luso-Africana do Rio de Janeiro (1931-1939)/ Creoleity in the transatlantic circuit: Cape Verdean modernism and modernity in the Bulletin of the Luso-African Society of Rio de Janeiro (1931-1939)". Revista do Centro de Estudos Portugueses 42, n.º 67 (27 de outubro de 2022): 223. http://dx.doi.org/10.17851/2359-0076.42.67.223-247.

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Resumo: Pretendemos neste artigo explorar as múltiplas conexões transatlânticas entre intelectuais portugueses, brasileiros e caboverdeanos em torno do debate sobre nação, modernidade e raça. Exploraremos estas interlocuções por meio de textos do Boletim da Sociedade Luso-Africana do Rio de Janeiro, espaço de amplo diálogo entre intelectuais nos anos 1930 por uma noção panlusa de nação que antecipa diversos elementos do lusotropicalismo freyriano dos anos 1950-1970 a partir da imagem de Cabo Verde (e do Brasil) como os filhos pródigos da diáspora lusitana. Estes trânsitos evidenciam como apesar do estatuto marginal desses debates (principalmente a transição de uma noção biológica para antropológica da raça) havia uma ampla gama de leituras sobre o “moderno” em circulação naquela conjuntura.Palavras-chave: Crioulidade; Modernismo; Atlântico Sul; Cabo Verde; Boletim da Sociedade Luso-Africana do Rio de Janeiro.Abstract: In this article, we intend to explore the multiple transatlantic connections between Portuguese, Brazilian and Cape Verdean intellectuals around the debate on nation, modernity and race. We will explore these interlocutions through texts from the Boletim da Sociedade Luso-Africana do Rio de Janeiro, a space for broad dialogue between intellectuals in the 1930s for a panlusitana notion of nation that anticipates several elements of Freyrian Lusotropicalism of the 1950s-1970s from the image of Cape Verde (and Brazil) as the prodigal children of the Lusitanian diaspora. These transits show how despite the marginal status of these debates (mainly the transition from a biological to an anthropological notion of race) there was a wide range of readings on the “modern” in circulation at that conjuncture.Keywords: Creoleity; Modernism; South Atlantic; Verdean Cape; Luso-African Buletin of Rio de Janeiro.

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Artigos de revistas sobre o tema "Modernité africaine"

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