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De la souffrance à l’engagement
Get PDFDie Arbeit hat einen der wichtigsten Romane der frühen Anti-Apartheids-Literatur zum Gegenstand, Alex La Guma´s “A Walk in the Night“. Dieses Werk reflektiert die frühe Phase des literarischen Schaffens von Alex La Guma und ist ein relevantes Beispiel der „littérature engagée“ aus Südafrika der 1950er und 1960er Jahre. Die vorliegende Arbeit stützt sich zum größten Teil auf einem „Close Reading“ des erwähnten Romans von Alex La Guma und beschreibt die literaturpolitische Landschaft sowie den Standpunkt schwarzer Schriftstellerinnen und Schriftsteller der sogenannten „Drum Generation“ unter der Apartheid.This work treats one of the most important novels of the Anti-Apartheid Literature, “A Walk in the Night” by the author Alex La Guma. This work reflects the early stages of the literary creation of Alex La Guma and presents a significant example of the “littérature engagée” from South Africa during the 1950s and 1960s. Furthermore, this paper is based mainly on a close reading of the mentioned novel of Alex La Guma and treats the South African literary history as well as the standpoint of the Black writers of the so called “Drum generation” under the Apartheid
Hybride Blickkonstellationen: Zur Konstruktion des Weiblichen/Anderen in kolonialen Bildmedien des Maghreb
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Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Les enJEux de l'autobiographique dans les littératures de langue française : du genre à l'espace - l'autobiographie postcoloniale - l'hybridité
No full textVariations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Gender and Migration in the Transnational Literary Field: The Case of Cameroonian Migrant Authors
No full textDie vorliegende Dissertation befasst sich mit der Verhandlung, Repräsentation und den Effekten von Gender und Migration im transnationalen literarischen Feld am Beispiel von in erster Generation emigrierten Autor*innen kamerunischer Herkunft, die auf Französisch und Englisch publizieren oder publiziert haben. Theoretisch bezieht sich die Arbeit hauptsächlich auf Bourdieus Literatursoziologie und deren transnationale und postkoloniale Weiterentwicklungen sowie auf feministische Theorien. Der erste Teil konkretisiert die Produktionsbedingungen und Rezeptionsmechanismen, die Autor*innen kamerunischer Herkunft im literarischen Feld positionieren und an denen sie partizipieren. Hierbei zeichnet sich zum einen die transnationale Tendenz ab, die Autor*innen auf ihren kamerunischen oder afrikanischen Hintergrund und sogenannte ‚afrikanische‘ Themen und Schreibstile zu verpflichten. Zum anderen wird deutlich, dass vergeschlechtlichte Stereotypen und Denkstrukturen in der Positionierung der Autor*innen eine wichtige Rolle spielen. Der zweite Teil der Arbeit widmet sich der Repräsentation und Verhandlung von Gender und Migration in Prosatexten von Autor*innen kamerunischer Herkunft. Hierbei wird eine chronologische Differenzierung in Bezug auf den Migrationsprozess vorgenommen: das erste Kapitel behandelt Texte, die die Migration der Figuren gewissermaßen vorbereiten, das zweite Narrative des Übergangs, das dritte Texte, deren Figuren im adoptierten Land bereits Wurzeln gefasst haben und das letzte Kapitel solche, in denen emigrierte Figuren in ihr Herkunftsland zurückkehren. Die Analysen stellen die unterschiedlichen Modi heraus, in denen sich Texte und Autor*innen auf inhaltlicher und ästhetischer Ebene auf ihr Herkunfts- und adoptiertes Land beziehen und verschiedene Geschlechterregimes miteinander vermitteln. Darüber hinaus wird dargestellt, wie verschiedene Texte dominante Rezeptionsmechanismen im literarischen Feld thematisieren, bestätigen oder subversiv unterlaufen.Taking the example of first-generation emigrant authors of Cameroonian origin writing in French or English, my thesis concerns itself with the representation, negotiation and effects of gender and migration in the transnational literary field. Pierre Bourdieu’s sociology of literature and its repercussions in postcolonial studies as well as feminist theories provide its main theoretical background. The first part illustrates the conditions of production and mechanisms of reception that position authors of Cameroonian origin in the literary field. It becomes clear that at both ends of the transnational field, authors are pinned down on their African background and are expected to commit themselves to so-called ‘African’ themes and styles. Gendered ideas and stereotypes are revealed to also play a significant role in authors’ positionings. The second part of the study focuses on the representation and negotiation of gender and migration in prose texts by authors of Cameroonian descent. The body of works is classified chronologically: the first chapter deals with narratives preceding characters’ emigration, the second chapter is concerned with transitional migration narratives, the third with narratives of immersion and the last chapter with texts in which emigrated characters return to their country of origin. My analyses highlight the different referential and aesthetic modes in which texts and authors refer to their home and adopted countries and how they negotiate different gender regimes. Furthermore, I map out the ways in which different texts take up, confirm or subvert mechanisms of reception that have been identified as dominant in the literary field
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Les enJEux de l'autobiographique dans les littératures de langue française : du genre à l'espace - l'autobiographie postcoloniale - l'hybridité
No full textThe Metamorphosis of Performance: Oral Heritage and Medial Transformation in Kanywood Video Films
Get PDFDie Studie definiert und analysiert Kanywood-Videofilme kritisch, wobei ein besonderer Schwerpunkt auf Quellen der mündlichen Literatur und Performancepraxis liegt. Per Definition steht Kanywood sowohl für Filmindustrie als auch für in Nordnigeria produzierten Videofilme. Die Studie hält an "Kanywood" als dem für die Branche geprägten Label fest. Der Literaturüberblick zeigt, dass die Aneignung von Bollywood-Filmmustern durch Kanywood-Filmemacher übermäßig untersucht wurde. Bisherige Untersuchungen im Bereich des re-enactment oraler Hausa-Performance in Kanywood-Videofilmen sind hingegen unzureichend. Die vorliegende Studie füllt mit ihrer Untersuchung der Transformation der Hausa-Kultur im Medium Film aufgrund der Globalisierung und im Kontext traditioneller Performance-Künste diese Lücke, und fügt so den bestehenden Arbeiten über Kanywood eine innovative Forschungsperspektive hinzu.
Im theoretischen Rahmen von Performance Studies und mit der gründlichen Analyse eines ausgewählten Korpus zeigt die Studie, wie der Videofilm als Medium wichtiger sozialer und kultureller Veränderungen gesehen wird. Er ist nicht nur ein Gegenstand anhand dessen die Erforschung des Konzepts einer transzendierenden Globalisierung möglich ist, sondern auch ein Weg, um zu verstehen, wie die Gesellschaft sich unter bestimmten sich wandelnden Umständen verändert. Während die allgemein zugrunde liegende Frage lautet, ob Kultur statisch ist oder nicht, verhandelt die Studie dabei die spezifischen Fragen, inwiefern Performances während des Filmemachens neu inszeniert und neu gerahmt werden, und inwieweit traditionell kodierte Performance-Ereignisse im Videofilm verändert, subvertiert und/oder bereichert werden.
Die Studie empfiehlt die Ästhetik von Filmsprache als ein Gebiet weiterführender Forschung, stellt heraus, dass Imitation, Adaptation und Aneignung zirkulierender künstlerischer Formen ein globale Phänomene sind, die auf Intertextualität beruhen, erklärt, dass Kultur nicht statisch, sondern dynamisch ist, und kommt zu dem Schluss, dass es angemessener ist, Videofilme und Filmemacher durch das Paradigma der kulturellen Hybridität und Modernisierung zu betrachten, da sie die kulturelle Verschiebung, Transformation und Veränderung im Zeitalter der Globalisierung fördern.The study identifies and critically analyses Kanywood video films with particular emphasis on sources in oral literature and performance practices. By way of definition, Kanywood stands for both the film industry and video films produced in northern Nigeria. The study sticks to “Kanywood” as the label coined for the industry. However, “Kannywood” with the consonant cluster, as in Hollywood, Bollywood and Nollywood is a variant label, which some scholars have adopted. The study forgrounds that Kanywood filmmakers' appropriation of Bollywood have been excessively explored. But investigations in the area of re-enactment of performance in Kanywood video films are conceivably insufficiently undertaken. Therefore, the distinct contribution of this study reflects on transformation of Hausa culture due to globalization, thus elaborating the existing works on Kanywood.
Through a performance framework and a thorough analysis of selected corpus, the study shows how video film is seen as a provider of major social and cultural changes. It is not only a means through which an exploration of the concept of the transcending globalization is possible, but it is also a way of comprehending how the society transforms under some changing circumstances. While the general underlying question is whether or not culture is static, the study thereby negotiates specific questions such as how are performances re-enacted and re-framed during filmmaking process, and how far are traditionally encoded performance events altered, changed, subverted or enriched in video film?
The study recommends the aesthetics of language as an area of further research, foregrounds that imitation, adaptation and appropriation of circulating artistic forms is a global phenomenon grounded in intertextuality, expounds that culture is not fixed but dynamic, and concludes that it is more appropriate to look at the video films and the filmmakers through the paradigm of cultural hybridity and modernization which enhance cultural shift, transformation and change in this era of globalization.
Keywords: Kanywood, performance, oral heritage, transformation
The study identifies and critically analyses Kanywood video films with particular emphasis on sources in oral literature and performance practices. By way of definition, Kanywood stands for both the film industry and video films produced in northern Nigeria. The study sticks to “Kanywood” as the label coined for the industry. However, “Kannywood” with the consonant cluster, as in Hollywood, Bollywood and Nollywood is a variant label, which some scholars have adopted. The study forgrounds that Kanywood filmmakers' appropriation of Bollywood have been excessively explored. But investigations in the area of re-enactment of performance in Kanywood video films are conceivably insufficiently undertaken. Therefore, the distinct contribution of this study reflects on transformation of Hausa culture due to globalization, thus elaborating the existing works on Kanywood.
Through a performance framework and a thorough analysis of selected corpus, the study shows how video film is seen as a provider of major social and cultural changes. It is not only a means through which an exploration of the concept of the transcending globalization is possible, but it is also a way of comprehending how the society transforms under some changing circumstances. While the general underlying question is whether or not culture is static, the study thereby negotiates specific questions such as how are performances re-enacted and re-framed during filmmaking process, and how far are traditionally encoded performance events altered, changed, subverted or enriched in video film?
The study recommends the aesthetics of language as an area of further research, foregrounds that imitation, adaptation and appropriation of circulating artistic forms is a global phenomenon grounded in intertextuality, expounds that culture is not fixed but dynamic, and concludes that it is more appropriate to look at the video films and the filmmakers through the paradigm of cultural hybridity and modernization which enhance cultural shift, transformation and change in this era of globalization.
Keywords: Kanywood, performance, oral heritage, transformation
The study identifies and critically analyses Kanywood Video films with particular emphasis on sources in oral literature and performance practices. By way of definition, Kanywood stands for both the film industry and video films produced in northern Nigeria. The study sticks to "Kanywood" as the label coined for the industry. However, "Kannywood" with the consonant cluster, as in Hollywood, Bollywood and Nollywood is a variant label, which some scholars have adopted. The study foregrounds that Kanywood filmmakers' appropriation of Bollywood have been excessively explored. But investigations in the area of re-enactment of performance in Kanywood video films are conceivably insufficiently undertaken. Therefore, the distinct contribution of this reflects on transformation of Hausa culture due to globalization, thus elaborating the existing works on Kanywood.
Through a performance framework and a thorough analysis of selected corpus, the study shows how video film is seen as a provider of major social and cultural changes. It is not only a means through which an exploration of the concept of the transcending globalization is possible, but it is also a way of comprehending how the society transforms under some changing circumstances. While the general underlying question is whether or not culture is static, the study thereby negotiates specific questions such as how are performances re-enacted and re-framed during filmmaking process, and how far are traditionally encoded performance events altered, changed, subverted or enriched in video film?
The study recommends the aesthetics of language as an area of further research, foregrounds that imitation, adaptation and appropriation of circulating artistic forms is a global phenomenon grounded in intertextuality, expounds that culture is not fixed but dynamic, and concludes that it is more appropriate to look at the video films and the filmmakers through the paradigm of cultural hybridity and modernization which enhance cultural shift, transformation and change in this era of globalization
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