Postcolonial African literary and visual arts : a father's death as allegory of dislocated culture

Titre Postcolonial African literary and visual arts : a father's death as allegory of dislocated culture
Type de publication Thèse et mémoire
Langue principale de la publication anglais
Année de soutenance 2007
Auteur Honorine-Bernadette ABESSOLO MBALA-NKANG
Nombre de pages 240
Université Université du Michigan
Ville Ann Arbor (MI)
Genre essai - étude
Pays de soutenance États-Unis
URL http://gateway.proquest.com/openurl'url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqm&rft_dat=xri:pqdiss:3253204
Localisation BU University of Michigan (Michigan, États-Unis)
Résumé/Présentation "Based on the reading and analysis of two novels, Valentin Yves Mudimbe's Entre les eaux (1973), and Justine Mintsa's Histoire d'Awu (2000), and a film by Ousmane Sembene, Guelwaar (1993), I analyze various depictions and symbolism pertinent to mourning rituals after a father's death as an allegory of a dislocated culture. This dissertation puts in dialogue two Francophone African tendencies. Cheikh Anta Diop (1960) and his followers The?ophile Obenga (1973), and Mveng (1972), to name only a few, urge Africans to return to pre-colonial African culture identified with a mythical Pharaonic Egypt in order to recapture the dignity of African identity in postcolonial Africa. In contrast, philosophical critics such as Valentin Yves Mudimbe (1988; 1994) and Paulin Hountondji (2002) charge that to portray an idealistic past of Africa is to depict culture from a deceptive perspective. Ancestral structures were not totally destroyed during the colonial era. Some have survived. Postcolonial societies are made of these cultural remnants mixed with colonial imports. Mudimbe hence proposes an academic approach to culture that would promote a plural discourse in a multicultural community. The complicity between African subversive appeal to traditionalism and modernity, I suggest, annihilates the efficiency of Diop and Mudimbe's approaches to culture, hence the ethical crisis. To materialize the concept of culture socially and emotionally, I read postcolonial literary and visual arts as a nation's pleureuse and wailer , or official mourner. This voice grieves over the death of the spirit of good citizenship in the nation's civic body while pondering what can be retrieved from traditional religious beliefs and adjusted to postcolonial existential conditions. The first chapter articulates the pleureuse 's function in the allegorical father's death. The second chapter portrays the nature of the father's death. In the third chapter, the pleureuse laments over the roaming spirit of the late father's progeny in the global multicultural community. The Mvett storyteller identified as the wailer in the fourth chapter unveils the natures of prostitution revealing the cataleptic sign that holds the late father's spirit and his progeny captive." (Source site Deepblue BU Michigan, 10.2017))
Référence complète Abessolo Mbala-Nkang, Honorine-Bernadette. Postcolonial African literary and visual arts : a father's death as allegory of dislocated culture. Ph.D. in Romance Laguages and Literatures : French of The University of Michigan. Under management of Prof. George P. Hoffmann, University of Michigan, 2007, 240 p. Doctoral commitee : Prof. George P. Hoffmann (chair), Prof. David Caron, Prof. Katherine M. Ibbet, Prof. Elisha P. Renee.

Auteurs

Honorine-Bernadette ABESSOLO MBALA-NKANG

Biographie : Honorine B. Andeme Abessolo (épouse Mbala-NKanga) est née à Oyem, au nord du Gabon. Détentrice d'un PhD en littérature africaine francophone de l'Université du Michigan. Chercheuse indépendante vivant à Ypsilanti, Michigan.
Nationalité : Gabon