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    <title>Journal des africanistes</title>
    <link>http://africanistes.revues.org</link>
    <description>Le Journal de la Société des Africanistes, devenu Journal des africanistes en 1976, est publié régulièrement depuis 1931, au rythme habituel de deux fascicules par an. On y trouve des articles de spécialistes (ethnologues, archéologues, préhistoriens, linguistes, etc.), des dossiers thématiques, des comptes rendus d’ouvrages et diverses informations scientifiques. Le Journal des Africanistes constitue, de ce fait, un instrument de référence précieux pour les chercheurs et les documentalistes.   In 1976, the Journal de la société des africanistes, which had published regularly from 1931 onwards, became the Journal des africanistes, and has kept up the same regular rate of two issues per year. The journal contains articles by specialists (ethnologists, archaeologists, pre-historians, and linguists, etc), thematic issues, reviews and other academic information. The Journal des africanistes is a valuable reference tool for researchers and archivists.</description>        
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        <rdf:li resource="http://africanistes.revues.org/2294" />
        <rdf:li resource="http://africanistes.revues.org/2304" />
        <rdf:li resource="http://africanistes.revues.org/2552" />
        <rdf:li resource="http://africanistes.revues.org/2323" />
        <rdf:li resource="http://africanistes.revues.org/2563" />
        <rdf:li resource="http://africanistes.revues.org/2572" />
        <rdf:li resource="http://africanistes.revues.org/2611" />
        <rdf:li resource="http://africanistes.revues.org/2375" />
        <rdf:li resource="http://africanistes.revues.org/2392" />
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  <item rdf:about="http://africanistes.revues.org/2259">
    <title>Studying the oral literatures of Africa in the 1960s and today</title>
    <description><![CDATA[
      <p class="abstract" dir="ltr">The article consists of personal reflections on some changes over the last generation in how the oral literatures of Africa have been studied. Drawing on her own experience (and in particular her own early mistakes) the author comments on contrasts between the 1960s and now. In addition to the huge corpus of innovative and imaginative work by researchers and practitioners from many backgrounds, there have been shifts in the image of ’Africa’ and in the overall perspectives of such work. These include the international and historical context in which, unlike earlier, such work is now set, together with the increasing recognition of Africa-based scholars, emphasis on ’performance’ and creativity, and new approaches to the analysis and situating of ’oral texts’.</p>]]></description> 
    <dc:creator>Ruth Finnegan</dc:creator>
    <link>http://africanistes.revues.org/2259</link>
    <dc:date>2013-06-01</dc:date>
  </item>
  <item rdf:about="http://africanistes.revues.org/2273">
    <title>L’arme du chant collectif au cœur du conflit biafrais</title>
    <description><![CDATA[
      <p class="resume" dir="ltr">Si des auteurs comme Basden, Leith-Ross et Nwando Achebe ont mentionné dans leurs écrits la puissance du chant dans la culture igbo, le rôle des chants nés du conflit biafrais et les raisons de leur diffusion sont des questions qui n’ont jamais encore été vraiment abordées - ce sera donc le but de cet article. Partant d’un disque de seize chants en igbo (6), anglais (8) et ijo (2) enregistrés pendant la guerre civile nigériane à 15km du front, juste avant la chute d’Umuahia, capitale provisoire, en avril 1969, et de ceux notés sur place l’année d’avant par les journalistes français en mission d’information, cette étude compare ensuite ces chants à ceux créés à la même époque et qui ont ensuite trouvé leur place dans des romans inspirés par le conflit et publiés depuis. Nous considérerons les thèmes abordés par ces chants populaires, leur style, leur structure, et les langues dans lesquelles ils ont été écrits et chantés, pour mieux comprendre les raisons de leur insertion à l’écrit ...</p>]]></description> 
    <dc:creator>Françoise Ugochukwu</dc:creator>
    <link>http://africanistes.revues.org/2273</link>
    <dc:date>2013-06-01</dc:date>
  </item>
  <item rdf:about="http://africanistes.revues.org/2294">
    <title>Praise Song for the Good Woman : Islam and Gender in a Famous Senegalese Poem</title>
    <description><![CDATA[
      <p class="abstract" dir="ltr">The poem “Fatou Gaye” has been circulating in Senegal for three decades. Despite its fame, not much attention has been paid to its message and the implications it has in the politics of gender in Senegal. Composed by Eladji Gaye as a eulogy to his wife Fatou Gaye, the poem is both panegyric and sexist. While singing the praises of his wife, Gaye at the same time advocates the subordination of women based on his understanding of Islam. It this paper I look at how Gaye's line of thinking is a misreading of the Koran and shows how men have utilized the holy text in order to justify their sexism. However, the text contradicts Gaye's claim of male superiority by portraying Fatou as the backbone of the family and consequently the one with agency.</p>]]></description> 
    <dc:creator>Marame Gueye</dc:creator>
    <link>http://africanistes.revues.org/2294</link>
    <dc:date>2013-06-01</dc:date>
  </item>
  <item rdf:about="http://africanistes.revues.org/2304">
    <title>Reflections on Orality and Cultural Expression: Orality as a Peace Culture</title>
    <description><![CDATA[
      <p class="abstract" dir="ltr">The paper provides an in-depth study of oral literature as an artistic expression of a people’s fears and aspiration: a people’s wisdom. It highlights the Luhya community’s determination to ensure that the family, the smallest unit of the community, 16be founded on peace whose existence is rooted in knowledge, mutual respect, tact and wisdom, all of which are best expressed in song and chant. The paper examines four songs and one chant, all of which relate to the Luhya people’s culture of peace and their expression of the need to cultivate and maintain peace at home and peace within the community. One of these four is salutation put to music, three are pre-wedding songs and the chant is a greeting, which this paper refers to as ritual. They all have one aim: to express the search for and maintenance of peace of mind in the individual and in relationships.</p>]]></description> 
    <dc:creator>Helen Oronga A. Mwanzi</dc:creator>
    <link>http://africanistes.revues.org/2304</link>
    <dc:date>2013-06-01</dc:date>
  </item>
  <item rdf:about="http://africanistes.revues.org/2323">
    <title>Ancestors from the East, Spirits from the West. Surviving and Reconfiguring the Exogenous Violence of Global Encounters in the Sahel</title>
    <description><![CDATA[
      <p class="abstract" dir="ltr">The Sahel possesses an outstanding history as an arena of social, political, economic, cultural and interethnic interrelations and conflicts. This is visible notably in foundation narratives that exist all over the region, staking claims to an ancestor from the Islamic East. This widespread phenomenon intersects interestingly with a cult of spirit possession like hawka, originating in the oral culture of Arewa in East-Central Niger, formally renowned for its steadfast attachment to African ancestral religion and arising from embodied spiritual reaction and resistance to European colonization. Hawka highlights cultural responses to a violent encounter with the West This paper examines aspects of these two interconnected intercultural themes and motifs arising from historical encounters with East and West. It argues that the presence in the Nigérien Sahel of “ancestors from the East” and of “spirits from West”, distant in time but not in significance, respond to the domination of Sahe...</p>]]></description> 
    <dc:creator>Antoinette Tidjani Alou</dc:creator>
    <link>http://africanistes.revues.org/2323</link>
    <dc:date>2013-06-01</dc:date>
  </item>
  <item rdf:about="http://africanistes.revues.org/2375">
    <title>Aboriginal Southern African Storytelling and the Shaping of Early Afrikaans Literature</title>
    <description><![CDATA[
      <p class="abstract" dir="ltr">This article explores the changing perceptions of Afrikaner folklorists and literary critics on the origins of selected indigenous southern African oral tales during the past century. It is common knowledge that in colonial southern Africa indigenous storytellers frequently performed local tales to settler children. At the beginning of Afrikaner Nationalism during the late nineteenth and early twentieth century the indigenous origins and authenticity of the performers and their performances were rarely in dispute. Fifty years later, at the time of the imminent victory of Afrikaner Nationalism, Afrikaner folklorists and literary critics increasingly doubted the origins of these tales or the artistry of the storytellers. This article explores two such instances. The first section of the article serves as a background description of the issue and the second discusses the battle for authorship of the tale, “Klein Riet-alleen-in-die-Roerkuil” (“Little Reed-alone-in-the-whirlpool”).</p>]]></description> 
    <dc:creator>Hein Willemse</dc:creator>
    <link>http://africanistes.revues.org/2375</link>
    <dc:date>2013-06-01</dc:date>
  </item>
  <item rdf:about="http://africanistes.revues.org/2392">
    <title>Elements of Orality in Ngugi Wa Thiong ’o ’s Wizard of the Crow</title>
    <description><![CDATA[
      <p class="abstract" dir="ltr">Many African writers have turned to oral literature for inspiration. In this paper, I examine Ngugi wa Thiong’o’s novel Wizard of the Crow and explain the stylistic (aesthetic) and didactic significance of its oral features. Some of the features of orality that I have identified include oral dialogue between characters, stylistic allusions and digressions, embedded oral narratives, proverbs, riddles, magic realism and the polyphony of narrative voices. Orality adds local flavour and realism to the story in keeping with the post-colonial celebration of cultural, social, regional, and national differences. As a renown post-colonial writer, Ngugi is a reputed advocate for indigenous languages and he has lived up to this challenge by writing in Gikuyu. By adapting English and remaking it to suit his own aesthetic specifications (through the infusion of oral features), Ngugi performs cross-cultural interaction, which echoes the hybrid identity that characterizes the post(-)colonial reality.</p>]]></description> 
    <dc:creator>Mumia Geoffrey Osaaji</dc:creator>
    <link>http://africanistes.revues.org/2392</link>
    <dc:date>2013-06-01</dc:date>
  </item>
  <item rdf:about="http://africanistes.revues.org/2441">
    <title>“Survival is in the mouth”: Yvonne Vera’s Nehanda</title>
    <description><![CDATA[
      <p class="abstract" dir="ltr">In her Zimbabwean novels Yvonne Vera experiments with ways of retaining the features of precolonial orality from the perspective of a postcolonial kind of writing primarily concerned with offering contemporary African women a space of freedom and self-expression. Vera’s writings work against the silencing imposed on women by patriarchy and colonialism, and all her novels, which move fluidly between orature and literature so as to blend rather than juxtapose them, stress that “to write is to banish silence.” In a way this is the writer’s answer to the complex question asked in her first novel - “How can words be made still, without turning into silence?” - and it is also the woman’s answer to the socio-historical predicaments of her fellow African women and their search for voice and meaningful presence. This paper looks at how Vera juggles voice and silence, the oral and the written in <em>Nehanda, </em>and discusses her attempt to ensure the survival of the spoken word in the written text.</p>]]></description> 
    <dc:creator>Annalisa Oboe</dc:creator>
    <link>http://africanistes.revues.org/2441</link>
    <dc:date>2013-06-01</dc:date>
  </item>
  <item rdf:about="http://africanistes.revues.org/2451">
    <title>The Role of Orality in Hafid Bouazza’s Paravion</title>
    <description><![CDATA[
      <p class="abstract" dir="ltr">Bouazza’s novel, <em>Paravion, </em>has been widely acclaimed by Dutch critics, but the so-called “loose” structure has elicited much criticism. The title refers to the wording on the letters sent by migrant labourers in the Netherlands to their respective families in Morocco. The opening word “Hear!” not only refers to the public reading of these letters to the illiterate families in the market place, it in fact alludes to the traditional beginning of a letter (“Dear ...”). Thus two seemingly conflicting traditions (the ostensibly unsophisticated oral tradition and the highly sophisticated epistolary tradition) are linked. In this article this novel is interpreted as a hybrid of Arabic and Western literary traditions and it is asserted that allusion to the oral tradition invalidates the criticism leveled at the novel, and ironically lends it its sophistication.</p>]]></description> 
    <dc:creator>Hennie van Coller</dc:creator>
    <link>http://africanistes.revues.org/2451</link>
    <dc:date>2013-06-01</dc:date>
  </item>
  <item rdf:about="http://africanistes.revues.org/2440">
    <title>Des voix des aïeules à Sylvie Vartan : paroles et chants de femmes dans l’Afrique contemporaine dans La mémoire amputée de Werewere Liking</title>
    <description><![CDATA[
      <p class="resume" dir="ltr">La connivence entre la femme et la parole a toujours été reconnue, et l’écriture féminine paraît également marquée par une grande présence de l’oralité. Dans le roman, le discours prime souvent sur le récit, et l’abondance des dialogues instaure également une interaction avec le lecteur, finalisée à un changement des mentalités. Werewere Liking, artiste polyvalente, enrichit ces mécanismes, et les acquis du féminisme, en les inscrivant dans une tradition multiséculaire. Elle crée des chants-romans, où ritualisme et modernité, abondance de dialogues et discours poétisé viennent redonner voix aux lignées de femmes dont le silence engendre l’Afrique contemporaine. L’analyse de <em>La Mémoire amputée, </em>chant-roman publié en 2004, illustre comment la réception plurielle des modalités africaines et occidentales permet l’exploitation d’une oralité riche et originale, entre lyrisme et péroraison, tradition et transformation des codes tant esthétiques que sociaux.</p>]]></description> 
    <dc:creator>Laura Colombo</dc:creator>
    <link>http://africanistes.revues.org/2440</link>
    <dc:date>2013-06-01</dc:date>
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