The Wretched Without History: Reflections on Music and Literary Creation in the Kriola Migration in São Tomé and Príncipe

Moving Spaces ◽  
2019 ◽  
pp. 101-118
2008 ◽  
Vol 1 (2) ◽  
pp. 139-155 ◽  
Author(s):  
YAEL DARR

This article describes a crucial and fundamental stage in the transformation of Hebrew children's literature, during the late 1930s and 1940s, from a single channel of expression to a multi-layered polyphony of models and voices. It claims that for the first time in the history of Hebrew children's literature there took place a doctrinal confrontation between two groups of taste-makers. The article outlines the pedagogical and ideological designs of traditionalist Zionist educators, and suggests how these were challenged by a group of prominent writers of adult poetry, members of the Modernist movement. These writers, it is argued, advocated autonomous literary creation, and insisted on a high level of literary quality. Their intervention not only dramatically changed the repertoire of Hebrew children's literature, but also the rules of literary discourse. The article suggests that, through the Modernists’ polemical efforts, Hebrew children's literature was able to free itself from its position as an apparatus controlled by the political-educational system and to become a dynamic and multi-layered field.


10.1596/32135 ◽  
2019 ◽  
Author(s):  
Clifton John Cortez ◽  
John (Ioannis) Arzinos

Author(s):  
Sam Ferguson

Gide’s experimentation with diary-writing continues in Paludes. Like Les Cahiers d’André Walter, it is the diary (journal intime) of a character writing a novel (in this case also entitled ‘Paludes’, creating a structure of mise en abyme). The work’s exploration of diary-writing depends on a dizzying, comical instability in the text’s structure: first, the status of the main narrative (as a diary or some other sort of narrative) is never resolved; secondly, the relation between the main narrative and the narrator’s own literary creation (‘Paludes’) remains unclear. Paludes continues some of the theoretical themes from Les Cahiers d’André Walter, but the narrator of Paludes is more focused on embracing the contingency of diary-writing, as a way to escape the deterministic necessity of existence and achieve some sort of action and freedom in writing. The work calls for a new form of literary œuvre that can accommodate this diaristic contingency.


1989 ◽  
Vol 22 (3) ◽  
pp. 549
Author(s):  
Maciel Morais Santos ◽  
Tony Hodges ◽  
Malyn Newitt

Probus ◽  
2021 ◽  
Vol 33 (1) ◽  
pp. 57-93
Author(s):  
Ana Lívia Agostinho ◽  
Larry M. Hyman

Abstract Creole languages have generally not figured prominently in cross-linguistic studies of word-prosodic typology. In this paper, we present a phonological analysis of the prosodic system of Lung’Ie or Principense (ISO 639-3 code: pre), a Portuguese-lexifier creole language spoken in São Tomé and Príncipe. Lung’Ie has produced a unique result of the contact between the two different prosodic systems common in creolization: a stress-accent lexifier and tone language substrates. The language has a restrictive privative H/Ø tone system, in which the /H/ is culminative, but non-obligatory. Since rising and falling tones are contrastive on long vowels, the tone must be marked underlyingly. While it is clear that tonal indications are needed, Lung’Ie reveals two properties more expected of an accentual system: (i) there can only be one heavy syllable per word; (ii) this syllable must bear a H tone. This raises the question of whether syllables with a culminative H also have metrical prominence, i.e. stress. However, the problem with equating stress with H tone is that Lung’Ie has two kinds of nouns: those with a culminative H and those which are toneless. The nouns with culminative H are 87% of Portuguese origin, incorporated through stress-to-tone alignment, while the toneless ones are 92% of African origin. Although other creole languages have been reported with split systems of “accented” vs. fully specified tonal lexemes, and others with mixed systems of tone and stress, Lung’Ie differs from these cases in treating African origin words as toneless, a quite surprising result. We consider different analyses and conclude that Lung’Ie has a privative /H/ tone system with the single unusual stress-like property of weight-to-tone.


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