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Écritures Dans Les Films D’Ousmane Sembène : Enjeux Linguistiques Et Réception Cinématographique, Louis Ndong

Présence Francophone: Revue internationale de langue et de littérature

The article deals with the written elements in Ousmane Sembène’s films. I point out all aspects relating to the written canal in Sembène’s cinematographic productions (opening and end titles, signs, mentions on cars, etc.). The interest of the study lies in the functions assigned to the written canal in interplay with the dialogues and sounds, but also in the use of languages in writings and the challenges that are linked to it. Through the analysis, we can observe written elements in Wolof as well as in French, two languages which play an important role in Sembène’s cinematographic aesthetics.

La Diffusion En France Des Longs Métrages D’Ousmane Sembène, Claude Forest

Présence Francophone: Revue internationale de langue et de littérature

Ousmane Sembène is one of the French-speaking South Saharan African directors who has been the most prolific, but also, with Idrissa Ouédraogo, the one who has been the most broadcast in French cinemas during his lifetime. Although many of his films were favorably received by critics, they met with very little enthusiasm among French viewers, its recognition by certain cinematic circles and its aesthetic aura being thus incomparable with its commercial success. The analysis points to Ousmane Sembène’s real strategy, which adopted a strategy of international recognition by festivals, not by foreign audiences.

Logique Mathématique Dans Le Docker Noir D’Ousmane Sembène, Pierre Ndemby Mamfoumby

Présence Francophone: Revue internationale de langue et de littérature

The present article examines Le docker noir taking into account the narrative trajectory of Diaw Falla as well as the triangular relationship between Diaw-Catherine-Ginette which inscribes the novel in what we call a "double negative narrative". The narrative, through intertextual contamination with the story of Sirius, the slave trader, not only translates the separation/loss of Senegalese symbols and identity on the other side of the Atlantic, but also allows us to look at the novel as an indication of inequality, a place of sometimes impossible transmission and reconciliation with African historical memory through slavery. Studying the narrative from a mathematical …

Du Dialogue Au Dialogisme : Enjeux Du Style Dans Le Mandat, Fortuné Nkonene-Benha

Présence Francophone: Revue internationale de langue et de littérature

This article takes an analytical look at the Ousmane Sembène’s novelistic prose: precisely he proposes a poetic and stylizing reading of Le mandat. First grasping the textual structure of this classical work from dialogue, we show its characteristics (psittacism of the characters, polemical exchanges under apparent dialectical interactions, presence of epistolary exchanges). In a second movement, the enunciative heterogeneity laid bare enables us to confirm a cultural hypotext that deeply works on the Sembenian literary language, putting it on a popular invoice. Finally, the analysis succeeds in identifying the “literal novel” as an aesthetic category and scriptural parade that …

Chronologie D’Ousmane Sembène : Trajectoire, Oeuvres Et Contextes, Edoardo Cagnan

Présence Francophone: Revue internationale de langue et de littérature

This chronology is based on several research works, as well as on several other chronologies. Conceived as a pedagogical tool, its aim is to show Sembène’s trajectory in the literary and cinematographic fields. The novelist-filmmaker’s life and work are linked to other political and cultural events that have marked Senegal, sub-Saharan Africa, the black world, and the French-speaking world.

Livres Reçus (N° 100)

Présence Francophone: Revue internationale de langue et de littérature

No abstract provided.

Abstracts (N° 100)

Présence Francophone: Revue internationale de langue et de littérature

No abstract provided.

Parties Annexes (N° 100)

Présence Francophone: Revue internationale de langue et de littérature

No abstract provided.

Présentation, Mbaye Diouf, Edoardo Cagnan

Présence Francophone: Revue internationale de langue et de littérature

No abstract provided.

French 203: Grammar & Conversation: A Faculty-Led Inquiry Into Reflective & Scholarly Teaching Benchmark Portfolio, Erica Schauer

UNL Faculty Course Portfolios

The following Benchmark Portfolio is the product of a full reassessment of FRENCH 203: CONVERSATION & GRAMMAR, an intermediate-level grammar course that serves as a prerequisite for students pursuing a major or a minor in French at UNL. Previously, French 203 had been a review course that covered the essential grammar structures discussed in 101, 102, 201 and 202 and invited students to practice these structures orally with peers in class. This new iteration of the course, however, seeks to broaden the reach of student comprehension of French as a functional tool of communication by requiring students to understand and …

« Iel Dit Quoi ? » : A Study Of The Origins And Evolution Of Francophone Gender-Neutral Pronouns And Inclusive Language And A Discussion Of French Versus Canadian Acceptance, Alyssa Claire Langlois

Honors Theses

Our interpretation of human gender identity has never been constant. And with it, language has always shifted in order to best represent the many different gender identities and expressions that people associate with themselves. This research examines the current gender-inclusive and gender-neutral French language that exists in both France and Canada. I use three factors: occupational nouns, l’écriture inclusive, and neopronouns, especially iel, the most common. In this thesis, I evaluate what exists, what has yet to be accepted, and the many different public reactions. I analyzed statements from official language offices, current event articles, and opinions pieces, as well …

Entre Multilinguisme Et Multiculturalisme : Une Nouvelle Traduction D’Incendies De Wajdi Mouawad, Natalie Larson

Honors Theses

Incendies de Wajdi Mouawad, écrite en 2003, est la deuxième pièce de la tétralogie intitulée « Le sang des promesses ». Les quatre pièces racontent des histoires différentes mais ont des thèmes similaires. Incendies est l'histoire de jumeaux, Jeanne et Simon, qui découvrent après la mort de leur mère que leur père, qu'ils n'ont jamais connu, est vivant et qu'ils ont peut-être un frère. Ils se lancent alors dans une quête de sens et d'identité, entrecoupée de flashbacks sur le passé de leur mère dans un Liban déchiré par la guerre. Avec son langage poétique qui évoque une tragédie grecque, …

Dire Le Monde : Le Corps Et Ses Écologies Dans Guelwaar D’Ousmane Sembène, Abdoulaye Sall

Présence Francophone: Revue internationale de langue et de littérature

This article focuses on corporality as a focus of meaning in Guelwaar of Ousmane Sembène and, above all, on its multiple relationships with its different ecologies: textual, social, etc. We study, successively, the metamorphosis that is taking place in African societies through the naked body, emaciated or used in a subversive form and the caricature of the political power that we can see in the representation of elongate body, voluminous or profane.

Ousmane Sembène : Une Esthétique Du Diiso, Mbaye Diouf

Présence Francophone: Revue internationale de langue et de littérature

The representation of public speech continues to determine two major components of African text and film, that is, the dialogical and the narrative. As a site of relational negotiations, reminders of the doxa and ceremonial practices, this public word is formulated and refined in instances of verbal performance such as consultation (diiso), panegyric (tagg), farce (foh) or tirade (xas). For an author such as Ousmane Sembène, the elaboration of the text (Le dernier de l’Empire) and of the film (Guelwaar) constitutes a moment of aestheticization of the diiso …

(Transforme Des Mines De Plomb En Or): Webster Et L'Alchimie Du Nous (En Rap), Peter Schulman

World Languages and Cultures Faculty Publications

[Introduction] Auteur de plusieurs disques et de nombreux ateliers d'écriture internationaux, d'un livre pour enfants et d'une d'exposition sur des escclaves fugitifs au Musée national des beaux-arts du Québec¹, le rappeur <> Webster (de son vrai nom Aly Ndiaye) est connu pour la profondeur de ses chansons, nourries d'Histoire (fidèle à sa formation d'historien), mais surtout d'un humanisme qui fait face non seulement aux attitudes racistes qu'il a dû affronter pendant sa jeunesse, et aussi à l'isolement créé par des barrières artificielles imposées par la société québecoise dont il fait partie.

Ousmane Sembène Et Le Cinéma Soviétique, Gesine Drews-Sylla

Présence Francophone: Revue internationale de langue et de littérature

Taking Ousmane Sembène’s internship with the Soviet filmmaker Mark Donskoy as its point of departure, this article traces the entanglement of Sembène’s early films with Soviet cinema. To this end, I will be focusing on the general context of montage and cinema of the Thaw, while giving special consideration to a short Soviet documentary film celebrating Senegalese independence. In particular, paradigms of Thaw cinema can be discerned in Sembène’s Borom Sarret, where they are coupled with the claim to cinematic dialectic, resulting in an active translation into African contexts. In conclusion I would like to offer an intertextual reading …

Critique De L’État Post-Colonial Africain : Esthétique De L’Engagement Dans Le Dernier De L’Empire D’Ousmane Sembène, Bocar Aly Pam

Présence Francophone: Revue internationale de langue et de littérature

This article analyzes Le dernier de l’Empire (1981) by Ousmane Sembène with the main objectives of examining how the postcolonial societies in Africa are touched by many kind of problems addressed by this author in literature. In fact, the book chosen for this study covers the question of the political aspects of the societies, the dictatorship under the name of democracy, corruption as a norm, and many other points. This study examines Sembène’s novel from the point of view of his interpretation of social and political realities. It depicts the post-independence disillusionment of Senegal.

Écoutez ! Une Invitation Au Paysage Sonore Des Films D’Ousmane Sembène, Carina Yervasi

Présence Francophone: Revue internationale de langue et de littérature

The role of sound is analyzed in five films by Ousmane Sembène, including his first films Borom Sarret (1963), Niaye (1964) and La Noire de... [Black Girl] (1966). The sounds weave an ensemble or “braid” themselves into the fabric of the film in accordance with a concept theorized by critic Trish FitzSimons. This specific nature of braided sounds reveals narrative elements by way of Sembène’s sound technologies and choices and thus invites spectators to enter into a dialogic community, or even a discursive community, with the filmmaker, his films, and other spectators world-wide.

L'Atelier Réel – Apprendre Le Français Au Niveau Intermédiaire, Kathryn Murphy-Judy

Open Textbooks and Course Materials

This resource is a proficiency-framed, communicative, and task-based e-textbook for Intermediate French II.

Because learners at this level primarily communicate in sentence-level responses about routine, everyday situations, the four units of this e-textbook focus on strengthening skills across the three modes of communication—interpretive, interpersonal, and presentational—while deepening intercultural competencies. Unit themes include:

• presenting oneself and exploring bilingual, intersectional identity;
• engaging in written, oral, and mediated exchanges on topics of personal interest
• examining perspectives, products, and practices of francophone cultures and comparing them with one’s own; and
• mapping linguistic and cultural competencies onto students’ future personal and professional goals.

Mongo Beti, Un Intellectuel Inorganique, Mohamed Aït-Aarab

Présence Francophone: Revue internationale de langue et de littérature

Few African intellectuals left their mark on their century more than Mongo Beti. His work built up a form of progressive thinking which found its raison d’être and its consistency in the fight for subalterns. Today, it is important to understand the ideals which motivated the citizen, the writer, the teacher, committed in the most Sartrean way. But what matters just as much is to question his political and aesthetic reflection which started in 1953. Was Mongo Beti an « out-of-the-system » intellectual ? His forthrightness, his opposition to any political, union or membership organisation, which might want to discipline …