Open Access. Powered by Scholars. Published by Universities.®
French and Francophone Literature Commons™
Open Access. Powered by Scholars. Published by Universities.®
Articles 1 - 13 of 13
Full-Text Articles in French and Francophone Literature
Hybridité Et Ironie Dans Le Mandat D’Ousmane Sembène, Florence Leca Mercier
Hybridité Et Ironie Dans Le Mandat D’Ousmane Sembène, Florence Leca Mercier
Présence Francophone: Revue internationale de langue et de littérature
Hybridity is the discursive pattern which best expresses the postcolonial experience. Given the interweaving of the aesthetic and the political projects in Sembène’s work, we would like to show that stylistic hybridity in the short story Le mandat emerges in three fields, lexical, enunciative and intertextual, and generates irony, thus connecting aesthetics and politics. In terms of lexicon, hybridity means a combination of idioms or registers; as far as enunciation is concerned, hybridity meets the “discours mixtes” as defined by Laurence Rosier; finally, we can see an intertextual hybridity: Le mandat is built on an underlying folktale structure which relevance …
Les Actes Révolutionnaires De La Gent Féminine Dans Les Bouts De Bois De Dieu D’Ousmane Sembène, Assane Ndiaye
Les Actes Révolutionnaires De La Gent Féminine Dans Les Bouts De Bois De Dieu D’Ousmane Sembène, Assane Ndiaye
Présence Francophone: Revue internationale de langue et de littérature
As a committed writer, Ousmane Sembène reminds the critical struggles led by women during the railway workers’ strike with the intention of taking part in the establishment of more fair world. The social commitment of the man originated from Ziguinchor is supported by various feminine figures embodying the ideology of the Senegalese novelist about freedom of speech. In order to show that Sembène is a revolutionary, we focused on ten militants in Les bouts de bois de Dieu. Through a sociocritical approach, this article has tried to reveal women’s activism.
De Marseille À Moscou : Retour Sur Le Contexte Politique Des Années De Formation D’Ousmane Sembène (1946-1962), Gabrielle Chomentowsky
De Marseille À Moscou : Retour Sur Le Contexte Politique Des Années De Formation D’Ousmane Sembène (1946-1962), Gabrielle Chomentowsky
Présence Francophone: Revue internationale de langue et de littérature
This article seeks to reconsider through some archival documents and testimonies the first years of political and artistic formation of the writer-filmmaker Ousmane Sembène, from his years in Marseille to his first trips to the Soviet Union in 1958 and 1962.
Écritures Dans Les Films D’Ousmane Sembène : Enjeux Linguistiques Et Réception Cinématographique, Louis Ndong
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
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.
Chronologie D’Ousmane Sembène : Trajectoire, Oeuvres Et Contextes, Edoardo Cagnan
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.
Ousmane Sembène : Une Esthétique Du Diiso, Mbaye Diouf
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 …
Ousmane Sembène Et Le Cinéma Soviétique, Gesine Drews-Sylla
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
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
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’Humour Didactique Dans Guelwaar D’Ousmane Sembène, Anthère Nzabatsinda
L’Humour Didactique Dans Guelwaar D’Ousmane Sembène, Anthère Nzabatsinda
Présence Francophone: Revue internationale de langue et de littérature
In Guelwaar, film and novel by Ousmane Sembène (1923- 2007), humor often makes you smile; and when it is comical, it is ironic and parodic. These aspects highlight unusual or contradictory aspects, even serious situations. The aim of this caustic humor is to correct negative situations, especially to denounce the defects of hypocrisy and intolerance. The humorous strategy in Guelwaar is part of the Senegalese filmmaker-novelist’s perspective of a didactic project aimed at the whole of Africa.
Figures De Vulnérabilité Et Résistance Dans Une Si Longue Lettre De Mariama Bâ, Moolaadé D'Ousmane Sembène Et La Grève Des Bàttu D'Aminata Sow Fall, Kasereka Kavwahirehi
Figures De Vulnérabilité Et Résistance Dans Une Si Longue Lettre De Mariama Bâ, Moolaadé D'Ousmane Sembène Et La Grève Des Bàttu D'Aminata Sow Fall, Kasereka Kavwahirehi
Présence Francophone: Revue internationale de langue et de littérature
This article is about figures of vulnerability and resistance or "vulnerability in resistance" in A so long letter by Mariama Bâ, Moolaade by Ousmane Sembène and La grève des bàttu by Aminata Sow Fall. It aims to show that no one can be locked in their vulnerability. The individual, even the most vulnerable, is always more than his vulnerability that he can mobilize as a resource in the organization of resistance against the institution or the unjust norms of which his vulnerability is the product. If one recongnizes "porosity of the subject with regard to the social", which porosity means …
Ousmane Sembène Et Le Cinéma Politique, Samba Gadjigo
Ousmane Sembène Et Le Cinéma Politique, Samba Gadjigo
Présence Francophone: Revue internationale de langue et de littérature
The study examines how Ousmane Sembene positions himself as a fiimmakerthrough his ideology. it begins with a summary of his trade union days on the docks of Marseille, and continues with his memberships in the CGT (Confederation generale des travailleurs), the French Communist Party, and other sister organisations. Further, the study provides a sketch of Sembene's ideal society and finally analyze the role he attributes to cinema in such a setting. The study concludes with a discovery ofthe main features of politically committed filmmaking for Ousmane Sembene.