Relevant bibliographies by topics / Mariam Bâ

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Mariam Bâ'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Mariam Bâ"

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Gacoin-Marks, Florence. "Ambiguïtés génériques dans une si longue lettre de Marima Bâ." Acta Neophilologica 42, no. 1-2 (December 30, 2009): 187–95. http://dx.doi.org/10.4312/an.42.1-2.187-195.

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La presente contribution a pour objectif de replacer Une si longue lettre de la romanciere senegalaise Mariama Bâ dans le contexte du genre epistolaire, d'une part, en montrant son caractere hybride sur le plan forme! (ce roman peut etre envisage a la fois comme une lettre, un joumal intime et un roman a la premiere personne) et, d'autre part, en determinant comment le choix de ce genre specifique, qui implique l'existence d'un narrataire (destinataire de la lettre), contribue a la transmission du lllesage ideolgique (feministe) au coeur du project romanesque de Mariama Bâ.
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Nnaemeka, Obioma. "Mariama Bâ: Parallels, convergence, and interior space." Feminist Issues 10, no. 1 (March 1990): 13–35. http://dx.doi.org/10.1007/bf02686516.

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Tchokothe, Rémi Armand. "Mariama Bâ et Djaïli Amadou Amal : Une si Longue Lettre des (Im)patientes." HYBRIDA, no. 2 (June 28, 2021): 201. http://dx.doi.org/10.7203/hybrida.2.20603.

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Cette contribution « Mariama Bâ et Djaïli Amadou Amal : Une si Longue Lettre des (Im)patientes » relit/relie le classique Une si longue lettre (1980) de la Sénégalaise Mariama Bâ à travers le prisme de l’inter-actualité avec Les Impatientes (2020) de la Camerounaise Djaïli Amadou Amal. Nous mettons l’accent sur les synergies 1. Philosophico-lexicale (des mots du pulaaku sur les maux de la polygamie). 2. D’itinéraire littéraire. 3. Narratologique (voix et voies des (im)patientes) et 4. Stylistique (lettre contée munyalement comme thérapie libératrice et émancipatrice). Nous insistons néanmoins sur Les Impatientes car on ne compte plus les travaux publiés sur Une Si Longue Lettre, alors qu’on ne trouve que quelques entretiens dans les médias avec Djaïli Amadou Amal. Cet article s’appuie sur une philosophie/théorie proposée par Les Impatientes pour étudier le statu quo sur le sort des femmes dans deux contextes musulmans, le Munyal (« patience »). Par ailleurs, il contribue à la constitution d’un corpus critique sur l’œuvre d’une voix littéraire féminine émergente au Cameroun.
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Heistad, Deirdre Bucher. "Beyond Mariama Bâ: Senegalese Women Writers in the Classroom." Women in French Studies 2002, no. 1 (2002): 273–95. http://dx.doi.org/10.1353/wfs.2002.0042.

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Sarvan, Charles Ponnuthurai. "Feminism and African Fiction: The Novels of Mariama Bâ." MFS Modern Fiction Studies 34, no. 3 (1988): 453–64. http://dx.doi.org/10.1353/mfs.0.0814.

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Semujanga, Josias. "De la narration autobiographique dans Une si longue lettre de Mariama Bâ." Les Lettres Romanes 51, no. 3-4 (August 1997): 289–99. http://dx.doi.org/10.1484/j.llr.4.00973.

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Warner, Tobias. "How Mariama Bâ Became World Literature: Translation and the Legibility of Feminist Critique." PMLA/Publications of the Modern Language Association of America 131, no. 5 (October 2016): 1239–55. http://dx.doi.org/10.1632/pmla.2016.131.5.1239.

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How did Mariama Bâ‘s 1979 novel Une si longue lettre (So Long a Letter) become one of the most widely read, taught, and translated African texts of the twentieth century? This essay traces how the Senegalese author's work became recognizable to a global audience as an attack on polygamy and a celebration of literary culture. I explore the flaws in these two conceptions of the novel, and I recover aspects of the text that were obscured along the way—especially the novel's critique of efforts to reform the legal framework of marriage in Senegal. I also compare striking shifts that occur in two key translations: the English edition that helped catalyze Bâ‘s success and a more recent translation into Wolof, the most widely spoken language in Senegal. By reading Letter back through these translations, I reposition it as a text that highlights its distance from an audience and transforms this distance into an animating contradiction.
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Dieng, Mamadou. "Les femmes, la communication et le pouvoir traditionnel dans l'œuvre de Mariama Bâ." French Review 92, no. 4 (2019): 40–53. http://dx.doi.org/10.1353/tfr.2019.0273.

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Dubek, Laura. "Lessons in solidarity: Buchi Emecheta and Mariama Bâ on female victim(izer)s." Women's Studies 30, no. 2 (April 2001): 199–223. http://dx.doi.org/10.1080/00497878.2001.9979371.

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Celarent, Barbara. "Une si longue letter. By Mariama Bâ. Dakar: Les Nouvelles Editions Africaines, 1980. Pp. 131.So Long a Letter. By Mariama Bâ. Translated by Modupé Bodé-Thomas. London: Heinemann, 1981. Pp. 90." American Journal of Sociology 116, no. 4 (January 2011): 1391–96. http://dx.doi.org/10.1086/659876.

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Dissertations / Theses on the topic "Mariam Bâ"

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Flavia, Aiello Traore. "Translating Culture: Literary Translations into Swahili by East African Translators." Universitätsbibliothek Leipzig, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-137419.

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Lengo la makala hii ni kujaribu kufafanua jinsi wafasiri walivyotafsiri kwa Kiswahili baadhi ya riwaya zilizoandikwa kwa lugha za kigeni, enzi za baada ya nchi za Afrika kujipatia uhuru. Kwa ajili ya mada yenyewe nimechagua mkusanyo wa riwaya nne zilizotafsiriwa na Watanzania, yaani Shamba la wanyama (kilichoandikwa na Fortunatus Kawegere, 1967), Shujaa Okonkwo (Clement Ndulute, 1973), Mzee na bahari (Cyprian Tirumanywa, 1980) na Barua ndefu kama hii (Clement Maganga, 1994). Wafasiri hao walikabiliana vipi na vipengele vya kitamaduni vya lugha chanzi (za jamii zenye maisha, dini, misemo, methali tofauti na yao n.k.)? Kwa kuzingatia swali hilo, makala inaeleza baadhi ya mbinu zilizotumiwa na watafsiri wa Kiswahili wakishughulika na maandishi kutoka kwa fasihi ya kigeni.
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Perret, Arnaud. "Mariama Bâ: un féminisme né à l'intersection de deux cultures." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5350/.

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Many critics consider Mariama Bâ as a feminist writer, but the reader of her two novels might wonder what characterizes her work as such. Therefore, the aim of each chapter, in order of appearance, is to analyze first the genres, then the elements of African tradition and Western modernity, the characters of both works and the themes of the novels, with the intention of defining the author's feminism, which takes its source in dichotomies, paradoxes and contradictions. In order to expose the author's point of view on the condition of women, it appears important to situate the diegesis in its context. Also, the study is supported by references on the Senegalese culture, by genres, narrative and feminist theories and by critiques on the work itself.
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Assaad, Christel. "La femme entre tradition et modernité dans le roman Une si Longue Lettre de Mariama Bâ." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-23612.

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Haaker, Malin. "La femme africaine dans Une si longue lettre de Mariama Bâ et Assèze l'africaine de Calixthe Beyala." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-33929.

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This study is based on the main female African characters in Une si longue lettre written in 1979 by Mariama Bâ and Assèze l’Africaine written in 1994 by Calixthe Beyala. Both novels describe the African society and the obstacles that exist for women in this society where men dominate. This study presents the transformation of Ramatoulaye that is a traditional and passive woman but she becomes modern. In addition, it presents the transformation of young Aïssatou that becomes an independent and strong woman, in these two novels. These two women are facing similar forms of discriminations and oppression in the African society and they are struggling against injustice in various ways. The aim of this analysis is to investigate how the image of the African women and the feminism in Africa show and develop through the main characters, Ramatoulaye and Aïssatou. The conclusion reveal that the image of the African women has considerably changed over the years in a positive way and that Femininity is a cultural construction and not a natural construction. The conclusion further reveal that even today a woman is not independent, but is still considered "the Other" in relation to the man.
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Erfort, Paulene. "Introspection, female consciousness and the quiet revolution in the novels of Nawal El Saadawi and Mariama Bâ." Thesis, University of the Western Cape, 2012. http://hdl.handle.net/11394/3996.

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Magister Artium - MA
This thesis considers introspection and female consciousness in the novels Woman At Point Zero and Two Women In One by Nawal El Saadawi, an Egyptian writer and So Long A Letter and Scarlet Song by Mariama Bâ, a Senegalese writer. This study looks at how narrative technique impacts on questions of self and identity, subjective experience, coherence and transformation. The form of the novel is also highly significant because it shows the connection between form, individualism and consciousness of experience and this is important in understanding these questions of self and identity, subjective experience, coherence and transformation. It allows insight into the internal workings of the individual. The form of the novel is therefore particularly relevant because of the focus on the individual, subject and the consciousness of the individual. Pertinent to the discussion in this thesis is how narrative provides a creative space to enable the reflexive process and also how narrative contributes to the construction and understanding of the self and identity. The dynamic between narratology and novel form, on the one hand, the modes of confession and letter writing, on the other are considered both of which use first person narration.Confession as a genre of personal narrative enables the subject to move inward as part of the self reflection process which allows knowledge of the self. Letter writing a form of personal narrative plays an important role in the exploration of the self and identity.The novel in letter form forces the introspective process through the act of writing and the character reaches a realisation about events and experiences which have shaped her present consciousness. By contrast third person narration in Scarlet Song and Two Women In One foregrounds the social context which shapes the characters‟ sense of self and identity and worldview. The narrative which is rebellious and resistant in form,although quietly so, enables a “revolution” in the character‟s self- and world view.
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Winberg, Martin. "Les sentiments ambigus d'Ousmane Guèye : La négritude, la polygamie et l'homme sénégalais dans Un chant écarlate de Mariama Bâ." Thesis, Växjö University, School of Humanities, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1835.

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Dabbagh, Lori. "Faire son chemin de Damas : le (soi-disant) Tiers monde et la femme dite "noire": Toni Morrison, Maryse Condé et Mariama Bâ." Paris 3, 1995. http://www.theses.fr/1995PA030136.

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Avant de partir a la recherche de l'autre, il faudra tout d'abord voyager au fond de soi. Les ecrits de trois femmes dites "noires" - toni morrison, afro-americaine, maryse conde, antillaise, et mariama ba, africaine - aideront le chercheur a atteindre l'autre rive et a revenir a lui-meme, mais transforme par son experience, tel saint paul sur le chemin de damas. Car la litterature dite americaine n'existerait pas sans la presence du peuple noir, comme l'affirme de toni morrison, et sans les ecrits de cet auteur, la quete de l'autre aux antilles ou en afrique n'aura pas lieu. Les trois romancieres auront accompli une telle recherche. Quant a leurs personnages, tres peu arriveront a surmonter les entraves et embrasser l'element autre en eux-memes et a retrouver leur reflet chez l'etranger. Ceux qui feront le pont avec l'autre reussiront dans le cadre de leur communaute ou de leur groupe racial culturel, ce qui est deja un pas en avant
Before undertaking the search for the other, it is necessary to travel to the farthest depths of oneself. The works of three so-called "black" women toni morrison, african-american, maryse conde, west indian, and mariama ba, african will help the researcher to reach the other shore and to come back to himself, but transformed by the experience, like saint paul on the road to damascus. For what is called american literature would not exist without the presence of black people, as toni morrison asserts, and without this author's works, the quest for the other in the west indies and in africa would not take place. These three women, as novelists, will have accomplished such a search. As for their characters, very few will manage to overcome obstacles and embrace the "other" element in themselves and find their mirror image reflected in the stranger. Those who finally build a bridge with the other will succeed in doing so in their own community or within their racial cultural group, which is already a step forward
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Nilsson, Birgitta. "Deux générations d’écrivaines africaines. Les femmes qui se conforment aux normes et les femmes qui font du bruit. Mariama Bâ et Calixthe Beyala." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-33864.

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The title of this paper is "Two generations of African writers: Women who conform to norms, and women who make noise. Mariama Bâ and Calixthe Beyala”. In this study we analyze two novels, Une si longue lettre by Mariama Bâ (1979) and Assèze l’Africaine by Calixthe Beyala (1994). We examine the similarities and differences in expression, style and themes. Our objective is to determine whether Bâ and Beyala are representing two different groups of African female writers. We have combined a postcolonial approach with a comparative method. Our hypothesis is that the two novels stand in contrast to each other through differences in themes and styles. In order to test this hypothesis we use previous research. Our analysis shows that the work of Bâ has a sober and refined style of writing. Bâ is raising awareness of the situation of women, without deviating from social norms, choosing themes such as polygamy, sisterhood and the value of education. In the work of Beyala we see a more pronounced political criticism, in a bolder and more agitating style of writing. Our conclusion is that the two novels are strongly differentiated through themes and styles. Bâ and Beyala belong to two different generations of female French-speaking African authors.
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Doig, Katherine. "Correspondances avec l'absence : la fiction épistolaire monologique aux XXe et XXIe siècles." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA127.

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La fiction longue entièrement composée d'une lettre ininterrompue – le roman (ou la pièce) épistolaire monologique – représente un cas de figure négligé, souvent même refusé, par la théorie. Son existence est démontrée ici par un corpus de quinze textes en anglais, français, italien et allemand, de Gide (1902) à Norman (2011) via Yourcenar, Coetzee, Celestini, ou Amis.Ce travail mesure dans un premier temps les dimensions de cet inventaire : sa largeur, grâce à la mise en place d'un cadre formel ; sa longueur historique ; la profondeur de ses interactions avec la lettre réelle, le genre épistolaire, et enfin avec les qualités épistolaires de toute fiction, dont la lettre monologique est un miroir aux déformations calculées.Le corpus révèle l'intérêt de ce cadrage technique grâce à des thèmes récurrents, qui interrogent trois caractéristiques-clé de l'écriture épistolaire. Le thème de la mort de soi (Yourcenar, Coetzee, Bernstein, Robinson, Amis) se conjugue à une réflexion sur la structure physique de tout texte que la lettre rend soudainement tangible, établissant une réflexion sur la lettre-cadavre. Une imagerie apocalyptique (Auster, Coetzee, Amis) problématise ensuite cette idée de la lettre qui se résumerait comme manifestation physique de la mort de l'auteur ; il met en scène un portrait de la temporalité qui ouvre à des superpositions et des rencontres. Ces deux chapitres établissent les pôles du débat pour un dernier, qui emprunte l'imagerie du double pour parler de la communication épistolaire (Gide, Coetzee, Bernstein, Celestini). Après l'absence et la correspondance, ce chapitre interroge le problématique “avec” du titre ; le plan narré de la lettre et le plan dramatique de son envoi sont rejoints par un troisième, pragmatique, posant la question de l'éthique de la correspondance épistolaire, et à travers elle, l'éthique de la fiction même
Long fictions composed of one uninterrupted letter – monologic epistolary fictions – are underrepresented in critical discourse, and frequently shunted more or less overtly beyond its margins. Their existence is brought to light here by one play and fourteen novels in French, English, Italian and German, ranging from 1902 (Gide) to 2011 (Norman) via a cast of authors including Yourcenar, Coetzee, Amis and Celestini.This study aims firstly to fill the critical lacuna, establishing the dimensions of this new sub- genre. It measures the breadth of the formal definitions of the single-letter epistolary novel, the length of its inscription in literary history, and the depth conferred upon it by critical discourse about real letters, the letter-novel genre and a certain epistolary quality to be found in all literature, which our novels set themselves up to reflect and refract.Our rather disparate corpus of texts reveals the interest of this technical framework, haunted as it is by recurrent themes which illuminate the characteristics of monological epistolary writing. Firstly, the theme of one's own death (Yourcenar, Coetzee, Bernstein, Robinson, Amis) shines a light on the physical structure of any text, rendered visible in the format of the letter; this conjunction suggests the idea of the text as corpse. A series of apocalyptic universes complicates this rather empirical portrait, which reads like the symbol of the Death of the Author; novels by Coetzee, Amis and Auster use complex portraits of fictional time to suggest the possibility of coincidence, overlap, meetings both epistolary and literary. These two chapters set up the terms of a final debate concerning literary communication, investigated via the symbol of the double (Gide, Coeztee, Bernstein, Celestini). After the narrative of the text itself and the implied drama of the letter's trajectory, a pragmatic dimension comes to light. This final analysis allows us to investigate the ethics of correspondence, and the letter as one key to understanding those of fiction itself
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Amissine, Itang. "Feminism and translation : a case study of two translations of Mariama Bâ : une si longue lettre (so long a letter) and un chant écarlate (scarlet song)." Diss., 2015. http://hdl.handle.net/2263/44257.

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This study consists of a comparative analysis of two novels (Une si longue lettre and Un chant écarlate) written by the famous female African writer Mariama Bâ and their English translations (So long a letter and Scarlet song) by Modupe Bodé-Thomas and Dorothy Blair. Mariama Bâ’s texts shed light on the different ways in which African women are oppressed by tradition and religion deeply rooted in a patriarchal and post-colonial society. The story of her own life serves as a basis for an effective analysis of both novels in order to determine the extent of her Feminist orientation in her texts, as well as to evaluate the possibilities of female emancipation based on the choices made by her female characters. This study further examines the translation strategies present in the English rendition of Bâ’s novels. Translation involves conveying a message from a source to a target text in a manner that expresses the same message as the original. It also bridges the language and cultural barrier by facilitating understanding between different worlds. In translating Bâ’s novels, the aim is to respect and convey her message of Feminism to an international non-Francophone audience. In order to evaluate whether the translations have achieved the objective of conveying her message, this study will attempt to analyse the translational choices made by each translator as well as to ascertain the success of those choices. This analysis is guided by existing Feminist translation theory. Emphasis is placed on Feminism in general and African Feminism in particular to ascertain Bâ’s own Feminist orientation and how this impacted her writing. This is done firstly by giving a brief synopsis of the two novels. Subsequently, traces of Feminism are identified in both novels, followed by an analysis of the source texts. This is done by applying descriptive models outlined within the framework of descriptive translation studies to compare the source and target texts. This study reveals that despite the many translation strategies that are available, literal/word for word and semantic translations are predominant in the English renditions of Bâ’s novels. The use of these strategies differed in the two translations in question. While Bodé-Thomas preferred a more traditional, literal/word for word translation in her rendition of Une si longue lettre in order to maintain the simplicity of the text and preserve the African aesthetic which is the essence and distinguishing feature of Bâ’s work, Blair opted for a semantic translation which turned out to be an important strategy in her English rendition of Un chant écarlate. Taking the different translational strategies used by Modupe Bodé-Thomas and Dorothy Blair as a case in point, this study proposes that since for the most part, Mariama Bâ’s writing in a European language (French) captures the African content and form and portrays her Feminist beliefs in both her novels, the job of both translators is simply to carry over the same African content and form from the source language to the target language in a similar manner that expresses Bâ’s Feminist beliefs. Key words: Mariama Bâ, Feminism, African Feminism, Feminist translation, descriptive translation studies, post-colonialism, translation studies, autobiography, Dorothy Blair, Modupe Bodé-Thomas, source text, target text, Une si longue lettre, Un chant écarlate, Scarlet song, So long a letter
Mini Dissertation (MA)--University of Pretoria, 2015.
Modern European Languages
MA
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Books on the topic "Mariam Bâ"

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Issa, Amira. Femme-objet dans l'écriture du Nord et l'écriture du Sud: François Mauriac, Marcel Proust, Evelyne Accad, Ezza Agha Malak, Mariama Bâ, Fatou Diom. Paris: L'Harmattan, 2005.

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Mariama Bâ, Une si longue lettre. Honoré Champion, 2016. http://dx.doi.org/10.14375/np.9782745331472.

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Mariama Bâ, Rigoberta Menchú, and Postcolonial Feminism. Peter Lang Publishing, 2001.

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Emerging perspectives on Mariama Bâ: Postcolonialism, feminism, and postmodernism. Trenton, NJ: Africa World Press, 2004.

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Warner, Tobias. The Tongue-Tied Imagination. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284634.001.0001.

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Should a writer work in former colonial language, or in a vernacular? The language question was once one of the great, intractable problems that haunted postcolonial literatures in the twentieth century, but it has since acquired a reputation for being a dead end of narrow nationalism. Instead of asking whether language matters, The Tongue-Tied Imagination explores how the language question itself came to matter. Focusing on the case of Senegal, this book studies the intersection of French and Wolof. Drawing on extensive archival research and an under-studied corpus of novels, poetry, and films in both languages, the chapters follow the emergence of a politics of language from colonization into the early independence decades and through to the era of neoliberal development. Chapters explore the works of well-known francophone authors such as Léopold Senghor, Ousmane Sembène, Mariama Bâ, and Boubacar Boris Diop alongside the more overlooked vernacular artists with whom they are in dialogue. Pushing back against a prevailing view of postcolonial language debates as a terrain of nativism, this book argues for the language question as a struggle over the nature and limits of literature itself. Language debates tend to pull in two directions: first, they produce literary commensurability by suturing vernacular traditions into the normative patterns of world literature; but second, they create space to imagine how literary culture might be configured otherwise. Drawing on these insights, this book models both a new understanding of translation and a different approach to literary comparison.
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Book chapters on the topic "Mariam Bâ"

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Wild, Gerhard. "Bâ, Mariama." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2529-1.

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Schuerkens, Ulrike. "Bâ, Mariama." In Metzler Autorinnen Lexikon, 32–33. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03702-2_23.

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Panzacchi-Loimeier, Cornelia. "Bâ, Mariama: Une si longue lettre." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2530-1.

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"Mariama Bâ." In The Pan-African Pantheon. Manchester University Press, 2021. http://dx.doi.org/10.7765/9781526156839.00045.

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"How Mariama Bâ Became World Literature:." In The Tongue-Tied Imagination, 181–202. Fordham University Press, 2019. http://dx.doi.org/10.2307/j.ctvb938br.10.

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Mojola, Ibiyemi. "The onus of womanhood: Mariama Bâ and Zaynab Alkali." In Writing African Women. Bloomsbury Academic, 2017. http://dx.doi.org/10.5040/9781350224148.ch-010.

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"Women’s Virtue: Engendering Shame." In Scripting Shame in African Literature, edited by Stephen L. Bishop, 117–55. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348431.003.0008.

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A focus on shame and the feminine, considering how female characters and shame are linked in order to address both explicitly female concerns as well as how those concerns can stand in for larger societal issues. The chapter revisits elements from Le vieux nègre et la médaille and Les Bouts de bois de Dieu but concentrates much more on Une si longue lettre by Mariama Bâ, A River Between by Ngugi wa Thiong’o, The Joys of Motherhood by Buchi Emecheta, Nervous Conditions by Tsitsi Dangarembga, short stories by Ama Ata Aidoo, and Half a Yellow Sun by Chimamanda Adichie.
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Warner, Tobias. "How Mariama Bâ Became World Literature: Translation and the Legibility of Feminist Critique." In The Tongue-Tied Imagination, 181–202. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284634.003.0007.

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Abstract:
How did Mariama Bâ’s 1979 novel Une si longue lettre[So Long a Letter] become one of the most widely read, taught, and translated African texts of the twentieth century? This chapter examines how prize committees, translators, editors, and critics all shaped how the Senegalese author’s work became recognizable to a global audience. Bâ’s success came to be bound up with two interpretations of her work: first, that her novel was a broadside against the institution of polygamy in Senegal; and, second, that it was a celebration of the self-fashioning powers of literary culture. This chapter rejects both these accounts, arguing instead that these ways of framing the novel reveal the terms through which postcolonial literatures become legible as world literature. The conversion of Lettreinto world literature is contrasted with its vernacular appropriation by the contemporary Wolof novelist Maam Yunus Dieng, who translates and rewrites this iconic text.
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"6. How Mariama Bâ Became World Literature: Translation and the Legibility of Feminist Critique." In The Tongue-Tied Imagination, 181–202. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823284313-008.

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