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Journal articles on the topic 'Ousmane'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Onyemelukwe, Ifeoma Mabel, Abubakar Dauda Adamu, and Chukwunonso Hyacinth Muotoo. "Le Griot Dans La Litterature Postcoloniale: Une Etude De Guelwaar De Sembene Ousmane." UJAH: Unizik Journal of Arts and Humanities 22, no. 1 (2021): 55–77. http://dx.doi.org/10.4314/ujah.v22i1.3.

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Le griot dans la société traditionnelle africaine de l’ère précoloniale est un personnage complexe chargé d’une myriade de fonctions. Il est bien respecté et honoré. La présente étude se donne l’objectif d’examiner profondément la peinture du griot dans la littérature africaine postcoloniale utilisant Guelwaar de Sembène Ousmane comme texte de base tout en établissant ses fonctions et ses portraits. L’étude privilégie quelques théories critiques comme le postcolonialisme, les théories marxiste et féministe. De plus, l’examen s’effectue à la lumière de l’image du griot d’antan et des sept catég

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2

Bakari, Imruh. "Ousmane Sembene." Wasafiri 23, no. 1 (2008): 64–65. http://dx.doi.org/10.1080/02690050701778272.

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3

Niang, Sada, Ousmane Sembène, and Ousmane Sembene. "Ousmane Sembène Retrospective." African Arts 26, no. 1 (1993): 83. http://dx.doi.org/10.2307/3337117.

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4

Manji, Ambreena. "Law, labour and resistance to French colonialism in Sembene Ousmane's Les Bouts de Bois de Dieu." Legal Studies 25, no. 2 (2005): 320–36. http://dx.doi.org/10.1111/j.1748-121x.2005.tb00617.x.

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This article is concerned with the portrayal of law in colonial conflict in the work of Senegalese author Sembene Ousmane, focussing in particular on the novel Les Bouts de Bois de Dieu. There Ousmane dramutises an actual strike of railway workers in 1947 in order to mount a prophetic critique of post-independence Senegal. In convening a tribunal to try strike-breakers, the workers demonstrate the constitutive, law-creating power which, Ousmane implies, still resides in newly independent peoples. This alternative legality is achieved in spite of the twin pressures of orthodox universalism, on

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5

Gadjigo and Silverman. "Ousmane Sembene (1923–2007)." Framework: The Journal of Cinema and Media 61, no. 2 (2020): 9. http://dx.doi.org/10.13110/framework.61.2.0009.

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6

Thomas Delgado, Clarence. "Lettre à Ousmane Sembène." Africultures 76, no. 1 (2009): 14. http://dx.doi.org/10.3917/afcul.076.0014.

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7

Chinien, Savrina P. "Ousmane Sembène, artiste postcolonial ?" Africultures 76, no. 1 (2009): 77. http://dx.doi.org/10.3917/afcul.076.0077.

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8

Niang, Sada. "Ousmane Sembène : une vie." Africultures 76, no. 1 (2009): 196. http://dx.doi.org/10.3917/afcul.076.0196.

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9

Adams, A. V. "Ousmane Sembene's: FAAT KINE." Nka Journal of Contemporary African Art 2002, no. 16-17 (2002): 100–103. http://dx.doi.org/10.1215/10757163-16-17-1-100.

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10

Scott, A. O. "Ousmane Sembène (1923–2007)." Black Scholar 37, no. 2 (2007): 64–65. http://dx.doi.org/10.1080/00064246.2007.11413399.

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11

Gadjigo and Niang. "Dossier 2: Ousmane Sembène." Black Camera 12, no. 2 (2021): 449. http://dx.doi.org/10.2979/blackcamera.12.2.25.

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12

Woode, Samuel N. "The Money Order." Public Voices 3, no. 2 (2017): 113. http://dx.doi.org/10.22140/pv.399.

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13

Sankale, Sylvain. "Ousmane Sow est mon ami..." Présence Africaine 191, no. 1 (2015): 63. http://dx.doi.org/10.3917/presa.191.0063.

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14

Watson, Julia. "Ousmane Sembene: A Memorial Tribute." Research in African Literatures 38, no. 4 (2007): 4–6. http://dx.doi.org/10.2979/ral.2007.38.4.4.

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15

Andriamirado, Virginie. "Sembène Ousmane affiche son cinéma." Africultures 76, no. 1 (2009): 91. http://dx.doi.org/10.3917/afcul.076.0091.

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16

Demissie, Fassil. "A tribute to Ousmane Sembène." African Identities 5, no. 3 (2007): 307–11. http://dx.doi.org/10.1080/14725840701740494.

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17

Demissie, Fassil. "A tribute to Ousmane Sembène." African and Black Diaspora: An International Journal 1, no. 1 (2008): 117–20. http://dx.doi.org/10.1080/17528630701676711.

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18

Thomas, Dominic. "Ousmane Sembene's footprint in context." International Journal of Francophone Studies 11, no. 4 (2008): 657–60. http://dx.doi.org/10.1386/ijfs.11.4.657_7.

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19

Mabanckou, Alain. "Ousmane Sow : la sculpture du spectacle." Présence Africaine 159, no. 1 (1999): 211. http://dx.doi.org/10.3917/presa.159.0211.

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20

Yousaf, Nahem. "Sembene Ousmane and ‘rhetorical film form’." Wasafiri 11, no. 22 (1995): 49–53. http://dx.doi.org/10.1080/02690059508589457.

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21

Bové, Bruno. "Sembène Ousmane (1923-2007), une biographie." Africultures 76, no. 1 (2009): 28. http://dx.doi.org/10.3917/afcul.076.0028.

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22

Mongo-Mboussa, Boniface. "Sembène Ousmane et l'extraversion de l'Afrique." Africultures 76, no. 1 (2009): 74. http://dx.doi.org/10.3917/afcul.076.0074.

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23

Mestaoui, Lobna. "Ousmane Sembène, entre littérature et cinéma." Babel, no. 24 (December 31, 2011): 245–56. http://dx.doi.org/10.4000/babel.190.

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24

Jonassaint, Jean. "Le cinéma de Sembène Ousmane, une (double) contre-ethnographie." Ethnologies 31, no. 2 (2010): 241–86. http://dx.doi.org/10.7202/039372ar.

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Dans un premier temps, cet article brosse brièvement une biographie intellectuelle de Sembène Ousmane pour faire ressortir les rapports entre sa production et sa trajectoire de sujet sénégalais, Ousmane Sembène de son vrai nom, devenu le romancier et cinéaste Sembène Ousmane. Du même coup, à partir d’une lecture de l’évolution des titres de ses romans du français au wolof, du Docker noir (1956) à Xala (1973), il tente d’expliquer son passage de l’écrit à l’écran. Dans un deuxième temps, ce texte montre la cohérence interne de l’oeuvre cinématographique de La Noire de... (1966) à Moolaadé (2004

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25

Galtier, Gérard. "Ousmane Moussa Diagana, Dictionnaire soninké-français (Mauritanie)." Mandenkan, no. 50 (December 1, 2013): 195–98. http://dx.doi.org/10.4000/mandenkan.316.

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26

Mboussa, Boniface Mongo. "Sembène Ousmane et la question de l'oralité." Présence Africaine 179-180, no. 1 (2009): 151. http://dx.doi.org/10.3917/presa.179.0151.

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27

Amkpa, A., and G. SenGupta. "History in Ousmane Sembene's Guelwaar and Ceddo." Nka Journal of Contemporary African Art 2010, no. 27 (2010): 14–21. http://dx.doi.org/10.1215/10757163-2010-27-14.

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28

VETINDE, LIFONGO. "Sex, Power, and Community in Ousmane Sembène’s." Matatu 39, no. 1 (2011): 441–54. http://dx.doi.org/10.1163/9789401200745_024.

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29

BELOUD, Lamia Fatima. "Ousmane Sembene : l’écriture au service de l’Histoire." ACTA IASSYENSIA COMPARATIONIS 25, no. 1 (2020): 55–62. http://dx.doi.org/10.47743/aic-2020-1-0006.

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30

Woodward, Servanne. "Reversible : language issues in Moolaadé (Sembène Ousmane 2004)." African Renaissance 14, no. 3/4 (2017): 129–42. http://dx.doi.org/10.31920/2516-5305/2017/v14n3_4a9.

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31

Mushengyezi, Aaron. "Reimaging Gender and African Tradition? Ousmane Semb�ne'sXalarevisited." Africa Today 51, no. 1 (2004): 46–62. http://dx.doi.org/10.2979/aft.2004.51.1.46.

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32

Hassan, Salah M. "Native to Native the Sculpture of Ousmane Sow." African Arts 32, no. 4 (1999): 36. http://dx.doi.org/10.2307/3337667.

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33

Gadjigo, Samba. "Ousmane Sembene: La lutte continue! A Personal Tribute." Research in African Literatures 38, no. 4 (2007): 1–3. http://dx.doi.org/10.2979/ral.2007.38.4.1.

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34

Fofana, A. T. "Ousmane Sembene: The making of a militant artist." African Affairs 110, no. 441 (2011): 669–70. http://dx.doi.org/10.1093/afraf/adr050.

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35

Wiltshire, Caroline R. "Constraints on Pulaar phonology By Mamadou Ousmane Niang." Language 75, no. 1 (1999): 180–81. http://dx.doi.org/10.1353/lan.1999.0046.

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36

Mulvey, Laura. "Xala,Ousmane Sembene 1976: The carapace that failed." Third Text 5, no. 16-17 (1991): 19–37. http://dx.doi.org/10.1080/09528829108576325.

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37

Mulvey, Laura. "Xala, Ousmane Sembene (1974): The Carapace That Failed." Camera Obscura: Feminism, Culture, and Media Studies 11, no. 1 (1993): 48–70. http://dx.doi.org/10.1215/02705346-11-1_31-48.

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38

Ade Ojo, S. "André Malraux et Sembène Ousmane: Peintres du prolétaire." Neohelicon 18, no. 1 (1991): 117–54. http://dx.doi.org/10.1007/bf02092525.

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39

Edwards, Carole. "Espaces identitaires et discours paratopique chez Ousmane Sembène." French Review 90, no. 4 (2017): 145–58. http://dx.doi.org/10.1353/tfr.2017.0198.

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40

Mouchard, Claude. "Du Darfour à la Loire avec Ousmane pour commencer." Po&sie 125, no. 3 (2008): 113. http://dx.doi.org/10.3917/poesi.125.0113.

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41

Holder, Gilles. "Chérif Ousmane Madani Haïdara et l’association islamique Ançar Dine." Cahiers d'études africaines, no. 206-207 (June 1, 2012): 389–425. http://dx.doi.org/10.4000/etudesafricaines.17056.

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42

Dick, Tambari Ogbonanwii. "Revolutionary consciousness in Ousmane Sembene’s God’s bits of wood." AFRREV LALIGENS: An International Journal of Language, Literature and Gender Studies 8, no. 2 (2019): 110. http://dx.doi.org/10.4314/laligens.v8i2.10.

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43

Iyam, David Uru. "The Silent Revolutionaries: Ousmane Sembene's Emitai, Xala, and Ceddo." African Studies Review 29, no. 4 (1986): 79. http://dx.doi.org/10.2307/524007.

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44

Sorensen. "Naturalism and Temporality in Ousmane Sembène's Xala." Research in African Literatures 41, no. 2 (2010): 222. http://dx.doi.org/10.2979/ral.2010.41.2.222.

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45

Lindo. "Ousmane Sembene's Hall of Men: (En)Gendering Everyday Heroism." Research in African Literatures 41, no. 4 (2010): 109. http://dx.doi.org/10.2979/ral.2010.41.4.109.

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46

Zadi, Samuel. "The Irony of ‘African Solidarity’ in Ousmane Sembene’s Mandabi." Humanities 7, no. 1 (2018): 7. http://dx.doi.org/10.3390/h7010007.

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47

Kwate Nee Owoo. "The Language of Real Life: Interview with Ousmane Sembène." Framework: The Journal of Cinema and Media 49, no. 1 (2008): 27–29. http://dx.doi.org/10.1353/frm.0.0011.

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48

Samba Gadjigo. "Art for Man's Sake: A Tribute to Ousmane Sembène." Framework: The Journal of Cinema and Media 49, no. 1 (2008): 30–34. http://dx.doi.org/10.1353/frm.0.0014.

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49

Mushengyezi, Aaron. "Reimaging Gender and African Tradition? Ousmane Sembene's Xala revisited." Africa Today 51, no. 1 (2004): 47–62. http://dx.doi.org/10.1353/at.2004.0070.

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50

Julien, Eileen. "Normes linguistiques et ecriture africaine chez Ousmane Sembene (review)." Research in African Literatures 31, no. 3 (2000): 179–81. http://dx.doi.org/10.1353/ral.2000.0084.

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