Academic literature on the topic 'Sembène Ousmane'
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Journal articles on the topic "Sembène Ousmane"
Niang, Sada, Ousmane Sembène, and Ousmane Sembene. "Ousmane Sembène Retrospective." African Arts 26, no. 1 (January 1993): 83. http://dx.doi.org/10.2307/3337117.
Full textThomas Delgado, Clarence. "Lettre à Ousmane Sembène." Africultures 76, no. 1 (2009): 14. http://dx.doi.org/10.3917/afcul.076.0014.
Full textChinien, Savrina P. "Ousmane Sembène, artiste postcolonial ?" Africultures 76, no. 1 (2009): 77. http://dx.doi.org/10.3917/afcul.076.0077.
Full textNiang, Sada. "Ousmane Sembène : une vie." Africultures 76, no. 1 (2009): 196. http://dx.doi.org/10.3917/afcul.076.0196.
Full textScott, A. O. "Ousmane Sembène (1923–2007)." Black Scholar 37, no. 2 (June 1, 2007): 64–65. http://dx.doi.org/10.1080/00064246.2007.11413399.
Full textGadjigo and Niang. "Dossier 2: Ousmane Sembène." Black Camera 12, no. 2 (2021): 449. http://dx.doi.org/10.2979/blackcamera.12.2.25.
Full textAndriamirado, Virginie. "Sembène Ousmane affiche son cinéma." Africultures 76, no. 1 (2009): 91. http://dx.doi.org/10.3917/afcul.076.0091.
Full textDemissie, Fassil. "A tribute to Ousmane Sembène." African Identities 5, no. 3 (December 2007): 307–11. http://dx.doi.org/10.1080/14725840701740494.
Full textDemissie, Fassil. "A tribute to Ousmane Sembène." African and Black Diaspora: An International Journal 1, no. 1 (January 2008): 117–20. http://dx.doi.org/10.1080/17528630701676711.
Full textOnyemelukwe, 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 (July 8, 2021): 55–77. http://dx.doi.org/10.4314/ujah.v22i1.3.
Full textDissertations / Theses on the topic "Sembène Ousmane"
Carraway, Carmen Thornton. "Les Quatre « montagnes » transformées: La Perspective d’Ousmane Sembène envers l’occident, la tradition, les hommes et les femmes dans Faat Kiné et Moolaadé." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/82153.
Full textMaster of Arts
Amaral, Rita de Kasia Andrade. "Cinema como prática social: A Representação dos Conflitos Sociais do Senegal na obra cinematográfica de Ousmane Sembéne." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7172.
Full textBourhane, Hassane. "L'œuvre littéraire et cinématographique de Sembène Ousmane face à ses lecteurs." Cergy-Pontoise, 2008. http://biblioweb.u-cergy.fr/theses/08CERG0359.pdf.
Full textThe reading is a complex, which requires, for reasons of relevance and sometimes approach of continuity, to refer to the circumstances generational text, be in touch with the author of the latter, and it furnish to the manufacturer interest here is the reading matter. Like the study of a film challenging the need for a better understanding of its contents and prolong his destiny, relate to the conditions of its achievement, its producer and the interests of its audience. "The literary and cinematic Sembene Ousmane meet its readers" thus becomes the analysis of all these reports of the work with its readers, including its extension beyond the interest playful and ideological consideration by the topic, affect both the social, political and psychological
SANDA, MOUNKAILA. "L'engagement dans "L'harmattan" de Sembène Ousmane : analyse linguistique, sémiologique et pragmatique." Lyon 2, 1993. http://www.theses.fr/1993LYO20056.
Full textUnlike previous studies on commitment in African novels, that were restricted to themes dealt with, ours is a more extensive standpoint which takes into account paratextual field, semiotic analys of content and conversational mimesis or verisimilitude of romantic dialogues
Moukoko, Gobina. "Littérature et humanisme : André Malraux, Sembène Ousmane et le souci de l'homme." Paris 12, 1988. http://www.theses.fr/1988PA120044.
Full textThe guiding spirit of a. Malraux and sembene ousmane literary work leads to a pertinent illustration of humanism in our time : particular attention is given to all that could contribute to self-respect. History is the starting point of their thought process, a story in which they are also privileged narrators, for very often they were also actors. They also give us a testimony, for the most part, based on their own experience, and from which it appears that human condition is, on the whole, tragic. However, far from opening on to a final pessimism, such a statement, according to a. Malraux and sembene o, should make us react, if need be by force to promote mankind's happiness. Therefore mankind's dignity is every one's concern, no matter how important or unimportant he may be, be they heros or humble folk. However, a special responsibility is incombant on the artist, who should be above all mankind's bard, who should deeply instil in us the cult of human dignity. This suppose, on the artist part, and for himself, putting into practice a functional "pedagogy"
Niang, Hadja. "Littérature et cinéma africains dans le champ de création de Sembene Ousmane : la source des adaptations." Thesis, Paris Est, 2009. http://www.theses.fr/2009PEST0007.
Full textGuelwaar, contrary to other works of Sembène Ousmane - Films of which are pulled by news and by novels, followed the inverse sense of the classic plan of the adaptation in the fact that it is a film become novel. Such a peculiarity makes that our work follows two courses: of the paper in the screen and the screen to the paper.The narrative function of Sembène which represents in the writing the art of the African tale constitutes the common point enter a good many of works on the literary and cinematic work of Sembène Ousmane. In leaving of narrative taken care by the "griot-storyteller", our study is anxious to show that the language of the work of Sembène is not only narrative,He is also " monstratif " and especially visual, who language occupies an important part in the reading of the book and the film of Sembène Ousmane
McGlennan, Martin Catherine L. "A contrapuntal examination of selected works by Roger Vailland and Ousmane Sembène, 1950-1960." Thesis, University of Glasgow, 2001. http://theses.gla.ac.uk/731/.
Full textJUNIOR, DAVID MARINHO DE LIMA. "DECOLONIZING THE MINDS: OUSMANE SEMBÈNE AND THE PROPOSAL OF AN AFRICAN CINEMA IN THE 1960S." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25074@1.
Full textCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O colonialismo europeu teve um grande impacto nas sociedades africanas e é sentido até os dias de hoje. Mesmo com as lutas de independência no pós Segunda Guerra Mundial, o peso do domínio colonial se faz presente, especialmente no campo da cultura. A descolonização das mentes foi um desafio assumido pelos intelectuais engajados nas lutas de independência, principalmente aqueles de origem africana. O cinema se tornou uma importante ferramenta nesse processo, surgindo pela primeira vez a proposta de um Cinema Africano, no âmbito da antiga África Ocidental Francesa durante a década de 1960. Este trabalho analisa a produção cinematográfica do senegalês Ousmane Sembène durante o período supracitado. Sua proposta de cinema e sua militância influenciaram muitos artistas e intelectuais africanos, sua busca por uma estética que rejeitasse os padrões europeus e de Hollywood é considerada por muitos a fundação do que se costuma chamar de Cinema Africano. Esta dissertação tem como objetivo contribuir para a análise dos elementos que compõe essa proposta estética e o debate sobre a possibilidade de um Cinema Africano. Além disto, o trabalho se propõe ainda a se debruçar sobre a trajetória de vida de Sembène, seu processo de formação intelectual e seu exílio numa tentativa de estabelecer a conexão entre o artista formado e suas origens, através de sua biografia e suas entrevistas, investigando dessa maneira as relações sociais que deram origem ao cineasta.
European colonialism had a great impact on African societies and is felt to this day. Even with the struggles for independence in the post World War II, the weight of colonial rule is present, especially in the field of culture. The decolonization of the minds was a challenge taken up by intellectuals engaged in the process of decolonization, especially those of African origin. The cinema has become an important tool in this process, appearing for the first time a proposed African Cinema, under the former French West Africa during the 1960s. This paper analyzes the cinematic of the senegalese Ousmane Sembène during the stated period. His proposal for an african cinema and his activism influenced many African artists and intellectuals, his quest for an aesthetic that rejected the European and Hollywood standards is considered by many the foundation of what is called African Cinema. This dissertation aims to contribute to the analysis of aesthetic elements that make up this proposal and the debate about the possibility of an African Cinema. In addition, the study aims to further look into the life trajectory of Sembène, the process of intellectual formation and his exile in an attempt to establish the connection between the artist and his origins, through his biography and his interviews, investigating this way the social relations that gave rise to the filmmaker.
Bampoky, Providence [UNESP]. "A representação da resistência no romance Les bouts de bois de dieu de Ousmane Sembène." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/150635.
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Ce travail de recherche a pour objectif l´étude du roman Les bouts de bois de dieu (1960) de Ousmane Sembène, afin d'analyser la représentation de la résistance, en mettant l'accent sur le mouvement révolutionnaire des cheminots noirs du Dakar-Niger (1947-1948). Pour mieux comprendre ce scénario de résistance, nous partons, en premier lieu, d’une rétrospective de l´occupation coloniale française en Afrique Occidentale (plus précisément au Sénégal et au Soudan français) qui a débuté la procédure vers la dernière décennie du XIX siècle dans cette région et dont le processus a occasionné la naissance d´une littérature négro-africaine d´expression française. Cette perspective s´avère pertinente en ce sens qu'elle permet, en second lieu, d´ouvrir une discussion sur l'émergence d´une nouvelle conscience du colonisé qui décide de se battre contre l'hégémonie du colonisateur dans le but de récupérer sa dignité. Ce refus de soumission et d´exploitation génère tout au long de ce récit, une série d'affrontements entre noirs et blancs; ces derniers étant les seuls détenteurs du pouvoir économique et politique. Dans le traitement de cette thématique, nous nous proposons d'analyser et de discuter, en dernier lieu, les prises de position et les actions de résistance menées par les femmes, lors de la grève des cheminot, comment elles se sont donné des coups de pouce pendant les manifestations et en même temps comment elles ont contribué à l'acceptation des revendications des grévistes (ajustement salarial, allocations familiales, retraite, congés rémunérés, entre autres). Elles ont réellement lutté, et, in fines contribué à la décolonisation du pouvoir administratif et au changement de la mentalité sociale.
Esta dissertação tem como objetivo o estudo do romance Les bouts de bois de dieu (1960) de Ousmane Sembène, com o intuito de analisar a representação da resistência, dando ênfase ao movimento revolucionário dos operários negros da ferrovia Dakar-Níger (1947-1948). Para compreender um pouco mais esse cenário de resistência, partimos, em primeiro lugar, de uma retrospectiva da ocupação colonial francesa na África ocidental (especificamente, no Senegal e no Sudão francês) que se iniciou processualmente a partir da última década do século XIX nessa região e cujo processo propiciou o surgimento de uma literatura negro-africana de expressão francesa. Essa perspectiva torna-se relevante na medida em que possibilita levantar, em segundo lugar, uma discussão sobre o surgimento de uma nova consciência do colonizado que decide lutar contra a hegemonia do colonizador no que tange à recuperação da sua dignidade. Esta postura de recusa à subserviência e à exploração desperta no decorrer desta narrativa uma série de confrontos entre negros e brancos, sendo esses últimos os únicos detentores do poder econômico e político. No tratamento desta temática, propomo-nos analisar e discutir, por fim, o modo como a tomada de posição e as ações de resistência protagonizadas pelas mulheres durante a greve dos operários deram um impulso nas manifestações e contribuíram para a aceitação das reivindicações dos grevistas (ajuste salarial, aposentadoria, férias renumeradas, abonos de família, entre outros). Fatos marcantes na descolonização do poder administrativo e da mudança da mentalidade social.
The purpose of this research on the novel by Ousmane Sembène Les bouts de bois de dieu (God’s Bits of Wood, 1960) is to try to analyze the resistance representation, focusing on the revolutionary movement of the first we will talk about a retrospective of the french colonial occupation in West Africa, mainly in Senegal and in French Soudan where the process started to the last decade of the XIX century in the region, which gave birth to a french negro-african literature. This pespective seems to us relevant since it will allow us to open a discussion on the emergence of a new consciousness of the people under colonial domination who have decided to fight against the egemony of the colonizer in order to recover their dignity. This will to refuse submission and exploitation generates all this narrative a succession of confrontation between black and white people, the latter being the only holder of the economic and political power. When dealing with this theme, we want to analyze and discuss eventually the position and resistance fights waged by women during the strike of railway workers : how they helped one another along during the demonstrations and at the same time how they contributed to the acceptance of labour demands (wage adjustment, child benefits, retirement pension, paid holidays, among others). They really fought to finally contribute to decolonize administrative power and to change social mentality.
CNPq: 190590/2014-9
Bampoky, Providence. "A representação da resistência no romance Les bouts de bois de dieu de Ousmane Sembène /." São José do Rio Preto, 2017. http://hdl.handle.net/11449/150635.
Full textBanca: Pablo Simpson Kilzer Amorim
Banca: Guacira Marcondes Machado Leite
Resumo: Esta dissertação tem como objetivo o estudo do romance Les bouts de bois de dieu (1960) de Ousmane Sembène, com o intuito de analisar a representação da resistência, dando ênfase ao movimento revolucionário dos operários negros da ferrovia Dakar-Níger (1947-1948). Para compreender um pouco mais esse cenário de resistência, partimos, em primeiro lugar, de uma retrospectiva da ocupação colonial francesa na África ocidental (especificamente, no Senegal e no Sudão francês) que se iniciou processualmente a partir da última década do século XIX nessa região e cujo processo propiciou o surgimento de uma literatura negro-africana de expressão francesa. Essa perspectiva torna-se relevante na medida em que possibilita levantar, em segundo lugar, uma discussão sobre o surgimento de uma nova consciência do colonizado que decide lutar contra a hegemonia do colonizador no que tange à recuperação da sua dignidade. Esta postura de recusa à subserviência e à exploração desperta no decorrer desta narrativa uma série de confrontos entre negros e brancos, sendo esses últimos os únicos detentores do poder econômico e político. No tratamento desta temática, propomo-nos analisar e discutir, por fim, o modo como a tomada de posição e as ações de resistência protagonizadas pelas mulheres durante a greve dos operários deram um impulso nas manifestações e contribuíram para a aceitação das reivindicações dos grevistas (ajuste salarial, aposentadoria, férias renumeradas, abonos de família, entre outros)...
Abstract: The purpose of this research on the novel by Ousmane Sembène Les bouts de bois de dieu (God's Bits of Wood, 1960) is to try to analyze the resistance representation, focusing on the revolutionary movement of the first we will talk about a retrospective of the french colonial occupation in West Africa, mainly in Senegal and in French Soudan where the process started to the last decade of the XIX century in the region, which gave birth to a french negro-african literature. This pespective seems to us relevant since it will allow us to open a discussion on the emergence of a new consciousness of the people under colonial domination who have decided to fight against the egemony of the colonizer in order to recover their dignity. This will to refuse submission and exploitation generates all this narrative a succession of confrontation between black and white people, the latter being the only holder of the economic and political power. When dealing with this theme, we want to analyze and discuss eventually the position and resistance fights waged by women during the strike of railway workers : how they helped one another along during the demonstrations and at the same time how they contributed to the acceptance of labour demands (wage adjustment, child benefits, retirement pension, paid holidays, among others). They really fought to finally contribute to decolonize administrative power and to change social mentality
Résumé: Ce travail de recherche a pour objectif l'étude du roman Les bouts de bois de dieu (1960) de Ousmane Sembène, afin d'analyser la représentation de la résistance, en mettant l'accent sur le mouvement révolutionnaire des cheminots noirs du Dakar-Niger (1947-1948). Pour mieux comprendre ce scénario de résistance, nous partons, en premier lieu, d'une rétrospective de l'occupation coloniale française en Afrique Occidentale (plus précisément au Sénégal et au Soudan français) qui a débuté la procédure vers la dernière décennie du XIX siècle dans cette région et dont le processus a occasionné la naissance d'une littérature négro-africaine d'expression française. Cette perspective s'avère pertinente en ce sens qu'elle permet, en second lieu, d'ouvrir une discussion sur l'émergence d'une nouvelle conscience du colonisé qui décide de se battre contre l'hégémonie du colonisateur dans le but de récupérer sa dignité. Ce refus de soumission et d'exploitation génère tout au long de ce récit, une série d'affrontements entre noirs et blancs; ces derniers étant les seuls détenteurs du pouvoir économique et politique. Dans le traitement de cette thématique, nous nous proposons d'analyser et de discuter, en dernier lieu, les prises de position et les actions de résistance menées par les femmes, lors de la grève des cheminot, comment elles se sont donné des coups de pouce pendant les manifestations et en même temps comment elles ont contribué à l'acceptation des revendications des grévistes ...
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Books on the topic "Sembène Ousmane"
Ousmane Sembène: The making of a militant artist. Bloomington: Indiana University Press, 2010.
Find full textGadjigo, Samba. Ousmane Sembène: The making of a militant artist. Bloomington: Indiana University Press, 2010.
Find full textDiagne, Ismaïla. Les sociétés africaines au miroir de Sembène Ousmane. Paris: L'Harmattan, 2004.
Find full textNormes linguistiques et écriture africaine chez Ousmane Sembène. Toronto: Éditions du Gref, 1996.
Find full textGadjigo, Samba. Ousmane Sembène: The making of a militant artist. Bloomington: Indiana University Press, 2010.
Find full textThe films of Sembène Ousmane: Discourse, culture, and politics. Amherst, NY: Cambria Press, 2012.
Find full textGadjigo, Samba. Ousmane Sembène, une conscience africaine: Genèse d'un destin hors du commun. Paris: Homnisphères, 2007.
Find full textPfaff, Françoise. The films of Ousmane Sembène: National Gallery of Canada, 10-15 July 1992 = Les films d'Ousmane Sembène : Musée des beaux-arts du Canda, 10-15 juillet 1992. Ottawa: National Gallery of Canada, 1992.
Find full textBook chapters on the topic "Sembène Ousmane"
Wild, Gerhard. "Sembène, Ousmane." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17912-1.
Full textPanzacchi-Loimeier, Cornelia. "Sembène, Ousmane: Xala." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17916-1.
Full textBranco, Sérgio Dias. "Sembène, Ousmane (1923–2007)." In The Palgrave Encyclopedia of Imperialism and Anti-Imperialism, 1–5. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-91206-6_345-1.
Full textBranco, Sérgio Dias. "Sembène, Ousmane (1923–2007)." In The Palgrave Encyclopedia of Imperialism and Anti-Imperialism, 2379–83. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-29901-9_345.
Full textDiop, Papa Samba. "Sembène, Ousmane: Le docker noir." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17913-1.
Full textFleischmann, Ulrich. "Sembène, Ousmane: O pays, mon beau peuple." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17914-1.
Full textLüsebrink, Hans-Jürgen. "Sembène, Ousmane: Les bouts de bois de Dieu." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17915-1.
Full textDahlgren, Kari. "African Cultural Producers and Border Thinking: Dennis Brutus, Micere Mugo, Ousmane Sembène, and Ngugi wa Thiong’o." In Globalization and Socio-Cultural Processes in Contemporary Africa, 169–97. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137519146_8.
Full textParent, Sabrina. "Camp de Thiaroye by Sembene Ousmane." In Cultural Representations of Massacre, 97–136. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137274977_7.
Full textSorensen, Eli Park. "Form and Temporality in Ousmane Sembène’s Xala." In Postcolonial Studies and the Literary, 75–95. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230277595_4.
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