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Dissertations / Theses on the topic 'Sembène Ousmane'
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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.
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Cette thèse analysera les façons diverses qu’Ousmane Sembène a mélangé la distinction binaire entre victime et oppresseur, femme et opposant, à travers des intrigues, des personnages, des symboles visuels, et des scènes allégoriques dans ses deux derniers films ; Faat Kiné et Moolaadé.Master of Arts
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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.
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Este projeto tem por finalidade o estudo das representações de conflitos sociais ocorridos na formação do Estado do Senegal nas obras cinematográficas de Ousmane Sembène, da década de 60 até início de 80. Nesse período o Estado estava sob o governo de Leopold Sédar Senghor cujo direcionamento político abrangia a concepção de Socialismo Marxista-Leninista e Negritude. A mudança da literatura ao cinema para Sembène ocorre com o objetivo de alcançar as massas que eram em sua maioria analfabetas. Por isso seus filmes são feitos em wolof e francês, esse ultimo devido a exigências governamentais e interesse de maior amplitude receptiva. Ao estudarmos os conflitos sociais no Senegal do período da recente independência percebemos que as ideias-chave por trás dessa realidade são identidade nacional, solidariedade negra e pan-africanismo. Partimos da concepção que a identidade é uma construção e o uso da raça como sua legitimação enfraquece sua força, pois supor uma solidariedade apenas pelo fato de ser negro diminuí seu poder legitimador.
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Bourhane, Hassane. "L'œuvre littéraire et cinématographique de Sembène Ousmane face à ses lecteurs." Cergy-Pontoise, 2008. http://biblioweb.u-cergy.fr/theses/08CERG0359.pdf.
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La lecture est un acte complexe, qui a besoin, pour des raisons de pertinence d’approche et surtout de continuité, de se référer aux circonstances générationnelles du texte, se mettre en relation avec l’auteur de ce dernier, et de s’en remettre à l’intérêt constructeur qui est ici celui du sujet lisant. Tout comme l’étude d’un film éprouvant la nécessité, pour mieux comprendre son contenu et prolonger son destin, de se rapporter aux conditions de sa réalisation, à son producteur et l’intérêt de son spectateur. « L’œuvre littéraire et cinématographique de Sembène Ousmane face à ses lecteurs » devient ainsi l’analyse de tous ces rapports, de l’œuvre avec ses lecteurs, dont leurs prolongements, au-delà de l’intérêt ludique et idéologique examiné par ce sujet, touchent à la fois le social, politique et le psychologiqueThe 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
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SANDA, MOUNKAILA. "L'engagement dans "L'harmattan" de Sembène Ousmane : analyse linguistique, sémiologique et pragmatique." Lyon 2, 1993. http://www.theses.fr/1993LYO20056.
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L'engagement dans les romans africains dont l'étude n'a été jusque-là perçue que du seul point de vue des thèmes développés,sera abordé ici à travers "L'harmattan" de Sembène Ousmane sur le triple plan de l'univers paratextuel,de l'analyse sémiotique du contenu et de la mimésis conversationnelle ou vraissemblance des dialogues romanesquesUnlike 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
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Moukoko, Gobina. "Littérature et humanisme : André Malraux, Sembène Ousmane et le souci de l'homme." Paris 12, 1988. http://www.theses.fr/1988PA120044.
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Le souffle qui anime l'oeuvre litteraire d'andre malraux et celle de sembene ousmane nous apporte une illustration pertinente de l'humanisme de notre temps : une attention particuliere portee a tout ce qui peut contribuer a la promotion de l'homme et au respect de sa dignite. L'histoire est le point de depart de leur demarche, une histoire dont ils sont aussi des conteurs priviligies parce que, tres souvent, ils en ont ete des acteurs. Ils en donnent ainsi un temoignage fonde generalement sur leur propre experience, et d'ou il ressort que la condition humaine est, dans l'ensemble, tragique. Pourtant, loin de deboucher sur un pessimisme definitif, un tel constat, selon malraux et sembene, devrait nous amener a reagir, au besoin par la force, afin de promouvoir le bonheur de l'homme. Notre dignite est donc en definitive notre affaire a tous, grands ou petits, heros ou humbles gens. Toutefois, une responsabilite particuliere semble revenir ici a l'artiste, qui devrait etre le chantre par excellence de l'homme, qui devrait profondement inculquer en chacun de nous le culte de la dignite humaine. Ceci suppose, de la part de l'artiste lui-meme, et pour son propre compte, la mise au point d'une "pedagogie" fonctionnelleThe 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"
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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.
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Guelwaar, à l’opposé des autres œuvres de Sembène Ousmane – dont les films sont tirés de nouvelles et de romans- a suivi le sens inverse du schéma classique de l’adaptation en ce qu’il est un film devenu roman. Une telle particularité fait que notre travail suit deux parcours : de l’écrit à l’écran et de l’écran à l’écrit. La fonction narrative de Sembène qui représente dans l’écriture l’art du conte africain constitue le point commun entre un bon nombre de travaux sur l’œuvre littéraire et filmique de Sembène Ousmane. A partant du narratif pris en charge par le « griot-conteur », notre étude tient à montrer que le langage de l’œuvre de Sembène n’est pas seulement narratif, il est aussi « monstratif » et surtout visuel, lequel langage occupe une part importante dans la lecture du livre et du film de Sembène OusmaneGuelwaar, 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
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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/.
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JUNIOR, 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.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO 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.
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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
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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.
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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 ...
Mestre
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Nascimento, Jonas Alexandre do. "Pode o subalterno filmar? : a poética política dos filmes La noire de... e Soleil ô." Universidade Federal de Pernambuco, 2015. https://repositorio.ufpe.br/handle/123456789/13843.
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CNPq
Este trabalho tenta responder à necessidade de se estudar as práticas e os discursos das experiências cinematográficas africanas da década de 1960, a partir da análise dos filmes La Noire De... (1966) e Soleil Ô (1967), de Ousmane Sembène e Med Hondo, respectivamente. Neste sentido, ele tem como objetivo principal entender a forma como os cineastas deste período orientaram estética e politicamente seus filmes, ao reescreverem as suas próprias histórias, tomando o controle das imagens como um “local de fala” e “contra-narrativa” anti(neo)colonialista. Como objetivo secundário, este trabalho também busca elaborar uma apresentação geral de algumas questões ligadas à construção discursiva da alteridade africana a partir da produção de conhecimento sobre África e sobre os africanos na história, a fim de melhor entender a influência desse mesmo discurso nas representações cinematográficas e artísticas hegemônicas e sua contraposição estética e política nos projetos cinematográficos dos cineastas do período aqui analisado. Deste modo, a interpretação dos filmes deve estar atenta à dimensão tensa entre forma e conteúdo; entre os fatores fílmicos e os fatores extrafílmicos. Todavia, por meio de uma leitura dialética que não busque separar estas duas dimensões (textuais e contextuais), mas entender como a “poética do filme” reinventa e expressa a própria “política”.
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Akpadomonye, Patrick. "Appropriation et modification des valeurs culturelles françaises dans les romans de Sembene Ousmane." Nancy 2, 1987. http://www.theses.fr/1987NAN21006.
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La naissance à peine plus d'un demi-siècle maintenant d'une littérature africaine d'expression française a donné lieu à une situation délicate pour l'écrivain: oblige de s'exprimer en français, il devait, au début, respecter la forme littéraire du roman français, européen. Cependant, au fur et à mesure que cette littérature s'épanouissait, il devenait évident que la forme même du roman allait subir une évolution pour ne pas dire une modification. En effet, l'écrivain, dans sa tentative de rendre compréhensible d'autres paysages, d'autres hommes, d'autres valeurs esthétiques, remettait en cause le roman "à la française". Le présent travail veut donc être une grille de lecture, aussi complète que possible, d'une production littéraire qui se joue sur deux scènes à la fois. Il a consisté à voir notamment ce que Sembene Ousmane fait de l'héritage culturel européen extrêmement lourd en soi, comment il conçoit le métier littéraire (aspect social et aspect technique) par rapport au modèle français du XIXème siècle, son évolution en tant qu'écrivain africain, et enfin à observer ce qui, dans la langue même de ce dernier, montre un lien avec sa culture d'origine. Au-delà du refus par différents systèmes narratifs du roman traditionnel, on peut noter le désir, chez le romancier, de souligner, de marquer la position particulière du texte dans la littérature françaiseA et d'insister sur la situation conflictuelle qui est la sienneThe emergence of african writers, half a century ago, was greeted with mixed feelings more so as the young writers - under french or english colonial authority - chose to express their thoughts in the latter's language. The evolution of the senegalese - born writer sembene ousmane was the focus of attention here. Emphasis was laid on how he views the role of writer (social aspect and technical aspect) in compa- ison with french novelists of the 19th century; how he assumes western culture and its literary tradition; and finally on the use of african proverbs and cliches in his narrative. This study also showed the stitches where sembene ousmane has been sewing the different bits of his narrative together. Meanwhile these stitches do not jar instead they serve to draw attention on a literary production (work) set concurrently on two scenes and to insist on his peculiar position within the french literature. Above all, there is in his writings evidence of a desire to use the french language with liberty, irrespective of the norms inherent to this language
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Habiyakaré, Thaddée. "De "L'assomoir"aux "Bouts de bois de Dieu" : le monde du travail vu par Émile Zola et Sembène Ousmane." Toulouse 2, 1999. http://www.theses.fr/1999TOU20121.
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Le lecteur familier avec les univers romanesques de Zola et de Sembène a au moins pressenti les échos de Germinal dans les Bouts de bois de Dieu, deux œuvres emblématiques des deux hommes de lettres. A priori éloignés par l'espace et le temps, ces écrivains dégagent pourtant une sensibilité analogue vis-a-vis du monde ouvrier. Le propos de cette thèse consiste, entre autres, à démontrer qu'au-delà des affinités thématiques et idéologiques généralement attestées ou subrepticement évoquées par les critiques, les romans "ouvriers" de nos auteurs présentent également des similitudes troublantes sur le plan esthétique. Bien que suffisamment ancrée dans le terroir nègre-africain, l'œuvre de Sembène s'inspire largement - à l'instar de nombre de romans négro-africains de la décennie féconde 50/60, du reste - de l'esthétique réaliste du siècle dernier. Acquis à l'écriture mimétique et soucieux de reproduire le plus fidèlement possible la condition ouvrière, ces deux romanciers recourent à une mine de ressources aussi riches que variées comme la narration, la description, les images impressionnistes et mythiques, l'onomastique, les particularités lexicales ou stylistiques, les données sociologiques, historiques ou géographiques nécessaires au fameux "ancrage réaliste", etc. Ils tentent, avec plus ou moins de bonheur, de modeler leur palette en fonction du motif à dépeindre. Écriture révolutionnaire pour un thème révolutionnaire ? Rien n'est moins sûr. Les résultats de cette "alchimie" littéraire demeurent plutôt mitigés. Nonobstant leurs efforts, nos auteurs n'échappent nullement au conformisme classique. On relève dans leurs œuvres des procédés hérités de la tradition romanesque, alternant avec certaines hardiesses littéraires. Le présent travail se donne pour ambition d'analyser l'ensemble de cet outillage esthétique, de mettre en évidence le jeu de relations intertextuelles qui régit la diégèse érigée par nos deux auteurs et, en dernière instance, de prouver que le sens profond de ces œuvres réside surtout dans le rêve utopique d'un humanisme socialiste ; cette nouvelle "religion" appelée à résoudre la question sociale si chère à Zola. Serait-ce, pour nous, une façon de contribuer au dialogue des cultures, d'enrichir le débat et surtout d'inviter à la mise en lumière sur des voies sombres d'un domaine qui gagnerait à être, exploré ?The familiar reader of Zola's and Sembène's novels has at least felt the echoes of Germinal in Les Bouts de bois de Dieu, two emblematic works of the two writers. Although separated in the time and backgrounds, Zola and Sembène, nevertheless, share a sensibility towards the worker's world. The intention of this thesis consists in proving, among other points of analysis, that beyond thematic and ideological similarities that are generally testified or surreptitiously evoked by critics, the two author's novels show disturbing affinities on the aesthetic level as well. Although deep-rooted in African land, the fictional work of Sembène heavily draws inspiration – like a number of novels of this young African literature during the rich decade 50/60 – from the Realist style of the 19th century. Being masters of "mimetic writing" and eager to portray as honestly as possible the worker's condition, both writers rely on a rich and varied mine of resources such as narration, description, impressionist and mythic images, the onomastic, lexical or stylistic features, sociological, historical and geographical facts which are necessary for the famous "realist anchorage", etc… Each in his manner and in often variables proportions, the two writers, more or less successfully, tries to shape his palette according to the motif to be depicted. Revolutionary writing for a revolutionary Topic? Nothing is unsurer than this. The outcome of this "alchemist" literary experimentation is balanced. Despite great efforts, Zola and Sembène do not escape classical conformism at all. One finds in their works rhetorical devices inherited from the fictional tradition alternating with some literary daring. This dissertation aims at exploring the whole of the aesthetic tools in order to highlight the game of intertextual relations which rules the fiction built up by both novelists and, lastly, to prove that the underlying meaning of their novels resides namely in the utopic dream of a socialist humanism: this new ideology meant not to solve the social problem which has been the Zola's permanent preoccupation. Could this essay meet the challenge of contributing in the dialogue of cultures, to enrich the debate and above all, to shed more light on to the dark paths of a field worth exploring?
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Fall, Moussa Balla. "Histoire coloniale et postcoloniale de l’Afrique de l’Ouest à travers les figures du griot dans les films d’Ousmane Sembène." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/799.
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My thesis examines the figure of the griot in five films of the Senegalese writer and film director, Ousmane Sembène, widely considered to be the "Father of African Cinema." I reevaluate the figure of the griot in Sembène‟s works from the vital place played by history. I focus on the use of the griot by Sembène to rewrite sub-Saharan African history. I compare Sembène‟s representation of history with the modern historical criteria laid out by Paul Ricoeur, Michel de Certeau and Pierre Nora. The central claim of my dissertation is that the griot should be contextualized as a historical figure that interprets memory and influences the perception of the past rather than as a mere literary and cinematic device. Current scholarship on Sembène privileges the Western interpretation of the griot, that is, the narrative aspect-the storyteller-over the more nuanced position the griot traditionally holds in West African societies.
In an oral traditional culture, the griot holds a place of honor and power because of his role as a chronicler, storyteller, educator, advisor, spokesperson, historian, genealogist and guardian of traditions, history and culture. The griot knew the history of the kingdom, its foundation and the various ethnicities and communities which constituted it, as well as the history of each group. As the living receptacle of history, he had the ability to shape and influence the memories of his community, and its perception of the past. The historical aspect of the griot figure provides an unparalleled opportunity to free Sembène works from classical themes such as Marxism, Panafricanism and the father of African cinemas as well as to contribute to the debate between history and memory from a West African perspective. In order to analyze the representation of history through the figure of the griot in Sembene‟s films, I have chosen to study five films of Sembène: Black Girl (1966), Emitai (1971), Ceddo (1977), Guelwaar (1992), and Camp de Thiaroye (1987) which depict distinct periods (pre-colonial, colonial, and post-colonial) in West African history.
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Rubaba, Protas Pius. "The influence of feminist communication in creating social transformation : an analysis of the films Moolaadé (Ousmane Sembène) and Water (Deepa Mehta)." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/888.
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In many societies in developing countries, women are not given a chance to communicate their issues. The organisation within these societies places men at the top, giving them the opportunity to make all the important decisions. This situation is reflected in the two films which fall under this study, namely, Water and Moolaadé both of which are fictional representations of the oppression of women. In this study, an attempt is made to explain communication struggles in the two films: Water, reflecting Indian society and Moolaadé, reflecting African society. To understand the outcome of these struggles against patriarchy, the study looks at two types of feminism: Indian feminism and African feminism and attempts to find the sense that characters in the film can be understood. The analysis also looks at what the women, who act as feminists in the films have achieved out of their struggles to break the silence and how their voices have influenced or sensitised the silenced majority of women in their societies. Feminist communication theories have been used to analyse the female voice in the films. In the conclusion, I have argued that in both films women have managed to transform their respective societies. However more potential to social transformation are revealed by women depicted in Moolaadé than in Water, where there is very slow pace of change.
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Haffner, Pierre. "Le cinéma et l'imaginaire en Afrique noire : essai sur le cinéma négro-africain." Paris 10, 1986. http://www.theses.fr/1986PA100131.
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"Le cinéma et l'imaginaire en Afrique noire" est un essai sur la signification du cinéma négro-africain, un ensemble de films que l'on peut caractériser comme celui de la première génération de l'indépendance (1960 1985). Cette génération, malgré la diversité des États, des langues et des idéologies, constitue un tout organique, faisant du cinéma négro-africain une sorte de concept que l'on a voulu situer sur trois plans. L’on a d'abord cerne la personnalité du cinéaste d’Afrique noire, en tenant compte de ses origines sociales, de sa formation et de ses rapports à la classe dirigeante. La caractéristique fondamentale de cette personnalité est l'engagement politique, largement fonde sur l'idéologie panafricaniste, si importante pour comprendre les mouvements indépendantistes. L’on a ensuite décrit les réalités du cinéma négro-africain, et d'abord du cinéma en Afrique noire, c'est-à-dire de la situation de l'exploitation, de la distribution et de la production. Le troisième plan, justifiant le titre, est celui de l'imaginaire, car il apparait que l'ensemble de ce phénomène cinématographique n'est compréhensible que par la référence à l'imaginaire, conçu en l'occurrence comme une faculté de faire exister une production proprement négro-africaine, en fonction des idéaux qui caractérisent les cinéastes, contre les difficultés les plus objectives. Cet imaginaire, sur le plan esthétique, ne conduit pas à un cinéma fantastique ou laisse à l'investigation analytique ou anthropologique, mais ancre dans le quotidien et articule sur des projets critiques soucieux d'accélérer les changements sociaux. "Le cinéma et l'imaginaire en Afrique noire" cerne un phénomène - la production cinématographique d’Afrique noire- en l'inscrivant dans une globalité, que l'on a décrite par la chronique puis par l'entretien. La réflexion est ainsi déterminée par une approche de divers lieux ou le cinéma peut s'observer la salle- le publique, le festival, le lieu de tournage- et par des entretiens avec les personnalités marquantes de ce cinéma : Paulin Vieyra, Sembene Ousmane, Souleymane Cisse, Inoussa Ousseini et Tahar Cheriaa"The imaginary world of cinema in black Africa" is an essay on the meaning of black African cinema that bears on the films that can be characterized as those of the first generation after independence (1960-1985). This generation, in spite of a variety of states, languages and ideologies, makes up an organic whole, hence black African cinema as a sort of concept that can be analyzed on three levels. First we tried to delineate the personality of the black African film-director, taking into account his social origins, his training and his relationship with the ruling class. The fundamental characteristic of this personality lies in his political commitment, mostly based on pan Africanist ideology, which is so important to understand independence movements. Next we describe the realities of black African cinema, especially cinema in black African namely the conditions of exploitation, distribution and production of films. The third level, which justifies our title, is that of the imaginary world because it appears that this cinematographic phenomenon as a whole can only be comprehended when one refers to an imaginary world, understood as the faculty to make a specific black African production exist, in relation with those ideals that are particular to those film-makers, and up against the most objective difficulties. The imaginary world, on an aesthetic plane, will lead neither to a fantastic cinema, nor to analytical or anthropological investigation, but to a cinema steeped in daily life and based on critical projects intended to accelerate social changes. "The imaginary world of cinema in black Africa" tries to give an account of a phenomenon- namely cinema production in black Africa- by inserting it in an overall picture, which has been described in diary form and by means of interviews. Judgment can be exercised through an approach of the various places where cinema can be observed: the picture-house, the film festival, the filming location, and also through interviews with eminent cinema personalities
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Vrancken, Maria do Céu Oliveira. "Images de la femme dans l'oeuvre litteraire de Sembene Ousmane." Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/23429.
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One of the main reasons, for the Senegalese author Sembene Ousmane's prominence in African literature of French expression is that he, more than any other male African author, has sought to give to the female characters in his literary works an important role in African Society. This thesis analyses the female characters in Sembene's literary works with the aim of evaluating their importance, the author's attitude towards them and finally Sembene's feminism. The first five chapters analyse the female characters in different contexts, namely marriage, the family, work, politics and religion. the sixth chapter studies the usually avoided subject of the dissolute woman. The last chapter deals with the place given to women in Sembene's writing, ie. the comparison between the number of male and female characters and the narrative techniques which he utilizes to characterize the latter.
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Meadows, Kendaly A. "L'art engage d'un cineaste-ecrivain: la noire de... De sembene ousmane." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1991. http://digitalcommons.auctr.edu/dissertations/3403.
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The primary objective of this paper is to analyze La Noire de... and show how both versions, the short story and the film, exemplify the political art of Sembene Ousmane. The writer feels that the anti-imperialist theme in La Noire de. . . constitutes one of the first major efforts on the part of an African writer/filmmaker to demystify Europe in the eyes of Africans; most importantly, the story, through its didacticism calls for the complete decolonization of Africa. This work is presented in four chapters. The first chapter, the introduction, discusses Sembene's grassroots approach to the written and visual medias in light of rampant illiteracy in Senegal and throughout the continent. Chapter two serves to give biographical information about Sembene. The third chapter is an in-depth analysis of La noire de.... The writer treats the short story and the film as an ensemble and not as autonomous entities, an approach which serves to underline the overall theme of the work and not the peculiarities of each genre. The conclusion that the writer draws in the fourth and final chapter is that Sembene has committed himself, through his art, to the complete decolonization of Africa. ' His story La Noire de.,. epitomizes his commitment to African liberation. Sembene. The third chapter is an in-depth analysis of La noire de.... The writer treats the short story and the film as an ensemble and not as autonomous entities, an approach which serves to underline the overall theme of the work and not the peculiarities of each genre. The conclusion that the writer draws in the fourth and final chapter is that Sembene has committed himself, through his art, to the complete decolonization of Africa. ' His story La Noire de.,. epitomizes his commitment to African liberation.
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Moukoko, Gobina. "Littérature et humanisme André Malraux, Sembene Ousmane et le souci de l'homme /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376167437.
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Akpadomonye, Patrick. "Appropriation et modification des valeurs culturelles françaises dans les romans de Sembene Ousmane." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376021751.
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Souza, Victor Martins de. "A poética e a política no cinema de Glauber Rocha e Sembene Ousmane." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/12747.
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We discuss the relation between Glauber Rocha and Sembene Ousmane s cinematographics and political projects considering images dialogues. The focus of our analysis is on the movies Der Leone have sept cabeças (1969-70), by Glauber, and Ceddo (1976), by Sembene. Using the technique of historians, these filmmakers problematized the present from the re-intepretation of the past. In Ceddo, Sembene reinvented traditions with the intention of questioning the history of his time, and denounced West African colonialism to be more sophisticated than previously imagined. In Der Leone have sept cabeças there exists different historical periods to question the present. In this process, the oral traditions have a preponderant role because they are used to critize the deformed European view concerning the Third World. Therefore, the relationship between the cinema of Glauber and Sembene enables us to gain a new perspective of their work, through the diasporic, tri-continental, and politically-cultural dialogue
Discutimos os projetos cinematográficos e políticos de Glauber Rocha e Sembene Ousmane à luz do diálogo em imagens. Assim, centramos nossa análise em dois filmes: Der Leone have sept cabeças (1969-70), de Glauber, e Ceddo (1976), de Sembene. À maneira dos historiadores, estes cineastas recorreram ao passado para problematizar o presente. Em Ceddo, Sembene reinventou tradições para questionar a história do seu tempo, mostrando aspectos mais sofisticados do colonialismo da África do Oeste. Em Der Leone have sept cabeças, há a convivência de tempos históricos distintos, nos quais o presente é posto em suspenso, portanto passível de questionamento. Neste processo, as tradições orais possuem papel preponderante, pois é a partir delas que é criticado o olhar enviesado do europeu em relação ao Terceiro Mundo . Assim, as afinidades aqui elencadas entre os cinemas de Glauber e Sembene permitem delinear novos olhares à filmografia de ambos, a partir de um diálogo diaspórico, tricontinental e político-cultural
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Mphiko, Benjamin Lesibana. "The oppression of women in the novels of Sembene Ousmane and Tsitsi Dangarembga." Thesis, University of Limpopo, 2016. http://hdl.handle.net/10386/2354.
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Thesis (M. A.(English Studies)) --University of Limpopo, 2016The primary aim of this study is to examine the oppression and repression of African women through the collusion of indigenous African patriarchy and colonial, imperialist values. The selected novels are Nervous Conditions (1988) and God’s Bits of Wood (1960) by Tsitsi Dangarembga and Sembene Ousmane, respectively. The study focuses on the roles played by both African and European values in the class, gender and racial oppression of African women. Using the theoretical frameworks of Marxism and Feminism, the study evaluates issues of women’s oppression, repression and marginalisation. The selected literary texts are closely analysed with a view to exploring and establishing the nature and form of African women’s multiple oppressions through the connivance between African patriarchy and European colonial hegemonic norms. Lastly, the study aims to contribute to the existing body of knowledge on the topical issue of African women’s oppression. Keywords: Colonial values; African patriarchy; Hegemonic norms; Oppression; Oppression; Marginalisation; Collaboration; Women and the girl child
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Martin, Catherine L. McGlennan. "A contrapuntal examination of selected works by Roger Vailland and Ousmane Sembene, 1950 - 1960." Thesis, University of Glasgow, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366341.
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Habiyakare, Thaddée. "De l'assommoir aux bouts de bois de dieu le monde du travail vu par Emile Zola et Sembene Ousmane /." Villeneuve d'Ascq, France : Presses Universitaires du Septentrion, 1998. http://books.google.com/books?id=Ue9cAAAAMAAJ.
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McGlennan, Martin Catherine L. "A contrapuntal examination of selected works by Roger Vailland and Ousmane Sembène, 1950-1960." Connect to e-thesis, 2001. http://theses.gla.ac.uk/731/.
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Thesis (Ph.D.) - University of Glasgow, 2001.Ph.D. thesis submitted to the Faculty of Arts, Department of French Language and Literature, University of Glasgow, 2001. Includes bibliographical references. Print version also available.
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Praud, Julia Marie. "Nationalism's discontents postcolonial contestations in the writings of Mariama Ba, Assia Djebar, Henri Lopes, and Ousmane Sembene /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117566472.
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Menneguin, Meghan Gail. "Le discours cinématographique dans Afrique Je te plumerai de Téno et Guelwaar de Sembene: histoire, symbolisme, négritude et panafricanisme." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/52916.
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The reductive representations stemming from Western cinematic depiction of the African cultures have exacerbated the issue of Western hegemony over African countries. The first representations of Africa were of the exotic genre and failed to portray the socio-political history and culture of the indigenous people. Much of these depictions were due to years of Western colonialism, the dominant idea found in Jean-Marie Ténos film, Afrique je te plumerai. In this film, the Cameroonian filmmaker creates an avenue of viewing history through the lens of the colonized, breaking the chains of hegemony. Ténos use of revolutionary cinematic techniques forces the audience to understand Western colonization of Cameroon and of other African countries by dismantling our own preconceived ideas of that particular era in history. The ails of colonialism are portrayed in this film and these particular themes are found in the writings of the literary movement, la Négritude where we find definitions of colonialism, the effects of colonialism on the indigenous people and the root of the revolutionary spirit it engendered. Where there is colonialism, there is neocolonialism, or the continuing financial and cultural domination of a people. The subject of neocolonialism is portrayed in the second film studied in this research, Guelwaar by Ousmane Sembene. In this film, the Senegalese filmmaker brings to question the controversy of food aid in formerly-colonized countries in Senegal as well as around the world. This form of neocolonialism and other forms of foreign domination in economically-weakened countries are also invoked in the writings of the literary movement Panafricanism, which urges the cultural and economic independence of African countries. Ténos didactic message is obvious to the viewer and even shocking whereas the message of Sembene is ingeniously hidden behind a film so colorful and mesmerizing, it appeases to any audience.Master of Arts
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Meyer, Charlotte. "Les naissances du cinéma francophone subsaharien les regards croisés de Jean Rouch et Ousmane Sembène /." Thèse, [Rimouski, Québec] : Université du Québec à Rimouski, 2004.
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Thèse (M. A.) - Université du Québec à Rimouski, 2004.Titre de l'écran-titre (visionné le 1er novembre 2007). Mémoire présenté à l'Université du Québec à Rimouski comme exigence partielle de la maîtrise en études littéraires. CaQRU CaQRU Bibliogr.: f. 196-205. Publié aussi en version papier. CaQRU
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Abdourahman, Ismaïl Abdourahman. "Aspects du fantastique et romans négro-africains." Perpignan, 2003. http://www.theses.fr/2003PERP0473.
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Cette thèse porte sur l'étude des différents aspects du fantastique dans des romans négro-africains francophones et anglophones. Pour ce faire, nous nous sommes attaché, tout d'abord, à faire une lecture critique des ouvrages théoriques consacrés au fantastique afin de mettre en place une méthode d'analyse des romans négro-africains susceptible de nous aider à surmonter le clivage socioculturel existant entre les ouvrages théoriques et les romans négro-africains. A l'issue de cette lecture critique des ouvrages théoriques, nous avons pu dégager une méthode d'analyse littéraire qui tient compte des spécificités socioculturelles des romans négro-africains. Grâce à cette méthode critique basée sur les notions d'interculturalité et d'intertextualité, il nous a été alors possible de mettre en relief les deux aspects à travers lesquels le fantastique se manifeste sans les romans anglophones et francophones de l'Afrique noire : le fantastique de l'ambivalence et le fantastique du réalisme magique.
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Jordan-Sardi, Veronica. "Colonial subjectivity: an evolving legacy in Ousmane Sembène's La noire de...(1965), Michael Haneke's Caché (2005), and Claire Denis' White material (2009)." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2908.
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Ukwu, Ocha Kalu. "Une etude comparee des effets de l'analphabetisme et de la polygamie dans quelques oeuvres de Sembene Ousmane et Ferdinand Oyono." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1988. http://digitalcommons.auctr.edu/dissertations/785.
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L'objet de cette etude est de faire une etude comparee des effets de l'analphabetisme et de la polygamie dans quelques oeuvres de Sembѐne Ousmane et Ferdinand Oyono. En effet, l'analphabetisme et la polygamie sont deux des problѐmes qui ne laissent pas les Africains progresser dans le monde comme il faut. Comme ecrivains negro-africains engages, Sembѐne Ousmane et Ferdinand Oyono vont eveiller la conscience des Africains envers ces problѐmes, à travers leurs romans. Ainsi, les Africains peuvent reflechir encore sur ces problѐmes et saisir la balle au bon en trouvant des solutions avant qu'il ne soit trop tard.
L'etude est presentee en quatre chapitres et une conclusion. Le premier chapitre sert d'introduction. Elle analyse un peu sur l'etat de sous-developpement en Afrique noire.
Le deuxieme chapitre discute la vie de Sembene Ousmane, le milieu socio-culturel ou il a grandi et qui l'a influence dans ses oeuvres. Le troisieme chapitre, pourtant, est consacre a Ferdinand Oyono et ses contributions dans la litterature negro-africaine. Nous verrons que bien qu'il n'ait ecrit que trois romans jusqu'ici, il a fait des pas indelebiles dans les sables de l'histoire en Afrique noire.
Le quatrieme chapitre analyse quelques livres des deux auteurs tels que Le Mandat, Voltaῐque d'Ousmane et Une vie de boy, Le vieux negre et la medailie et Chemin d'Europe d' Oyono pour faire sortir les problemes de la polygamie et de l'analphabetisme.
La conclusion essaie de voir si nos deux ecrivains ont bien pose les problemes. Elle suggere aussi une solution qui est l'education des masses et de la femme--education adaptee aux besoins du peuple.
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Golumbeanu, Adriana. "Intra muros: representations urbaines dans le roman francophone subsaharien et antillais Ousmane Sembene, Calixthe Beyala, Patrick Chamoiseau et Maryse Conde." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1164829057.
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Golumbeanu, Adriana. "Intra muros representations urbaines dans le roman francophone subsaharien et antillais Ousmane Sembène, Calixthe Beyala, Patrick Chamoiseau et Maryse Conde /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1164829057.
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MIIKO, NYONYONEE. "L'ideologie dans le roman negro-africain. Etude de chinua achebe, la fleche de dieu (1964), gabriel okara, la voix (1964), sembene ousmane, les bouts de bois de dieu (1960), cheikh hamidou kane, l'aventure ambigue (1961)." Université Marc Bloch (Strasbourg) (1971-2008), 1986. http://www.theses.fr/1986STR20044.
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Le phenomene d'ideologie n'est pas quelque donnee a priori, un deja-la (comme laissent souvent entendre les definitions courantes du terme) auquel tous les membres d'une societe doivent obeir. Prolongement du cri d'enfant et etroitement liee a l'experience du sujet, l'ideologie est un discours prive et ou public exprimant une vision du monde qui s'affirme. Dans l'univers romanesque cette affirmation se manifeste a travers les gestes, la parole articulee ou non-articulee (le silence) des personnages. L'ideologie doit sa naissance a une situation de non-choixPopular definitions of ideology present it as if it were a given phenomenon, something that is just there - imposed upon every member of a society. Being the prolongation of the birth cry of a newborn baby, and directly linked to the experience of the subject, ideology is a private and or a public discourse expressing a particular world view. In the world of fiction the affirmation of the said world view is perceived through the gestures as well as through the articulated and the in articulated word (silence) of characters. Ideology springs from a situation where all choice is excluded
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Babatunde, Samuel Olufemi. "Engagement et militantisme dans le Docker Noir (1956), les Bouts de bois de Dieu (1960) et Xala (1973) de Sembène Ousmane." Thesis, 2015. http://hdl.handle.net/10500/19617.
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Text in FrenchMember of the union of black workers in the port of Marseille, in France, and an eyewitness to the misery of black workers in the European environment, Sembène Ousmane, in 1956, wrote, using his personal experiences, his first book entitled The Black Docker. In this novel, he describes the sufferings of the working class, the struggle between colonisers and colonised. In 1960, he uses as a pretext the strike of the Senegalese railway workers in 1937 to write a book entitled God's Bits of Wood. In this story where two forces clashed, on one hand, the colonised struggling against the colonial system and want, at all costs, to improve their living conditions, and on the other hand, the colonisers that are in support of their colonialist ideals and refuse the changes, the author tells the epic story of strikers in Senegal and their relentless struggles against the colonisers to change their living conditions for better. In 1973, an eyewitness of the daily realities of his native country, Senegal, after gaining national sovereignty, Sembène Ousmane wrote and published a book entitled Xala. In this book, he describes the evils of neo-colonialism and criticises the new African middle class, born after independence. After reading these novels, one notes that Sembène Ousmane, a defender of freedom, denounces the injustices done to the blacks, both in the colonial era as well as in the post colonial period. This is why from a book to another, he continues tirelessly his struggle against colonialism and neo-colonialism, evoking the sufferings and tragedies endured by the Africans. It occurs constantly in his imaginary creations, a theme, or better still a dialectical; commitment and militancy. What does he mean by « commitment » and « militancy » ? How do these two concepts manifest themselves in the works of the Senegalese writer? What strategy does he propose to the oppressed in the struggle against the oppressors? What means has he put at the disposal of the disinherited struggling to break the yoke of oppression and exploitation in order to achieve freedom and equality?
Membre du syndicat des travailleurs noirs, au port de Marseille, en France, et témoin oculaire de la misère vécue par les ouvriers noirs dans ce milieu européen, Sembène Ousmane, en 1956, écrit, en se servant de ses expériences personnelles, son premier ouvrage intitulé Le Docker noir. Dans ce roman, il décrit la souffrance de la classe ouvrière, la lutte entre colonisateurs et colonisés. En 1960, il se sert d’un prétexte, la grève des ouvriers sénégalais en 1937, pour écrire un ouvrage intitulé Les Bouts de bois de Dieu. Dans ce récit, où s’affrontent deux forces, d’une part les colonisés qui luttent contre le système colonial et veulent, à tout prix, l’amélioration de leurs conditions de vie, et d’autre part, les colonisateurs qui soutiennent les idéaux colonialistes et refusent le changement, l’auteur relate l’histoire épique des grévistes au Sénégal, et la lutte implacable qu’ils mènent contre les colonisateurs pour le changement de leurs conditions de vie. En 1973, témoin oculaire des réalités quotidiennes de son pays natal, le Sénégal, après son accession à la souveraineté nationale, Sembène Ousmane écrit et publie, un ouvrage intitulé Xala. Dans ce livre, il décrit les méfaits du néocolonialisme et critique la nouvelle classe bourgeoise africaine, née après l’indépendance. Après lecture des trois romans, on constate que Sembène Ousmane, défenseur de la liberté, dénonce les injustices faites aux Noirs, aussi bien à l’époque coloniale qu’à la période postcoloniale. C’est pourquoi, d’un ouvrage à l’autre, il continue, inlassablement, sa lutte contre le colonialisme et le néocolonialisme, en évoquant les souffrances et les drames endurés par les Africains. Il revient, constamment, dans ses créations imaginaires, à une thématique, ou mieux une dialectique, l’engagement et le militantisme. Qu’entend-il par « engagement » et « militantisme »? Comment ces deux lexèmes se manifestent-ils dans les écrits de cet écrivain sénégalais? Quelles stratégies propose-t-il aux opprimés dans la lutte qui les oppose aux oppresseurs? Quels moyens met-il a la disposition des déshérités en lutte pour briser le joug de l’oppression et celui de l’exploitation afin d’obtenir la liberté et l’égalité?
Linguistics and Modern Languages
D. Litt. et Phil. (French)
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Mooka, Edward. "Masculinities in Ousmane Sembene's God's bits of wood." Thesis, 2006. http://hdl.handle.net/10539/1638.
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Faculty of Humanities
School of Literature and Language Studies
0413458h
edwardmooka@yahoo.comThis study explores the forms of masculinity which occur in a crisis situation as represented in Sembene Ousmane’s colonial text God’s Bits of Wood. The study relies on the theories of Robert Connell, Judith Butler, Judith Halberstam, and Ifi Amadiume amongst others in identifying the masculinities in the novel. The introduction discusses issues of masculinity and looks at how different types of masculinity have been defined, especially in relation to power. Chapter one focuses on the white hegemonic masculinities. Chapter two looks at black workers’ masculinities which were marked by opposition, complicity, and cowardice. The third chapter analyses the female masculinities and the violent boyhood masculinity that were forged during the crisis. The conclusion summarizes the arguments in the preceding chapters and indicates how Sembene Ousmane’s novel dispels certain stereotypes of black masculinity.
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Ntita, Samuel Beya. "Proces d'alienation de l'intellectuel dans les romans sub-Saharaiens Francophones : Xala D'O. sembene, le pacte de Sang de P.N. Nkashama et L'Histoire du fou de M. Beti." Thesis, 2019. http://hdl.handle.net/10500/26668.
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Text in French, with abstracts in French and EnglishAu lendemain des indépendances africaines, les écrivains tentent de dénoncer, sinon l’aliénation des intellectuels, du moins ce que le peuple désignait sous ce terme dans les excolonies françaises et belges. Le recours fréquent, dans la construction du récit, à la thématique de la faute de l’intellectuel se présente comme résultat d’un manquement au rôle qui lui revient. Pour mener à bien notre enquête, la théorie utilisée est l’Analyse de contenu thématique (A.C.T.) de Pierre Lannoy. Ce modèle aidera à cerner tout ce qui menace l’équilibre de l’édifice social. Cependant l’étude de l’aliénation des intellectuels a montré que l’émergence d’une crise semblable relève d’une série de causes complexes. Sa compréhension fait appel à de multiples champs scientifiques : sociologie, psychologie, économie, […] La seule solution est le compromis pour tous. C’est une vaine prétention que de vouloir établir ici un bilan exhaustif : l’étude de l’image de l’intellectuel ne peut qu’être évolutive.
In the aftermath of African independence, writers tried to denounce, if not the alienation of intellectuals, at least what people meant by this term in the former French and Belgian colonies. Frequent recourse to the theme of the fault of the intellectual in the construction of the narrative is presented as the result of a failure to fulfil the role that was assigned to him. To carry out our investigation, the theory used is Pierre Lannoy's Thematic Content Analysis (T.C.A.). This model will help to identify anything that threatens the balance of the social edifice. However, the study of the alienation of intellectuals has shown that the emergence of a similar crisis is due to a series of complex causes. Its understanding involves multiple scientific fields: sociology, psychology, economics, [...] The only solution is compromise for all. It is a vain claim to want to establish an exhaustive assessment here: the study of the image of the intellectual can only be evolutionary.
Classics and World Languages
D. Litt. et Phil. (French)
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Freeman, Janine Beverly. "The transfer of ideology in the post-independence French African novel: Sembene Ousmanes's Xala in translation." Thesis, 1994. https://hdl.handle.net/10539/24689.
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I declare that this research project is my own unaided work. It is
submitted in partial fulfilment for the degree of Master of Arts in
translation, at the University of the Witwatersrand, Johannesburg, It has
not been submitted before for any degree or examination at any other
university.This projeot examines Clive Wake's translation of Xala a neo-colonial French African novel by Sembene Ousmane' (1973) focusing on the manner in which the ideological content of the novel is approached and dealt with in translation. A comparison of passages in the source text chosen on the basis of their ideological contribution to the novel with the corresponding passages in this large text, forms the basis of the study. (Abbreviation abstract)
Andrew Chakane 2018
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Haricharan, Dhanwanthie. "Realism in the African novel : the case of Sembene Ousmane's God's bits of wood, Ngugi Wa Thiong'o's Petals of blood and Pepetela's Mayombe." Thesis, 2004. http://hdl.handle.net/10413/10415.
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This study is an attempt to examine the use of realism in three African novels by different
authors from different countries, which are set at different phases of independence. Sembene
Ousmane's God's Bits of Wood, is set in Senegal and is a pre-independence novel. On the other
hand, Petals of Blood by Ngugi wa Thiong'o, is a Kenyan post-independence novel. Pepetela's
Mayombe is set in Angola during the resistance struggle. What these novels share, though, is the
use of realism. It is the use of realism, I argue, that enables these authors to capture the political
realities of their respective countries. However, each author's employment of realism remains
umque.
The first chapter engages with the foundational theory of this study. Georg Lukacs'
argument on realism will be the point of reference. I attempt to illustrate certain
observable characteristics of realism through the examination of this argument found in
The Meaning of Contemporary Realism (1956). Lukacs' notions on naturalism, critical
realism and socialist realism will be closely examined. But, before that discussion, I will
demonstrate the importance of realism in arriving at the "novel" form, which is
distinguished from previous literature (for example literature of the Middle Ages).
Chapter Two establishes Ousmane's God's Bits of Wood as a socialist realist text. The
possible influence of Zola' s Germinal on God's Bits of Wood is examined. The argument
being that certain elements of Germinal are resonated in God's Bits of Wood, yet they
each still retain their uniqueness. Zola's naturalist style is also evident in Ousmane's
novel. But it is in the area of ideology that the two novels differ. God's Bits of Wood is a
working class novel that successfully employs socialist realism.
Ngugi wa Thiong'o's Petals of Blood is the subject of the third chapter. This chapter
reflects on Ngugi's use of the socialist realist principles to convey the social and political
climate of post-independence Kenya. However, his formulaic use of socialist realism is
questioned as it gives rise to a novel that reads as didactic. The Marxist ideology that
informs this novel is altogether too obvious.
The fourth chapter is an examination of Mayombe by Pepetela. This is a very significant
novel in regard to Angolan history. This novel successfully deals with the complexities of
the resistance movement. The employment of realism is obvious, however, the kind of
realism employed is difficult to categorize. The emotional and psychological trauma of
war is illuminated. Although a socialist perspective is evident, a formulaic use of socialist
realism is avoided. Pepetela seems to be more interested in engaging in discussion of
issues surrounding independence, such as tribalism and power hunger.
It is then evident that these authors use realism to attain a simulacrum of reality.
However, it is the author's specific perspective that shapes the text that is produced.Thesis (M.A)-University of Durban-Westville, 2004
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Dogliotti, Rosa-Luisa Amalia. "Le theme du mariage mixte et/ou polygame comme foyer d'observation socioculturelle et interculturelle dans quatre romans francophones : mariages ou mirages?" Diss., 2000. http://hdl.handle.net/10500/18647.
Full textAbstract:
Summaries in French and EnglishText in French
Les romans analyses - Une si longue lettre et Un chant ecarlate de Mariama Ba, O pays, mon beau peuple! by d'Ousmane Sembene et Agar d' Albert Memmi - proposent tous une histoire se deroulant en Afrique et ayant pour theme le mariage mixte et/ou polygame, theme particulierement riche comme foyer d'observation socioculturelle et interculturelle des milieux evoques. Le chapitre 1 cerne le theme du mariage et ses diverses configurations mixtes et polygames dans les quatre roamns. Sont examines dans les chapitres suivants: les rapports familiaux et sociaux tels qu'ils sont vecus par les couples protagonistes; la polygamie, centrale aux deux romans de Ba et omnipresente dans celui de Sembene; les religions des societes concernees, telles qu' ell es affectent les couples en jeu; les images de la femme - et surtout de la femme africaine - qui ressortent des situations conjugates developpees par les auteurs; l'eventuelle influence du sexe de l'auteur sur la representation de la femme.
The novels analysed - Une si longue lettre and Un chant ecarlate by Mariama Ba, O pays, mon beau peuple! by Ousmane Sembene and Agar by Albert Memmi - all tell stories set in Africa and share the theme of mixed and/or polygamous marriage, a particularly fertile theme through which to focus a socio-cultural and intercultural examination of the social environments portrayed. Chapter 1 identifies the theme of marriage and the various mixed/polygamous configurations it assumes in the four novels. The succeeding chapters examine: family and social relationships as experienced by the protagonists; polygamy, central to both novels by Ba and omnipresent in Sembene's novel; the religions of the societies portrayed, insofar as they affect the couples concerned; the images of woman - and particularly the Afiican woman - emerging from the marital situations developed by the authors and, finally, the possible influence of authorial gender on the presentation of woman.
Classics and Modern Euorpean Languages
M.A. (French)