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Journal articles on the topic 'SEMBENE'

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Published: 4 June 2021
Last updated: 4 February 2022

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1

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

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2

LITTLE, R. "SEMBENE OUSMANE'S PATRONYMIC." French Studies Bulletin 24, no. 88 (January 1, 2003): 19–21. http://dx.doi.org/10.1093/frebul/24.88.19.

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3

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

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4

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

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5

Okwedy, Phil. "Sembene Ousmene,Guelwaar,Senegal, 1992." Wasafiri 8, no. 17 (March 1993): 53–54. http://dx.doi.org/10.1080/02690059308574315.

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6

LITTLE, R. "SEMBENE AND THE LANGUAGE DILEMMA." French Studies Bulletin 7, no. 25 (January 1, 1987): 16–17. http://dx.doi.org/10.1093/frebul/7.25.16-a.

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7

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

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8

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

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9

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

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10

Fofana, A. T. "Ousmane Sembene: The making of a militant artist." African Affairs 110, no. 441 (September 2, 2011): 669–70. http://dx.doi.org/10.1093/afraf/adr050.

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11

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

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12

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

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13

Mowitt, John. "Sembene Ousmanes Xala: Postcoloniality and Foreign Film Languages." Camera Obscura: Feminism, Culture, and Media Studies 11, no. 1 (1993): 71–95. http://dx.doi.org/10.1215/02705346-11-1_31-71.

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14

Stafford, A. "Review: Sembene: Imagining Alternatives in Film and Fiction." French Studies 57, no. 2 (April 1, 2003): 272–74. http://dx.doi.org/10.1093/fs/57.2.272.

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15

Garnier, Xavier. "Énergies populaires et dynamique narrative dans l’œuvre d’Ousmane Sembene." Poétique 184, no. 2 (2018): 221. http://dx.doi.org/10.3917/poeti.184.0221.

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16

Mwangi, Evan. "Amandina Lihamba's Gendered Adaptation of Sembene Ousmane'sThe Money-Order." Research in African Literatures 40, no. 3 (September 2009): 149–73. http://dx.doi.org/10.2979/ral.2009.40.3.149.

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17

Gadjigo and Silverman. "Sembene Across Africa Project: Bringing African Stories to Africans." Framework: The Journal of Cinema and Media 61, no. 2 (2020): 89. http://dx.doi.org/10.13110/framework.61.2.0089.

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18

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

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19

Onyemelukwe, I. M. "Le griot et desenchantement dansVehi-ciosane de Sembene Ousmane." Neohelicon 24, no. 1 (March 1997): 409–18. http://dx.doi.org/10.1007/bf02573000.

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20

Copeland, V. Natasha E. "Pictures in Motion or Motion Pictures: Sembène’s Natural Products Steal the Show." Études littéraires africaines, no. 30 (November 17, 2014): 58–76. http://dx.doi.org/10.7202/1027347ar.

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Dans ses films Xala (1974) et Ceddo (1977), Sembène redéfinit l’usage des sculptures traditionnelles en bois, tout en demeurant fidèle aux métaphysiques sahéliennes dans ses innovations esthétiques, littéraires ou cinématographiques. Des masques, un bâton ou une canne jouent à l’écran un rôle qui, en raison de leur propre vitalité et de leur étroite association avec divers personnages, capte l’attention du public autant que le font les héros des films. Sembène oppose, dans la trame de ses films, la force vitale de ces objets africains à celle d’artefacts, symboles de l’Occident. Sculptés par l’homme, les objets africains restent en relation avec l’environnement dont leur substance est tirée ; Sembene établit de surcroît, entre lieux et personnages, des liens profonds, notamment entre les arbres, le bois et les hommes.
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21

Linkhorn, Renee. "L'Afrique de Demain: Femmes en marche dans l'oeuvre de Sembene Ousmane." Modern Language Studies 16, no. 3 (1986): 69. http://dx.doi.org/10.2307/3194888.

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22

Niang, M. "Still the fire in the belly: THE CONFESSIONS OF OUSMANE SEMBENE." Nka Journal of Contemporary African Art 1996, no. 5 (September 1, 1996): 44–49. http://dx.doi.org/10.1215/10757163-5-1-44.

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23

Vrancken, Maria. "La femme et le mariage: du mot à l’image—Xala d’Ousmane Sembene." Tydskrif vir Letterkunde 57, no. 2 (November 10, 2020): 92–100. http://dx.doi.org/10.17159/tl.v57i2.7967.

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Published as a novel in 1973 and released as a film in 1974, Ousmane Sembene’s Xala offers his readers as well as his audience the most detailed display of one of his prominent themes: the role of women in marriage. This article examines how Sembene skilfully uses both literature and film to express the same theme and, in so doing, exploits each medium’s strong points to complement each other in order to reinforce the message he wishes to convey. Sembene, the modern griot, knows that life is complex, and, in his written work, he includes exceptions and nuances, which he is unable to highlight in his film due to time constraints. In so doing, his novel reflects a more detailed depiction of reality. By contrast, in his cinematic version, he focuses on certain aspects of the novel and amplifies them with the aid of cinematic techniques. As a result, he transcends the abstract and superficial distinctions made between the traditional woman and the westernised woman to create a more nuanced and striking message where not all women are described as being victims of polygamy and some of them go as far as opposing it. He shows the audience the negative as well as the positive aspects of polygamy, thus attaining his aim, which is to educate his people.
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24

Saba, Mona Edouard. "Les Tares de la societe senegalaise d'Apres l'oeuvre Romanesque d'Ousmane sembene 'XALA." مجلة الآداب والعلوم الإنسانیة 56, no. 1 (April 1, 2005): 609–44. http://dx.doi.org/10.21608/fjhj.2005.130600.

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25

Jackson, Dons J. "Book Review: The Cinema of Ousmane Sembene, a Pioneer of African Film." A Current Bibliography on African Affairs 18, no. 1 (September 1985): 55–56. http://dx.doi.org/10.1177/001132558601800105.

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26

Dipio, Dominica. "Gender wars around religion and tradition in Sembene Ousmane's Moolaade." Journal of African Cinemas 2, no. 2 (December 1, 2010): 121–35. http://dx.doi.org/10.1386/jac.2.2.121_1.

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27

Cheriaa. "Issues in African Film: The Artist and the Revolution: “Interview with Ousmane Sembene”." Framework: The Journal of Cinema and Media 61, no. 2 (2020): 12. http://dx.doi.org/10.13110/framework.61.2.0012.

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28

Mudimbe-Boyi, M. Elisabeth. "The Cinema of Ousmane Sembene. A Pioneer of African Film by François Pfaff." L'Esprit Créateur 30, no. 2 (1990): 108–9. http://dx.doi.org/10.1353/esp.1990.0038.

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29

Aguiar, Marian. "Smoke of the Savannah: Traveling Modernity in Sembene Ousmane's God's Bits of Wood." MFS Modern Fiction Studies 49, no. 2 (2003): 284–305. http://dx.doi.org/10.1353/mfs.2003.0009.

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30

Onyemelukwe, Ifeoma Mabel, Abubakar Dauda Adamu, and Chukwunonso Hyacinth Muotoo. "Le Griot Dans La Litterature Postcoloniale: Une Etude De Guelwaar De Sembene Ousmane." UJAH: Unizik Journal of Arts and Humanities 22, no. 1 (July 8, 2021): 55–77. http://dx.doi.org/10.4314/ujah.v22i1.3.

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Le griot dans la société traditionnelle africaine de l’ère précoloniale est un personnage complexe chargé d’une myriade de fonctions. Il est bien respecté et honoré. La présente étude se donne l’objectif d’examiner profondément la peinture du griot dans la littérature africaine postcoloniale utilisant Guelwaar de Sembène Ousmane comme texte de base tout en établissant ses fonctions et ses portraits. L’étude privilégie quelques théories critiques comme le postcolonialisme, les théories marxiste et féministe. De plus, l’examen s’effectue à la lumière de l’image du griot d’antan et des sept catégories de nouveaux griots postulés par Ifeoma Mabel Onyemelukwe. Nous découvrons deux types de griot dépeints par Ousmane dans Guelwaar : le griot personnage littéraire nommé Guelwaar et le griot écrivain contemporain africain, Sembène Ousmane lui-même. Ces deux griots entretiennent des rapports de similitude et de divergence avec le vrai griot. Mais le griot écrivain contemporain africain ressemble beaucoup plus au griot d’antan en dépit des points de divergence. Nous finissons par déceler dix-huit fonctions du griot et par-là arriver aux dix-huit portraits du griot dans Guelwaar dont le griot bibliothèque publique bien documentée et le griot détenteur de la littérature écrite africaine postcoloniale. Nous parvenons à la conclusion que la littérature postcoloniale, comme l’atteste Guelwaar de Sembène Ousmane, se caractérise par une revalorisation des valeurs authentiques, honorables et louables du griot de caste. Ceci est symbolisé par l’apparition du griot personnage littéraire dans certaines oeuvres de la littérature écrite postcoloniale africaine comme Guelwaar et surtout la prééminence accordée aux griots écrivains contemporains africains tel Sembène Ousmane. The griot, in the traditional African society is a complex personality charged with multiple functions. He is well respected and honoured. The objective of the present research is to make an in-depth study of the depiction of the griot in post-colonial literature using Guelwaar as study text while establishing his functions and portraits. Postcolonialism, Marxist and Feminist theories constitute the theoretical framework. Furthermore, the examination is carried out in the light of the image of the real griot and the seven categories of new griots promulgated by Ifeoma Mabel Onyemelukwe. It is found that Sembène Ousmane depicts two types of griots in Guelwaar, namely: the griot as literary character named Guelwaar and the griot as contemporary African writer, Sembène Ousmane, himself. These two griots have certain similarities and differences with the real griot. But the findings show that the griot as contemporary African writer resembles more the real griot, their points of disparity notwithstanding. Eighteen functions and eighteen portraits of the griot are established, among which are: the griot as well documented library and the griot as custodian of written postcolonial African Literature. A firm conclusion is reached, that postcolonial literature, as reflected in Sembène Ousmane’s Guelwaar, is characterized by the revalorization of the real griot’s authentic, honorable and praise-worthy values. This is symbolized in the projection of the griot as literary character in some literary works like Guelwaar and in particular, the preeminence given to griots as Contemporary African writers as typified by Sembène Ousmane.
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31

Murphy, David. "Fighting for the Homeland? The Second World War in the Films of Ousmane Sembene." L'Esprit Créateur 47, no. 1 (2007): 56–67. http://dx.doi.org/10.1353/esp.2007.0025.

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32

Gadjigo, S. "The Problem Is More Mental Than Economic: Ousmane Sembene in Conversation with Samba Gadjigo." Nka Journal of Contemporary African Art 2010, no. 27 (September 1, 2010): 22–27. http://dx.doi.org/10.1215/10757163-2010-27-22.

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33

Cheriaa. "Issues in African Film: The Artist and the Revolution: “Interview with Ousmane Sembene” in French." Framework: The Journal of Cinema and Media 61, no. 2 (2020): 23. http://dx.doi.org/10.13110/framework.61.2.0023.

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34

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

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This article is concerned with the portrayal of law in colonial conflict in the work of Senegalese author Sembene Ousmane, focussing in particular on the novel Les Bouts de Bois de Dieu. There Ousmane dramutises an actual strike of railway workers in 1947 in order to mount a prophetic critique of post-independence Senegal. In convening a tribunal to try strike-breakers, the workers demonstrate the constitutive, law-creating power which, Ousmane implies, still resides in newly independent peoples. This alternative legality is achieved in spite of the twin pressures of orthodox universalism, on the one hand, and passive traditionalism, on the other. As such Les Bouts de Bois de Dieu prefigures a radical, emancipatory legal pluralism in the colonial and post-colonial context.
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35

Ryan, Connor. "Revisiting the notion of political black cinema: A comparative analysis of Melvin Van Peebles and Ousmane Sembene." Journal of African Cinemas 5, no. 1 (April 1, 2013): 85–97. http://dx.doi.org/10.1386/jac.5.1.85_1.

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36

Weaver, Harold D. "The Contestation of African Cinema: The Early post-Independence Filmmaking of Sembene Ousmane and his Courageous Afro-centric Colleagues." Présence Africaine 170, no. 2 (2004): 131. http://dx.doi.org/10.3917/presa.170.0131.

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37

Aje, S. O. "L'importance de l'ecriture en tant qu'institution sociale dansL'Argent (Emile Zola),Le roi des Aulnes (Michel Tournier) etLe mandat (Ousmane Sembene)." Neohelicon 16, no. 1 (March 1989): 237–55. http://dx.doi.org/10.1007/bf02092748.

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38

O'Toole, T. "Book Reviews : Francoise Pfaff. The Cinema of Ousmane Sembene: a Pioneer of African Film. Westport, Connecticut: Greenwood Press, 1984, 207 pp." Journal of Asian and African Studies 24, no. 1-2 (January 1, 1989): 150–51. http://dx.doi.org/10.1177/002190968902400121.

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39

Belcher, Wendy. "Indirect Resistance: Rhetorical Strategies for Evading Power in Colonial French West African Novels by Camara Laye, Ferdinand Oyono, and Sembene Ousmane." Lit: Literature Interpretation Theory 18, no. 1 (February 27, 2007): 65–87. http://dx.doi.org/10.1080/10436920601174503.

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40

Adeniyi, Emmanuel Idowu. "Bourgeois Tensions, Marxist Economics and Aphaeresis of Communal Spirit in Sembene Ousmane’s God’s Bits of Wood and Ngugi wa Thiong’o’s Devil on the Cross." ELOPE: English Language Overseas Perspectives and Enquiries 14, no. 2 (December 22, 2017): 55–68. http://dx.doi.org/10.4312/elope.14.2.55-68.

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This article appraises the poetics of two of the foremost African creative writers whose literary sensibilities exhibit conspicuously Marxist conceptual models. The writers have poignantly deployed their creative ingenuities towards raising social consciousness against the bourgeois economy which imposes a politics of asymmetry, parasitism and stratification on the economic thought of the African society that once projected a communal spirit. Considering the precarious conditions of Africa’s economy due to the pernicious effects of capitalism, it is imperative to examine the sordidness of classism, alienated labour, commodification or thingification of the underclass and other bourgeois tensions in African literature, as portrayed by these writers. Marxist theoretical models of economic determinism and historical materialism are discussed as the simulacrum of Vilfredo Pareto’s 80/20 Rule or Pareto Principle. Though Marxists are fixated on revolution as the only solution to end the misery of the underclass and terminate the hegemony of the oligarchy that exploits sellers of labour, the paper advocates economic revivalism through the exploration of the opportunities offered by the communal mode of production.
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41

Parent, Sabrina. "De l’événement historique à sa transcription artistique : explorer l’espace esthétique de l’ « erreur » dansCamp de Thiaroyede Sembene Ousmane etMorts pour la Francede Doumbi-Fakoly." Contemporary French and Francophone Studies 15, no. 5 (December 2011): 513–21. http://dx.doi.org/10.1080/17409292.2011.624000.

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42

Addai-Munumkum, Theresa. "The Failed Masculinist State in Africa: A Rejection of Phallic Man." KENTE - Cape Coast Journal of Literature and the Arts 1, no. 1 (December 20, 2019): 15–28. http://dx.doi.org/10.47963/jla.v1i1.84.

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African literature is famous for the depiction of a type of politics that tends to reflect the reality on the ground, spanning a panorama of incompetent leadership to gross political corruption. As a result, writing about politics in Africa tends to be a risky undertaking as many creative writers who criticize political leadership and corrupt practices in their works end up being jailed. Using contemporary African literature to discuss the postcolonial African Political State, this paper explores the nature of the state in West Africa in three novels, Chinua Achebe’s A Man of the People, Anthills of the Savannah and Sembene Ousmane’s Xala. Using the metaphor of an impotent masculinity, this paper argues that the political State in Africa is a failed one. From the dawn of independence to the era of democracy, the political state in Africa has had to grapple with failed leadership, corruption, injustice, the ever-widening gap between the rich and the poor etc., and it appears that these problems are becoming more.
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43

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.

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44

Barlet, Olivier. "Sembène le mécréant." Africultures 76, no. 1 (2009): 67. http://dx.doi.org/10.3917/afcul.076.0067.

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45

Petty, Sheila. "Postcolonial transformations: From Emitaï (Sembène 1971) to Moolaadé (Sembène 2004)." International Journal of Francophone Studies 14, no. 3 (October 28, 2011): 323–38. http://dx.doi.org/10.1386/ijfs.14.3.323_1.

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46

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

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47

Kiné Sène, Fatou, and Clarence Thomas Delgado. "Aux côtés de Sembène." Africultures 76, no. 1 (2009): 54. http://dx.doi.org/10.3917/afcul.076.0054.

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48

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

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49

Stefanson, Blandine. "Sembène écrivain : l'opposition homéopathique." Africultures 76, no. 1 (2009): 110. http://dx.doi.org/10.3917/afcul.076.0110.

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50

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

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