Relevant bibliographies by topics / Si longue lettre (Bâ, Mariama)

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Academic literature on the topic 'Si longue lettre (Bâ, Mariama)'

Author: Grafiati
Published: 1 March 2023
Last updated: 1 March 2023

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Journal articles on the topic "Si longue lettre (Bâ, Mariama)"

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

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La presente contribution a pour objectif de replacer Une si longue lettre de la romanciere senegalaise Mariama Bâ dans le contexte du genre epistolaire, d'une part, en montrant son caractere hybride sur le plan forme! (ce roman peut etre envisage a la fois comme une lettre, un joumal intime et un roman a la premiere personne) et, d'autre part, en determinant comment le choix de ce genre specifique, qui implique l'existence d'un narrataire (destinataire de la lettre), contribue a la transmission du lllesage ideolgique (feministe) au coeur du project romanesque de Mariama Bâ.
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Tchokothe, Rémi Armand. "Mariama Bâ et Djaïli Amadou Amal : Une si Longue Lettre des (Im)patientes." HYBRIDA, no. 2 (June 28, 2021): 201. http://dx.doi.org/10.7203/hybrida.2.20603.

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Cette contribution « Mariama Bâ et Djaïli Amadou Amal : Une si Longue Lettre des (Im)patientes » relit/relie le classique Une si longue lettre (1980) de la Sénégalaise Mariama Bâ à travers le prisme de l’inter-actualité avec Les Impatientes (2020) de la Camerounaise Djaïli Amadou Amal. Nous mettons l’accent sur les synergies 1. Philosophico-lexicale (des mots du pulaaku sur les maux de la polygamie). 2. D’itinéraire littéraire. 3. Narratologique (voix et voies des (im)patientes) et 4. Stylistique (lettre contée munyalement comme thérapie libératrice et émancipatrice). Nous insistons néanmoins sur Les Impatientes car on ne compte plus les travaux publiés sur Une Si Longue Lettre, alors qu’on ne trouve que quelques entretiens dans les médias avec Djaïli Amadou Amal. Cet article s’appuie sur une philosophie/théorie proposée par Les Impatientes pour étudier le statu quo sur le sort des femmes dans deux contextes musulmans, le Munyal (« patience »). Par ailleurs, il contribue à la constitution d’un corpus critique sur l’œuvre d’une voix littéraire féminine émergente au Cameroun.
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Carvalho, Marina Bueno de. "A poligamia em Une si longue lettre e Niketche: uma história de poligamia." África, no. 42 (December 7, 2021): 142–52. http://dx.doi.org/10.11606/issn.2526-303x.i42p142-152.

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O objetivo deste artigo é apresentar dois romances cuja temática comum é a poligamia. Ambos foram escritos por mulheres africanas de países diferentes e em diferentes épocas: Mariama Bâ, no Senegal e Paulina Chiziane, em Moçambique. Une si longue lettre, de Mariama Bâ, foi publicado pela primeira vez em 1979 e é inédito em Português. Niketche: uma história de poligamia, de Paulina Chiziane, foi publicado pela primeira vez em 2002. O objetivo desta análise será colocar em relevo a continuidade temática dos dois romances. De fato, ambos os textos têm por foco mulheres que vivem a poligamia em diferentes países africanos e sob diferentes formações culturais.
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Britwum, Atta G. "Mariama Bâ/Ramatoulaye en un combat douteux dans Une si longue lettre." Asεmka: A Bilingual Literary Journal of University of Cape Coast, no. 11 (June 1, 2021): 1–16. http://dx.doi.org/10.47963/asmka.vi11.431.

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In the early part of So Long a Letter, Ramatoulaye bristles feminist as she chastises polygamy, and. by implication, patriarchy that subtends it, and subordinates the woman to the man. She upholds thereafter same patriarchal order as she employs it to her benefit. Further, her narration pits women nnagainst each other; and, through the roles she makes them play, minimizes them in relation to men. This undercuts the initial feminist posturing and claims made for the novel and its author. Besides, the socio-economic context that frames the events narrated gets given a colouring that endorses the neocolonial order plaguing Africa.
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Semujanga, Josias. "De la narration autobiographique dans Une si longue lettre de Mariama Bâ." Les Lettres Romanes 51, no. 3-4 (August 1997): 289–99. http://dx.doi.org/10.1484/j.llr.4.00973.

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

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How did Mariama Bâ‘s 1979 novel Une si longue lettre (So Long a Letter) become one of the most widely read, taught, and translated African texts of the twentieth century? This essay traces how the Senegalese author's work became recognizable to a global audience as an attack on polygamy and a celebration of literary culture. I explore the flaws in these two conceptions of the novel, and I recover aspects of the text that were obscured along the way—especially the novel's critique of efforts to reform the legal framework of marriage in Senegal. I also compare striking shifts that occur in two key translations: the English edition that helped catalyze Bâ‘s success and a more recent translation into Wolof, the most widely spoken language in Senegal. By reading Letter back through these translations, I reposition it as a text that highlights its distance from an audience and transforms this distance into an animating contradiction.
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Chaudemanche, Alice. "Traduire, moderniser, re-raconter : glose de traducteurs dans trois récits traduits en wolof." Études littéraires africaines, no. 53 (August 17, 2022): 13–25. http://dx.doi.org/10.7202/1091411ar.

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Cet article s’intéresse aux gloses métalinguistiques dans trois récits traduits en wolof : L’Enfant noir (Goneg nit ku ñuul gi) de Camara Laye, Une si longue lettre (Bataaxal bu gudde nii) de Mariama Bâ et L’Africain (Baay sama, doomu Afrig) de J.M.G. Le Clézio. Nous montrons que ces trois textes font apparaître trois usages différents de la glose qui nous renseignent sur le projet de traduction des traducteur(trice)s et construisent des ethos différents depuis le traducteur-passeur (Goneg nit ku ñuul gi) jusqu’au traducteur-raconteur (Baay sama, doomu Afrig), en passant par la linguiste militante (Bataaxal bu gudde ni).
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Celarent, Barbara. "Une si longue letter. By Mariama Bâ. Dakar: Les Nouvelles Editions Africaines, 1980. Pp. 131.So Long a Letter. By Mariama Bâ. Translated by Modupé Bodé-Thomas. London: Heinemann, 1981. Pp. 90." American Journal of Sociology 116, no. 4 (January 2011): 1391–96. http://dx.doi.org/10.1086/659876.

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عبد التواب قرنی عبد اللطیف, محمد. "La situation choquante de la femme dans deux romans francophones de Tahar Ben Jelloun et Mariama Bâ : L’Enfant de Sable et Une si longue lettre." مجلة کلیة الآداب جامعة الفیوم 13, no. 1 (January 1, 2021): 530–76. http://dx.doi.org/10.21608/jfafu.2021.141701.

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Walker, Keith L. "The Transformational and Enduring Vision of Aimé Césaire." PMLA/Publications of the Modern Language Association of America 125, no. 3 (May 2010): 756–63. http://dx.doi.org/10.1632/pmla.2010.125.3.756.

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As the Nineteenth Century was the Century of Colonization, The Twentieth Century was the Century of Decolonization, THE neologism entered popular usage during the 1950s, gained sudden prestige, and was declared crucial and, indeed, “beautiful” by Aimé Fernand David Césaire (“L'homme” 116). Césaire lived at the center of the global tempest and cultural sea change that characterized the anticolonial, civil rights, independence-movement years from 1932 to 1968. Césaire's rhetorical virtuosity and intellectual genius coincided with a moment of worldwide paradigm shifts and conceptual earthquakes, or tremblements de concepts, as he termed them (“Culture” 453). Césaire embodied what Edward Said called the “sensuous particularity as well as historical contingency” of a man living on the borderline of historical transition (39). On the actors, artists, and intellectuals of this borderline moment, the Senegalese writer Mariama Bâ reflected that it was the “[p]rivilège de notre génération, charnière entre deux périodes historiques, l'une de domination, l'autre d'indépendance. Nous … étions porteurs de projets” ‘privilege of our generation to be the link between two periods in our history, one of domination, the other of independence. We … were the messengers of a new design’ (Une si longue lettre 40 [So Long a Letter 25]). According to Césaire, the messengers had duties:Notre devoir d'hommes de culture, notre double devoir est là: Il est de hâter la décolonisation, et il est, au sein même du présent, de préparer une bonne décolonisation, une décolonisation sans séquelles. Il faut hâter la décolonisation, qu'est-ce à dire? Cela veut dire qu'il faut, et par tous les moyens, hâter le mûrissement de la PRISE DE CONSCIENCE POPULAIRE sans quoi il n'y aura jamais de décolonisation. Nous dans la conjoncture où nous sommes, nous sommes des propagateurs d'âmes, des multiplicateurs d'âmes, et à la limite des inventeurs d'âmes. (“L'homme” 121)Our responsibility as intellectuals, our double responsibility, is the following: it is to hasten decolonization, and it is at the very present time to prepare a sound decolonization, a process of decolonization that leaves no posttraumatic scars. What exactly does it mean that we must hasten decolonization? It means that we must by every means available to us hasten the maturation of the RAISING OF THE MASSES' CONSCIOUSNESS, without which there will be no decolonization. In our present situation we are propagators of souls, multipliers of souls, and almost inventors of souls.
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Dissertations / Theses on the topic "Si longue lettre (Bâ, Mariama)"

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Assaad, Christel. "La femme entre tradition et modernité dans le roman Une si Longue Lettre de Mariama Bâ." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-23612.

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

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This study is based on the main female African characters in Une si longue lettre written in 1979 by Mariama Bâ and Assèze l’Africaine written in 1994 by Calixthe Beyala. Both novels describe the African society and the obstacles that exist for women in this society where men dominate. This study presents the transformation of Ramatoulaye that is a traditional and passive woman but she becomes modern. In addition, it presents the transformation of young Aïssatou that becomes an independent and strong woman, in these two novels. These two women are facing similar forms of discriminations and oppression in the African society and they are struggling against injustice in various ways. The aim of this analysis is to investigate how the image of the African women and the feminism in Africa show and develop through the main characters, Ramatoulaye and Aïssatou. The conclusion reveal that the image of the African women has considerably changed over the years in a positive way and that Femininity is a cultural construction and not a natural construction. The conclusion further reveal that even today a woman is not independent, but is still considered "the Other" in relation to the man.
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Perret, Arnaud. "Mariama Bâ: un féminisme né à l'intersection de deux cultures." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5350/.

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Many critics consider Mariama Bâ as a feminist writer, but the reader of her two novels might wonder what characterizes her work as such. Therefore, the aim of each chapter, in order of appearance, is to analyze first the genres, then the elements of African tradition and Western modernity, the characters of both works and the themes of the novels, with the intention of defining the author's feminism, which takes its source in dichotomies, paradoxes and contradictions. In order to expose the author's point of view on the condition of women, it appears important to situate the diegesis in its context. Also, the study is supported by references on the Senegalese culture, by genres, narrative and feminist theories and by critiques on the work itself.
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Amissine, Itang. "Feminism and translation : a case study of two translations of Mariama Bâ : une si longue lettre (so long a letter) and un chant écarlate (scarlet song)." Diss., 2015. http://hdl.handle.net/2263/44257.

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This study consists of a comparative analysis of two novels (Une si longue lettre and Un chant écarlate) written by the famous female African writer Mariama Bâ and their English translations (So long a letter and Scarlet song) by Modupe Bodé-Thomas and Dorothy Blair. Mariama Bâ’s texts shed light on the different ways in which African women are oppressed by tradition and religion deeply rooted in a patriarchal and post-colonial society. The story of her own life serves as a basis for an effective analysis of both novels in order to determine the extent of her Feminist orientation in her texts, as well as to evaluate the possibilities of female emancipation based on the choices made by her female characters. This study further examines the translation strategies present in the English rendition of Bâ’s novels. Translation involves conveying a message from a source to a target text in a manner that expresses the same message as the original. It also bridges the language and cultural barrier by facilitating understanding between different worlds. In translating Bâ’s novels, the aim is to respect and convey her message of Feminism to an international non-Francophone audience. In order to evaluate whether the translations have achieved the objective of conveying her message, this study will attempt to analyse the translational choices made by each translator as well as to ascertain the success of those choices. This analysis is guided by existing Feminist translation theory. Emphasis is placed on Feminism in general and African Feminism in particular to ascertain Bâ’s own Feminist orientation and how this impacted her writing. This is done firstly by giving a brief synopsis of the two novels. Subsequently, traces of Feminism are identified in both novels, followed by an analysis of the source texts. This is done by applying descriptive models outlined within the framework of descriptive translation studies to compare the source and target texts. This study reveals that despite the many translation strategies that are available, literal/word for word and semantic translations are predominant in the English renditions of Bâ’s novels. The use of these strategies differed in the two translations in question. While Bodé-Thomas preferred a more traditional, literal/word for word translation in her rendition of Une si longue lettre in order to maintain the simplicity of the text and preserve the African aesthetic which is the essence and distinguishing feature of Bâ’s work, Blair opted for a semantic translation which turned out to be an important strategy in her English rendition of Un chant écarlate. Taking the different translational strategies used by Modupe Bodé-Thomas and Dorothy Blair as a case in point, this study proposes that since for the most part, Mariama Bâ’s writing in a European language (French) captures the African content and form and portrays her Feminist beliefs in both her novels, the job of both translators is simply to carry over the same African content and form from the source language to the target language in a similar manner that expresses Bâ’s Feminist beliefs. Key words: Mariama Bâ, Feminism, African Feminism, Feminist translation, descriptive translation studies, post-colonialism, translation studies, autobiography, Dorothy Blair, Modupe Bodé-Thomas, source text, target text, Une si longue lettre, Un chant écarlate, Scarlet song, So long a letter
Mini Dissertation (MA)--University of Pretoria, 2015.
Modern European Languages
MA
Unrestricted
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Gilbert, Patience Lysias Dodd. "Les effets délétères de la Polygamie sur les hommes et les enfants dans la société sénégalaise postcoloniale : une analyse d'une si longue lettre de Mariama Bâ, La Grève des Bàttu d'Aminata Sow Fall et Le Ventre de L'Atlantique de Fatou Diome." Thesis, 2010. http://hdl.handle.net/10413/5029.

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L’arrivée des femmes d’Afrique sur le champ de la littérature écrite était attardée à cause d’un ensemble des facteurs, nommément: la scolarisation insuffisante des filles, le facteur familial, culturel, religieux. Avant les indépendances, l’image de la femme africaine présentée dans l’écriture des romanciers africains était très dégradante. Elle a été présentée comme objet de domination patriarcale, qui n’avait ni voix ni personnalité. Les femmes africaines étaient vues comme des personnes qui devaient accomplir les travaux routiniers du foyer sans poser des questions. Elles acceptaient leur condition car elles n’avaient pas les moyens et la détermination de réfuter ou de rejeter la subjugation de l’homme. Heureusement, l’indépendance de la plupart des pays francophones en 1960 a incité des transformations sociales qui affectaient les femmes dans tous les aspects de vie. Avec la proclamation en 1970 de l’Année internationale de l’éducation, l’Unesco a abrogé l’inégalité d’accès des femmes à l’éducation. L’instruction permettait ainsi à la femme de se réveiller et de prendre conscience de sa position inférieure. Les nouvelles technologies, telles que la presse et la radio, ont contribué aux changements des mentalités de femmes. Ainsi, après un long silence qui a suivi la publication de Ngonda de la Camerounaise Marie-Claire Matip, publié en 1956, et Rencontres essentielles d’une autre Camerounaise Thérèse Kuoh Moukoury en 1969, les premiers ouvrages littéraires féminins ont été publiés au milieu des années 1970, précisément, 1975, consacré années internationale de la femme. En bref, la littérature féminine d’Afrique francophone est devenue une littérature engagée et un moyen puissant de conscientisation. Dans leur écriture les écrivaines condamnaient l’oppression des hommes à travers les thèmes majeurs tels que le mariage, la polygamie, la circoncision, etc. Elles ont commencé à décrire les femmes africaines comme intelligentes, actives, capables, déterminées et à la recherche de justice. On note que le Sénégal est le premier territoire d’Afrique francophone, avec une prédominance islamique, qui a produit un grand nombre de romancières. Elles ont écrit et exposé les multiples tendances sociales qui affectent les sénégalaises, parmi lesquelles la polygamie (Stringer, 1996 :15). Ces multiples tendances amènent les critiques littéraires à considérer les divers thèmes analytiques du problème de l’oppression des femmes au Sénégal et en Afrique en général. Néanmoins, cette recherche littéraire a pour objectif d’analyser le thème de la polygamie et ses conséquences négatives sur les enfants et les hommes dans Une si longue lettre de Mariama Bâ, La Grève des bàttu d’Aminata Sow Fall et Le Ventre de l’Atlantique de Fatou Diome. L’accent jusqu’à présent était sur les effets délétères sur les femmes, sans l’analyse de son impact négatif sur les hommes et les enfants. C’est sur ce fond que cette recherche va tenter d’évaluer les raisons cachées de la polygamie et jusqu'à quel point la polygamie abaisse les hommes et mène à l’abus des enfants. Nous allons citer les cas tiré des oeuvres des trois auteurs féminines qui sont citoyennes du Sénégal.
Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.
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Tonleu, Madeleine. "L'images des personnages feminins dans Une si longue lettre de Mariama Ba et Riwan ou le chemin de sable de Ken Bugul." Thesis, 2011. http://hdl.handle.net/10539/10388.

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MA (French), Faculty of Humanities, University of the Witwatersrand, 2011
Through a thematic content analysis, this dissertation analyses how Mariama Bâ in So long a letter (1979) and Ken Bugul in Riwan ou le chemin de sable (1999) perceive the image of African women. This work is focused as well on the ambiguity of the situation of these women who are torn between modernity and tradition. Mariama Bâ raises the issue of women’s emancipation as that of complementarities between men and women and not as that of confrontation. She doesn’t conceive African feminism as a requirement of modern times because everything is not admissible in modernity; but believes a controlled evolution of mentalities is necessary for the balance of the society. On the other hand, Ken Bugul questions all the concepts and ideas that have been received so far on the issue of the status of women in Africa. She thinks women can find happiness in a polygamous marriage, and beyond this a way of rehabilitation. She presents “modern” women as victims in monogamous spousal relationships and believes they have lost their cultural identity.
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Correa, Cherif Ayouba. "Representations of Islam and the question of identity in the postcolonial context : Mariama Ba's Une Si Longue Lettre, Ousmane Sembene's Ceddo and Guelwaaar, and Chikh Hamidou Kane's L'aventure Ambigue /." 2008. http://www.library.wisc.edu/databases/connect/dissertations.html.

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Books on the topic "Si longue lettre (Bâ, Mariama)"

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Une si longue lettre de Mariama Bâ: Étude. Issy les Moulineaux [France]: Classiques africains, 1986.

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

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Book chapters on the topic "Si longue lettre (Bâ, Mariama)"

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

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

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

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How did Mariama Bâ’s 1979 novel Une si longue lettre[So Long a Letter] become one of the most widely read, taught, and translated African texts of the twentieth century? This chapter examines how prize committees, translators, editors, and critics all shaped how the Senegalese author’s work became recognizable to a global audience. Bâ’s success came to be bound up with two interpretations of her work: first, that her novel was a broadside against the institution of polygamy in Senegal; and, second, that it was a celebration of the self-fashioning powers of literary culture. This chapter rejects both these accounts, arguing instead that these ways of framing the novel reveal the terms through which postcolonial literatures become legible as world literature. The conversion of Lettreinto world literature is contrasted with its vernacular appropriation by the contemporary Wolof novelist Maam Yunus Dieng, who translates and rewrites this iconic text.
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"L’aventure ambigue de la femme africaine. Une étude comparée de l’évolution de Samba Diallo et de la femme sénégalaise chez Ken Bugul (Le Baobab fou) et chez Mariama Bâ (Une si longue lettre)." In Gendered Memories, 89–99. BRILL, 2000. http://dx.doi.org/10.1163/9789004484092_010.

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