Thesis (Ph. D.)--University of Wisconsin--Madison, 1973. / Typescript. Vita. Description based on print version record. Includes bibliographical references (leaves 469-482).

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 / Faat Kiné et Moolaadé démontrent clairement que Sembène s’est éloigné d’une certaine construction binaire dans ses représentations des femmes ; celle de victime/ oppresseur. Cette thèse explorera les diverses façons que Sembène problématise l’existence de ces deux pôles dans ses deux derniers films.

Faculty of Humanities School of Literature and Language Studies 0413458h edwardmooka@yahoo.com / This 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.

Thesis (Doctoral)--Université de Toulouse II-Le Mirail, U.F.R. de lettres, philosophie et musique, litterature comparee, 1998. / Includes bibliographical references, index and list of errata.

Thesis (Doctoral)--Université de Toulouse II-Le Mirail, U.F.R. de lettres, philosophie et musique, litterature comparee, 1998. / Includes bibliographical references, index and list of errata.

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 Ousmane. / Guelwaar, 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.

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

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.

Submitted by Natalia de Souza Gonçalves (natalia.goncalves@ufpe.br) on 2015-05-05T16:07:58Z No. of bitstreams: 2 Pode o Subalterno Filmar . A poética política dos filmes La Noire de ... e Soleil Ô- Jonas Alexandre do Nascimento.pdf: 4246235 bytes, checksum: 6063d6981dba2ec40d2b02780c31b8da (MD5) license_rdf: 9 bytes, checksum: 42dd12a06de379d3ffa39b67dc9c7aff (MD5) / Made available in DSpace on 2015-05-05T16:07:58Z (GMT). No. of bitstreams: 2 Pode o Subalterno Filmar . A poética política dos filmes La Noire de ... e Soleil Ô- Jonas Alexandre do Nascimento.pdf: 4246235 bytes, checksum: 6063d6981dba2ec40d2b02780c31b8da (MD5) license_rdf: 9 bytes, checksum: 42dd12a06de379d3ffa39b67dc9c7aff (MD5) Previous issue date: 2015-02-26 / 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”.

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.