从文学到电影:奥斯曼·桑宾笔下自主与开放的非洲  

From Literature to Cinema:The Autonomous and Open-minded Africa in Ousmane Sembène’s Works

作　　者：段维珊 Duan Weishan

机构地区：[1]北京外国语大学

出　　处：《法语国家与地区研究（中法文）》2021年第4期82-89,93,共9页Etudes Francophones

摘　　要：早在20世纪60年代,奥斯曼·桑宾便力图在其文学及电影作品中呈现出非洲的本来面貌,而非外界加诸其上的刻板印象。他的小说《神的儿女》叙述了一个历史事件:1947-1948年达喀尔—尼日尔铁路工人大罢工;电影《黑女仆》讲述了一个达喀尔姑娘在法国南方做女佣的经历。在创作时,桑宾擅长将文学的写作手法与电影技巧相结合。本文将从空间与叙事手法两个方面,研究上述两部作品间的相似之处。在奥斯曼·桑宾看来,无论外部枷锁如何沉重,非洲人的自我意识都未曾泯灭,他们始终秉持开放心态,渴望得见非洲蓬勃发展并融入世界。Early in the 1960s,Ousmane sembène sought to present Africa as it was in his literary and cinematic works,rather than as a stereotype imposed by the Western world.His novel God’s Bits of Wood recounts a historical event:the 1947-1948 Dakar-Niger railway workers’strike;his film Black Girl tells the story of a Dakar girl working as a maid in South France.In creating his works,sembène excels in combining literary writing techniques with cinematic techniques and thus creating an audiovisual feast.This article examines the similarities between these two works,both in terms of space and narrative technique.For Ousmane sembène,however heavy the external shackles may be,Africans are always independent and open-minded,desirous of witnessing Africa thriving and integrate into the world.

关 键 词：奥斯曼·桑宾 《神的儿女》 《黑女仆》 黑人性 

分 类 号：I106[文学—世界文学]