{"id":1929,"date":"2020-05-17T11:54:46","date_gmt":"2020-05-17T11:54:46","guid":{"rendered":"https:\/\/particip-action.com\/?p=1929"},"modified":"2025-05-17T12:03:45","modified_gmt":"2025-05-17T12:03:45","slug":"images-de-la-femme-dans-loeuvre-romanesque-dabdoulaye-sadji-maimouna-et-nini-mulatresse-du-senegal","status":"publish","type":"post","link":"https:\/\/particip-action.com\/?p=1929","title":{"rendered":"IMAGES DE LA FEMME DANS L\u2019\u0152UVRE ROMANESQUE D\u2019ABDOULAYE SADJI : MA\u00cfMOUNA ET NINI, MULATRESSE DU SENEGAL"},"content":{"rendered":"<p style=\"text-align: justify;\"><span style=\"text-decoration: underline;\"><strong><span style=\"font-size: 10pt; font-family: georgia, palatino, serif;\">R\u00e9sum\u00e9<\/span><\/strong><\/span><br \/>\n<span style=\"font-size: 10pt; font-family: georgia, palatino, serif;\">Dans l\u2019historiographie de la litt\u00e9rature s\u00e9n\u00e9galaise, la femme occupe une place centrale. Que ce soit chez les \u00e9crivaines ou chez les personnages f\u00e9minins, la femme est constamment pr\u00e9sente. Alors que les \u00e9crivaines sont au-devant de la sc\u00e8ne en ce qui concerne les questions de d\u00e9veloppement, les personnages f\u00e9minins, eux, sont diversement repr\u00e9sent\u00e9s. Dans Ma\u00efmouna et Nini, Mul\u00e2tresse du S\u00e9n\u00e9gal, ce sont les femmes qui m\u00e8nent les d\u00e9bats suivant leurs diff\u00e9rentes consid\u00e9rations. Il appara\u00eet, dans ces romans, trois principales images de la femme. D\u2019abord, la femme exhibitionniste qui est repr\u00e9sent\u00e9e par Nini. Vient, par la suite, la femme d\u00e9pendante. Cette figure est symbolis\u00e9e par Rihanna. Enfin, l\u2019on y rel\u00e8ve la figure de la femme sentimentale qui croit encore a l\u2019amour, mais qui subit des d\u00e9ceptions. Cette derni\u00e8re figure est repr\u00e9sent\u00e9e par Ma\u00efmouna. L\u2019\u0153uvre romanesque d\u2019Abdoulaye Sadji pr\u00e9sente des femmes au statut \u00e0 g\u00e9om\u00e9trie variable.<\/span><br \/>\n<span style=\"font-size: 10pt; font-family: georgia, palatino, serif;\">Mots-cl\u00e9s : images de la femme, litt\u00e9rature s\u00e9n\u00e9galaise, exhibitionnisme, femme d\u00e9pendante, amour et d\u00e9ception.<\/span><br \/>\n<span style=\"text-decoration: underline;\"><strong><span style=\"font-size: 10pt; font-family: georgia, palatino, serif;\">Abstract<\/span><\/strong><\/span><br \/>\n<span style=\"font-size: 10pt; font-family: georgia, palatino, serif;\">In the historiography of Senegalese literature, women occupy a central place. Whether it is women writers or female characters, the women are constantly present. Whereas women writers are at the forefront of developmental issues, women\u2019s characters are variously represented. In Ma\u00efmouna and Nini, Mulatto of Senegal, it is the women who lead the debates according to their different considerations. It appears in these novels, three main images of women. First, the exhibitionist woman, who is represented by Nini. Then comes the dependent woman. This figure is symbolized by Rihanna. Finally, we see the figure of the woman who still believes in true love but who is disappointed. This last figure is represented by Ma\u00efmouna. Abdoulaye Sadji\u2019s novelistic work presents women with variable geometry status.<\/span><br \/>\n<span style=\"font-size: 10pt; font-family: georgia, palatino, serif;\">Keywords: Images of the woman, Senegalese literature, exhibitionism, depending woman, love and comedown.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>R\u00e9sum\u00e9 Dans l\u2019historiographie de la litt\u00e9rature s\u00e9n\u00e9galaise, la femme occupe une place centrale. Que ce soit chez les \u00e9crivaines ou chez les personnages f\u00e9minins, la femme est constamment pr\u00e9sente. Alors que les \u00e9crivaines sont au-devant de la sc\u00e8ne en ce qui concerne les questions de d\u00e9veloppement, les personnages f\u00e9minins, eux, sont diversement repr\u00e9sent\u00e9s. Dans Ma\u00efmouna [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":501,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"saved_in_kubio":false,"footnotes":""},"categories":[28],"tags":[],"class_list":["post-1929","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-a-r"],"_links":{"self":[{"href":"https:\/\/particip-action.com\/index.php?rest_route=\/wp\/v2\/posts\/1929","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/particip-action.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/particip-action.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/particip-action.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/particip-action.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1929"}],"version-history":[{"count":1,"href":"https:\/\/particip-action.com\/index.php?rest_route=\/wp\/v2\/posts\/1929\/revisions"}],"predecessor-version":[{"id":1934,"href":"https:\/\/particip-action.com\/index.php?rest_route=\/wp\/v2\/posts\/1929\/revisions\/1934"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/particip-action.com\/index.php?rest_route=\/wp\/v2\/media\/501"}],"wp:attachment":[{"href":"https:\/\/particip-action.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1929"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/particip-action.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1929"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/particip-action.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1929"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}