Birago Diop

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Diop, Birago


Born in 1906 in Senegal. Senegalese writer and folklorist.

Diop writes in French. His books Tales of Amadou Koumba (1947), New Tales of Amadou Koumba (1958), and Tales and “Lavanes” (1963) are fine literary treatments of folklore. They are directed against the power of the wealthy, who are despised by the working people, and against greed, self-interest, parasitism, and idleness. However, Diop is known for a certain idealization of Africa’s patriarchal structure and its animistic religion. His poetry is in the collection Lures and Glimmerings (1960).


In Russian translation:
Skazki Amadu Kumba. Moscow, 1961. (With an afterword by E. L. Gal’perina.)
V ritmakh tam-tama. Moscow, 1961. (With an introductory article by E. L. Gal’perina.)
Golosa afrikanskikh poetov. Moscow, 1968. (Translated from English and French.)


Mikhailov, M. “Novye skazki B. Diopa.” Vostochnyi al’manakh, 1963, issue 6.
Potekhina, G. I. Ocherki sovremennoi literatury Zapadnoi Afriki. Moscow, 1968.
References in periodicals archive ?
This was not always appreciated by racist colonizers: at a 1938 screening in Bamako, the future Senegalese writer Birago Diop received a punch to the head for his 'insolence' in demanding equal treatment (pp.
Yeats, Yes Yes Yes "The Second Coming" Joseph Conrad Heart of Heart of Darkness Darkness Wole Soyinka Death and the The Lion and Death and the King's the Jewel King's Horseman Horseman Mariama Ba So Long a Letter Birago Diop "The Bone"; "Mother Crocodile" Bernard Dadie "The Mirror of Dearth"; "The Black Cloth"; "The Hunter and the Boa" Kamau From Rights of Brathwaite Passage; "Limits" Leopold 9 Poems 3 Poems 5 Poems Senghor Doris Lessing "The Old Chief Mshlanga" The chart suggests that the Norton version is the most comprehensive in its selection of African Literature, although Longman's inclusion of Senegalese writer Manama Ba's So Long a Letter adds diversity by including the point of view of a Francophone woman writer with a strong Islamic component.
But as another poet, Birago Diop said, "She is here with us; she will always be with us." She will always be with me.
El capitulo 8 analiza la confluencia entre oralidad (literatura oral), memoria y autobiografia en Amkoullel, l'enfant peul, 1991, de Amadou Hampate Ba, o las Memorias de Birago Diop. Tambien se discute el papel del griot en la genesis de algunas autobiografias africanas.
In fact, we would have to turn to the autobiography of Birago Diop to find another full portrait of those early and middle years of colonialism, the period in which Hampate Ba sets his chef d'oeuvre The Fortunes of Wangrin, first published in 1973.
Wole Soyinka famously denounced Le Regard du roi in 1963, accusing Camara Laye of a kind of inauthenticity that seemed just short of plagiarism: "imitativeness." "I think we can tell when the line of mere 'influence' has been crossed," Soyinka wrote; "Most intelligent readers like their Kafka straight, not geographically transposed." (2) Birago Diop noted the death of Camara in his diary with this remark: "L'Enfant noir etait bien de chez nous, mais non Le Regard du roi." (3) But Senghor certified the authenticity of Le Regard du roi: "un Europeen n'ecrit pas comme cela." (4)
He lauds Birago Diop for rewriting Koumba's tales and affirms that "the tradition of African letters in the European languages has been founded upon a situation marked by a profound and radical ambivalence about theme and mode of expression." Hence the "fusion of the European language with the tonality of African speech patterns."
Rescate de un libro que prologo, selecciono y tradujo el poeta catalan Agusti Bartra en 1964 y donde podemos leer a los celebres Aime Cesaire, Leopold Sedar Senghor y Edouard Glissant, o a autores olvidados como Lionel Attuly, Birago Diop, Jacques Romain o Lucie Thesee.
`The dead have never left us ...' This idea from the Senegalese novelist Birago Diop, which is quoted at the beginning of this work, is the guiding light for Louis-Vincent Thomas, who taught for many years at the University of Dakar.
Survivor Bob Ballantyne, above left, paid tribute yesterday to the men lost on Piper Alpha by reading a poem by African writer Birago Diop called The Dead Are Not Dead
Steptoe continued to work in the area of children's literature, illustrating his own books and those of other authors, most of them black, including Lucille Clifton, Eloise Greenfield, Arnold Adoff, and Birago Diop. His style has become more refined, but never less powerful or new.
To a degree, the author follows the tradition set by Birago Diop of Senegal and Bernard Dadie of the Ivory Coast, who supplied a great deal of the African essence to the French language during the literary upsurge of the fifties.