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Journal articles on the topic 'Griotte'

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Published: 4 June 2021
Last updated: 3 February 2022

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1

Pernia, Marjorie Evasco. "Griotte." Iowa Review 33, no. 2 (October 2003): 118. http://dx.doi.org/10.17077/0021-065x.5648.

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2

Bulnes, M., J. Poblet, Á. De Ana, and M. Masini. "Comportamiento de las calizas «griotte» carboníferas frente a deformaciones compresivas en dos localidades de la Zona Cantábrica (NO de la Península Ibérica): resultados preliminares Behaviour of the Carboniferous «griotte» limestones under compressive deformation in two localities of the Cantabrian Zone (NW Iberian Peninsula): preliminary results." Trabajos de Geología 36, no. 36 (September 12, 2018): 61. http://dx.doi.org/10.17811/tdg.36.2016.61-80.

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Resumen: Se han analizado y comparado las características y posible evolución de las estructuras desarrolladas en la Fm. Alba, o caliza «griotte» carbonífera, en dos afloramientos ubicados en unidades estructurales distintas de la Zona Cantábrica, uno situado en los alrededores de San Emiliano y el otro en las playas de La Ballota y de Andrín. En ambos, la Fm. Alba acomoda deformación en distintos grados mediante el desarrollo de varios tipos de mesoestructuras. Se ha encontrado una serie de similitudes y diferencias entre los afloramientos tanto desde el punto de vista estratigráfico, como estructural. Aparentemente, las características estratigráficas distintas podrían haber sido el factor que ha ejercido una mayor influencia en el comportamiento mecánico a nivel mesoestructural dentro de la Fm. Alba.Palabras clave: calizas «griotte» carboníferas, Zona Cantábrica, pliegues, cabalgamientos.Abstract: We have analysed and compared the features and possible evolution of the structures developed within the Alba Fm., or Carboniferous «griotte» limestone, in two outcrops located in different structural units of the Cantabrian Zone: around San Emiliano and on La Ballota and Andrín beaches. In both outcrops the Alba Fm. accommodates deformation in various degrees by developing different types of mesostructures. We found a number of similarities and differences between the outcrops from the stratigraphic and structural point of view. Apparently, the different stratigraphic features might have been the factor that had exerted a greater influence on the mechanical behaviour at mesostructural scale within the Alba Fm.Keywords: Carboniferous «griotte» limestones, Cantabrian Zone, folds, thrusts.
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3

Sangaré, Fatou. "Mah Damba, djelimusso nyuma, la sublime griotte." Africultures 61, no. 4 (2004): 69. http://dx.doi.org/10.3917/afcul.061.0069.

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4

Korn, D., and R. Feist. "Early Carboniferous ammonoid faunas and stratigraphy of the Montagne Noire (France)." Fossil Record 10, no. 2 (August 1, 2007): 99–124. http://dx.doi.org/10.1002/mmng.200700002.

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Abstract. The early Carboniferous (Mississippian) sedimentary succession of the Montagne Noire is subdivided into three major lithostratigraphic units, in ascending order the Montagne Noire Griotte Group (Devonian to Early Tournaisian), the Tournaisian to Viséan Saint-Nazaire Group (with the Lydiennes, Faugères, Colonnes, and Puech Capel Formations, the latter new), and the Laurens Flysch Group (late Viséan). The ammonoid assemblages in these rock units are reviewed. A total of 29 Early Carboniferous ammonoid taxa at species level are determined. The new genus Nigrocyclus n. gen., and the new species Gattendorfia nazairensis n. sp., Globimitoceras albaillei n. sp., and Neogoniatites canovasi n. sp. are described. Die unterkarbonische Abfolge von Sedimentgesteinen in der Montagne Noire wird in drei lithostratigraphische Einheiten untergliedert, von unten nach oben die Montagne Noire Griotte Gruppe (Oberdevon bis Untertournai), die Saint-Nazaire Gruppe des Tournaisium und Viséum (mit den Lydiennes Faugères, Colonnes und Puech Capel Formationen, von denen die letzte neu ist), und der Laurens Flysch Gruppe (Oberviséum). Die Ammonoideen-Vergesellschaftungen in diesen Gesteinen werden revidiert. Insgesamt werden 29 unterkarbonische Ammonoideen-Taxa auf Artebene aufgeführt; neu beschrieben werden die Gattung Nigrocyclus n. gen. sowie die Arten Gattendorfia nazairensis n. sp., Globimitoceras albaillei n. sp. und Neogoniatites canovasi n. sp. doi:10.1002/mmng.200700002
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5

Onyemelukwe, Ifeoma Mabel, Abubakar Dauda Adamu, and Chukwunonso Hyacinth Muotoo. "Le Griot Dans La Litterature Postcoloniale: Une Etude De Guelwaar De Sembene Ousmane." UJAH: Unizik Journal of Arts and Humanities 22, no. 1 (July 8, 2021): 55–77. http://dx.doi.org/10.4314/ujah.v22i1.3.

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Le griot dans la société traditionnelle africaine de l’ère précoloniale est un personnage complexe chargé d’une myriade de fonctions. Il est bien respecté et honoré. La présente étude se donne l’objectif d’examiner profondément la peinture du griot dans la littérature africaine postcoloniale utilisant Guelwaar de Sembène Ousmane comme texte de base tout en établissant ses fonctions et ses portraits. L’étude privilégie quelques théories critiques comme le postcolonialisme, les théories marxiste et féministe. De plus, l’examen s’effectue à la lumière de l’image du griot d’antan et des sept catégories de nouveaux griots postulés par Ifeoma Mabel Onyemelukwe. Nous découvrons deux types de griot dépeints par Ousmane dans Guelwaar : le griot personnage littéraire nommé Guelwaar et le griot écrivain contemporain africain, Sembène Ousmane lui-même. Ces deux griots entretiennent des rapports de similitude et de divergence avec le vrai griot. Mais le griot écrivain contemporain africain ressemble beaucoup plus au griot d’antan en dépit des points de divergence. Nous finissons par déceler dix-huit fonctions du griot et par-là arriver aux dix-huit portraits du griot dans Guelwaar dont le griot bibliothèque publique bien documentée et le griot détenteur de la littérature écrite africaine postcoloniale. Nous parvenons à la conclusion que la littérature postcoloniale, comme l’atteste Guelwaar de Sembène Ousmane, se caractérise par une revalorisation des valeurs authentiques, honorables et louables du griot de caste. Ceci est symbolisé par l’apparition du griot personnage littéraire dans certaines oeuvres de la littérature écrite postcoloniale africaine comme Guelwaar et surtout la prééminence accordée aux griots écrivains contemporains africains tel Sembène Ousmane. The griot, in the traditional African society is a complex personality charged with multiple functions. He is well respected and honoured. The objective of the present research is to make an in-depth study of the depiction of the griot in post-colonial literature using Guelwaar as study text while establishing his functions and portraits. Postcolonialism, Marxist and Feminist theories constitute the theoretical framework. Furthermore, the examination is carried out in the light of the image of the real griot and the seven categories of new griots promulgated by Ifeoma Mabel Onyemelukwe. It is found that Sembène Ousmane depicts two types of griots in Guelwaar, namely: the griot as literary character named Guelwaar and the griot as contemporary African writer, Sembène Ousmane, himself. These two griots have certain similarities and differences with the real griot. But the findings show that the griot as contemporary African writer resembles more the real griot, their points of disparity notwithstanding. Eighteen functions and eighteen portraits of the griot are established, among which are: the griot as well documented library and the griot as custodian of written postcolonial African Literature. A firm conclusion is reached, that postcolonial literature, as reflected in Sembène Ousmane’s Guelwaar, is characterized by the revalorization of the real griot’s authentic, honorable and praise-worthy values. This is symbolized in the projection of the griot as literary character in some literary works like Guelwaar and in particular, the preeminence given to griots as Contemporary African writers as typified by Sembène Ousmane.
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Mouflard, Claire. "The Digital Griotte: Bessora’s Para/Textual Discourses on Identity Politics and Neocolonialism in Contemporary France." Humanities 8, no. 1 (January 1, 2019): 2. http://dx.doi.org/10.3390/h8010002.

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This article examines Bessora’s literary and digital criticism of postcolonial France, particularly in her first novel, 53 cm, and on her website, Tendre peau de vache. Bessora’s use of digital media in particular allows her to chronicle unofficial discourses on immigration, migration, and identity politics in France as alternative textual productions to her printed novels. Since there is a gap in academic studies regarding author websites and their contents, this study aims to start a conversation on the discursive function of an author’s digital textual productions. Following Jean Baudrillard’s theory in The Spirit of Terrorism according to which a terrorist act is successful when it distances itself from the real and exalts itself in the realm of the symbolic, this article argues that Bessora’s digital discourses on the post-Charlie Hebdo terrorist attack effectively denounce the disappearance of the real in French culture in favor of ideals such as the #jesuischarlie movement. From the publication of 53 cm in 1999 to her commentaries on France’s alienation of the lowest socio-economic class in Le Testament de Nicolas (2016), the self-proclaimed griotte’s print and digital productions complement each other and bring the reader closer to an understanding of institutional neocolonialist practices in France.
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Coudray, J., P. F. Edinger, D. Michel, and A. E. M. Nairn. "Tectonic interpretation of paleomagnetic results from the Upper Devonian griotte of the Montagne Noire, southern France." Tectonophysics 126, no. 2-4 (June 1986): 137–51. http://dx.doi.org/10.1016/0040-1951(86)90224-6.

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8

Sangaré, Fatou. "Griots et griottes : de Bamako à Paris." Africultures 61, no. 4 (2004): 62. http://dx.doi.org/10.3917/afcul.061.0062.

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9

Brand, Uwe, Marie Legrand-Blain, and Maurice Streel. "Biochemostratigraphy of the Devonian−Carboniferous boundary global stratotype section and point, Griotte Formation, La Serre, Montagne Noire, France." Palaeogeography, Palaeoclimatology, Palaeoecology 205, no. 3-4 (March 2004): 337–57. http://dx.doi.org/10.1016/j.palaeo.2003.12.015.

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10

Jansen, Jan, and Thomas A. Hale. "Griots and Griottes: Masters of Words and Music." International Journal of African Historical Studies 31, no. 3 (1998): 631. http://dx.doi.org/10.2307/221481.

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11

Hoffman, Barbara G., and Thomas A. Hale. "Griots and Griottes: Masters of Words and Music." African Arts 33, no. 3 (2000): 16. http://dx.doi.org/10.2307/3337686.

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Westley, David, and Thomas A. Hale. "Griots and Griottes: Masters of Words and Music." Canadian Journal of African Studies 34, no. 2 (2000): 463. http://dx.doi.org/10.2307/486433.

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Rasmussen, Susan J. "Griots and Griottes: Masters of Words and Music (review)." Comparative Literature Studies 38, no. 4 (2001): 361–66. http://dx.doi.org/10.1353/cls.2001.0038.

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14

GIRARD, CATHERINE, JEAN-JACQUES CORNÉE, CARLO CORRADINI, AURÉLIEN FRAVALO, and RAIMUND FEIST. "Palaeoenvironmental changes at Col des Tribes (Montagne Noire, France), a reference section for the Famennian of north Gondwana-related areas." Geological Magazine 151, no. 5 (November 25, 2013): 864–84. http://dx.doi.org/10.1017/s0016756813000927.

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AbstractWe present detailed biostratigraphy based on conodonts and palaeoenvironmental trends deduced from microfacies and conodont abundance through the Famennian (Late Devonian) at Col des Tribes (Montagne Noire, France). The succession is characterized by micritic limestones deposited in settings oscillating between mid to outer ramp. Facies contain poor fauna, widely dominated by nektonic organisms. This section is complete and one of the most conodont-rich for the Famennian of the north Gondwana-related area. The Upper Kellwasser event (Frasnian–Famennian boundary) and the Hangenberg (Devonian–Carboniferous boundary) have been lithologically identified. They are characterized by decimetre-thick black dysoxic to anoxic argillaceous sediments. The Condroz and annulata events, although not materialized by lithological changes, have been positioned due to the precise stratigraphy. The first event occurred during the deposition of condensed ferruginous facies (griotte limestones) and the second event during the deposition of micrites barren of benthic fauna. The combination of information from both facies and conodont biofacies changes allows a general sea-level curve through the entire Famennian for north Gondwana to be proposed for the first time. At Col des Tribes, the general trend is a slight deepening upwards from triangularis to trachytera zones, then a pronounced shallowing-upwards trend from upper trachytera to praesulcata zones. This curve correlates with the well-known reference curve from Euramerica concerning the late Famennian (trachytera to praesulcata Zones). There are some discrepancies in minor cycles which can be explained by tectonical phenomena at the onset of the edification of the Variscan belt in Europe.
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McLaughlin, Fiona. "Islam and popular music in Senegal: the emergence of a ‘new tradition’." Africa 67, no. 4 (October 1997): 560–81. http://dx.doi.org/10.2307/1161108.

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AbstractThis article explores the influence of Islam on Senegalese popular music and describes the emergence of a ‘new tradition’ that adapts the griot's praise song to Sufism. The emerging tradition is discussed against the backdrop of social relations between griots and the people they praise, and between marabouts or Sufi religious leaders and their disciples. Elements derived from both relationships can be found in the ‘new tradition’, making for a hybrid musical genre that reflects the social and religious reality of modern Senegal.
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Smith, Robert P., and Kama Kamanda. "La nuit des griots (Le contes de griot 2)." World Literature Today 71, no. 4 (1997): 845. http://dx.doi.org/10.2307/40153457.

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Idé Oumarou, Adamou. "Identity Declamation in Nigerien Oral Epic." Journal of Critical Studies in Language and Literature 2, no. 2 (February 9, 2021): 42–46. http://dx.doi.org/10.46809/jcsll.v2i2.58.

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This paper examines identity through the declamation of zamu or praise poetry in the oral epic narration of Moumouni Sékou, one of the Zarma (an ethnic group from Niger) bards or griots better known as Kulba Baaba Seebeeri. Right at the opening episode of the epic song, the bard proceeds to exhibit the identity of one of his heroic figures Haamali Seyni Gakoy by announcing some of his qualities or values such as: fearlessness, truthfulness, friendliness, gorgeousness and self-control to name but a few. In the eyes of the griot, these traits are key values that characterize the identity of the noble. The exhibition of these salient and important qualities is an interpellation of the griot toward his audience, so as to make them aware of the cultural moral values that past generations held individually and collectively.
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Frère, Marie-Soleil. "Le Journaliste et le Griot. Les Traces de L’oralite dans la Presse Ecrite Africaine." Afrika Focus 15, no. 1-2 (February 11, 1999): 13–47. http://dx.doi.org/10.1163/2031356x-0150102003.

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The Journalist and the Griot. Tracing the Oral Tradition in the African Press This paper will show the similarities between the journalist's role and narrative style and those of the griot1, a key player the traditional exercise of power. The new private press appeared in French-speaking Africa as a part of the democratic process at the beginning of the 1990’s, in the context of politic liberalization (multipartism, institutional renewal) and in the flow of a new type of political speech that allows contradictions, critiques and debates. The journalist, that had mostly been the mouthpiece of the governments until then, has acquired a new role as a confer-power in a democratizing regime. Nevertheless, the journalist may in some ways be compared to the traditional griot. First, his new form of speech is very close to the oral style of the griot. The stylistic characteristics, the use of metaphors and images, the way the story is built are common to both “story-tellers”. Secondly, they both criticize the “Big Men”, express the people’s frustrations and use irony to desacralised those in power. Thirdly, they occupy an “in between” position in society because, at the same time, they belong to the social group they are speaking or writing for, while being looked at as a different “cast” practising the power of public speech. The papers concludes that the griot and the journalist can play a role that enforces the democratization process in the sense that they make people share common values but they can also weaken the process by oversimplifying or hiding social problems and by supporting stereotypes and illusions.
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Bussoletti, Denise Marcos, Vagner De Souza Vargas, and Cristiano Guedes Pinheiro. "NARRATIVAS POPULARES: o griô e a arte de contar histórias." Cadernos de Pesquisa 21, no. 1 (August 31, 2014): 67. http://dx.doi.org/10.18764/2178-2229.v21.n1.p.67-80.

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O Núcleo de Artes, Linguagem e Subjetividade, da UFPEL, desenvolve atividades acadêmicas e ações culturais na cidade de Pelotas/RS. Uma dessas ações é desenvolvida por uma griô do movimento negro local, que trabalha contando histórias sobre seus ancestrais africanos e as suas vivências pelo carnaval pelotense, cenário do qual emergem a maior parte de suas memórias. O objetivo deste trabalho é relacionar as atividades da griô junto aos nossos projetos nos marcos conceituais de uma Pedagogia da Fronteira e através daquilo que pactuamos como sendo uma Estética da Ginga. Ao contar suas histórias e realizar as suas oficinas, a griô permite-nos reafirmar a importância e a permanência da tradição oral, atualizando conceitos tais como o de diferença e diversidade cultural, possibilitando o reconhecimento do caráter múltiplo da identidade e da importância da educação como práxis transformadora e em constante transformação.PALAVRAS-CHAVE: Educação. Pedagogia de fronteira. Estética da ginga. Griô.POPULAR NARRATIVES: the griot and the art of storytellingABSTRACT: The Nucleus of Arts, Languages and Subjectivities, from UFPEL, develops activities promotingacademic knowledge and cultural actions in Pelotas, southern Brazil. One of those actions is developedby a griot, telling stories about her African ancestors and how those stories have survived for centuries in Brazil. The aim of this article is to describe the activities done by this griot with our projects connected to Border Pedagogy and Aesthetics of Ginga conceptual proposals. By telling stories and making workshops, the griot implements those concepts by promoting perceptions and significations related to concepts of difference,diversity and cultural heritage, as positive characteristics that constitute our society and, through it, the recognition that all these hues create the identity of our local population. The griot allows us to affirm the importance and surveillance of the oral tradition, renewing concepts as difference and cultural diversity, which allows to realize the multiple character of identity and the relevance of education as a praxis that could be transformer and in constant transformation.KEYWORDS: Education. Border pedagogy. Aesthetics of ginga. Griot. NARRACIONES POPULARES: el grioty el arte de contar historiasRESUMEN: El Centro de Artes, Lenguajes y Subjetividades, del UFPEL desarrolla actividades de promoción de los conocimientos académicos y las actividades culturales en la ciudad de Pelotas/RS. Una de estas acciones es desarrollada por una griot, contando historias sobre el trabajo de sus antepasados africanos y cómo han sobrevivido durante siglos en Brasil. El objetivo de este trabajo es describir las actividades de la griot con nuestros proyectos, relacionados con la Pedagogía de la Frontera y Estética de Ginga. Para contar sus historias y realizar sus talleres, la griot nos permite reafirmar la importancia y la permanencia de la tradición oral, actualizando los conceptos como los de diferencia y diversidad cultural, posibilitando el reconocimiento del carácter múltiplo de la identidad y de la importancia de la educación como praxis transformadora y que está en constante transformación.PALABRAS CLAVE: Educación. Pedagogía fronteriza. Estética de Ginga. Griot.
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20

Coulon, Virginie. "HALE, Thomas A., Griots and Griottes: Masters of Words and Music, Bloomington, Indianapolis: Indiana University Press, 1998 (publié en 1999), 410 p." Études littéraires africaines, no. 10 (2000): 22. http://dx.doi.org/10.7202/1041930ar.

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21

Conrad, David C. "Islam in the Oral Traditions of Mali: Bilali and Surakata." Journal of African History 26, no. 1 (January 1985): 33–49. http://dx.doi.org/10.1017/s0021853700023070.

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As a study of some Islamic factors involved in the construction of oral narrative by Manding bards, this article is chiefly concerned with two distinct cases in which griots have borrowed important legendary figures from the literature of Arabia. It is found that Bilali, described by traditional genealogists as progenitor of the ancient ruling branch of the Keita lineage, originated as Bilāl ibn Rabāḥ, a companion of Muhammad and the first mu'adhdhin. Genealogies or descent lists of early Malian rulers still contain names that have apparently survived from pre-Islamic times, but in most instances these early forebears of chiefly rank have been moved forward into the Islamic era and displaced as founding ancestors by figures like Bilali, who originated in Muslim Arab literature. Similarly, at the lower levels of the social hierarchy, major artisan classes like the blacksmiths and leatherworkers have adopted their own collective ancestors from Islamic tradition.In the case of Surakata, collective ancestor of Bambara and Mandinka griots, it is recalled that he began as Surāqa ibn Mālik, in Arab tradition an enemy of Muhammad who became an early convert to Islam, a conversion that seems to have had a special resonance in a West African setting where many people have made the same shift. Pre-Islamic themes in Manding oral tradition have in many cases been obliterated by the bards' preoccupation with Islamic subjects, particularly events from the life and times of the Prophet. However, despite the pervasiveness of Islamic themes, the blood motif found in some accounts of griot ancestry indicates that at least the essence of certain elements of pre-Islamic West African culture survives in Manding oral tradition.
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22

Charry, Eric, Pierre Bois, Francis Comini, and Dominique Vander-Heym. "Mauritanian Griote: Aicha Mint Chighaly." Yearbook for Traditional Music 30 (1998): 182. http://dx.doi.org/10.2307/768582.

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23

Mamet, Bernard, and Marie-France Perret. "Bioconstructions hématitiques de Griottes dévoniennes (Pyrénées Centrales)." Geobios 28, no. 6 (January 1995): 655–61. http://dx.doi.org/10.1016/s0016-6995(95)80055-7.

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Hopkins, Nicholas S. "Memories of Griots." Alif: Journal of Comparative Poetics, no. 17 (1997): 43. http://dx.doi.org/10.2307/521607.

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Barou, Jacques. "Griots et messagers." L'école des parents N° 603, no. 4 (2013): 35. http://dx.doi.org/10.3917/epar.603.0035.

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26

Pang, Cecilia J. "The Griot Voice (La Voix du Griot)." Theatre Journal 51, no. 1 (1999): 88–89. http://dx.doi.org/10.1353/tj.1999.0017.

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Skinner, Ryan T. "Griots and Griottes: Master of Words and Music, by Thomas A. Hale. Bloomington: Indiana University Press, 2007. 432 pp., 20 b/w illustrations, 7 maps, appendices, bibliography, index. $24.95 paper." African Arts 43, no. 2 (June 2010): 92–93. http://dx.doi.org/10.1162/afar.2010.43.2.92.

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Swindell, Warren, and Hildred Roach. "Griots: Past and Present." African American Review 28, no. 3 (1994): 485. http://dx.doi.org/10.2307/3041984.

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Barlet, Olivier. "Griots des temps modernes ?" Africultures 61, no. 4 (2004): 3. http://dx.doi.org/10.3917/afcul.061.0003.

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Kendall, Martha B., and Tom Hale. "Griottes of the Sahel: Female Keepers of the Songhay Oral Tradition." African Arts 26, no. 2 (April 1993): 84. http://dx.doi.org/10.2307/3337139.

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31

Thiers-Thiam, Valérie. "Le griot-totem." Africultures 61, no. 4 (2004): 48. http://dx.doi.org/10.3917/afcul.061.0048.

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Sangaré, Fatou, and Siré Camara. "Griot par choix." Africultures 61, no. 4 (2004): 72. http://dx.doi.org/10.3917/afcul.061.0072.

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Famin, Victoria. "Les Griots, entre indigénisme et négritude." Revue de littérature comparée 364, no. 4 (2017): 422. http://dx.doi.org/10.3917/rlc.364.0422.

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Johnson, John, Peter Bryant, Mihaela Bacou, and Brunhilde Biebuyck. "Griots mandingues : caractéristiques et rôles sociaux." Africultures 61, no. 4 (2004): 13. http://dx.doi.org/10.3917/afcul.061.0013.

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35

STOLLER, PAUL. "ethnographies as texts/ethnographers as griots." American Ethnologist 21, no. 2 (May 1994): 353–66. http://dx.doi.org/10.1525/ae.1994.21.2.02a00070.

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36

Harrow, Kenneth, and Kama Kamanda. "Les contes du griot." World Literature Today 63, no. 3 (1989): 528. http://dx.doi.org/10.2307/40145503.

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37

Servin, Micheline B. "Du griot au rasta." Les Temps Modernes 620-621, no. 4 (2002): 504. http://dx.doi.org/10.3917/ltm.620.0504.

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Igalens, Jacques. "Le talent du griot." Revue internationale de psychosociologie XVII, no. 41 (2011): 131. http://dx.doi.org/10.3917/rips.041.0131.

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Paré, Joseph. "Keïta! L’héritage du griot : l’esthétique de la parole au service de l'image." Cinémas 11, no. 1 (October 26, 2007): 45–59. http://dx.doi.org/10.7202/024833ar.

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RÉSUMÉ Le film de Dani Kouyaté Keïta! L'héritage du griot (1995) participe d'une esthétique de la réutilisation, c'est-à-dire qu'il réutilise l'esthétique africaine traditionnelle. C'est que le personnage du griot permet au réalisateur de rendre complémentaires les possibles narratifs. Notre propos est de mettre en relief la manière dont l'oralité prend en charge la narration, de dégager les codes narratifs et l'archéologie du discours qui en sont le modulateur. Cette oralité n'étant pas simplement un élément d'apparat, il s'opère une médiation entre la parole et l'image, une médiation qui permet de rendre compte de l'efficace de l'esthétique de la parole.
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Belcher, Stephen. "Studying Griots: Recent Work in Mande Studies." African Studies Review 47, no. 3 (December 2004): 172–86. http://dx.doi.org/10.1017/s000202060003050x.

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Kempadoo, R. "Amendments: Digital Griots as Traces of Resistance." Small Axe: A Caribbean Journal of Criticism 13, no. 1 (January 1, 2009): 181–91. http://dx.doi.org/10.1215/07990537-2008-014.

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Hitchcock, Peter. "Risking the Griot's eye: Decolonisation and Contemporary African Cinema." Social Identities 6, no. 3 (September 2000): 263–84. http://dx.doi.org/10.1080/13504630050137624.

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Pénel, Jean-Dominique. "Jean Rouch : le « griot français »." Hermès 48, no. 2 (2007): 68. http://dx.doi.org/10.4267/2042/24100.

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Searle, Chris. "Basil Davidson: an English griot." Race & Class 36, no. 2 (October 1994): 45–57. http://dx.doi.org/10.1177/030639689403600204.

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Diawara, Manthia. "The Song of the Griot." Transition, no. 74 (1997): 16. http://dx.doi.org/10.2307/2935371.

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Smith, Pamela Olubunmi, and Chinweizu. "Voices from Twentieth-Century Africa: Griots and Towncriers." World Literature Today 64, no. 1 (1990): 179. http://dx.doi.org/10.2307/40146052.

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Tomaselli, Keyan, and Phebbie Sakarombe. "Griots, satirical columns, and the micro-public sphere." Journal of African Media Studies 7, no. 3 (September 1, 2015): 315–27. http://dx.doi.org/10.1386/jams.7.3.315_1.

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Panzacchi, Cornelia. "The livelihoods of traditional griots in modern Senegal." Africa 64, no. 2 (April 1994): 190–210. http://dx.doi.org/10.2307/1160979.

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The article represents an overview of the activities of members of the géwél caste, or Wolof griots, in present-day Senegal. While seemingly little has changed in areas where traditional ways of life are still dominant, in the westernised urban culture many traditional artists have learned to cope with the use of mass media. Far from being threatened by extinction, traditional artists and historians have managed to adapt their art to the requirements of modern life and to make it accessible to a wider audience.
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Keim, Curtis A., and Jan Jansen. "The Griot's Craft: An Essay on Oral Tradition and Diplomacy." International Journal of African Historical Studies 34, no. 2 (2001): 417. http://dx.doi.org/10.2307/3097494.

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Gray, Christopher, Claude Gilaizeau, S. Pierre Yameogu, Dani Kouyate, Moussa Sene Absa, Angela Cerveira, Ana Costa, et al. "Keita: The Heritage of the Griot." American Historical Review 101, no. 4 (October 1996): 1144. http://dx.doi.org/10.2307/2169640.

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