Conclusion

Abstract

The seven representations of Thiaroye that I have analyzed in this book help shape and communicate memories of World War II. They form a coherent body of works, in terms of both the historical event they represent and establishing an explicit or implicit dialogue between them. Through the recurrence of the same narrative elements—such as the parallel between the First and Second World Wars in Senghor’s poem and in Doumbi-Fakoly’s novel, the parallel between the massacres of Sanankoro/Effok and Thiaroye in Diop’s play and in Sembene’s movie, and the personal and familial impacts of the war in Keita’s poem and in Bouchareb’s animated movie—the works respond to those that precede, contributing to a certain family resemblance within the corpus.