Abstract This article examines the cultural ambiguity of Senegalese wrestling. Certain discourses around this sport have constructed it as a nostalgic embodiment of traditional, national, or African values. At the same time, other discourses emphasize the sport’s commercialization, its embeddedness in the economics of precarity, and even its inventedness as a tradition. The case of Senegalese wrestling illustrates how traditionality is summoned and put to question in a context of socioeconomic fragmentation. Repinecz offers readings of Aminata Sow Fall’s novel L’Appel des arènes (1982), Cheikh Ndiaye’s film adaptation of the same name (2005), and Boubacar Boris Diop’s novel Doomi Golo (2003 and 2009) to illustrate this analysis.

中文翻译：

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塞内加尔在怀旧与新自由主义之间的较量

摘要 本文探讨了塞内加尔摔跤的文化模糊性。围绕这项运动的某些话语将其构建为传统、民族或非洲价值观的怀旧体现。与此同时，其他话语强调这项运动的商业化，它嵌入在不稳定经济学中，甚至它作为一种传统的发明性。塞内加尔摔跤的案例说明了如何在社会经济分裂的背景下召唤和质疑传统。Repinecz 提供了 Aminata Sow Fall 的小说 L'Appel des arènes (1982)、Cheikh Ndiaye 的同名电影改编 (2005) 和 Boubacar Boris Diop 的小说 Doomi Golo (2003 和 2009) 的读物来说明这一分析。