La figuration de l\u27art dans les romans de V.Y. Mudimbe

In Mudimbe\u27s novels, art depicts the author and his writings, through a play of substitution and decentering. The author uses the artistic medium to escape constraints of discursive, religious, political or sexual order and as a place of transfiguration of the characters\u27 desires. The aim of this article is to show that references to painting, literature, cinema and music reflect the refusal of the I to speak about oneself, except indirectly. The author chooses a strategy of decentering by combining the language of words and of images, and suggests, behind the mask of narrative representation, a taste for provocation, social and institutional heresy, carnal love (homosexual and heterosexual). Based on the four novels of the author, we will show that the artistic quote is part of a dual perspective: social and political, on the one hand, sensual and intimate, on the other

Ironie et autoréflexivité dans Un dimanche au cachot de Patrick Chamoiseau

Social pressures in Patrick Chamoiseau’s novel, Un dimanche au cachot, can be read not only in the theme of slavery, but also as a discourse on the narrative text itself, in which the essay plays an important role, and in the author’s denial of his art and status. Chamoiseau’s intention of subversion is omnipresent through parody or renunciation of all forms of excess. The offensive concerns, on the one hand, the memory of slavery as a social and historical institution transmitting values of order, hierarchy and traumatism in the minds. It concerns the whole narrative act and the relation between author and reader, writer and public

D\u27une violence l\u27autre. Scénographie des rapports de hiérarchie et de domination dans La préférence nationale de Fatou Diome

Figures of vulnerability abound in contemporary francophone novels. Be it children soldiers, Black women in Monenembo and Kourouma\u27s fictions, abused children or prostitution in Marie NDiaye, Fiston Mwanza and Fatou Diome\u27s novels, the vulnerable subject, far from undergoing torments of a decadent and miserable life due to a situation of lack, often shows or hides a strength that often sharpens on contact with violence. Fatou Diome uses silence and writing to express the character\u27s resistance to violence. For instance, the feminine subject sets up barriers around the self to counter the adversity of a world often depicted as intolerant, undifferentiated and bourgeois. The logic of domination in Fatou Diome\u27s first publication, La préférence nationale, acknowledges an inversion: the dominant figure happens to be a victim of stereotypes and ideology, whereas the dominated subject, seen as an undesired outsider, takes his strength from an apparent weakness. This article aims to reveal the mechanisms and consequences of vulnerability in Fatou Diome\u27s short stories

Poétique du carnet dans Cahier d’un retour au pays natal d’Aimé Césaire

Partant des circonstances rédactionnelles de Cahier d’un retour au pays natal, nous voudrions montrer dans cet article comment Aimé Césaire passe par tous les modes du carnet : carnet de notes ou de brouillon, cahier d’écriture et de doléances, carnet de voyage et de route. Si l’oeuvre est si achevée, c’est sans doute parce que le poète met en place un dispositif d’éléments antinomiques qui font dialoguer les principaux actants de l’histoire antillaise depuis la conquête, la traite, l’esclavage et la colonisation jusqu’aux temps modernes. Le « je » poétique a ceci de particulier qu’il entre, sort et pivote autour d’une dizaine d’instances de parole qui composent son moi, démultiplié en figures et discours relatant l’histoire de la civilisation antillaise. La visée serait de défaire la doxa et les stéréotypes convenus sur des êtres et des choses pour mettre en place un nouvel ordre du discours, plus proche de la vérité du poète-essayiste. Une véritable dialectique de la conscience se joue donc, dans Cahier d’un retour au pays natal, prise avec délectation dans ses propres mouvements et contradictions.Starting from the editorial circumstances of Cahier d’un retour au pays natal [Notebook of a return to the native land], this article seeks to demonstrate how Aimé Césaire makes use of all incarnations of the notebook—rough book, scratch pad, diary, travel journal, or log book. If the work is so complete, it is undoubtedly because the poet sets up a system of antinomic elements that bring together the main actors of Caribbean history from the conquest, the slave trade, slavery, and colonization to modern times. The poetic “I” has the particularity that it enters, leaves, and revolves around about ten instances of speech that compose its self, multiplied into figures and speeches relating the history of Caribbean civilization. The aim would be to undo the doxa and stereotypes agreed upon about beings and things in order to establish a new order of discourse, closer to the truth of the poet-essayist. A true dialectic of consciousness is thus played out, in Cahier d’un retour au pays natal, and caught with delight in its own movements and contradictions

Les méandres et l’au-delà du texte : La Lézarde d’Édouard Glissant

Cet article entend examiner la poétique d’écriture de La lézarde d’Édouard Glissant sous l’angle du métatexte. La nature réflexive du métatexte passe par le questionnement des personnages, de l’écrivain et du lecteur et s’articule autour d’un thème unificateur du roman : la filiation. Celle-ci s’inscrit dans une dynamique de la quête (historique, nationale, existentielle, générique et énonciative). Nous montrerons que le questionnement en jeu n’est pas que thématique ou mimétique. Il est formel, syntaxique et stylistique, engageant l’écriture dans un procès allant du sens vers sa signifiance, de l’énoncé vers son énonciation. En d’autres termes, le métatexte désigne un à-côté et un au-delà du texte qui unit systématiquement deux plans, et travaille sans cesse les mots et l’imaginaire des personnages, le style d’écriture, leur rapport au monde, dans un retour du texte sur sa propre énonciation. Tous ces éléments s’interpénètrent et disent une façon singulière, caribéenne et poétique, d’être au monde.This article intends to examine the poetics of writing of La Lézarde, first novel written by Édouard Glissant, from the angle of the metatext. The reflexive nature of the metatext, which passes through the questioning of characters, of the writer and the reader, and is articulated around the unifying theme of the novel: filiation. Filiation is part of a historical, national, existential, generic and enunciative quest. We will show that the questioning at stake in the metatext is not only thematic or mimetic. It is formal, syntactical and stylistic, engaging the writing in a process going from meaning to significance. In other words, the metatext in La Lézarde designates a next and beyond of the text which unites two levels, and constantly works on words, on imagination, style, their relation to the world, from within, the text returning to its own enunciation. Elements intertwine and express a singular, Caribbean and poetic way of being in the world