Fouad Laroui : un auteur transculturel en traduction

"What am I doing here?". This is what several characters in Fouad Laroui's novels often wonder. The question of identity is indeed present in his works and shows an attempt to depict that stranger, that someone (Kristeva 1988) that one becomes in a transcultural perspective (Welsch 1999) after crossing borders. If there can only be plural discourse in each and every one of us (Todorov 1985), the post-colonial experience paves the way for a plurality made of different languages and cultures that cannot but be present in Laroui's writings, e.g. in his heterolingualism, a feature that his translators need to consider in their cultural and linguistic transfer. Considering that Laroui is amongst "contemporary examples of the literary text as 'translation zone' [that] seem to indicate new directions, as translation exists 'firmly in the text, not inbetween texts'" (Forsdick 2019) and that "in multilingual cultures [...], translation contributes to creating culture, in mutual exchange, resistance, interpenetration" (Meylaerts 2012), this paper aims to analyze issues of translation related to Fouad Laroui's transcultural and heterolingual writing

L’utopisme postcolonial chez Fouad Laroui : La Vieille dame du Riad et Les Tribulations du dernier sijilmassi

Jean-Marc Moura repère dans l’ironie un des éléments formels qui semblent caractériser les littératures postcoloniales, tandis que Bill Ashcroft entrevoit dans la critique du passé et du présent la possibilité de réarranger les relations sociales et politiques, sur le seuil du futur. L’ironie et la critique étant les éléments constitutifs de l’œuvre de Fouad Laroui, nous allons en examiner dans cet article l’aspect utopique à la lumière du fait que l’« exposition de la souffrance du monde est en soi une anticipation lumineuse d’un monde meilleur » (Ashcroft).   Jean-Marc Moura sees in irony one of the formal elements characterizing postcolonial literatures, whereas Bill Ashcroft points out that “created works always offer an imminent rearrangement of social and political relations in ways that critique the present”, thus remaining “alive and constantly on the threshold of a future world”. Since irony and critique are among the main features of Fouad Laroui’s works, this paper aims to analyze their utopian aspects considering that “the very exposure of the suffering of the world is the anticipatory illumination of a better world” (Ashcroft).