Academic literature on the topic 'Alain Mabanckou'
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Journal articles on the topic "Alain Mabanckou"
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Lyakhovskaya, Nina D. "On the path to self-discovery. New meanings in the novels of the Congolese writer Alain Mabanckou "Blue White Red" and "Memoirs of a Porcupine"." Vestnik of Kostroma State University, no. 3 (2019): 127–32. http://dx.doi.org/10.34216/1998-0817-2019-25-3-127-132.
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The article analyses the literary work of the Congolese writer Alain Mabanckou as the first one in African Francophone literature to implant autofictional writing into traditional everyday writing context. In this article, the analysis of Alain Mabanckou’s novels is made for the first time in African literary studies, both Russian and foreign. The author emphasises the novelty of the writer's style, which is expressed in the strengthening of subjectivity, in the accentuated introduction of the autobiographical element into the fictional text. The article points out one of the strongest points of Alain Mabanckou creative writing – the subtle psychologism, which distinguishes him from other Congolese writers, his amazing ability for a metaphysical perception of life. In the opinion of the author of the article, Alain Mabanckou intellectually elevates above the typical for Francophone African writers description with its clichéd images, typical situations and features of local flavour.
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Xavier, Subha. "Alain Mabanckou’s migrant cosmopolitanism." Crossings: Journal of Migration & Culture 9, no. 2 (2018): 155–67. http://dx.doi.org/10.1386/cjmc.9.2.155_1.
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Writer Alain Mabanckou, originally from the Republic of the Congo, has worked his way to literary stardom in the French-speaking world and beyond by harnessing a creative ethos born of a cosmopolitan sensibility that is steeped in his experiences of migration as a black man. Living, writing, speaking and teaching between three continents, Mabanckou’s prolific literary output betrays a conflicted relationship to French-speaking Africa’s literary past, and draws on tropes of pastiche and irony to set itself within a global literary framework that demands a world audience. The writer’s work and public persona thus showcase a unique brand of migrant cosmopolitanism.
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Stevenson, Helen. "Alain Mabanckou in Conversation." Wasafiri 27, no. 1 (2012): 11–17. http://dx.doi.org/10.1080/02690055.2012.636886.
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Corio, Alessandro. "Alain Mabanckou, Verre Cassé." Studi Francesi, no. 152 (LI | II) (October 1, 2007): 484–85. http://dx.doi.org/10.4000/studifrancesi.46369.
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Bandy, Annie. "Petit Piment par Alain Mabanckou." French Review 90, no. 1 (2016): 240–41. http://dx.doi.org/10.1353/tfr.2016.0262.
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Pra, Denis R. "Rumeurs d'Amérique par Alain Mabanckou." French Review 95, no. 1 (2021): 254–55. http://dx.doi.org/10.1353/tfr.2021.0253.
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Bokemper, Daniel. "Broken Glass by Alain Mabanckou." World Literature Today 93, no. 1 (2019): 78–79. http://dx.doi.org/10.1353/wlt.2019.0152.
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King, Adele. "Black Bazar by Alain Mabanckou." World Literature Today 83, no. 4 (2009): 66–67. http://dx.doi.org/10.1353/wlt.2009.0093.
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Thomas, Dominic. "The World of Alain Mabanckou." World Literature Today 90, no. 5 (2016): 68–71. http://dx.doi.org/10.1353/wlt.2016.0010.
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Walsh, John. "Sarkozy, Mabanckou, and Notes from the Bar: Alain Mabanckou’s Verre cassé." French Review 84, no. 1 (2010): 127–39. http://dx.doi.org/10.1353/tfr.2010.0009.
Full textDissertations / Theses on the topic "Alain Mabanckou"
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De, La Roche Souvestre Marie Arielle. "Alain Mabanckou et la pigmentation de l'edition francaise." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20690.
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In 2006 for the first time in the history of French literature, five out of the seven most prestigious French literary prizes were attributed to foreign writers. To the signatories of a manifesto published a few months later, this meant that francophone writers no longer belonged to the margins of French literature. Indeed, a restructuring of the literary landscape was in order. They demanded that French and francophone literatures be merged into a single literary field which would be known as the world literature in French and within which authors would not be differentiated according to their nationality. Non-French writers would no longer be edged out into specialized collections, thus only reaching a very narrow and very specific readership. Today, few of the desired changes can be observed. The signatories' continued reliance on major Parisian publishing houses is a clear indication that France remains at the forefront and centre of French-language literature. A close look at the editorial journey of Alain Mabanckou, one of the manifesto's most fervent advocates, corroborates this statement. While he made a gradual progression towards Gallimard's illustrious Collection Blanche, he is still systematically portrayed above all as an African writer through the use of racialised paratextual elements. The deep-rooted hegemony of France cannot be toppled overnight. After situating Alain Mabanckou's position within the literary hierarchy thanks to an analysis of his editorial journey and an overview of his works' paratextual representation, this dissertation delves into the author's usage of fiction as a means of sensitising readers to the struggles of non-French writers. A three-tiered evolution can be observed throughout his career beginning with an unconditional admiration for France in his first novel Bleu-blanc-rouge (1998). He then adopted a more patriotic stance in African Psycho (2003a) by advocating creative authenticity before overtly criticising France's rigid literary and language conventions in Verre Cassé (2005). Interestingly, he also praised the United States' growing role in facilitating the creative process for French-language writers - an interesting lead for future research.
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Milebe, Malanda Fleury Florence. "Postcolonialisme et féminisme dans Verre Cassé d'Alain Mabanckou." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-42675.
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This study is based on the everyday lives as Alain Mabanckou describes them through the different characters of the novel Verre Cassé (2005). This novel describes the African society during the postcolonial period. In this society, leaders are struggling to stay in power as long as possible, while the people live in poverty and utter misery. Many people experience life without taking action. Everyone must fight for his survival. In this work, I will investigate how the life of ordinary citizens during the postcolonial period in African cities and the place of women in man's relationship is describe in Mabanckou’s novel. I focus on the link between postcolonialism and feminism. At the end of this work, I found that the Mabanckou’s novel Verre Cassé demonstrates that life of many citizens in African cities is still difficult despite the independence. These newly independent countries face many new problems like dictatorship, corruption and poverty. Many women prostitute themselves to meet their needs in this novel. Alain Mabanckou points out in his novel that men continue to assert their superiority over women in this postcolonial society.
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Carbonne-Blanqui, Régina-Marciale. "La Représentation des conflits chez Ahmadou Kourouma et Alain Mabanckou (1998-2004)." Cergy-Pontoise, 2009. http://biblioweb.u-cergy.fr/theses/09CERG0413.pdf.
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Dans l’optique de la représentation des conflits, la thématique et la sociocritique ont permis de montrer que les quatre romans étudiés, Allah n’est pas obligé, Quand on refuse on dit non d’Ahmadou Kourouma, Bleu Blanc Rouge et Les petits-fils nègres de Vercingétorix d’Alain Mabanckou sont dynamisés par le motif du conflit. Les deux auteurs que seuls les faits d’appartenir à un même continent et de parler la même langue semblent lier, affichent une interaction entre leurs fictions et les sociétés qui leur servent de référence. L’analyse du sujet a été stratifiée en trois parties réparties chacune en deux chapitres. La première présente les fondements sociaux, la famille et la société immédiate qui se trouvent perturbées et poussent les personnages à rechercher d’autres réalités. La seconde partie s’articule sur une période s’étendant de la colonisation aux guerres tribales et civiles. Elle a mis en exergue les colonisations anglaise et française, les indépendances qui marquent l’avènement des dictatures et les démocraties qui ont favorisé l’exaltation de l’ethnie dans les différents pays (Liberia, Sierra Leone, Congo-Brazzaville et Côte d’Ivoire). Les romanciers se nourrissent des réalités sociales qu’ils affichent comme des évocatrices de mimesis. La troisième partie porte sur les figures du conflit, narratives ou réelles que livrent les auteurs. Ces figures s’inscrivent dans une polyvalence de l’écriture en offrant une approche autre de la lecture des œuvres. Celles-ci sont convoquées par les transformations ou les tribulations socio-historiques et axiologiques qui ont fait naître les conflits. En effet, le renouvellement ou la transcription des faits sociaux sont générés par une nouvelle doxa qui fonde une socialité mimétique dans les textes. Ainsi, les narrations présentent des actants qui exercent la violence et d’autres qui la subissent. Dès lors, l’œuvre romanesque devient la mémoire de ces faits et ne peut plus s’écrire sans la trace du conflit<br>From the standpoint of the representation of conflicts, the themes and social criticism enabled to show that the four novels studied, Allah n’est pas obligé, Quand on refuse on dit non by Ahmadou Kourouma, Bleu Blanc Rouge and Les petits-fils nègres de Vercingetorix by Alain Mabanckou are energized by the scene of the conflict. The two authors, who seem to be linked only by membership to the same continent and language community, show an interaction between their fictions and societies of reference. The analysis of the subject is stratified into three parts, each of which is divided into two chapters. The first part introduces the social foundations, the family and the immediate society, as these two are disturbed and lead people to seek alternative realities. The second part develops around a period going from colonization to tribal and civil wars. It highlights the English and French colonization, the independence years that signal the advent of the dictatorships and democracies that favoured the exaltation of ethnicity in the various countries Liberia, Sierra Leone, Congo-Brazzaville and Ivory Coast. The novelists are inspired by social realities that they show as evocative signs of mimesis. The third part focuses on the conflict figures, narrative or real, that engage the authors. These figures are part of a writing versatility as they offer an alternative approach to reading the works. These are convened by the socio-historical and axiological transformations and tribulations which have brought about the conflicts. In fact, the renewal or the transcription of the social facts are generated by a new doxa that founds a mimetic sociality in the texts. Thus, the narratives show actors exercising violence and others suffering it. Henceforth, the fabulous work becomes the memory of these facts and can no longer be written without the trace of the conflict
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Nogueira, Paula Souza Dias. "Espinhos da tradução: uma leitura de Mémoires de porc-épic, de Alain Mabanckou." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-08032017-160757/.
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O objetivo deste trabalho é apresentar ao leitor brasileiro a tradução do romance Mémoires de porc-épic (2006), de Alain Mabanckou. Para chegarmos à tradução, fez-se necessário entender alguns elementos centrais de sua poética e da estrutura narrativa do romance, assim como sua trajetória de vida e obra. Para tanto, discorremos, num primeiro momento, sobre sua visão de mundo e sobre as principais dimensões de sua poética, relacionando-os, sobretudo, ao pensamento rizomático proposto por Édouard Glissant. Em seguida, analisamos o romance em questão atentando para elementos macroestruturais, relacionados à literatura oral tradicional de algumas sociedades africanas de expressão francesa, nos baseando, majoritariamente, nos estudos feitos por Jacques Chevrier, e em elementos microestruturais, concernentes ao uso de repetições, paralelismos, interjeições, léxico africano, provérbios, responsáveis por criar o que Mabanckou chama de ritmo congolês da narrativa. Por fim, destinamos o terceiro capítulo à discussão tradutória, no qual apresentamos nosso projeto de tradução, baseado na abordagem de viés não etnocêntrico proposta, entre outros, por Antoine Berman; e nossa concepção sobre as notas de tradução, levando em consideração, primordialmente, o pensamento de Ana Cristina Cesar em relação ao ritmo na prosa. Apresentamos as notas de tradução divididas em dois blocos, o semântico e o sintático, ambos em diálogo com o que entendemos ser o ritmo da narrativa. A tradução completa é vista no anexo.<br>The aim of this work is to present to the Brazilian public the translation of Mémoires de porc-épic (2006), a novel by Alain Mabanckou. In order to arrive at the translation, it seemed necessary to have a more in-depth understanding of some of the central elements of the poetic and narrative structure of the novel, as well as the authors life and work. Therefore, we at first discuss his worldview and the main dimensions of his poetics; relating them, especially, to the concept of rhizome proposed by philosopher Édouard Glissant. Then, we analyze the novel in question, with attention to the macrostructural elements related to traditional oral literature in some African societies of French expression, drawing mainly on studies by Jacques Chevrier, as well as microstructural elements concerning the use of repetitions, parallelisms, interjections, African vocabulary and proverbs, responsible for creating the Congolese rhythm of the narrative. Finally, the third chapter discusses the translation and presents the translation project, drawing upon the non-ethnocentric approach proposed, among others, by Antoine Berman, and our conception of the translation notes, taking into account primarily the thoughts of Ana Cristina Cesar regarding rhythm in prose. The translation notes are divided into two blocks, semantic and syntactic, which are both in dialogue with what we understand to be the rhythm of the narrative. The full translation is located in the Annex.
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Sall, Ethmane. "Pour une transatlanticité francophone : résilience, solidarité et déterritorialisation chez Édouard Glissant, Maryse Condé, Dany Laferrière, Alain Mabanckou." Thesis, Mulhouse, 2019. http://www.theses.fr/2019MULH1659.
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Si l’espace atlantique est le lieu des souvenirs de la violence de l’esclavage et du bouillonnement du colonialisme, il est aussi un objet d’élaboration théorique et conceptuelle qui met en valeur des cultures politiques transnationales et extracontinentales. Ce travail examine les implications sociologique et culturelle de l’histoire de l’Atlantique à travers les textes d’écrivains africains et caribéens du XXe - XXIe siècles. La notion de la transatlanticité que nous définissons comme une donnée identitaire excentrée et asymétrique est caractérisée par la traversée de la Traite, les migrations d’individus dans le monde contemporain, les circulations d’idées et les transferts notionnels. Nous avons utilisé une approche à la fois sociologique, historiciste et littéraire pour mettre en évidence nos hypothèses, à savoir la résilience des traumatismes et des clivages liés à l’histoire de l’Atlantique, l’articulation des cultures politiques transatlantiques à travers les notions du devenir, de solidarité et de géopolitique transatlantiques, et le processus d’un nouvel espace littéraire transatlantique. Notre corpus est constitué de plusieurs écrivains dits francophones : Edouard Glissant, Maryse Condé, Dany Laferrière et Alain Mabanckou. En nous appuyant sur ces écrivains, nous avons démontré que la transatlanticité est un fait historiquement déterminé qui permet de construire des savoirs, de produire des vocations et des formes littéraires qui échappent aux horizons d’attente des littératures traditionnelles<br>Besides being the place where the memory of the violence of slavery and the turmoil ofcolonialism occurred , the Atlantic space is also an object of theoretical and conceptual elaborationthat enhances transnational and extra-continental cultural policies. The aim of this research work isto examine the sociological and cultural implications of the history of the Atlantic through theworks of African and Carribean authors of the 20th and 21st centuries. The notion of transatlanticitywhich is defined as a concept of identity off centre and asymetrical is characterised by the slavetrade crossing , the contemporary migration of individuals, the free flow of ideas and notionaltransfers.The way we tackled the issues combine sociological , historicist and literary approaches inorder to put our hypothesis to the test , namely the resilience to the traumas and the profounddivides bound up with the history of the Atlantic, the articulation of transatlantic cultural policiesthrough the notions of becoming , solidarity and transatlantic geopolitical issues and , finally , theemergence of a brand new transatlantic realm of literature. Our corpus includes several authors using French as their vernacular : Edouard Glissant, Maryse Condé , Dany laferrière and AlainMabanckou. Relying on those writers’ works , we have shown that transantlanticityis a welldeterminedhistorical factor that enables the construction of knowledge of various kinds , theproduction of vocations and literary forms that escape the target expectations of traditionalliteratures
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Diagne, Khady Fall. "Le marronnage de l'exil : essai d'une esthétique négro-africaine contemporaine : des précurseurs francophones à Alain Mabanckou et Fatou Diome." Thesis, Valenciennes, 2014. http://www.theses.fr/2014VALE0017.
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Notre sujet de réflexion consistait à penser à ce qui fait lien entre la littérature francophone d’Afrique noire et antillaise, en plus de l’histoire. Nous nous sommes penché sur les stratégies d’écriture déployées par les écrivains, pour se démarquer, pour signifier leur existence, Partant de la pratique du marronnage comme phénomène historique lié à l’esclavage, nous avons amorcé une réflexion sur sa transposition littéraire, à partir de la mythification de la figure du Marron, par des auteurs comme Dayot, Houat, et plus récemment Glissant et Chamoiseau, qui ont pu développer une esthétique de la survivance, valoriser l’ identité du Marron, héraut du peuple antillais dans la résistance à l’esclavage. L’essentiel de notre travail a porté sur l’élargissement de ce thème du marronnage aux périodes coloniale et postcoloniale, en posant comme postulat l’hypothèse de l’existence d’une forme de marronnage intellectuel comme fondement d’une esthétique négro-africaine, instauré par les précurseurs de la Négritude, Senghor et Césaire, dont le travail le plus original, mais souvent négligé, a été la conquête d’une langue de la négritude. Les écrivains contemporains francophones d’Afrique noire, à l’instar d’Alain Mabanckou et de Fatou Diome, dans un contexte inscrit dans une dynamique mondialiste et un espace littéraire conditionnés par les diktats d’une critique eurocentriste, ont pratiqué une forme de marronnage ( trans) esthétique, mais aussi par une surconscience linguistique redoublée, en développant des stratégies destinées à inscrire subversivement au cœur de la langue l’empreinte d’une déviance revendiquée, comme seul moyen de signifier son identité<br>Our subject of reflection consisted in thinking of what makes link between the French-speaking literature of subsaharian Africa and the Antilles, in addition to the history. We dealt with the writing strategies deployed by the authors, to stand out, to reveal their existence. On the basis of the French word “marronnage”, taking its name from Spanish “Cimarron” used to qualify this historical phenomenon related to slavery, we started to think about its literary transposition. The literary mythologizing of the Maroon by authors such as Eugène Dayot, Louis-Timagène Houat, and more recently Glissant, has enabled to develop aesthetics of the survival, to value the identity of the Marron, herald of the Antillean people, in the resistance to slavery. The main part of our work was about the extension of this theme of the marronnage to the colonial and postcolonial periods, by setting as postulate the hypothesis of the existence of a form of intellectual marronnage as foundation of negro-African aesthetics, established by the forerunners of the Negritude, Senghor and Césaire, whose most original but often unknown work was the conquest of a language of the negritude. The French-speaking contemporary writers of subsaharian Africa, for instance Alain Mabanckou and Fatou Diome, in a context of an internationalist dynamics and a literary space conditioned by the diktats of an eurocentrist criticism, applied a form of ( trans ) esthetic marronnage, but also with a doubled “linguistic surconscience”, by developing strategies intended for subversively setting at the heart of the language the print of a claimed abnormality, as only means to make their identity known
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Kouengo, Armand Victorien. "Etude comparée des thèmes majeurs dans "Allah n'est pas obligé" (A. Kourouma), "Johnny chien méchant" (E. Dongala) et "Les Petits-fils nègres de Vercingétorix" (A. Mabanckou)." Thesis, Paris Est, 2010. http://www.theses.fr/2010PEST0008.
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La présente étude revisite les thèmes récurrents portant sur la situation de l’Afrique d’aujourd’hui à travers la littérature. Notamment dans Allah n’est pas obligé d’Ahmadou Kourouma, Johnny Chien Méchant d’Emmanuel Dongala et dans Les Petits-fils nègres de Vercingétorix d’Alain Mabanckou qui constituent le corpus de base de cette thèse. Les guerres civiles à caractère tribal et les conséquences qui en découlent font l’objet d’une attention particulière desdits travaux de recherche. A cela s’ajoute la question des enfants-soldats – problématique essentielle de l’étude thématique<br>This study is based on themes related to Africa’s situation nowadays, particularly on « Allah n’est pas obligé » of Ahmadou Kourouma, « Johnny Chien Méchant » of Emmanuel Dongala and « Les Petits-fils nègres de Vercingétorix » of Alain Mabanckou which constitute the corner stone of this thesis. Our attention all along this work is focussed specially on tribal wars and its consequences. Futhermore, one of major problematics of this research is the issue of child-soldiers
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Ndombi-Sow, Gaël. "L'entrance des écrivains africains et caribéens dans le système littéraire francophone : les oeuvres d'Alain Mabanckou et de Dany Laferrière dans les champs français et québécois." Thesis, Université de Lorraine, 2012. http://www.theses.fr/2012LORR0365/document.
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S'il est admis que la théorie du champ, systématisée par Pierre Bourdieu, a permis de renouveler l?approche du phénomène littéraire, son application au domaine des études francophones reste limitée. Cette étude examine les conditions d'accès aux champs littéraires français et québécois par les écrivains d'origine africaine et caribéenne. La thèse procède à une approche sociologique - l'analyse s'appuyant sur l'examen des trajectoires individuelles, de la poétique des oeuvres et des stratégies de communication des auteurs - des conditions d'accès à l'écriture, à la publication, à la socialisation littéraire et à la consécration dans chacun des champs de réception, c'est-à-dire la politique d'accueil des instances légitimantes et la place réservée à ces écritures migrantes. Une option essentielle a consisté à aborder des écrivains dont le statut et l'audience sont déjà affirmés sur la scène littéraire francophone. Pour cela, le corpus est constitué de deux écrivains indiscutablement reconnus : l'un, Alain Mabanckou, surtout présent dans le champ français ; l'autre, Dany Laferrière, surtout consacré dans le champ québécois. La comparaison entre les champs français et québécois a abouti à une nouvelle conception des phénomènes d'entrance, en faisant ressortir les positions, les postures et les stratégies d'écriture déployées<br>If it is admitted that the field theory, systematized by Pierre Bourdieu, allowed to renew the approach of the literary phenomenon, its application in the field of the Frenchspeaking studies remains limited. This study examines the conditions of access to the French and Quebec French literary fields by the writers of African and Caribbean origin. The thesis proceeds to a sociological approach - the analysis leaning on the examination of the individual trajectories, the poetics of the works and the communications strategies of the authors - of the conditions of access to the writing, the publication, the literary socialization and the consecration in each of the fields of reception, that is the policy of reception of the legitimizing authorities and the place reserved for these migrant writings. An essential option consisted in approaching writers whose status and audience are already asserted on the French-speaking literary scene. For this purpose, the corpus is made up of two writers indisputably recognized : the former, Alain Mabanckou, especially present in the French field; the latter, Dany Laferrière, especially recognized in the Quebec French field. The comparison between the French and Quebec French fields ended in a new conception of the phenomena of entrance, by highlighting the positions, the postures and the writing strategies deployed
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Waberi, Abdourahman Ali. "Fragments d'un discours africain : Approches critique et historique des littératures subsahariennes, francophones et transnationales de 1980 à aujourd'hui." Thesis, Paris 10, 2012. http://bdr.parisnanterre.fr.faraway.parisnanterre.fr/theses/intranet/2012PA100096.pdf.
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Envisagé à travers le prisme de la double conscience, telle qu’elle a été dévoilée par Paul Gilroy , et inscrit dans la période historique qui correspond au discrédit des Indépendances africaines nominales d’une part et à la fin de la politique migratoire en France d’autre part, ce travail interroge les contextes qui ont enfanté des nouvelles expressions littéraires et artistiques, transnationales et diasporiques, issues des Afriques francophones. Ces dernières se caractérisent par d’incessantes reconfigurations qui bousculent le cadre national en Afrique tout en mettant en crise les notions d’appartenance raciale, sociale et politique associées aux générations précédentes portées par le mouvement de la Négritude et les exigences du nationalisme culturel. Ces nouvelles floraisons littéraires, filmiques et plastiques ne quêtent pas l’authentique. Mieux, elles imaginent les voies du futur en donnant à voir – et à sentir – de nouvelles manières de penser, de dialoguer et de vivre ensemble dans notre monde marqué par les errements du capitalisme hégémonique drapé, en Afrique, sous les masques de l’idéologie du développement avec sa cohorte d’ajustements structurels. Enfin, elles soulèvent des questions fondamentales relatives au devenir des populations dites immigrées en France et en Europe, et œuvrent pour l’avènement de nouvelles perspectives plus égalitaires, solidaires et cosmopolites<br>This work is examined through the paradigm of the double consciousness, as it was unveiled by Paul Gilroy, and remains inscribed in the historical period synonymous of the discredit of African independences on one hand and at the end of migration policy in France on the other hand. Besides, it explores the contexts that have given birth to new literary and artistic expressions, transnational and diasporic, coming from Francophone Africa. These new literary and artistic expressions are characterized by constant reconfigurations that challenge the national framework in Africa while seriously questioning the notions of racial, social and policy issues taken care of by previous generations in the name of the Negritude and cultural nationalism. These new literary, cinematographic and visual productions are also powerful ways of imagining the future of our world scarred by the vagaries of the late age of capitalism. Finally, they raise fundamental questions concerning the fate of immigrant populations in France and Europe while heralding the advent of new, more egalitarian, inclusive and cosmopolitan ways of living together
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Martinez, Kamir. "Entre violence et resistance : la réinsertion de la femme africaine subsaharienne dans l'histoire." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA018/document.
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Se situant dans l’histoire immédiate, la littérature africaine contemporaine participe de la dénonciation de la violence des régimes postcoloniaux et des guerres civiles. Ce sont des nouvelles formes d’écriture caractérisées à la fois par l’urgence et par l’intention de s’éloigner des formes européennes, donnant lieu à une expression universelle et à la revendication du roman comme œuvre d’art. Cette contribution se propose, à partir de neufs romans francophones, anglophones et hispanophones publiés entre 1990 et 2000, d’explorer et d’analyser la réinsertion de la femme africaine subsaharienne dans les archives officielles. À travers des témoignages fictionnels inspirés des faits réels et des histoires relevant de la sphère privée, ces auteur(e)s créent un nouvel imaginaire sur la femme africaine évoluant entre violence et résistance. Par une approche interdisciplinaire, nous tenterons d’identifier les images de la femme dans ces romans, ainsi que les moyens stylistiques et langagiers dans le processus de la réinterprétation des archives et de la réinsertion de la femme africaine subsaharienne dans l’Histoire<br>In relation to the immediate history, contemporary African literature contributes to the denunciation of the violence of postcolonial regimes and civil wars. These new forms of writing are characterized both by the urgency and by the intention to move away from European forms, giving rise to a universalizing writing and the claim of the novel as a work of art. This contribution is proposed, from nine Francophone, Anglophone and Hispanophone novels published between 1990 and 2000, to explore and analyse the reintegration of Sub-Saharan African women in the official archives. Through fictional testimonies inspired by real facts and stories of the private sphere, these authors create a new imagination about African women evolving between violence and resistance. Through an interdisciplinary approach, we will try to identify the images of the woman in these novels, as well as the stylistic and linguistic means in the process of the reinterpretation of the archives and the reintegration of the African Sub-Saharan woman in history<br>En relación a la historia inmediata, la literatura africana contemporánea contribuye a la denuncia de la violencia de los regímenes poscoloniales y de las guerras civiles. Estas nuevas formas de escritura se caracterizan tanto por la urgencia de escribir como por la intención de alejarse de las formas de expresión europeas, dando lugar a una escritura universal y a la reivindicación de la novela como obra de arte. Esta contribución se propone de explorar y analizar la reintegración de las mujeres africanas subsaharianas a los archivos oficiales, a partir de nueve novelas de expresión francesa, inglesa y española, publicadas entre 1990 y 2000. A través de testimonios ficticios inspirados por hechos reales e historias de la vida privada, estos autores y autoras crean una nueva imagen de las mujeres africanas desenvolviéndose entre la violencia y la resistencia. A través de un enfoque interdisciplinario, intentaremos identificar las imágenes de la mujer en estas novelas, así como el estilo y el lenguaje en el proceso de reinterpretación de los archivos y la reintegración de la mujer africana subsahariana en la historia
Books on the topic "Alain Mabanckou"
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Confidences et révélations littéraires: Henri Lopes, Sony Labou Tansi, Matondo Kubu Turé, Alain Mabanckou, Ghislaine Sathoud et Henri Djombo. L'Harmattan, 2012.
Find full textBook chapters on the topic "Alain Mabanckou"
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Bühler-Dietrich, Annette. "Mabanckou, Alain." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14947-1.
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Bühler-Dietrich, Annette. "Mabanckou, Alain: Verre Cassé." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14948-1.
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Tambling, Jeremy. "Broken Glass: Alain Mabanckou." In The Palgrave Encyclopedia of Urban Literary Studies. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-62592-8_306-1.
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Bühler-Dietrich, Annette. "Mabanckou, Alain: Lumières de Pointe Noire." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_15532-1.
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Kapanga, Kasongo Mulenda. "Absorption of Oral Tradition and Folklore Narrative in Written Fictional Works: Paul Lomami-Tchibamba, Ngandu Nkashama and Alain Mabanckou." In The Palgrave Handbook of African Oral Traditions and Folklore. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-55517-7_32.
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Gonzalez, Justine. "Vérité, vraisemblance ou fictionnalisation du récit d’enfance chez Alain Mabanckou." In Littérature du moi, autofiction et hétérographie dans la littérature française et en français du xxe et du xxie siècles. Presses Universitaires de Bordeaux, 2015. http://dx.doi.org/10.4000/books.pub.16588.
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Batchelor, Kathryn. "Postcolonial Intertextuality and Translation Explored through the Work of Alain Mabanckou." In Intimate Enemies. Liverpool University Press, 2013. http://dx.doi.org/10.5949/liverpool/9781846318672.003.0014.
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Batchelor, Kathryn. "Postcolonial Intertextuality and Translation Explored through the Work of Alain Mabanckou." In Intimate Enemies. Liverpool University Press, 2013. http://dx.doi.org/10.2307/j.ctt5vjhp4.18.
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Hogarth, Christopher. "Francophone and Post-Migratory Afropeans within and beyond France Today." In Post-Migratory Cultures in Postcolonial France. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941138.003.0004.
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Alain Mabanckou, Léonora Miano, and Abdourahhman Waberi are often spoken of as forming part of an 'Afropean' generation of writers, perched between the African and European continents. However, of the six fictional works included in a 2014 volume (eds. Thomas and Hitchcott) on Francophone Afropean writers, three are penned by writers who no longer live in Africa or Europe. My chapter will investigate how such writers exist in an increasingly more cosmopolitan world which stretches beyond Europe and into North America. Then, to further mine the “Afropean” designation, I will explore the works and careers of post-migratory postcolonial minorities of African heritage, such as writers Julien Delmaire, Dembo Goumane, Thomté Ryam, Abd al Malik, Wilfred N’Sondé and Bessora, who were born and raised in France/Francophone Europe. In this way, I query the binary of Africa and Europe in the 'Afropean' designation.
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"Francophonie et littérature-monde : enjeux de l’autoréflexion dans Un rêve d’Albatros (Kangni Alemdjrodo) et Verre Cassé (Alain Mabanckou)." In Trajectoires et dérives de la littérature-monde. Brill | Rodopi, 2013. http://dx.doi.org/10.1163/9789401209465_013.
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