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Mouflard, Claire Angélique. "Prostitution chez Calixthe Beyala race, corps, regard /." CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-05292007-202601/.
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Effah, Charline Patricia. "L'Espace et le temps chez Calixthe Beyala." Lille 3, 2008. http://www.theses.fr/2008LIL30037.
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Calixthe Beyala fait partie de cette nouvelle génération des écrivains africains qui tentent de redéfinir la place de la femme dans la société. C'est à travers le parcours et le regard des personnages féminins que l'espace et le temps se révèlent au lecteur. Notre analyse se propose d'élucider l'organisation spatio-temporelle de trois romans de Beyala. Nous tenterons, de cette manière, sans avoir l'intention d'occulter la forte empreinte féministe qui caractérise ses écrits, d'élargir le champ d'investigation en considérant des points à mi-chemin entre la philosophie et la métaphysique. Après avoir relevé que l'organisation spatiale se révèle à travers une structuration bipolaire qui témoigne de la quête identitaire de la femme divisée entre deux mondes et deux modes de vie, nous montrerons que le temps, considéré comme l'écoulement des évènements s'organise autour de deux concepts : le temps de l'histoire et le temps du récit pour terminer dans la mise en exergue de la corrélation entre l'idéologie Béyalienne et les structures spatio-temporelles<br>Calixthe Beyala is part of this new generation of African writers who is trying to redefined the role of a woman in the society. It is through the course and the eyes of female characters that space reveal to the reader. Our analysis is intended to elucidate the organization spatial-temporal three novels of Beyala. We will try in this way, without intending to conceal the strong impression that characterizes feminist writings, to broaden the scope of investigation considering points midway between philosophy and metaphysics. After pointing out the spatial organization is revealed through a bipolar structure reflecting the quest for identity of the woman divided between two worlds and two lifetsyles, we will show that time regarded as the flow of events organised around the concepts : the time of history and time to finish the story in setting out the correlation between ideology and spatial-temporal structures
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Manfoumbi, Mve Achille-Fortuné Diop Papa Samba. "L'univers romanesque de Calixthe Beyala pour une illustration des orientations actuelles du roman féminin d'Afrique noire francophone /." Créteil : Université de Paris-Val-de-Marne, 2007. http://doxa.scd.univ-paris12.fr:8080/theses-npd/th0251329.pdf.
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Thèse de doctorat : Lettres : Paris 12 : 2007.<br>Thèse uniquement consultable au sein de l'Université Paris 12 (Intranet). Titre provenant de l'écran-titre. Pagination : 370 p. Bibliogr. p. 342-357.
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Burwood, Justin. "Assèze l'Africaine de Calixthe Beyala : Un roman d'apprentissage qui inverse les rôles ?" Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-91167.
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According to some theorists, the roman d’apprentissage, a sub-genre of the novel that reached its height during the 19th century, was essentially a masculine genre in which the female characters invariably played an incidental role. Although some maintain that the sub-genre is now obsolete, many others insist that it continues to be adapted to explore themes relating to larger topics such feminism and postcolonialism. The current study examines how a female author of Cameroonian origin, Calixthe Beyala, appears to have adapted the traditional form of the roman d’apprentissage in her novel, Assèze l’Africaine, to reflect the perspective of a young black woman migrating from Cameroon to Paris, while simultaneously exploring theoretical concepts such as féminitude and hybridité. By comparing the essential characteristics of the novel to those advanced by Pierre Aurégan (1997) concerning the sub-genre as a whole, the study first attempts to determine whether the novel in question can reasonably be classified as a roman d’apprentissage. Subsequently, given that the protagonist is female, by exploring the literary function of several of the male characters in the novel, the study seeks to reveal whether the roles of the characters are simply reversed according to their gender, with the male characters merely playing an incidental role. The study reveals that although the author has clearly adapted the sub-genre to suit her own purposes, the novel still adheres to enough of the typical characteristics to be classified as a roman d’apprentissage. In addition, although the protagonist is female, the roles of the characters do not appear to be simply reversed, as several of the male characters are essential to the emotional development of the heroine, as well as to the perpetuation of the binary oppositions female/male and black/white, which, it has been suggested, the author seeks to maintain in her other works. It would seem that, in the novel under examination, the male characters largely function as an essential complement to the female ones. It remains to be seen, however, whether the same can be said about the characters in the author’s other works.
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Dib, Abir. "Étude comparée sur «l'écriture du corps» chez Calixthe Beyala et Ahlam Mosteghanemi." Thesis, Clermont-Ferrand 2, 2015. http://www.theses.fr/2015CLF20001/document.
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Le but de cette thèse est d’étudier l’écriture du corps chez deux romancières qui ont l’Afrique comme terre natale ; Ahlam Mosteghanemi de l’Algérie et Calixthe Beyala du Cameroun. Notre analyse trace l’inscription du corps dans une structure symbolique où se croisent discours sociaux et pratiques littéraires. L’écriture du corps, féminin et masculin, est étudiée dans une optique de problématisation des pratiques sociales et littéraires qui lui sont attachées. Plus qu’une simple représentation, le corps devient un travestissement esthétique par lequel les deux romancières contournent la censure pour aborder tous les tabous de leurs sociétés. Ainsi l’espace dudit corps réunit des discours de subversion et de renversement, mais aussi de négociation et d’autocensure. D’autre part le corps sujet d’écriture porte en lui un déchirement, un morcellement et une souffrance et ne semble se concevoir et se vivre que dans la douleur et dans la difficulté d’être. Ce corps textuel sentant et souffrant exprime un rapport au monde et aux autres et s’inscrit dans une quête de confirmation de soi<br>The goal of this thesis is the study of way tow African novelists describe the body ; Ahlam Mosteghanemi from Algéria and Calixthe Beyala from Cameroon. Our analisis traces the writings about the body to a symbolic structure where social discourses meet literary practices. The writings about the body, male or female, are studied from a perspective locked in the problematics of social and literary practices. More than a simple description, the body becomes an esthetic disguise through which the two novelists bypass censorship to tackle all their cultural taboos. Thus the sphere of the body combines discourses of subversion and reversal as well as negotiation and self censorship. What’s more, the body subject of literature bears in itself a tearing, a division and a suffering and seems to only understand and live its existence in pain and difficulty. This literal body that feels and suffers expresses a relationship to the world and to others and is part of a quest for self-affirmation
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Ngolwa, Moïse. "Disqualification de l'homme et (en)jeux symboliques dans l'oeuvre romanesque de Calixthe Beyala." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29176/29176.pdf.
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N, Guessan Marie-Régine. "Femmes, sexualité et politique dans les œuvres de Calixthe Beyala et Ken Bugul." Paris 8, 2013. http://www.theses.fr/2013PA084166.
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La situation contemporaine de L’Afrique est sensiblement marquée par une diversité de maux, qui la déterminent au niveau mondial : les facteurs politiques, sociaux, économiques et humains. Devant cette dégradation croissante et générale, Ken Bugul et Calixthe Beyala s’interrogent sur l’évolution ou l’adaptation de l’écriture à l’époque actuelle, sur la mission de l’écrivain africain. Ces préoccupations définissent deux centres d’intérêt : le sujet « femmes » (à travers le thème de la sexualité et de l’émancipation féminine) et la politique africaine (à travers la réactualisation de la littérature postcoloniale). Ce travail propose d’analyser le traitement scripturaire de ces thèmes majeurs dans les œuvres de Ken Bugul et de Calixthe Beyala entre 1983 (Le baobab fou de Ken Bugul) et 2006 (La Pièce d'or, de la même auteure)<br>African contemporary situation is sensibly marked by troubles, that determine its World level : political, social, economical and human realities. Before this general and increasing degradation, Ken Bugul and Calixthe Beyala wonder about writing evolution and adaptation, about African writers mission in current period. These preoccupations define two interests : The « women » subject (through the feminine sexuality and emancipation) and African Policy (through updating postcolonial literature). This work consist in analysing the scriptural treatments of these main themes in the works of Ken Bugul and Calixthe Beyala between 1983 (The crazy baobab of Ken Bugul) and 2006 (The golden piece, of the same author)
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Ngolwa, Moïse. "Disqualification de l'homme et (en)jeux symboliques dans l'œuvre romanesque de Calixthe Beyala." Doctoral thesis, Université Laval, 2012. http://hdl.handle.net/20.500.11794/23757.
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Se fondant sur un corpus de huit romans de Calixthe Beyala (C'est le soleil qui m'a brûlée, Le petit prince de Belleville, Maman a un amant, Les honneurs perdus, La petite fille du réverbère, Comment cuisiner son mari à l'africaine, L'homme qui m'offrait le ciel et Le roman de Pauline) publiés entre 1987 et 2009, notre recherche a voulu interroger la disqualification de l'homme au-delà des clichés et des stéréotypes de lecture, en relation avec les enjeux symboliques de l'institution. Écrivaine polymorphe, Beyala, à travers ruses, dénégations, marque son entrée fracassante dans le champ par le meurtre de l'homme. Et, d'un roman à l'autre, la romancière accentue sa singularité par le rabaissement de l'homme. Celui-ci déserte généralement le couple conjugal, abandonne les enfants, ou alors il est pris en charge par la femme qui le soumet. La femme, quant à elle, est pleine de belles initiatives, mène une vie enviable et c'est elle qui pourvoit aux besoins des enfants. Mais ces thématiques sociales permettent à Beyala d'observer de préférence les petites circonscriptions de la vie quotidienne et à les traiter en données immédiates de la conscience sociale au niveau des rapports, à s'attacher à peindre la condition des gens de peu (les minorités, les démunis, les banlieues, l'Afrique) et celle des marginaux ou de ceux qu'on peut prendre pour tels, comme les relations mixtes sur le plan social, la polygamie, les enfants issus de ces relations. Ces sociologies qu'on appellerait de terrain sont, pour Beyala, fort instructives, pour autant qu'on veuille bien en dépasser le particularisme. En effet, la romancière ne saurait penser la réalité globale que construite, en dépit des contingences et incongruités dont elle fait son miel à l'ordinaire, et qui lui a valu une farouche levée de boucliers. Ainsi elle verra dans des formes très excentriques de positionnement de soi des occurrences très banales des stratégies distinctives inhérentes à tout groupement humain. Mais ces formes ne la retiennent que si elle peut s'élever à une conception plus générale des rapports sociaux entre dominants et dominés.
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Husung, Kirsten. "Discours féministe et postcolonial : stratégies de subversion dans "Les Honneurs perdus" de Calixthe Beyala." Thesis, Växjö University, School of Humanities, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-457.
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<p>This study focuses on the different strategies that the author uses to subvert the patriarchal and the colonial discourses which are reflected in the novel "Les Honneurs perdus" of Calixthe Beyala. In the introduction a theoretical background is given which includes feminist and postcolonial literary theories and their relation to postmodern theories and deconstruction. The introduction underlines the importance of the constitution of subject in postcolonial and feminist theories in contrast to deconstruction of subject in postmodernism and poststructuralism.</p><p>The analysis demonstrates that the novel can be seen as a female bildungsroman in the protagonist’s intent to create an autonomous identity. A gynocentric writing and the dialogue with another female character, the heroine’s antagonistic double, which includes the possibility of a female genealogy, as well as the final love to a white man, contribute essentially to transculturation and the construction of the heroine’s hybrid identity.</p><p>The second chapter of the analysis shows that the dichotomies Europe–Africa and man–woman in the binary system of the western way of thinking are very marked in the novel. Finally the third chapter points out how the different narrative techniques like the mixing of different language levels, the creation of new words, the use of irony and carnivalation, a special form of parody, as well as the intertextuality of magic realism deconstruct and subvert the heritage of colonial and patriarchal values and demonstrate the post-colonial misery both in the protagonist’s native suburb in Cameroun and in Paris.</p>
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Mombo, Charles Edgar. "Réception en France des romans d'Ahmadou Kourouma, Sony Labou Tansi et de Calixthe Beyala." Paris 12, 2004. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990002212510204611&vid=upec.
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Étude de la réception en France des romans d'Ahmadou Kourouma, Sony Labou Tansi et Calixthe Beyala. A l'heure actuelle et en dépit de l'engouement que suscitent les romanciers négro-africains d'expression française, leur réception ne s'inscrit que timidement, voire impossible. Le fonctionnement de cette réception démontent tous les circuits inhérents à l'arrivée des écrivains en littérature, à leurs rapports (avec la langue française), à leur diffusion et à leur accueil dans tout ce qui constitue le circuit littéraire d'un texte. Les lieux de diffusion des textes, comme les universités et les bibliothèques ne favorisent pas cette réception. Encore moins la critique journalistique qui ne voit dans ces romans que l'exotisme, oubliant souvent leur fait spécifique. L'étude valorise ainsi ce qui semble répondre à l'accueil des romans de Kourouma, de Sony et de Beyala en France<br>Study of the reception in France of novels of Ahmadou Kourouma, Sony Labou Tansi and Calixthe Beyala. At present, in spite of the passion that aouse the African novelists of french expression, their reception is only registered timidly, even impossible. The operation of this reception dismounts all circuits inherent in the arrival of the writers in literature, with their relations (with french language), with their diffusion and their reception in all that constitutes the literary circuit of a text. The places of diffusion of the texts like the universities and the libraries do not support this recption. Even less the journalistic critics who see in these novels only exoticism, often forgetting their specific fact. The study develops thus what seems to answer the reception of Kourouma, Sony and Beyala en France
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Mombo, Charles Edgar Diop Papa Samba. "Réception en France des romans d'Ahmadou Kourouma, Sony Labou Tansi et de Calixthe Beyala." Créteil : Université de Paris-Val-de-Marne, 2004. http://doxa.scd.univ-paris12.fr:80/theses/th0221251.pdf.
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Glorieux, Karine. "Le système d'images grotesques et carnavalesques à l'oeuvre dans les derniers romans de Calixthe Beyala." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ47202.pdf.
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Lipenga, Timwa. "Telling the past : ancestral narratives in novels by Yvonne Vera, Maryse Condé and Calixthe Beyala." Thesis, University of Aberdeen, 2011. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=166953.
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This thesis examines ancestral narratives in selected novels by Yvonne Vera, Maryse Condé, and Calixthe Beyala. My working definition of narrative chiefly draws upon Gérard Genette’s three-pronged conception of narrative as a story, text, and the telling of that story, and extends to the influences that society has upon the stories. I investigate ways the female ancestral figures in the six novels recount their narratives, and the extent to which such narratives constitute legacies for the present. The thesis is informed by studies in postcolonial theory, specifically the concept of recovering the past, and the way in which the act of re-writing has challenged colonial stereotypes. My argument is that by presenting ancestral narratives that expose the ancestors’ vulnerabilities and flaws, the three writers challenge the concept of meta-narratives which may base their validity on recollections of a glorious past. The implication, for the descendents, is that claiming the past’s heritage is also an act of introspection, interrogating the idea of a sacrosanct narrative, transmitted from the past to the present. The first part focuses on the novels of Zimbabwean Yvonne Vera. My focus is on the way the two grandmothers in Vera’s <i>Nehanda </i>and <i>Under the Tongue</i> recount other people’s narratives at the expense of their own stories. I analyse <i>Nehanda,</i> in which Vera fictionalises the story of the spirit medium by the same name, who, in the novel, narrates the past and future of her community. I then move on from the idea of Nehanda as a communal grandmother figure to a different type of narrative, one in which a grandmother speaks to her traumatised grandchild, Zhizha, in <i>Under the Tongue.</i> The second part is on Maryse Condé’s <i>Moi … Tituba, Sorcière …Noire de Salem </i>and <i>Victoire, Les Saveurs et Les Mots</i>. My focus is on the challenges that the two grandmothers face as they attempt to recount narratives in societies that already have preconceived notions about them. In the third section, I read Calixthe Beyala’s largely autobiographical <i>La Petite Fille du Réverbère </i>as the character’s re-evaluation of her grandmother’s memory, focusing on the way the grandmother’s narratives at times give her grand-daughter, Tapoussière, a sense of discomfort, even as the latter seeks to claim a connection with her grandmother. Finally, I read Beyala’s <i>Les Arbres en Parlent Encore</i>, specifically the grand-mother’s self-doubt, especially after having struggled to carve her own narrative space, not only as a questioning of the past, but also as an act of self-introspection, against which the writer assesses her own narratives, fictional and autobiographical.
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Mansiantima, Nzimbu Clémentine. "De l’éclatement du noyau familial au discours sur la collectivité dans l’œuvre romanesque de Calixthe Beyala." Doctoral thesis, Université Laval, 2014. http://hdl.handle.net/20.500.11794/25237.
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Reposant sur un corpus de huit romans -C’est le soleil qui m’a brûlée (1987), Tu t’appelleras Tanga (1988), Le petit prince de Belleville (1992), Assèze l’Africaine (1994), Les honneurs perdus (1996), La petite fille du réverbère (1998), L’homme qui m’offrait le ciel (2007) et Le roman de Pauline (2009)– la recherche doctorale montre que l’éclatement du noyau familial est une constante des fictions de Calixthe Beyala. De l’éclatement du noyau familial en jeu, les romans de Beyala disent le discours sur la collectivité. Ainsi, l’hétérogénéité discursive et textuelle étant une caractéristique capitale, la problématique de l’éclatement du noyau familial est reliée aux faits énonciatifs en tant que mise en œuvre d’un discours polyphonique. Le « je-narrateur », utilisé comme une stratégie rhétorique pour parler d’un « nous », ne serait que l’allégorie ou l’emblème d’une conscience collective. On observe que ce n’est pas seulement un « je » individuel qui s’y exprime mais un «je » préoccupé par la condition de la femme ou de l’enfant. Le désir de représenter la collectivité supplante l’intensité du discours individuel de revendication ou de dénonciation qui hante l’écriture de Beyala. La fiction intègre souvent le littéraire, se construit sur un fond des textes antérieurs, favorise le dialogue avec d’autres genres. Beyala réinvestit également les stéréotypes et clichés sociaux dans sa fiction. Les discours des protagonistes explorent les rapports sociaux, les mécanismes de défense d’attitudes ou de comportements par rapport au réel sociohistorique. Les romans de notre corpus déjouent donc les discours de la doxa pour se poser comme textes multiples. Ce sont des récits de vie qui fictionnalisent les souvenirs racontés par un « je » polyvocal. L’implicite se fonde sur une adhésion à une certaine vision du monde, à un ensemble d’opinions et de croyances. Entre locuteur et interlocuteur, scripteur et lecteur s’instaure une sorte de complicité. Dans l’ensemble, le « je-narrant » est multidimensionnel : enfant, adolescente, femme, africaine, immigrée, romancière, etc. Il s’ensuit que la plupart des textes de Beyala se modulent autour de sa propre identité psychologique, de ses expériences vécues.<br>Based on a eight-novels corpus –C’est le soleil qui m’a brûlée (1987), Tu t’appelleras Tanga (1988), Le petit prince de Belleville (1992), Assèze l’Africaine (1994), Les honneurs perdus (1996), La petite fille du réverbère (1998), L’homme qui m’offrait le ciel (2007) et Le roman de Pauline (2009)– this doctoral research shows that the breakdown of the family unit is a constant theme in the fictions of Calixthe Beyala. From the breakup of the family unit, Beyala’s novels tell the discourse about community. Discursive and textual heterogeneity being a capital characteristic, the dilemma (the problem) of family-unit (family-nucleus) fragmentation is connected to the enunciation facts as implementing a polyphonic discourse. The "I-narrator" used as a rhetorical strategy to talk about a "We" is a mere allegory or emblem of a collective consciousness. One observes that it is not only an individual "I" that is expressed, but an "I" concerned about the status of women or children. The desire to represent community supersedes the intensity of that claim or denunciation individual speech which haunts Beyala’s writing. Often, fiction incorporates literature, is built upon a background of previous texts, and promotes dialogue with other genres. In his fiction, Beyala also reinvests social stereotypes and clichés. The speeches of protagonists explore social relationships, namely the defense mechanisms inside attitudes or behaviors compared to the socio-historical reality. Thus, the novels of our corpus thwart the doxa discourse and stand as multiple texts. These life stories fictionalize the memories told (narrated) by a polyvocal "I". What is implicit is based on adhering to a certain worldview, to a set of opinions and beliefs. Between the speaker and the interlocutor, the writer and the reader, is self-created a kind of complicity. The "narrating I" is overall multidimensional: female child, female teenager, woman, female African, female immigrant, female novelist etc.. Consequently, most of Beyala’s texts are modulated around her own psychological identity, her own experiences.
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Manfoumbi, Mve Achille-Fortuné. "L'univers romanesque de Calixthe Beyala : pour une illustration des orientations actuelles du roman féminin d'Afrique noire francophone." Paris 12, 2007. http://www.theses.fr/2007PA120008.
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De son point de départ en 1969 avec "Rencontres essentielles" de Thérèse Kuoh-Moukoury, jusqu'en 1987 lorsque paraît "C'est le soleil qui m'a brûlée" de Calixthe Beyala, le champ romanesque féminin d'Afrique noire francophone se caractérise majoritairement par une très grande pudibonderie, un certain conformisme idéologique et bientôt esthétique. De fait, à travers les neuf romans étudiés, il nous est apparu que la romancière déconstruit la phallocratie, au profit de l'avènement de la "clitocratie". Il s'agit d'un modèle de société sous influence matriarcale, dont le siège est lové dans la capacité érectile du pénis en miniature que constitue le clitoris. Tout comme la phallocratie repose sur la turgescence pénienne, le phallus. Cependant, réduire l'univers romanesque béyalien au terreau libidineux, dont il est communément et d'emblée assimilable, serait passer outre une masse non négligeable de suggestions esthétiques fécondes. En l'espèce, des figures marginales telles les prostituées, les fous, les nymphomanes et les bâtards rejoignent le centre du texte béyalien at par là même, la société. L'humanité dysfonctionnelle comme grille d'analyse de soi, des autres et du monde, celui dit "pôle institutionnalisé", voilà un des enjeux critiques phares que révèle la présente étude. Il en va de même, de la prépondérance chromatique, une distribution coloriste s'opérant essentiellement entre le Rose/Violet, le Blanc, le Noir, le Bleu, le Vert. Mais par dessus tout, le Jaune (très fortement rattaché au soleil et à son incandescence) et le Rouge. Couleur du sang, couleur de la "terre-mère", couleur du pouvoir, qui a échappé à la femme et que les héroïnes de Calixthe Beyala reconquièrent. Celles-ci q'appellent Andela, Beyala, Biloa, Gono ou Ngono. . . Patronymes souvent à forte charge symbolique, et déjà mystique, chez les Eton ; famille ethnique de la romancière et sous-groupe du grand groupe Béti-Boulou-Fang, dont nombre d'artifices, d'éléments des mythologies fondatrices sont revisitées. Veine créatrice orale, épique entre autres, traversant ainsi, personnages, lieux et structures narratives béyaliennes<br>From its beginning with "Rencontres essentielles" by Thérèse Kuoh-Moukoury in 1969 until 1987 with Calixthe Beyala's "C'est le soleil qui m'a brulée", black women's fiction in Franch-speaking Africa has been characterized by strong prudishness, and by a kind of ideological and (sooner) aesthetic conformism. Actually, the study of the nine novels reveals that the author decontructs phallocracy in favor of the advent of "clitocracy". It is a model of society under matriarchal influence and which relies upon the erectile capacity of the clitoris as a penis on a small scale. In the same way phallocracy relies on the turgescence of the phallus. Yet, reducing Beyalian fictional universe to its libidinous characteristics would overlook significant aesthetic suggestions. In fact characters such as prostitutes, lunatic people, nymphomaniac and bastards are central in Beyala's texts and thus play an important role in society. The crisis of humanity as a self analysis chart, as an analysis of the other and the world (considered as an institutionalised pole), constitutes one of the main interest of this work. The same for the chromatic predominance, the mixture of colours between pink/purple, white, black, blue, green. But yellow (linked to the sun and its incandescence) and red are more predominant. Red referring to blood, mother earth, and power (out of women's control and which Beyala's heroines reconquer). Their names are Andela, Beyala, Biloa, Gono and Ngono. . . Patronymic that are very often charged with symbolic meaning among the Eton, the ethnic group of the novelist and subgroup of the Beti-Boulou-Fang whose tricks and mythologies are revisited. Oral creative vein, epic, going through the author's characters, settings, and narrative structures
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Haaker, Malin. "La femme africaine dans Une si longue lettre de Mariama Bâ et Assèze l'africaine de Calixthe Beyala." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-33929.
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This study is based on the main female African characters in Une si longue lettre written in 1979 by Mariama Bâ and Assèze l’Africaine written in 1994 by Calixthe Beyala. Both novels describe the African society and the obstacles that exist for women in this society where men dominate. This study presents the transformation of Ramatoulaye that is a traditional and passive woman but she becomes modern. In addition, it presents the transformation of young Aïssatou that becomes an independent and strong woman, in these two novels. These two women are facing similar forms of discriminations and oppression in the African society and they are struggling against injustice in various ways. The aim of this analysis is to investigate how the image of the African women and the feminism in Africa show and develop through the main characters, Ramatoulaye and Aïssatou. The conclusion reveal that the image of the African women has considerably changed over the years in a positive way and that Femininity is a cultural construction and not a natural construction. The conclusion further reveal that even today a woman is not independent, but is still considered "the Other" in relation to the man.
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Golumbeanu, Adriana. "Intra muros representations urbaines dans le roman francophone subsaharien et antillais Ousmane Sembène, Calixthe Beyala, Patrick Chamoiseau et Maryse Conde /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1164829057.
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Golumbeanu, Adriana. "Intra muros: representations urbaines dans le roman francophone subsaharien et antillais Ousmane Sembene, Calixthe Beyala, Patrick Chamoiseau et Maryse Conde." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1164829057.
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Pope, Julie. "Émancipation et création poétique. De la Négritude à l' écriture féminine à l'exemple d'Aimé Césaire, Léopold Sedar Senghor, Ahmadou Kourouma, Calixthe Beyala." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030067.
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Dans le contexte des indépendances des anciennes colonies françaises, la verve poétique d’auteurs « engagés » tels qu’Aimé Césaire, Léopold Sédar Senghor ou Léon-Gontran Damas est indissociable de la dénonciation de la colonisation et du combat politique pour l’émancipation. Les intellectuels, les hommes de Lettres, de culture, les artistes condamnent fermement les impérialismes européens. Pour les tenants de la « Négritude », la poésie relaie le témoignage le plus évident de l’engagement politique et littéraire. Cette écriture poétique, construite à la fois sur des pratiques liées l’oralité héritées de l’Afrique et sur des formes prosodiques relativement classiques, fonde le lieu où l’on peut faire passer des messages politiques, tout en revendiquant une culture africaine. Introduire par la suite l’écriture romanesque en Afrique subsaharienne et y reprendre les thèmes de l’esclavage, de la colonisation, de l’aliénation du colonisé, du néocolonialisme deviennent des opérations en vue de processus constructeurs ; il s’agit d’ouvrir une vision nouvelle du monde, en imprimant à la langue française la trace créative de son auteur en ses représentations. On assiste donc à une revendication des nationalisations des littératures francophones. Ainsi de la littérature camerounaise ou de la littérature congolaise — par exemple, Ahmadou Kourouma dit contribuer à une littérature malinké. Tchicaya U. Tam’si affirme que si le français le colonise, il le colonise à son tour, car, paradoxalement, la révolte du colonisé s’appuie sur la langue française du colonisateur, tout en s’efforçant de déplacer celle-ci par l’écriture. La littérature d’expression française en Afrique subsaharienne est le lieu des différences, et des « différances » car elle porte la trace des multiples trajectoires sociologiques, et devient par sa diversité un lieu de créativité, de liberté et d’hybridité. Nous voyons aussi apparaître le roman de contestation politique contre les dictatures, la corruption, les guerres civiles, à l’exemple d’Ahmadou Kourouma écrivant Allah n’est pas obligé sans plus se préoccuper du canon de la langue, mais en pratiquant une « langue pourrie » pour décrire une guerre atroce. C’est une créativité semblable à celle qui est à l’origine du créole, du français petit-nègre, du camfranglais, et que la littérature d’Afrique subsaharienne explore. C’est dans cette perspective ouverte par les pratiques subversives de l’écriture et de la lecture que s’inscrit l’émancipation des femmes en Afrique. Calixthe Beyala est en ce sens emblématique de l’évolution du statut des femmes et de leur place dans la société, dépassant le clivage sexuel masculin/féminin. Ce processus prend sa source dans le mouvement d’ensemble des indépendances et du post-colonialisme. Ainsi les femmes se sont-elles illustrées par leur écriture, véritable prise de parole dans un espace public traditionnellement réservé aux hommes. Le roman des femmes écrivains en Afrique subsaharienne s’attache à décrire les pratiques traditionnelles, la polygamie, les mariages forcés. Ayant acquis une autonomie de parole, ces écrivains se donnent le pouvoir d’intervenir dans le débat public. Cette forme d’émancipation conquiert un langage traditionnellement réservé aux hommes. La langue violente, argotique, obscène ou pornographique n’est plus un monopole masculin. Elle est investie autrement par les écrivains femmes qui peuvent dès lors se dire elles-mêmes<br>In the context of the independences of former French colonies, the poetic impetus of militant authors such as Aimé Césaire, Léopold Sédar Senghor or Léon-Gontran Damas is adamantly linked to the rebuttal of colonialism and to political activism. Intellectuals, writers, and artists strongly condemn European imperialisms. For the “Négritude” poets, poetry stands as the most obvious testimony of political and literary commitment. Their poetic works, relying both on oral practices inherited from Africa and on relatively classic prosodic styles, is the vehicle for political messages and reclaiming of African culture. Subsequently, novel writing in sub-Saharian Africa tackles more and more themes of slavery, colonization, colonial alienation, neo-colonialism, all of this becoming empowering processes. The question is to open on a renewed vision of the world, giving the French language a new creative trace, through the authors’ representation. Therefore, Francophone literature reclaims its singularity. This is especially true with Cameroon and Congo: for instance, Ahmadou Kourouma posits that his literature is malinké. Tchicaya U. Tam’si declares that if the French language is colonizing him, then he colonizes it in turn. The colonized rebellion paradoxically leans on the French colonizer language, while trying to displace and advance it through writing. Francophone literature in sub-Saharian Africa is the place of differences and of “différances”, for it bears the traces of many sociological reflexions, and becomes, through its diversity, a place for creativity, liberty and hybridity. We also witness the rise of political protest novel against dictatures, corruption, civil wars ; for example Ahmadou Kourouma, writing Allah n’est pas obligé, does not bother anymore with the rules of literature but excels in the practice of a “rotten language” to describe an atrocious war. This is a form of creativity similar to the one that give birth to creole, “français petit-nègre”, “camfranglais” and one that African sub-Saharian literature explore. It is in this perspective opened by subversive writing and reading practices that women emancipation in Africa takes place. The case of Calixthe Beyala, among others, illustrates this evolution of the status of women in society, beyond the sexual male/female divide. This process stems from post-colonialism and independentist movements gaining power and focus in the XXth century. Women distinguish themselves thanks to their writing and speech in a public sphere reserved to men. Novels written by sub-Saharian African women carefully describe traditional practices, polygamy, forced marriages. These writers, through their acquired freedom speech, have gained the power to participate in the public debate. This form of emancipation takes hold of a language and an art formerly reserved to men because of traditions. Violence, slang words, obscene or pornographic language are no longer part of a male monopoly on poetic language. This poetic creation is vested differently by women writers, who are therefore able to express themselves
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Kayumba, Viviane Ngoie Banza. "L’entre-deux identitaire dans quelques oeuvres d’écrivains francophones “immigrantsˮ, “cas de Dany Laferrière, d’Alain Mabanckou, de Calixthe Beyala et de Lottin Wekapeˮ". Thesis, Rhodes University, 2019. http://hdl.handle.net/10962/72389.
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This dissertation examines the theme of hybrid identities in Mabanckou, Laferrière, Beyala and Wekape’s novels : Black Bazar, Le Petit prince de Belleville, Je suis un écrivain japonais and J’appartiens au monde. Hybrid identity raises the issue of identity diversity and contemporary francophone literature is characterised by the emergence of fictional narratives increasingly numerous. This research undertaken is driven by the desire to extend the field of investigation in francophone literature by taking into account a varied corpus of Haitian, Congolese, and Cameroonian literatures. I have opted for writers who settled in a foreign country and have adopted a foreign language that they considered to be part of a foreign literary world; writers who are between two or more cultures which they depict in French. The few existing studies on hybrid identities on these four novels focused more on formal and linguistic analysis and omitted meaningful sociocritic analysis. It is clear that a full study on sociocritic approach on hybrid identity on these four authors remains to be done. The research is demonstrating how different characters created by these four postmodern immigrant French-speaking writers occasionally function similarly in their texts. This gives a clear understanding of the specific behaviour of immigrants characters, vis-à-vis their various situations in the novels, and how these immigrants seek to address the problems they encounter. As this research offers reflections related to the identities and nationalities of immigrants, Laferrière, Mabanckou, Beyala and Wekape’s texts are based on the search for social belonging and a literary membership in this modern world. Therefore, they are analysing their position in a literary field as well as in a social field. In their texts they highlight the Space real or imaginary. In which way and how this Space contribute to the evolution of francophone literature? To what extent does francophone literature takes into account this representation of the Space? These questions lead to a reflection on the position occupied by these authors in the francophone field and the source of their literary inspirations. My interest in these authors is motivated by the fact that, by living and writing in a country which is not their place of birth, they each reveal different aspects of hybrid identity. Each of them, has his or her personal and original way of tackling the problem of mixed identity. They present their characters in different situations and different contexts, showing that each has been in contact with several cultures which they have assimilated and each lived in his or her own way a particular story. My study’s focus is to understand the problems of contact of cultures and their consequences, and to explore how through the characters of the novel, immigrant French speaking writers understood their acculturation as themselves have experienced an identity crisis, resulting from the confrontation of the culture of their new homeland and the culture of their country of origin. For this reason, Bourdieu’s approach “la sociocritique” will help me to found out the origin of the author’s obsession with the question of hybrid identity. I have chosen these four immigrant speaking writers to explore the strategies implemented by the novels’ narrators to construct their identities and to find out how the narrators express the intentions of the authors. In their texts, Mabanckou, Beyala, Laferrière and Wekape have used various strategies to express the quest for identity which gives clear indications of the authors’ creativity such as humour, parody, or solemnity and gravity - and the narrative voices reveal distinctive attitudes in relation to hybrid identity. At this level, other approaches will also be called for, such as the work of Westphal, Doubrovsky, Genette, Colona, etc. Through my investigation, these works present similarities and dissimilarities. Each author tackled the questions of hybrid identities according to his own experience. From there, a different commitment emerges, depending on the degree of inquiry into questions about immigration. These authors all evoke the social precariousness of their characters or the immigrant and privilege an urban framework. The examination of these works allowed me to identify their place in Francophonie literature and to discover the importance of their texts. The four novels relate to the search for identity, an aesthetic way and a search for freedom. They possess aesthetic qualities, they have a high degree of coherence. Their romantic choice shows their creativity and their strategies engender a hybrid writing that stems from their position between several languages and place these novels within the world literature.
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Nilsson, Birgitta. "Deux générations d’écrivaines africaines. Les femmes qui se conforment aux normes et les femmes qui font du bruit. Mariama Bâ et Calixthe Beyala." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-33864.
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The title of this paper is "Two generations of African writers: Women who conform to norms, and women who make noise. Mariama Bâ and Calixthe Beyala”. In this study we analyze two novels, Une si longue lettre by Mariama Bâ (1979) and Assèze l’Africaine by Calixthe Beyala (1994). We examine the similarities and differences in expression, style and themes. Our objective is to determine whether Bâ and Beyala are representing two different groups of African female writers. We have combined a postcolonial approach with a comparative method. Our hypothesis is that the two novels stand in contrast to each other through differences in themes and styles. In order to test this hypothesis we use previous research. Our analysis shows that the work of Bâ has a sober and refined style of writing. Bâ is raising awareness of the situation of women, without deviating from social norms, choosing themes such as polygamy, sisterhood and the value of education. In the work of Beyala we see a more pronounced political criticism, in a bolder and more agitating style of writing. Our conclusion is that the two novels are strongly differentiated through themes and styles. Bâ and Beyala belong to two different generations of female French-speaking African authors.
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Yanzigiye, Béatrice. "L'expression du féminin dans "C'est le soleil qui m'a brûlée" de Calixthe Beyala et "La répudiation" de Rachid Boudjedra : approche narratologique et sémiologique." Bordeaux 3, 2009. http://www.theses.fr/2009BOR30009.
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L’analyse de C’est le soleil qui m’a brûlée de Calixthe Beyala et La Répudiation de Rachid Boudjedra a été conduite selon une étude comparée. La dimension esthétique de l’écriture de ces romans permet d’adopter une approche narrato-sémiologique, en vue de dévoiler la façon dont sont représentées les conditions dans lesquelles vit la femme en Afrique noire et au Maghreb. Les textes fonctionnent comme un vaste chantier de construction romanesque. Celui-ci présuppose une matière langagière et des techniques narratives adéquates en vue de faire exister la figure féminine et de lui accorder le droit d’expression. En fonction de conditions culturelles, politiques et sociales, chaque écrivain délègue un personnage afin de transmettre un message, et partant, de prouver le bien-fondé de sa parole. La lecture plurielle et pluridimensionnelle met au jour une forte volonté de dire ce qui jusque là restait l’indicible. Elle permet de faire remonter en surface le désir longtemps réprimé d’une parole féminine recouverte d’interdits et de voile de tabous. Le point majeur de l’étude consiste à montrer les différentes apparitions des personnages féminins dans les romans du corpus pour mesurer leur impact sur la bipolarité écriture-lecture, ainsi que l’endroit de leur identification dans le narratif. La solution aux impasses de la position féminine est alors envisagée par une écriture-évasion, à la fois libératrice de la mémoire, de la parole et de la pensée de la femme longtemps cloîtrée dans un mutisme. La force et le pouvoir des mots permettent de contourner les barrières érigées par les traditions patriarcales aussi dégradantes que déshonorantes pour la femme<br>The analysis of C’est le soleil qui m’a brûlée by Calixthe Beyala and that of La Répudiation by Rachid Boudjedra, is certainly a comparative study. The writing aesthetic dimension of these novels helps in tackling the narrato-semiological approach, in order to unveil living condition of a woman in black Africa and in Maghreb. The passages stand as a wide construction of novel design. This one requires a language material and suitable narrative techniques so as to display the feminine character and to attach to it the right of expression. In consideration of cultural, political and social conditions, each writer delegate a character in order to convey a message and to prove the truth of the words. The diverse and multidimensional reading shows a strong will to express an inexpressible. It allows to reveal a long time hidden desire of feminine expression due to prohibitions and tabous. The major challenge to overcome laps in showing different appearences of feminine characters in corpus novels. It is a way to measure their impact on the bipolarity in writing and reading ; as well as their place in the narrative. The solution to the feminine deadlock position is therefore given in escapist writing, liberating the memory, the expression and thought of a woman that has been shut away in a mutism for a long time. The force and the power of words help in overcoming the obstacles brought about by the patriarchal traditions that are both degrading and deshonorable for a woman
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Kobrosli, Faten. "La Dimension pluriculturelle de textes francophones du XXème siècle(Afrique subsaharienne, Liban, Québec) avec le regard féminin de Calixthe Beyala, Andree Chedid et Anne Hebert." Nice, 1995. http://www.theses.fr/1995NICE2039.
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Notre sujet envisage une série de pistes de recherche et porte sur un choix du corpus étale sur une période de 40 ans appartenant à différentes aires culturelles Afrique subsaharienne, Moyen-Orient et Amérique du nord. Nous retenons, en effet, les deux premiers romans de Calixthe Beyala du Cameroun, c'est le soleil qui m'a brulée (1987), tu t'appelleras tanga (1988), deux romans d'Andrée Chedid du Liban, le sommeil délivre (1952), la maison sans racines (1982), trois romans d’Anne Hebert du Québec, les chambres de bois (1958), Kamouraska (1970), et les fous de Bassan (1982). S’agissant des différentes articulations de notre développement, nous divisons le travail en trois grandes parties. Nous consacrons la première partie à la narratologie. L’interaction entre l'aspect international et l'aspect national se montre comme une symbiose entre le <<paratexte>> et le texte. Les paysages physiques, climatiques, extérieurs aux romans se mêlent aux paysages moraux des textes : <<mouches>>, <<boue>> suggèrent le désordre et la misère dans les faubourgs du Cameroun, <<cèdres>>, <<soleil>> soulignent l'espoir méditerranéen, <<neige>> fait ressortir toute une âme canadienne dans l'œuvre d’Anne Hebert. Notre deuxième partie se centre sur l'étude de la langue et de ses divers fonctionnements
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Sinanga, Ohlmann Judith. "Politique et poétique de l'exil dans l'oeuvre de quelques écrivains de l'Afrique francophone sub-Saharienne, cAlixthe Beyala, Henri Lopes, Jean-Pierre Makouta-Mboukou, Hermenegilde Twagirumukiza (L'Abbé)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0005/NQ42974.pdf.
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Hindrikes, Evelin. "Un féminisme à cheval sur deux continents : une étude des idées féministes dans le roman Les Honneurs perdus et l'essai Lettre d'une Africaine à ses sœurs occidentales de Calixthe Beyala." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-60089.
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This study examines the feminist ideas in Calixthe Beyala's fictional novel Les Honneurs perdus (1996) and her essay Lettre d'une Africaine à ses sœurs occidentales (1995). The description of women's situation and their possible liberation in these two texts are analyzed, notably based on the feminist theories articulated by Simone de Beauvoir and by Judith Butler. The analysis demonstrates that the women in these texts live in a patriarchal society where they are oppressed and dominated by men. Religion and tradition serve as a way of internalizing this oppression. Early on, the women learn that their sexuality is owned by men, and that the main purpose of their existence is to get married and have children. However, Beyala also demonstrates a possiblity for women to reclaim their subjectivity and to liberate themselves from men's oppression, mainly through gaining awareness of the oppression, getting access to education and finding solidarity between women. In the last chapter of the analysis, Beyala's vision of the woman as the savior of the world is questioned, and the importance of the postcolonial context is considered. The study concludes that Beyala's feminist ideas consist of a fusion of, on one hand, Western feminist theories such as those based on the works of Beauvoir and, on the other hand, ideas of solidarity characteristic for the African continent. This creates a feminism which, just like Beyala herself, straddles two continents.
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Guignard, Sophie. "Le cœur, l’âme et le corps : Expressions de l’intime féminin dans sept romans du XIXe siècle et de l’extrême contemporain." Doctoral thesis, Uppsala universitet, Romanska språk, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-260215.
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This thesis examines representations of the intimate as experienced by female protagonists, through expressions related to the heart, the soul and the body, in a comparative study of novels by French women writers from the 19th century and the present day. The corpus consists of seven novels : Ourika by Claire de Duras (1822), Lélia by George Sand (1833 & 1839), Monsieur Vénus. Roman matérialiste by Rachilde (1884), Femme nue, femme noire by Calixthe Beyala (2003), Vous parler d’elle by Claire Castillon (2004), Le Cœur cousu by Carole Martinez (2007), and Mon cœur à l’étroit by Marie NDiaye (2007). As a starting point, the thesis provides an extensive literature survey of existing research on the intimate as well as an introduction of the feminist and psychanalytic approaches underpinning the subsequent analyses, which are conducted in two parts, according to the personal and relational dimensions of the intimate. The theories of Beauvoir, Kristeva and Lacan offer perspectives on the intimate experience of women characters which is conveyed in literary imagery as the desire of the Other, and which is oppressed in a patriarchal symbolic order, although an aesthetic with specific narrative techniques related to women’s experience of the intimate is identified in most of the novels. These features include blurring and fragmentation of spatiotemporality, a marked intricacy of narrative voice, proximate first-person narrators, and the development of themes such as the writing of the body, sensed as a container. A discrepancy is noticed between the dominating androcentric posture of the heroines which is found in underlying discourse, and the sensorial dimension of their experience. This leads to a sublimation of body and sexuality in the romantic novels, a masochistic exaltation of the body and pain in the decadent novel and a psychotic and paranoid state in the novels from present day literature. The themes of female sacrifice and of death and denial of the body are very strong throughout the corpus. Relationships within the family are explored, including the mother-daughter relationships that are emphasised in the recent novels but not in those from the 19th century. Family structure, Christian culture and patriarchal, hierarchical social organisation are analysed as grounds for women’s alienation in the novels. The issue of perversion, which is striking in the novels on several different levels, is described as a transgression which involves the reader.
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Jaozandry, Marie. "Les femmes africaines en immigration." Thesis, Paris Est, 2009. http://www.theses.fr/2009PEST0075.
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Notre étude sur Les femmes africaines en immigration ouvre la voie à une nouvelle lecture du personnage féminin dans des romans et nouvelle de trois écrivaines : Calixthe Beyala, Leïla Sebbar et Michèle Rakotoson. Ce sujet controversé de la figure féminine africaine suscite de nombreux débats critiques. On accuse souvent les femmes africaines d’être restées en retard par rapports aux autres femmes dans le monde. Elles ont besoin de changement tant dans leur perception des choses que dans leur implication dans le développement de leur pays. Le recours à l’éducation est l’une des assurances pour leur faire acquérir des compétences et des qualités constitutives de la dynamique du développement. Il s’avère donc nécessaire de faire un retour dans le monde du savoir pour réfléchir sur son engagement professionnel et de s’armer d’outils nécessaires à son développement personnel et à celui de son pays. C’est probablement dans ce cadre que plusieurs femmes s’adonnent actuellement à l’écriture et tentent de lutter pour sortir de l’engourdissement qui les bloque et les empêchent d’évoluer dans le monde moderne. Ainsi dans le cadre de ce travail de fin d’étude, je présenterai des analyses sur le parcours et pratiques des femmes africaines en immigration. Ce travail est basé sur des romans et nouvelles écrites par des femmes qui se sont inspirées de leur vie quotidienne pour traduire le désarroi qui accompagne souvent une population migrante. A l’époque où ces romans ont été écrits, ce sont surtout les hommes qui, motivés par la perspective d’un meilleur travail, viennent immigrer en France en entrainant avec eux leurs femmes et leurs enfants. Ce n’est plus le cas aujourd’hui. Dans notre recherche, nous allons suivre les expériences de plusieurs héroïnes de romans en mettant en évidence leurs succès et leurs échecs. Nous allons ressortir par la même occasion l’influence positive et négative de leur environnement social, les faits marquants, indélébiles qui constituent les facteurs de changements personnel et professionnel.La conclusion qui y ressort c’est que le succès de l’immigration ne dépend pas seulement de la population migrante. Certes, le manque d’éducation constitue un frein qui bloque certaine ouverture d’esprit. Toutefois, le courage qui anime ces femmes leur permet de surmonter de nombreux problèmes. Le pays d’accueil a lui aussi une large part de responsabilité car, si nous nous en tenons à notre corpus, la loi de l’immigration provoque souvent un problème identitaire qui déstabilise profondément les migrantes<br>Our study of Immigrated African women opens up the way to a new reading of the female character in novels and short stories by three women writers : Calixte Belaya, Leila Sebbar and Michèle Rotoson. This controversial subject of the African woman character arouses many crucial debates. African women have often been accused of having remained behind, compared to other women throughout the world. They need changes as much in their perception of things as in their implication in the development of their country. Education is one of the best way for them to acquire skills and essential qualities of a dynamic growth phase.It is thus necessary to return in the world of knowledge to think about her professional commitment and to arm herself of necessary tools as well for her personal fulfilment as for her own country. Obviously it is this context that a few women are devoted themselves to writing and to try to fight for coming out this dulling which freezes them up and prevent them from evolving in the modern society.So as part of this study for the end of my studies, I will analyse the career and practical experiences of African Women in Immigration. This work is based on novels and short stories written by women who inspired themselves from their daily lives to convey their helplessness which is often part of a migrant population. At the time when these novels were written, it was mainly men who motivated by the idea of a better job, migrated to France bringing along their wives and their children with them. It is anymore the case today. In our study we are going to follow the experiences of a few heroines of novels by revealing their successes and their failures. At the same time we are going to bring out the positive and negative influences of their social backgrounds, the striking and indelible facts which constitute the factors of personal and professional changes
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Abadie, Pascale. "Vers de nouveaux horizons dans la litterature feminine d'Afrique subsaharienne: de Mariama Ba a nos jours." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397735803.
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Tchoffogueu, Emmanuel. "Les Romancières africaines à l'épreuve de l'invention de la femme : essai d'analyse du nouveau discours romanesque africain au féminin (Calixte Beyale, Ken Bugul, Malika Mokeddem)." Université Marc Bloch (Strasbourg) (1971-2008), 2008. https://publication-theses.unistra.fr/restreint/theses_doctorat/2008/TCHOFFOGUEU_Emmanuel_2008.pdf.
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La thèse a pour objectif de montrer non seulement comment les romancières africaines des années 1980-1990 promeuvent l’image de la nouvelle femme africaine, en prolongeant les revendications féministes de leurs aînées, mais aussi et surtout de décrire le fonctionnement de leurs discours qui se caractérisent essentiellement par une esthétique de subversion des normes linguistiques. Cette transgression réduplique leur combat dans le but d’inventer la nouvelle Africaine, celle qui affronte les carcans de la tradition et s’ouvre à l’universalité. Le corpus est constitué des œuvres romanesques autobiographiques – pour la plupart – de trois écrivaines représentant deux macro-espaces géoculturels : l’Afrique subsaharienne avec C. Beyala et Ken Bugul ; le Maghreb avec Malika Mokeddem. L’étude cherche, en s’appuyant sur la linguistique du discours telle qu’amorcée par H. Weinrich et enrichie par J. -M. Adam, D. Maingueneau ou A. Viala, à montrer comment ces créatrices concilient problématique féminine et défi du développement de l’Afrique, de manière à contribuer efficacement à une nouvelle visibilité de la littérature africaine. Les lectures transversales révèlent ainsi un nouveau positionnement de la femme africaine incarnée dans l’espace de la création par la nouvelle écrivaine qui participe aux luttes sociopolitiques et culturelles, afin de se projeter dans un futur prometteur pour une société en mutation. L’hypothèse d’un dépassement de la lecture des œuvres de femmes comme l’expression monocorde de la condition féminine est vérifiée, et la thèse contribue notamment à la réhabilitation d’une littérature féminine mise à mal par une certaine critique limitée simplement aux aspects descriptifs et thématiques<br>This dissertation aims to demonstrate not only how African novelists in 1980-1990 promoted the image of the new African woman by continuing the feminist demands of their predecessors, but also, and foremost, to describe the pattern of their discourse, which was characterized predominantly by aesthetics of subversion of linguistic norms. This linguistic defiance mirrors their fight to invent the New African Woman, who throws off the shackles of tradition and opens herself up to universality. The corpus is composed primarily of autobiographical novelistic works by three writers who represent two geocultural macrospaces: the sub-Saharan Africa of C. Beyala and Ken Bugul, and the Maghreb of Malika Mokeddem. This study seeks, drawing on the linguistics of discourse as initiated by H. Weinrich and enriched by J. -M. Adam, D. Maingueneau, and A. Viala, to present how these creative female artists reconcile the feminine problem with the challenge of African development in such a way as to expeditiously contribute to new visibility for African literature. Transversal reading thus reveals a new place for the African woman, who is embodied in the creative space by the new woman writer participating in sociopolitical and cultural battles in order to advance a society in evolution into a promising future. The hypothesis of over-reading women’s literary works as the monotonous expression of the feminine condition is supported; the dissertation contributes, in particular, to a rehabilitation of feminine literature that has been undermined by criticism that has limited itself solely to descriptive and thematic aspects
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Danhoue, Gogoué Mayeul. "La représentation de l’enfance dans deux romans de Calixthe Beyala." Thesis, 2020. http://hdl.handle.net/1866/25065.
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Le présent mémoire tire son hypothèse de recherche d’une observation, celle de la rareté des études portant sur l’enfance dans l’oeuvre romanesque de l’écrivaine Calixthe Beyala. Il ressort en effet de nos lectures que ce thème est resté jusqu’ici en marge des préoccupations de la critique bien qu’il soit l’un des sujets de prédilection de la romancière. Les études qui existent sont marquées par leur caractère très général ou fragmentaire.
Ce mémoire se propose donc d’interroger l’enfance telle qu’elle est représentée dans deux romans qui s’inscrivent dans la catégorie générique des récits d’enfance. Tout l’intérêt et la pertinence de la question se fondent sur la perspective dans laquelle elle se situe, c’est-à-dire en nette démarcation avec les conceptions conventionnelles de l’enfance en Europe (Rousseau, Novalis) ou celles qui prévalaient dans l’Afrique traditionnelle (Senghor, Camara Laye) qui font de l’enfance un moment privilégié de la vie, à la fois idyllique, insouciante et joyeuse. L’univers romanesque de Beyala, au contraire, présente des enfants malheureux, vulnérables, déboussolés, en quête de repères, portant le fardeau de leurs infortunes résultant de l’inconséquence de la famille, de l’adulte et de la société dont les structures et les pratiques les dépossèdent de leur enfance.
Sous cet éclairage, les réflexions qui sont menées dans ce mémoire s’articulent autour de la déconstruction de l’imaginaire conventionnel de l’enfance, un imaginaire paradoxal et déroutant, au regard des dysfonctionnements au sein de la famille et de la société qui caractérisent l’univers de l’enfance dans notre corpus.
Notre étude s’appuie sur les approches théoriques comme l’analyse du personnage et la narratologie. Elle analyse, à travers leurs caractéristiques, leurs actions et leur réseau relationnel, le parcours diégétique des personnages d’enfants afin de découvrir les significations rattachées à leur construction. Les modalités et stratégies narratives en jeu, quant à elles, laissent voir la centralité de l’enfant, à la fois en tant que personnage et narrateur de son histoire, avec notamment les implications comme la prédominance de son point de vue. L’étude ouvre également sur des problématiques sociales qui alimentent les deux récits et révèle le discours critique sur la société qui sous-tend cette écriture de l’enfance.<br>This dissertation draws its research hypothesis from an observation, that of the scarcity of studies on childhood in the fictional works of the writer Calixthe Beyala. Indeed, it emerges from our readings that this theme has so far remained on the fringes of critical concerns, although it is one of the novelist's favorite subjects. The studies that do exist are marked by their very general or fragmentary character. This dissertation therefore proposes to question childhood as it is represented in two novels that fall under the generic category of childhood stories. All the interest and relevance of the question are based on the perspective in which it is situated, that is to say in clear demarcation with the conventional conceptions of childhood in Europe (Rousseau, Novalis) or those which prevailed in traditional Africa (Senghor, Camara Laye) which make childhood a privileged moment of life, at the same time idyllic, carefree and joyful. The romantic universe of Beyala, on the contrary, presents unhappy, vulnerable, confused children, in search of landmarks, carrying the burden of their misfortunes resulting from the inconsistency of the family, the adult and the society whose structures and the practices dispossess them of their childhood. In this light, the reflections that are carried out in this dissertation revolve around the deconstruction of the conventional imagination of childhood, a paradoxical and confusing imaginary, in view of the dysfunctions within the family and society that characterize the universe of childhood in our corpus. Our study is based on theoretical approaches such as character analysis and narratology. It analyzes, through their characteristics, their actions and their relational network, the diegetic journey of the children's characters in order to discover the meanings attached to their construction. The narrative modalities and strategies involved, on the other hand, show the centrality of the child, both as a character and as a narrator of his story, with the implications such as the predominance of his point of view. The study also opens up on the social issues that feed the two narratives and reveals the critical discourse on society that underlies this writing of childhood.
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Ferreira-Meyers, Karen Aline Francoise. "Comparative analysis of autofictional features in the works of Amelie Nothomb, Calixthe Beyala and Nina Bouraoui." Thesis, 2011. http://hdl.handle.net/10413/9837.
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30 years after the coining of autofiction (Doubrovsky, 1977), there is still no general consensus about its exact meaning. This research set out to discover autofiction, whether there is a need for this term, why the public has taken such an interest in autofiction. Research questions were divided into two major categories:
1. What is autofiction? What is its origin? How has it evolved? Which differences are there, if any, between autobiography and autofiction? Is there a need for the separate genre of autofiction? Why/why not? What are its general characteristics?
2. Do the three analysed women authors – Nothomb, Beyala and Bouraoui – incorporate these elements in their writing? If so, how and why? Is autofictional writing a stage/posture in the personal writing development of an author? Is there any link between the writing of the own persona and the obsession with the public persona?
Concentrating on terminological and theoretical issues, extensive literature review was done in the first part of the research. Starting from main literary criticism regarding fiction and autobiography/autofiction, the theoretical side of my research dealt with narrative identity and the true/false dichotomy of fact/fiction. Together with qualitative research about intertextuality as applied by autofictional writers (difference plagiarism and intertextual borrowing) led to a functional definition of autofiction, the basis for the comparative study of the three authors. For the research into their public persona, extensive internet research and analysis of newspaper articles were undertaken to show:
1. how the authors portray themselves;
2. how they are perceived by the media;
3. how this possibly influences their writing style.
Autofiction requires analysis of: 1. why authors write 2. about what they write 3. how they incorporate the Self and the world in their writing. Bouraoui compares writing to an almost sexual act of love, the most intimate possible. Writing was the only way she could deal with childhood memories and repressed homosexuality. Beyala writes to communicate with others, while Nothomb considers writing as a means to live more intensely, after anorexia. The specificities and distinctive characteristics of the texts and authors were discovered through narrative analysis (factual research into the authors’ public persona + textual analysis of literary oeuvres). In Chapter 3 (Calixthe Beyala), feminine literary criticism as well as postcolonial theories guided my reading. Chapter 4 (Nina Bouraoui) allowed reflexion on the links between memory, identity, truth and autofictional writing. All chapters included research on Doubrovsky’s link between psychoanalysis and autofiction.
In conclusion, there is a strong indication that one should speak of autofictions in the plural. This research explains some of the differences between autobiography and autofiction while underlining the importance of the existence of this new, separate sub-genre. The researcher had an opportunity to reflect on human memory and re-interpretation of facts. Where does the dividing line between truth and falsehood fall when the author puts the reader deliberately on a false track by introducing his/her work as « a novel »? Recent, post-modern writing has deliberately transgressed the fine dividing line between fact/fiction. The present research corroborates this view.<br>Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2011.
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Chomga, Annick Vanessa Magne. "Freedom of female sexuality in Calixthe Beyala's C'est le soleil qui m'a brûlée: a critical analysis in translation." Thesis, 2016. http://hdl.handle.net/10539/22323.
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A research report submitted to the Faculty of Humanities,
University of the Witwatersrand, Johannesburg,
in partial fulfilment of the requirements for the degree of
Master of Arts in Translation
Johannesburg,
March 2016<br>The study provides a comparative and contrastive analysis of Calixthe Beyala’s novel, C'est le soleil qui m'a brûlée, and its translation, The Sun Hath Looked upon Me, by Marjolijn de Jager focusing on textual, paratextual and metatextual elements of these two texts. The analysis shows how the translator dealt with the disruptive stylistic effects of a postcolonial text and the themes around which the novel is centred. Problems and solutions related to postcolonial translations and relevant theories are approached in the analysis. The textual analysis is done using Gérard Genette’s (1997) model of analysis of the elements of the paratext and Vinay and Darbelnet’s (1995) model of comparative analysis of French and English.<br>GR2017
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Jean-Louis, Lorrie. "Corps noir et intersubjectivité chez Beyala, Gordimer et Morrison." Mémoire, 2008. http://www.archipel.uqam.ca/1531/1/M10631.pdf.
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Cette étude porte sur le corps noir et l'intersubjectivité dans Ceux de July de Nadine Gordimer (1981), Tar Baby de Toni Morrison (1981) et Tu t'appelleras Tanga de Calixthe Beyala (1988). Dans chacun des récits, la représentation du corps noir est le pivot des relations qui unit les personnages noirs et blancs. L'évolution des différentes trames narratives dépend de la réinscription permanente de la figure du Noir dans les rapports intersubjectifs entre les Noirs et Blancs. Le premier objectif de ce mémoire de maîtrise est donc d'exposer la mise en scène littéraire de cette figure, avant tout, discursive, à travers les déplacements poétiques qu'effectue chacune des auteures. Cette analyse se fait principalement à partir de trois approches: organique, narratologique et sémiologique. Elle met aussi à contribution certaines notions relatives à la subjectivité dans l'énonciation. D'une part, cette analyse illustre les moyens par lesquels les personnages parviennent à construire des dichotomies qui, de prime abord, sont présentées comme étant indépassables à travers une série d'espaces où les différences sont démultipliées. D'autre part, ce travail de mémoire cherche à rendre compte de la nature intimement fictionnelle et sociale des corps, tout en démontrant une différence notoire de l'articulation du corps noir constamment chargé d'un « poids » métaphorique péjoratif qui efface le sujet. À travers leur écriture, les trois auteures parviennent à mettre en évidence les lieux communs de la représentation du corps noir, tout en réinscrivant ces derniers dans une polysémie déroutante et éclairante sur les communautés de sens qui enferment ou qui ouvrent les sujets sur eux-mêmes et sur les autres. En ce sens, les trois microcosmes déconstruisent -chacun dans son contexte respectif -la représentation du Noir. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Figure du Noir, Corporéité, Intersubjectivité, Stéréotype, Altérité, Roman, Mythe.
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Moutien, Caitan Shirley. "Tradition et modernitė dans C'est le soleil qui m'a brûlee (1987), Assèze, l'Africaine (1994) et Femme nue, femme noire (2003) de Calixthe Beyala." Diss., 2016. http://hdl.handle.net/10500/22070.
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Text in French; abstract in French and English<br>Observatrice des réalités quotidiennes camerounaises, Calixthe Beyala a publié, en 1987, un roman intitulé C’est le soleil qui m’a brûlée. Dans ce roman, elle montre au lecteur comment la femme, victime de la tradition, utilise, avec l’apport de la modernité, son corps comme moyen pour reconquérir son moi profond, et retrouver sa liberté. En 1994, elle a écrit et publié Assѐze, l’Africaine. Et en 2003, elle a publié Femme nue, femme noire.
Après une lecture minutieuse de ces trois livres, le lecteur peut facilement découvrir que Calixthe Beyala place la femme au centre de sa préoccupation littéraire. Et elle examine, dans sa fiction, deux thѐmes: la tradition et la modernité. Qu’entend-elle par tradition et modernité? Comment examine-t-elle ces deux thѐmes dans les ouvrages de notre corpus? Quelles solutions propose-t-elle à la femme, d’une part, pour se libérer du joug de la tradition et de la domination masculine, et d’autre part, pour (re)conquérir son corps, son moi profond et pour son émancipation?<br>Observer of the daily Cameroonian realities, Calixthe Beyala published, in 1987, a novel entitled C’est le soleil qui m’a brûlée. In this novel, she shows the reader how a woman, victim of tradition, uses her body as means to reconquer herself and to find her freedom. In 1994, she wrote and published Assèze, l’Africane. And in 2003, she published Femme nue, femme noire.
After a careful reading of the three novels, the reader can easily discover that Calixthe Beyala places woman in the center of her literary preoccupation. And she examines, in her fiction, two themes, tradition and modernity. What does she mean by tradition and modernity? How does she examine these two themes in the novels of our study? What solutions does she propose to the woman, firstly, to liberate herself from the yoke of tradition and male’s domination, and secondly, to reconquer her body, herself and her emancipation?<br>Classics and World Languages<br>M.A. (French)
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Schleppe, Beatriz Eugenia. "Empowering new identities in postcolonial literature by Francophone women writers." Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116178.
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Masters, Karen Beth. "Women adrift : familial and cultural alienation in the personal narratives of Francophone women." Thesis, 2015. http://hdl.handle.net/10500/21017.
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This study analyzes the experience of alienation from family and culture as portrayed in the personal narratives of francophone women. The authors appearing in this study are Assia Djebar and Marie Cardinal, from Algeria, Mariama Bâ and Ken Bugul, from Senegal, Marguerite Duras and Kim Lefèvre, from Vietnam, Calixthe Beyala, from Cameroon, Gabrielle Roy, from Canada, and Maryse Condé, from Guadeloupe. Alienation is deconstructed into the domains of blood, money, land, religion, education and history. The authors’ experiences of alienation in each domain are classified according to severity and cultural normativity. The study seeks to determine the manner in which alienation manifests in each domain, and to identify factors which aid or hinder recovery.
Alienation in the domain of blood occurs as a result of warfare, illness, racism, ancestral trauma, and the rites of passage of menarche, loss of virginity, and menopause. Money-related alienation is linked to endemic classism, often caused by colonial influence. The authors experienced varying degrees of economic vulnerability to men, depending upon cultural and familial norms. Colonialism, warfare and environmental depending upon cultural and familial norms. Colonialism, warfare and environmental degradation all contribute to alienation in the domain of land. Women were found to be more susceptible to alienation in the domain of religion due to patriarchal religious constructs. In the domain of education, it was found that some alienation is inevitable for all students. Despite its inherent drawbacks, education provides tools for empowerment which are crucial for overcoming alienation. Alienation in the domain of history was found to hinder recovery due to infiltration of past trauma into the present, while empowerment in this domain fosters optimism and future-oriented thinking.
Each domain offers opportunities for empowerment, and it is necessary to work within the domains to create a safe haven for recovery. Eight of the nine authors experienced at least a partial recovery from alienation. This was accomplished via cathartic release of negative emotions. Catharsis is achieved by shedding tears, talking, or writing about the negative experiences. The personal narrative was found to be especially helpful in promoting healing both for the author and the reading audience.<br>Classics and World Languages<br>D. Litt. et Phil. (French)
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Kantiono, Rose. "Feministische Schreibweisen in Elfriede Jelineks Klavierspielerin und Calixthe Beyalas C'est le soleil qui m'a brulée." Thèse, 2005. http://hdl.handle.net/1866/17838.
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Price, Patricia Lorraine. "Towards a Foreign Likeness Bent: Representing Difference in Calixthe Beyala's Les honneurs perdus." Thesis, 2011. http://spectrum.library.concordia.ca/7617/1/Price_MA_S2011.pdf.
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