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Dissertations / Theses on the topic 'Francophone novel'
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Smail, Zahia. "Themes in the Francophone Algerian novel." Thesis, University of Exeter, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293608.
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Boyd-Buggs, Debra. "Baraka : maraboutism and maraboutage in the francophone Senegalese novel /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392894752.
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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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Eko, Mba Fabrice. "La représentation de l'intellectuel africain dans le roman africain francophone de 1950 à nos jours. : Du prométhéisme au repli narcissique." Thesis, Pau, 2016. http://www.theses.fr/2016PAUU1020/document.
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Le présent travail, dont le champ de recherche concerne le roman francophone d'Afrique au sud du Sahara, se propose d'analyser la mise en scène de la trajectoire de l'intellectuel africain, des années cinquante à nos jours. Il s'agit précisément de voir la manière dont les productions romanesques africaines de ces soixante dernières années représentent la situation de l'intellectuel dans la société africaine, à travers ses évolutions et ses perspectives. Quel rôle le roman africain de langue française a par le passé consacré au personnage de l'intellectuel et quels sont ses nouveaux modes d'actions et de productions d'idées contribuant aujourd'hui à renforcer ce rôle ? Au moment où, en Afrique, l'opinion publique parle de plus en plus de la faillite ou de la « mort de l'intellectuel africain », nous avons jugé nécessaire d'interroger le roman à ce sujet, à partir d'une sorte de panorama analytique allant de 1950 aux années 2010, pour observer comment la fiction littéraire africaine a longtemps représenté la figure de l'intellectuel et comment cette représentation a évolué au cours des dernières décennies. Empruntant sans cesse ses outils théoriques et méthodologiques à la sociologie de la littérature, cette thèse de doctorat s'interroge sur ce qui est advenu de l'intellectuel africain et sur le positionnement qu'il adopte dans le contexte actuel des sociétés africaines tournées vers la mondialisation. Sous forme d'histoire littéraire, elle présente chaque époque intellectuelle du continent africain à travers ses enjeux identitaires et politiques. Au-delà de ses échecs innombrables, l'intellectuel africain est une figure habitée par une éthique de conviction et de responsabilité. Dans cette perspective, la crise de l'engagement observable chez l'intellectuel évoluant dans le roman africain contemporain, loin d'être le signe de sa « mort » très prochaine, se veut en fait une crise des mutations, où de vieilles modalités d'engagement meurent et de nouvelles cherchent à écloreThis work, whose research field concerns the French novel of Africa south of the Sahara, is to analyze the direction of the trajectory of the African intellectual, fifties to the present. It is precisely to see how African fiction productions of the last sixty years represent the situation of the intellectual in African society, through its developments and prospects. What French-language African novel role has historically devoted to the character of the intellectual and what are the new modes of action and ideas productions today contribute to strengthening the role? At the time, Africa, public speaking increasingly of the bankruptcy or the "death of the African intellectual," we found it necessary to question the novel on this subject, from a kind analytical panorama from 1950 to the 2010s, to observe how the African literary fiction has long represented the figure of the intellectual representation and how this has evolved over the past decades. Borrowing constantly its theoretical and methodological tools in the sociology of literature, this dissertation examines what happened to the African intellectual and positioning it adopts in the current tour to the African societies globalization. Form of literary history, it has intellectual every time the African continent through its identity and political issues. Beyond its countless failures, the African intellectual is a figure inhabited by an ethic of conviction and responsibility. In this perspective, the crisis of the observable commitment to evolving the intellectual in contemporary African novel, far from being a sign of his "death" imminent, wants it a crisis of change, where old modalities commitment die and new ones seek to hatch
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Robova, Antoaneta. "Figures mythiques dans le roman contemporain francophone." Thesis, Clermont-Ferrand 2, 2012. http://www.theses.fr/2012CLF20024.
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La thèse a pour objectif l’étude comparative des avatars de trois figures mythiques – Don Juan, Ulysse et Jason – dans le roman contemporain francophone. La première partie « Art donjuanesque et art romanesque. Le libertinage kundérien » aborde la genèse du paradigme donjuanesque kundérien réactualisant les gestes du burlador baroque ainsi que les métamorphoses et expériences romantiques, modernes et postmodernes du patron mythique évoluant vers une posture distanciée et critique. Dans la deuxième partie « Variations romanesques sur héritage mythique. Avatars et aventures de Don Juan et d’Ulysse » nous nous focalisons sur les stratégies intertextuelles participant de l’élaboration de la typologie libertine contemporaine dans l’œuvre kundérienne et dans trois cas de donjuanisme morbide dépeints par Pierre-Jean Remy, par Denis Tillinac et par Béatrix Beck pour les confronter aux techniques de réinvention de l’aventure odysséenne revisitée par Maurice Audebert et par Eric-Emmanuel Schmitt. La troisième partie « Figures mythiques de voyageurs – Ulysse et Jason. Expériences du retour et de la quête » étudie les procédés de démythologisation utilisés par Milan Kundera, l’enchevêtrement des intertextes homérique et joycien dans le cycle de Cyrtha de Salim Bachi et les transformations du syntagme de base du mythe de Jason dans trois œuvres de Jean-Marie Gustave Le Clézio. Les résultats de nos analyses sont systématisés en vue de circonscrire les traits dominants des écritures mythologiques et de les situer par rapport aux tendances du roman contemporain francophoneThe purpose of this thesis is the comparative study of the resurgences of three mythical figures – Don Juan, Ulysses and Jason – in the contemporary francophone novel. “Part One : The Art of Don Juanism and the Art of the Novel: Milan Kundera’s libertinage” discusses the genesis of the Kunderian donjuanesque paradigm reviving the gestures of the baroque burlador and the romantic, modern and postmodern metamorphoses and experiences of the mythical pattern moving towards a distanced and critical posture. “Part Two: Novelistic variations on the Mythical heritage: Avatars and Adventures of Don Juan and Ulysses” focuses on the intertextual strategies involved in the development of the contemporary libertine typology in Kundera's oeuvre and in three cases of morbid Don Juanism portrayed by Pierre-Jean Remy, Denis Tillinac and Béatrix Beck in order to compare them to the techniques of reinvention of the Odyssean adventure revisited by Maurice Audebert and Eric-Emmanuel Schmitt. “Part Three: Mythical travellers – Ulysses and Jason. Experiences of the return and the quest” studies the devices of demythologisation used by Milan Kundera, the entanglement of Homeric and Joycean intertexts in the Cycle of Cyrtha by Salim Bachi and the transformations of the basic syntagm of the myth of Jason in three works by Jean-Marie Gustave Le Clézio. The results of the analyses are systematized in order to identify the main features of the mythological writings and to relate them to the trends in the contemporary francophone novel
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Toler, Michael. "The nation rewritten history, fiction, translation and the Francophone novel in the Maghreb /." Diss., Online access via UMI:, 2005.
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Omuku, S. A. G. "Representations of slavery and the slave trade in the Francophone West African novel." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1397876/.
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Representations of domestic slavery and the trans-Saharan and transatlantic systems of the slave trade in Francophone West African literature incorporate remembering and forgetting through oral, corporeal and spatial narratives. With respect to the oral epic and the postcolonial novel, this thesis approaches the paucity of literature on slavery and the slave trade from the perspective of cultural memory and trauma theory. Through the presence of the slave voice in the West African oral epics of Segou, Macina, and the Songhay Empire and the use of this genre in the novels of Aminata Sow Fall and Yambo Ouologuem, this thesis explores the notion of the manipulation of oral memory through omission, invention, and fictionalisation, and examines the marginalisation of the slave past and the reclaiming of this record via an alternative slave narrative within the novel. Corporeal narratives of slavery and the slave trade in the novels of Timité Bassori, Ibrahima Ly, Yambo Ouologuem and Ali Zada depict the body both as a site and a memory of slavery. Through the body, slavery is re-enacted by the repetition of the corporeal wound as a manifestation of the physiological and psychological trauma of slavery, and the transmission of that memory through the reproductive capacity of the female body. The novels of M’Barek Ould Beyrouk and Ahmed Yedaly interrogate the concept of ex-slavery in the Sahara with reference to Mauritania, whilst Kangni Alem and Tierno Monénembo navigate transatlantic notions of departure and return within the context of Brazil, specifically Salvador de Bahia. By examining slavery from a geographical perspective, these authors highlight the significance of spatial remembering within a trans-Saharan and transatlantic memory of slavery and the slave trade.
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Liambou, Ghislain Nickaise. "Énonciation et transtextualité dans le roman africain francophone de la migritude." Thesis, Nice, 2015. http://www.theses.fr/2015NICE2011/document.
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Le thème de l’immigration a inspiré une floraison d’œuvres littéraires francophones. Celles-ci prennent appui sur les grandes mobilités humaines et technologiques inhérentes au XXIesiècle et figurent les défis propres à la société de globalisation, principalement les problèmes de cohabitation interculturelle. La réception de ce corpus, dans le cas du roman africain subsaharien, parle de l’émergence d’une "nouvelle génération" de romanciers africains; thèse par ailleurs accréditée par la démarche institutionnelle des écrivains migrants eux-mêmes, comme en témoigne l’affiliation de certains au mouvement de la "littérature-monde" en français. La thèse se propose d’interroger cette problématique à travers une approche inspirée de l’analyse du discours littéraire. Elle se fonde sur le rappel de l’historiographie du roman africain de voyage. Il s’agit d’abord de questionner la périodisation des œuvres qui mettent en scène le parcours d’un personnage africain en Occident, dont certaines, bien que fondatrices, sont rarement prises en compte par le discours critique. Ensuite l’analyse porte sur la comparaison des œuvres de la "négritude" et celles de la "migritude",d’une part à l’aune des catégories comme le personnage, l’espace et l’imaginaire; d’autre part à travers les phénomènes d’intertextualité entre ces romans. Enfin, à la lumière des théories postcoloniales et de la sociologie du fait littéraire, la thèse présente cette littérature émergente comme la réécriture d’une archive; l’interrogation relative à l’accessibilité de l’Afrique et de sa diaspora à la culture du monde global. En cela la "migritude" se pose comme un mot-valise qui intègre aussi le discours de la "négritude"The topic of immigration has inspired an explosion of novels in Francophone Literature. They usually lean on the twenty-first century’s mobility of people and technologies in order to fictionalize issues related to cosmopolitanism. In the specific context of sub-Saharan African Literature, literary criticism assimilates this corpus to the ‘’Migritude’’, a phenomenon presented as the raising of a new generation of African writers in contemporary France. The writer’s institutional approach also comes to strengthen this perception. Indeed, a mess of them have signed the manifesto of the World Literature in French. Our thesis needs to examine these problems through the Literature Discourse Analysis approach. The primary step is about the reminder of historiography related to postcolonial African travel fictions. Afterwards the reflection seeks to compare those African novels, between the founding and the recent, on the basis of categories such as characters, space and imaginary. With regard to postcolonial theories as well as the narrative phenomenon of intertextuality, this thesis finally consider the emerging of post-colonial African Travel Literature as the rewriting of an archive running across Francophone African travel-writings since the early twenty century. They all question the accessibility of Africa and its diaspora to the Global Culture
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Morgan, Ceri Mair. "'There's no place like home' : space, place and identity in the contemporary francophone novel in Quebec." Thesis, University of Southampton, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302030.
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Nassif, Laurette. "The space in the Lebanese francophone novel from 1942 to 2000 (French text, Farjalla Haik, Andree Chedid, Amin Malouf)." Diss., Connect to online resource, 2005. http://wwwlib.umi.com/cr/colorado/fullcit?p3190341.
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Weir, Susan Leigh. "Lettres d'une Peruvienne: An Enlightenment Utopian Novel." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4912.
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This thesis examines Franc;oise de Graffigny's eighteenthcentury novel, Lettres d'une Peruvienne. focusing on the aspects that demonstrate its consideration as a utopian work, or moreover, as a feminist utopian work. The first chapter is developed from the premise about utopian fiction that the author's life must be considered since it is out of his or her "lived social experience" that utopian visions are born. Utopias, many have argued, are born out of reactions to social inequities and injustices. This chapter thus presents and analyzes, Graffigny's life especially where it shows needs for a future utopia. The second chapter explores definitions of utopias, especially feminist literary utopias, in order to build a framework for analyzing Graffigny's work. It will be shown that this novel exhibits many of the traits found in a woman's utopia as opposed to those found in a man's. The third and fourth chapters directly analyze the text, Lettres d'une Peruvienne, using the research from the previous chapters as the groundwork to draw out the utopian aspects of the novel.
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Salamifar, Seyed Farzad. "La réémergence du sujet dans le récit français après mai 1968." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6634.
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“Identity” constitutes one of the most debates theoretical concepts in the domain of postcolonial studies. Scholars often have a historical perspective for examining the question of identity in contemporary literary works. In fact, in the last three decades of the 20th century, we notice a significant increase in the number of literary works of an autobiographical and biographical nature. In the contemporary literature, the predominance of “personal narratives” in which reflect on identity, could be attributed to the heightened sense of individuality, which in turn results from the failure of Grand Ideologies, the mass migrations triggered by the processes of decolonization, the alienation of the consumerist society, and the fundamental redefinition of gender roles in the latter half of the 20th century.
But during this period, there is also a parallel epistemological shift that takes place, and which is sometimes downplayed in the historical approach of the postcolonial studies. The episode in the history of ideas, known as “the death of the Subject,” is commonly associated with the structuralist movement in the 1950s and 60s. Structuralists argued that the human mind is traversed by omnipresent structures that play a much more significant role in the creative process than the conscious mind. In the case of language for example, it is not we who make use of the language, but rather, it is the language that evolves and produces itself through our mental structures. With language, human agency is also questioned in literary creation. As a result, literary critics take issue with such notions as “self,” and “self-writing,”-or autobiography. In France, the New Novel was the locus for the literary representation of structuralist theories, and played an important role in the formalist movement of the 1950s and 1960s. Using various techniques, the New Novelists sought to annihilate the anthropocentric narration or otherwise underscore the passive experience of reality by the Subject. The result was a highly formalist type of novels, predominant in the 50s and 60s, drawing mostly an elite intellectual readership.
But May 1968 events marked a departure from the structuralist ideology in general, and the literary esthetics of the New Novel in particular. This political, social, and cultural upheaval in France was a ramification of the global student movement against institutional apparatuses and different forms of political establishment. In France, it was also a reaction to the elitist academism that denied the “human,” and to a literary expression that negated individuals and their personal stories. May 1968 protests objected to the monopoly of elite institutions on discourse and knowledge, and that they aspired to a “democratization” of discourse. The increase in the number of autobiographical and biographical works after 1970s, could therefore be viewed as a dialectical response to the formalism of the New Novel.
This epistemological shift opened up the discursive space for narratives of “self” and “identity.” These narratives document a highly subjective experience of reality in a rapidly-changing world. Most importantly, they reflect the preoccupations of the contemporary individual as well as the transformations of the social life, and as such, narratives of family, exile, sexuality, and quotidian abound. The personalization of the experience goes so far as to call into question the very meaning of reality and History, and thus the “referential” genres autobiography and biography are new writing practices “autofiction” and “biofiction” which maintain an ambiguous rapport with the referential reality.
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Moussavou, Emeric. "La quête de l'identité dans le roman francophone postcolonial : approche comparée des littératures africaine, insulaire, maghrébine et caribéenne." Thesis, Limoges, 2015. http://www.theses.fr/2015LIMO0035/document.
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Cette réflexion se propose de cerner, les diverses modalités par lesquelles la quête de l’identité s’impose comme matière privilégiée de la structure du récit des quatre romans. Parti de l’interrogation : qu’est-ce que la littérature ?, nous entendons démontrer que la quête de l’identité se signale comme le motif central dans la composition du roman francophone postcolonial. Le choix pour ces quatre écrivains repose sur la volonté de montrer le fonctionnement romanesque du thème de la quête de l’identité. En effet, appliqué à la dynamique interne des récits qui structure les récits, la quête de l’identité surgit comme la problématique qui traverse l’écriture du roman francophone postcolonial, notamment dans l’écriture d’Alain Mabanckou, Tahar Ben Jelloun, Ananda Dévi et Suzanne Dracius. Par exigence scientifique, cette étude est divisée en trois axes. D’abord l’axe historiographique. Il s’attache à faire une compréhension assez simple des notions de cette étude et à illustrer les différentes facettes dans l’histoire littéraire. Ensuite l’axe poétique où analytique. Il a pour titre les « figures de la quête de l’identité ». Il s’attèle à montrer comment le motif de la quête de l’identité se déploie dans le corpus. Enfin, le troisième axe herméneutique ou d’interprétation qui entreprend de poursuivre l’analyse et de porter un certain nombre d’interrogation sur les notions abordées lors de la séquence analytiqueThis study addresses the titled "The Quest for identity in the francophone postcolonial novel : Comparative approach of African literatures, island, north African and Caribbean. Broken glass case Alain Mabanckou, Ananda Devi Sigh, The Other Dancing Dracius Suzanne and The Sacred Night Tahar Ben Jelloun". It proposes to identify the various ways in which the quest for identity itself as privileged material of the structure of the four novels narrative. Party of the question: what does theliterature, we intend to demonstrate that the quest for identity is distinguished as the central motif in the composition of francophone postcolonial novel?. The choice for these four writers based on the desire to show the romantic theme of the operation of the search for identity. Indeed, applied to the internal dynamics of stories that structure the stories, the quest for identity emerges as the issue that crosses the writing of francophone postcolonial novel, especially in the writing of Alain Mabanckou, Tahar Ben Jelloun, Ananda Devi and Suzanne Dracius. By scientific standards, this study is divided into three areas. First historiographical axis. It attaches to a fairly simple understanding of the concepts of this study and illustrate the different facets in literary history. Then poetic axis where analytical. He has the title of "figures of the search for identity." It is striving to show how the pattern of the search for identity unfolds in the corpus. The third axis hermeneutic or interpretation undertaking further analysis and carry a number of interrogation on the concepts covered in the analytical sequence
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Medouane, Ndafang Edith Bertine. "(Dis)continuités des identités et imaginaires en francophonie littéraire : étude comparée des nouvelles de Sévérin Cécile Abéga et de François Mauriac." Phd thesis, Université Paris-Est, 2013. http://tel.archives-ouvertes.fr/tel-01064028.
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Produites dans une période de questionnement sur l'identité de l'homme et de l'écrivain, les nouvelles littéraires de François Mauriac et de Sévérin Cécile Abéga présentent un imaginaire tantôt symétrique, tantôt non, mais éclairant du rapport entre l'écrivain, son espace et son identité. Le sujet, "(Dis)continuités des identités et imaginaires en francophonie littéraire : étude comparée des nouvelles de Sévérin Cécile Abéga et de François Mauriac " pose le problème des modes de transfiguration des identités et de l'imaginaire dans la nouvelle littéraire francophone. L'hypothèse en est qu'en francophonie littéraire, la pluralité des lieux culturels se reflète dans la diversité d'un genre et implique une certaine cohérence. Cette étude interroge la représentation du cadre spatial et des personnages, les systèmes de valeurs de la société et du genre dans deux postures différentes. Les sujets de cette étude la destine à la critique des imaginaires, et cette approche est enrichie par d'autres lectures comparatistes. Ainsi, on constate que les périodes pendant lesquelles l'écrivain se trouve à la rencontre de tensions historiques,idéologiques et littéraires latentes sont celles où l'imagination créatrice de la nouvelle est réelle. On peut aussi établir que l'espace de la nouvelle est essentiellement celui des auteurs, mais qu'il s'agit d'un espace de désenchantement. Cet univers de déconstruction de l'être implique un univers idéal, un ailleurs qui est chez Mauriac en Dieu et chez Abéga est dans la justice sociale. Les personnages, empêtrés dans cet univers en épousent les valeurs,ce qui entraîne irrémédiablement leur chute. La seule planche de salut est l'humilité,l'ouverture vers le savoir nouveau (le modernisme par exemple) sans reniement de son ancrage identitaire. Abéga comme Mauriac sont donc pour une mixité décomplexée.
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Severino, Pacheco Mariano Ana Filomena. "Reconstruction de l’identité féminine dans les romans africains francophones et lusophones d’écrivaines contemporaines." Thesis, Mulhouse, 2018. http://www.theses.fr/2018MULH6291.
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À partir des années quatre-vingt, des auteures féminines africaines, francophones ou lusophones, appartenant au courant de la littérature postcoloniale, ont choisi la forme du roman pour parler en toute liberté de la thématique de la reconstruction de l’identité féminine, à la suite des événements traumatiques vécus lors de l’époque coloniale.S’appuyant sur un corpus de romans francophones, (de Véronique Tadjo, Calixthe Beyala, Léonora Miano, Tanella Boni) et lusophones (de Paulina Chiziane, Ngonguita Diogo, Lueji Dharma, Djaimilia Pereira de Almeida), notre travail comparatiste montrera comment la colonisation, l’esclavage, la guerre, la souffrance, la dissolution de la famille, l’imposition d’une langue et d’une culture européennes ainsi que les phénomènes migratoires ont abouti à une destruction, un effacement ou une fragmentation de l’identité, mis en avant dans les personnages romanesques des auteures en question.Cependant, faisant suite à un processus de déconstruction des modèles hérités du colonialisme, ces personnages cherchent à reconstruire leur identité en questionnant le monde contemporain, en s’interrogeant sur les notions d’exil ou de « migrance », en posant le problème de l’appartenance à une culture « afropolitaine » qui réunirait tous les « Africains du monde ». L’aboutissement de cette quête, c’est la reconnaissance d’une hybridité englobant tradition et modernité, qui libère une identité reconstruite et plurielle.Ainsi, les auteures africaines francophones et lusophones de notre corpus, en quête d’une remise en question radicale des idées reçues et à la recherche d’une reconstruction et d’une affirmation de la femme, aborderont des thématiques actuelles complexes telles que l’exil, délibéré ou imposé, l’homosexualité, la danse comme plaisir et thérapie, la musique, pour ne citer qu’elles.Cette démarche multiple, basée sur une réappropriation des composantes africaines et une revisitation des composantes européennes, libère une identité qui loin d’être statique, participe à un processus dynamique d’échanges et de transfertsAs a result of traumatic events experienced during the colonial period, female authors from Africa writing in French or Portuguese and belonging to the mainstream of post-colonial literature chose the novel, from the 1980s onward, as vehicle for reconstructing female identity – a subject about which they speak freely.Proceeding both from the Portuguese-language novels of Paulina Chiziane, Ngonguita Diogo, Lueji Dharma and Djaimilia Pereira de Almeida, and from the (mostly autobiographical) French-language novels of Véronique Tadjo, Calixthe Beyala, Léonora Miano and Tanella Boni, the present study uses the methods of comparative literature to show how colonialisation, slavery, war, suffering, the break-down of family structures, the imposition of European language and culture and, finally, mass migration lead to the destruction, obliteration and fragmentation of the identity of those novels’ characters.At the same time, those very characters actively deconstruct the models of identity inherited from colonialism while seeking to reconstruct their own identity by questioning contemporary society and notions of exile and migration, and by acknowledging their place in an « Afropolitan » culture reuniting the « Africans of the World ». The culmination of this quest is the recognition of an hybrid identity encompassing tradition, modernity and pluralism.Thus the French- and Portuguese-speaking African authors of our corpus call into question received ideas and, in search of the reconstruction and affirmation of womanhood, address complex topics including exile (voluntary or involuntary), homosexuality, dance as pleasure and therapy, and music – to name but a few.This multiple approach, based on the reappropriation of African components and the revisitation of European ones, allows the creation of an identity which, far from remaining fixed, can engender a dynamic process and renew transfer and exchange between those two [and other cultures
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Samaha, Dima. "Prise de parole et identité dans les romans libanais de l'émigration (depuis la fin de la guerre civile)." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0069.
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Ma thèse de Doctorat porte sur un ensemble d’œuvres romanesques d’écrivains libanais issus d’une même génération (1959-1969), et dont les romans sont écrits et publiés après la Guerre civile libanaise (1975-1990), hors du Liban, en anglais et en français. Elle met en avant les aspects distinctifs de ces fictions qui relatent la double expérience de la guerre et de l’émigration. Les travaux sur l’analyse du discours de Ruth Amossy et Dominique Maingueneau ainsi que les apports de Peter Brooks sur la construction narrative en situation thérapeutique contribuent à notre analyse des stratégies narratives. La mémoire est également un biais par lequel le discours s’articule, et devient l’objet d’âpres tentatives de réappropriation. La théorie du trauma de Cathy Caruth et les travaux de Maurice Halbwachs sur la mémoire collective et sociale nous éclairent sur les mécanismes mémoriels déclenchés. Parallèlement, ces romans s’inscrivent dans une tentative d’écriture de l’histoire par l’utilisation d’archives, la mise en fiction d’évènements réels et le choix d’une multiplicité de voix narratives. Ces recours appellent à une réflexion autour de la production de mémoires. Les stratégies narratives, les mécanismes mémoriels et l’écriture de l’histoire sont autant de procédés qui trahissent un questionnement permanent autour de l’identité. Les écritures libanaises de l’émigration, par leurs stratégies audacieuses, leurs techniques innovantes et leur volonté de représenter une double expérience complexe, contribuent à la modernité des littératures libanaises et mondiales, et surtout à l’impossibilité de réduire la fiction à des catégories fixesMy PhD thesis focuses on works of fiction by Lebanese immigrant writers that are part of the same generation (1959-1969) and whose novels were written and published after the Lebanese Civil War (1975-1990), outside of Lebanon, in both English and French. The thesis sheds light on distinctive aspects of these novels all of which share the dual experience of war and emigration. This dual experience generates various discursive strategies analysed in Ruth Amossy and Dominique Maingueneau’s work on the analysis of discourse as well as Peter Brooks’s contribution to narrative construction in therapy framework. Memory is a mean through which narrative is articulated as it turns into the object of harsh attempts of re-appropriation. Trauma theory, as developed by Cathy Caruth alongside the work of Maurice Halbwachs on collective and social memory, shed light on the mechanisms in which memory works in the studied novels. The novels are also part of an attempt to write history and draw on mixed material to do so: They use archives, fictionalise real events, and develop multiple narrative voices. These techniques lead to a reflection on historiography, the production of memories, and the traditional functions of reading. Narrative strategies, memory mechanisms, and the writing of history are part of a process illustrating a permanent concern about identity. YLebanese immigration narratives, through their audacious strategies, innovative techniques and willingness to represent a dual and complex experience, contribute to the shaping of both Lebanese and world literature’s modernity and more importantly to the impossibility of reducing fiction to fixed categories
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Remes, Sirkka. "Métamorphoses des genres : l'oeuvre littéraire de Gilles Zenou." Paris 3, 2008. http://www.theses.fr/2008PA030157.
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Écrivain et philosophe d’origine juif marocain, émigré en France, Gilles Zenou (1957-1989) traitait dans ses textes la problématique de l’identité et de l’altérité. L’étude concerne son oeuvre littéraire qui comprend trois romans et deux recueils de contes. Les textes philosophiques de l’auteur, notamment ses deux thèses, sont cependant utilisés dans l’interprétation des textes fictifs. Le terme genre est employé dans le travail dans son sens le plus large ; la méthode d’analyse associe l’étude sur l’interaction entre la philosophie et la littérature et entre différents genres littéraires à l’étude sur les genres féminin et masculin. Quand un récit réaliste se transforme en un conte, que deviennent des hommes et des femmes ? Comment l’auteur ré-écrit-il des mythes anciens ? Dans l’oeuvre de Zenou, la recherche de beauté est inséparable d’une recherche spirituelle et éthique. L’analyse des métamorphoses des genres dans ses textes met en avant une résistance de l’écriture qui contourne les rapports de pouvoir en se transformant sans cesseThe author and philosopher Gilles Zenou (1957-1989), born in a Jewish Moroccan family and emigrated in France, treats in his texts the problematic of identity and otherness. In this study, the focus is in his literary production that includes three novels and two tale collections. However, the philosophical texts of the author, especially his two doctor’s theses, are used as a support in analysing his fictional texts. The term “genre” is used assuming its polysemy in the French language; the method of analysis associates the study of the interaction between different literary genres to the gender studies. In the work of Zenou, the research of beauty goes together with a spiritual and ethical research. The analysis of the metamorphoses of genre and gender shows how the writing resists and contours the power relationships by transforming itself
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Bertrand, Sandrine. "Représentations des subalternités, de la ligne de couleur et du genre dans les romans et récits mémoriels mauriciens et réunionnais." Thesis, La Réunion, 2014. http://www.theses.fr/2014LARE0005/document.
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Les romans coloniaux tendaient à représenter les Autres de couleur de manière plus précise et réaliste que la littérature exotique. Comme dans un musée colonial, Ulysse cafre ou l'histoire dorée d'un Noir de Marius-Ary Leblond, Ameenah de Clément Charoux exposent la colonie, son fonctionnement et ses habitants. Les romanciers coloniaux mauriciens et réunionnais décrivent dans le détail, grâce au naturalisme l'intimité des races, autrement dit le génie de chaque race. Marius-Ary Leblond affirment qu'ils seraient plus aptes à décrire le réel insulaire. La représentation de l'Autre de couleur génère un conflit de légitimité. Les femmes de couleur, indiennes, noires, cafrines et métisses sont perçues dans les romans coloniaux comme des Autres à la fois racialisés et genrés. Elles sont subalternes des narrateurs et héros blancs qui parlent pour elles et les représentent. A contrario, dans les romans et les récits mémoriels postcoloniaux féminins, À l'autre bout de moi de Marie-Thérèse Humbert, Rouge Cafrine de Véronique Bourkoff et Femme sept peaux de Monique Séverin, les narratrices et les héroïnes critiquent la persistance de l'idéologie coloniale dans les sociétés anciennement colonisées. Elles donnent de nouvelles visions des femmes de couleur, capables de se représenter, de s'analyser et d'observer la société postcoloniale, car elles sont encore marquées par les stéréotypes et les discours colonialistes, orientalistes et phallocrate qui les détruisent. Paradoxalement, les identités complexes, hétérogènes et multiples des narratrices sont davantage présentes dans les fictions romanesques que dans les types autobiographiques, censés rendre compte de vérité identitaire. Ainsi, les autobiographies à Maurice et à La Réunion sont déconstruites dans les textes de notre corpus : Miettes et Morceaux d'Eileen Lohka, Letan lontan de Rada Gungaloo, Tête Haute de Mémona Hintermann et La Magie de Siva Desiles, une comédie musicale autobiograohique de Jasmine DesilesColonial novels try to represant more precisely the Colored people than exotic literature. As colonial museum, Ulysse cafre ou l’histoire dorée d’un Noir written by Marius-Ary Leblond and Ameenah written by Clément Charoux expose colony, its functioning and natives. These colonials mauritians and reunioneses novelists use naturalism style to describe the intimate of races, genius of races. Marius-Ary Leblond say that they are better able to teach insular world than exotic literature. Colored people representations provoke legitimate conflict. In colonial novels, colored women, (Indians, black, “cafrine” , metis) are regarded as racial Other and gendered Other. They are subaltern of white narrators and heros. Conversely, in postcolonial women mauritian and reunionese novels, (Á l’autre bout de moi written by Marie-Thérèse Humbert, Rouge Cafrine written by Véronique Bourkoff and Femme sept peaux written by Monique Séverin) female narrators and heroines criticize continued colonial ideology, which still goes on in societies that were colonized. They give different visions of colored women, enough to represent themselves, to analyze themselves and observe postcolonial society. They still filled with stereotypes and colonialist, phallocrate, orientalist discourses. These rhetorics destroy their identity. Paradoxaly, complex, heterogeneous and multiple identities of female narrators figure into more novelistic fiction than autobiography. However, autobiography is supposed to account for true female narrator’s identity. This way, mauritian autobiography and reunionese autobiography are deconstructed in the texts of our corpus: Miettes et Morceaux written by Eileen Lohka, Letan lontan written by Rada Gungaloo, Tête Haute written by Mémona Hintermann and La Magie de Siva Desiles an autobiographic music hall written by Jasmine Desiles
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Olsson, Kenneth. "Le discours beur comme positionnement littéraire : Romans et textes autobiographiques franςais (2005-2006) d'auteurs issus de l'immigration maghrébine." Doctoral thesis, Stockholms universitet, Institutionen för franska, italienska och klassiska språk, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-64072.
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The subject of this thesis is the contemporary literature written by the sons and daughters of North African immigrant families in France. Its main area of investigation is the place of this literature in the French literary field, in the Bourdieusian sense of the term, and the discursive features which motivate the ethnic based label of “Beur literature”. The study has a double approach in investigating both the argument for the socio-ethnic categorisation, and the reception of this literature in the French press. The literary corpus consists of twenty works from 2005 and 2006 by eighteen Beur writers. Thirteen of these works are subject to literary analysis. These are novels by Akli Tadjer, Zahia Rahmani, Faïza Guène, Mabrouck Rachedi, El Driss, Mohamed Razane, Houda Rouane, Nora Hamdi, Nor Eddine Boudjedia and Touhami Moualek, and three autobiographical narratives written by Razika Zitouni, Abel El Quandili and Aziz Senni. The press corpus from the corresponding period covers 14 titles of French national and regional daily papers, 8 titles of weekly general press and 6 titles of periodicals of literary and social debate. According to my hypothesis, the Beur fiction and the autobiographical narratives of my corpus are based on a common discourse that is expressed through certain literary means. A frequent strategy found in the novels is the subversion of French classics. Another feature is the constant referral to the French republican values. The novels share the latter of these two strategies with the autobiographical stories. This can be interpreted as resulting from a communication between a literary discourse and a social discourse which points toward a common ideological foundation. It also reveals the specific “Frenchness” of a literature that is often classified as “francophone” rather than “French” literature. The study of the journalistic reception confirms this aspect by the frequent referral of its authors to their ethnic and social origins.
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Trudel, Benoît Jean-Marc. "L’énonciation non-rationnelle dans le roman francophone des Amériques. : Les stratégies socio-poétiques chez Jacques Ferron, Hubert Aquin, Édouard Glissant et Frankétienne." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030023.
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La présente étude a pour objet l’analyse d’un corpus romanesque témoignant d’une évolution de ce genre au sein de trois champs littéraires francophones d’Amérique. La Lézarde d’Édouard Glissant (1958; Antilles françaises), La nuit de Jacques Ferron (1965; Québec), Prochain épisode d’Hubert Aquin (1965; Québec) et Mûr à crever de Frankétienne (1968; Haïti) provoquent ce changement par l’entremise d’un récit dont la lecture s’avère problématique. Une analyse du discours de chacun de ces romans révèle que les difficultés lecturales sont entraînées par un refus des conventions propres au discours romanesque et à tout acte de communication. C’est dire que l’énonciation est en quelque sorte « non-rationnelle ». Suivant cette analyse, chaque texte est mis en rapport avec son contexte institutionnel. Au Québec, les romans d’Aquin et de Ferron, en plus du Désert mauve (1987) de Nicole Brossard, témoignent d’un nouveau type d’engagement où est mis à profit une certaine illisibilité. Chez Glissant, les difficultés de lecture ont comme but d’entraîner une opacité, laquelle est garante d’une nouvelle conception de l’identité et de l’Histoire. Chez Frankétienne, l’indétermination produite par l’énonciation non-rationnelle ambitionne plutôt de changer la perspective du lecteur.Dans tous les cas, l’énonciation se voit accordée une fonction socio-esthétique où l’engagement procède non seulement du référent fictif, mais aussi d’une énonciation –et donc d’une lecture– qui ne va pas de soiThis thesis proposes to analyse four Francophone novels from three different regions ofAmerica : La Lézarde by Édouard Glissant (1958; French Antilles), La nuit by Jacques Ferron (1965; Quebec), Prochain épisode by Hubert Aquin (1965; Quebec) and Mûr à crever by Frankétienne (1968; Haiti). Each of these novels brings about a shift in how novels are conceived in their respective literary traditions (Quebec, Haiti, French Antilles). A close reading of each work shows that the reading difficulties provoked are the result of a refusal to adhere to certain conventions, some of which are intrinsic to fictional narratives and others which determine all forms of linguistic communication. It can therefore be said that such narratives are “non-rational”. Following this close reading, the links between each text and its context are revealed. In Quebec, the novels of Aquin and Ferron, along with Nicole Brossard’s Désert mauve (1987), bear witness toa new type of literary engagement which favours illegibility. With Glissant, the fact that a literary text is not easily readable is meant to promote opacity which, in turn, aims at conceiving identity and history differently. With Frankétienne, the indeterminacy brought about by “non-rational enunciation” seeks a shift in the reader’s point of view.In each of the aforementioned works, enunciation carries a socio-aesthetic function whereby activism is carried not only by the story told, but also by the storytelling
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Diarra, Yacouba. "La dimension pamphlétaire dans le roman francophone subsaharien postcolonial : Mongo Béti, Perpétue et l’habitude du malheur, Fatoumata Kéita, Sous fer, Ahmadou Kourouma, En attendant le vote des bêtes sauvages." Thesis, Avignon, 2021. http://www.theses.fr/2021AVIG1207.
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Des indépendances à aujourd’hui, l’Afrique, majoritairement, peine à surmonter les difficultésauxquelles elle se trouve confrontée. Auparavant, la lutte pour la liberté était parallèlementmenée à plusieurs niveaux. L’un des plus importants fut sans doute le combat intellectuelengagé par les écrivains fondateurs de la négritude. Cependant, depuis le départ des colons, leconstat est désastreux. Alors même que des Africains président enfin à la destinée del’Afrique, la situation sociopolitique du continent se dégrade considérablement à cause de lamauvaise gouvernance. C’est ainsi que des œuvres romanesques développant des stratégiespolémiques et pamphlétaires firent leur apparition. Tout en critiquant les autorités politiqueset coutumières, ces récits cherchent à déjouer la censure. L’objectif de ce travail serad’analyser l’aspect polémique et pamphlétaire de certains de ces textes, écrits non pas pourglorifier le continent et la femme noire comme le font les auteurs de la négritude, mais surtoutpour dénoncer les tares de l’Afrique et éveiller les consciences (Mongo Béti, Perpétue etl’habitude du malheur ; Fatoumata Kéita, Sous fer ; Ahmadou Kourouma, En attendant levote des bêtes sauvages). Ils invitent à l’introspection et au changement dans une Afriquedésormais désillusionnée. Il s’agit donc d’exposer aussi le rôle de construction de la société,de l’homme et de l’humanité que s’assigne la littératureFrom independence to today, Africa, for the most part, is struggling to overcome thedifficulties it faces. Previously, the struggle for freedom was waged at the same time onseveral levels. One of the most important was undoubtedly the intellectual struggle waged bythe founding writers of negritude. However, since the departure of the settlers, the situationhas been disastrous. Even as Africans finally rule Africa’s destiny, the continent’s sociopolitical situation is dramatically deteriorating due to poor governance. This is how fictionalworks developing polemical and pamphleteer strategies appeared. While criticizing politicaland customary authorities, these accounts seek to thwart censorship. The objective of thiswork will be to analyze the polemic and pamphleteer aspect of some of these texts producednot to glorify the continent and the black woman as do the authors of negritude, but above allto denounce the defects of Africa and raise awareness. (Mongo Béti, Perpétue et l’habitudedu malheur ; Fatoumata Kéita, Sous fer ; Ahmadou Kourouma, En attendant le vote des bêtessauvages). They invite introspection and change in an henceforth disillusioned Africa. It istherefore also a question of exposing the role of construction of society, of man and ofhumanity that literature assigns itself
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Hendry, Sunny Ann. "From Theory to Practice: Translating Ying Chen's Les Lettres Chinoises." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3617.
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This thesis analyzes Ying Chen's Les Lettres Chinoises through the lenses of literary translation, migrant writing and epistolary genres, as well as through critical theory of Chen's poetics in order to inform a translation of said novel from French into English. This theoretical groundwork is accompanied by analysis of the process of the translation, including specifications, methods used, and justifications for translation decisions. Les Lettres Chinoises is Ying Chen's second novel, written in French rather than her native Chinese language. Spanning a fifty-seven letter exchange between Shanghai and Montreal, Chen's choice to write in language other than her first, as well as the themes presented in the novel such as emigration, exile, identity, and Otherness, render Chen's novel ideal for critical discussion in the domain of migrant writing theory. Translating any exophonic text presents particular challenges for the translator and the analysis of these difficulties enrich both the translation as well as an understanding of the migrant writing genre. Inherent in these challenges is negotiating transparency (foreignization versus domestication) in the translation of cultural traces that speak of other traditions and realities. Chen's Les Lettres Chinoises is unique among migrant texts however, because she privileges voice through the use of the epistolary genre, a form that bespeaks a 19th century Western tradition. Her choice of this genre provides insight into the literary and cultural traditions that shaped her writing and encourage the reader as well as the translator to consider, or rather reconsider, the novel's intent. Les Lettres Chinoises contributes to the migrant and epistolary genres, redefining and enhancing each respectively. Chen's prerogatives as viewed through these lenses are varied: through her three letter-writing characters she reenacts literal and existential exile, creates a space of enunciation through letter writing, all while defining her own poetic style in another language. I negotiated these prerogatives in the translation by creating three subtly distinct and evolving voices for each of the characters. I used existing translations of Chen's works to create consistency in style and accuracy. Included as well are excerpts from my final translation.
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Hounfodji, Raymond G. "Politiscopie du Roman Africain Francophone depuis 1990." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/145455.
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Both African writers and literary critics have long used the ideology of "Négritude" and the political commitment it generated as the theoretical basis for their works. However, since independence in Africa, this common practice started to lose momentum due to a shift in the social and political realities. Furthermore, in recent decades, new generations of African writers have moved away from the "Négritude" movement's beliefs. Nevertheless, there are still some nostalgic writers and critics who cling to this historic movement that shaped African literature and thought for half a century. The above two trends paved the way for my starting hypothesis: is it still possible to evaluate what Abiola Irele calls the "African imagination" in the narrative, and especially novels, without the traditional criteria of political commitment and ideology? To answer this fundamental question, I define my analytical method as a "politiscopie." This neologism is formed in the image of the word "radioscopie." "Politiscopie" combines the stem for politics, "politi-," with the suffix "-scopie," from the Latin scopium (instrument for viewing) and the Greek skopein (to look at). And I define "politiscopie" as the analytical examination of political discourse in literary text. This examination is stripped of the conscious or unconscious analytical tendency that I call "l'humeur idéologique des critiques," or "the ideological mood of critics. "This dissertation is divided into two parts and an introduction, in which I define political discourse based on L'archéologie du savoir by Michel Foucault. The first part--chapters one and two--is a "politiscopical" examination, an examination of political discourse in African novels since 1990. I discuss the explicit and implicit political discourse present in the considered novels. In the second part--chapters three and four, I attempt to tease out the triangular relationship between Africa, the writer, and the relevant political realities. I investigate the political representation of Africa by the new generations of African writers, and then I look at the impact of distance on those writers to see whether the location of the authors--abroad or on the African continent--affects the way they treat African political debates.
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Woodham, Kathryn. "Translating linguistic innovation in Francophone African novels." Thesis, University of Nottingham, 2007. http://eprints.nottingham.ac.uk/10465/.
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Ortega y Gasset's assertion that 'to write well is to make continual incursions into grammar, into established usage, and into accepted linguistic norms' finds resonance in the work of a number of sub-Saharan Francophone African writers, most notably in texts by Ahmadou Kourouma, Veronique Tadjo, Werewere Liking, Henri Lopes and Sony Labou Tansi. The types of incursions that are most characteristic of these authors include the incorporation of visible and quasi-invisible traces of African languages, the exploitation of stylistic features associated with orality, including sustained use of colloquialisms and vulgarisms, and experimentation with various kinds of wordplay. Taking as its corpus all of the novels by these authors that are available in English translation, the thesis seeks to set the translations in their publishing context and to analyse the ways in which the translators treat the linguistic innovation of the originals. It reveals the dominance of translation strategies that normalise the linguistically or generically innovative features of the original texts, or, where these are retained to any significant degree, that separate them from the 'standard' language through typographical variation. When the post-colonial context of the original texts is taken into account, such normalising and exoticising strategies can be seen to have significant implications, diminishing the ability of the texts to carry broader cultural and political significance. For this reason, a number of critics have argued the need for a 'decolonised translation practice'. The thesis outlines the type of translation practice that might be viewed as 'decolonised', engaging in debates over the untranslatability of layered language, and drawing comparisons with other translation theories developed at the interface with post-colonial studies such as foreignising translation, the space between, and metametonymics.
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Ågerup, Karl. "Didafictions : Littérarité, didacticité et interdiscursivité dans douze romans de Robert Bober, Michel Houellebecq et Yasmina Khadra." Doctoral thesis, Stockholms universitet, Romanska och klassiska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-94770.
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Using as example twelve novels by Robert Bober, Michel Houellebecq and Yasmina Khadra, the dissertation discusses the aesthetic and pragmatic implications of integrating didactically historical reference in fictional narrative and personal theme. Rather than reducing the works of Bober, Houellebecq and Khadra to tendency novels sculptured to pass on a predetermined message, the study discusses the aesthetic values created by didactical play. Not only does historical reference form the setting of the novels but the feelings and ideas expressed by the characters also point outwards, challenging journalistic discourse and historical fact. After underlining the obvious heritage from social realism, littérature engagée and Tendenzliteratur, the study points to the possibility of a reading mode that uncannily marries self forgetting imaginary and historical learning. Finding no comprehensive description within existing theories of genre, the thesis proposes the neologism “didafiction” for a subcategory to the novel that, by systematic interdiscursive play, call for engagement without subscribing to pre-existent doctrines. The lessons given by this literature, rather than operating through a traditionally pedagogic rhetoric, work through sophisticated artistic procedures that integrate encyclopaedia and ethics in a personal theme structure.
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Mohamed, Elemam Elmetwalli Mohamed. "Engagement politique et Imaginaire romanesque chez Ahmadou Kourouma et Rachid Mimouni." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSES002.
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Cette recherche qui se déploie en trois parties constitue une réflexion sur la dimension idéologique, mais aussi esthétique de la littérature francophone postcoloniale en Afrique subsaharienne et au Maghreb. Elle vise précisément à montrer comment s’articulent dans l’œuvre romanesque de l’Ivoirien Ahmadou Kourouma et de l’Algérien Rachid Mimouni un discours politique et idéologique et une pratique littéraire et esthétique. Les deux premières parties sont consacrées à l’examen de différents aspects de l’engagement politique de ces deux auteurs francophones appartenant à des aires géographiques, politiques, sociales et culturelles différentes. Il s’agit précisément de mettre en lumière leurs convictions et prises de positions idéologiques exprimées dans les romans du corpus à propos des phénomènes de dictature, de dérives idéologiques et de violence guerrière, qui ont marqué en Afrique la période allant des premières années de l’indépendance jusqu’à la première décennie du XXIe siècle. Dans la dernière partie, il est question d’examiner comment la poétique peut proposer des modèles appropriés pour penser la politique chez les deux auteurs. Il s’agit précisément, par une étude des modes de narration à l’œuvre dans les romans du corpus, de montrer les enjeux esthétiques de leur écriture politiquement engagée qui s’inspire autant des formes du roman européen que de l’oralité africaineThis research, which unfolds in three stages, provides a reflection about the ideological, but also aesthetic dimension of postcolonial Francophone literature in sub-Saharan Africa and Maghreb. It aims precisely to show how a political and ideological discourse is linked up with a literary and aesthetic practice in the novels of the Ivorian Ahmadou Kourouma and the Algerian Rachid Mimouni. In the first two parts, we examine the different aspects of the political engagement of these two francophone writers belonging to different geographic, political social and cultural areas. It is precisely a question of staging their convictions and ideological positions expressed in the novels of the corpus about the phenomena of dictatorship, ideological drifts and war violence, which marked in Africa the period going from the first years of independence to the first decade of the 21st century. The last part aims at examining how poetics can provide suitable models for thinking politics at both writers. More precisely, studying the structures of narration at work in the novels of the corpus allows to highlight the aesthetic issues of their politically engaged writing which draws as much from the forms of the European novel as from African oral tradition
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Nzang, Mbele Tounga Marie. "L’interlangue dans les romans de l’Afrique francophone subsaharienne : contributions sociocritiques à la critique de la littérature francophone." Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20067/document.
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Il est question dans cette recherche de lire les contributions de l’interlangue dans les romans de l’Afrique francophone subsaharienne. Cette notion linguistique et sociolinguistique voit sa première orientation de recherche avec Sélinker (1972). Chercheur américain attaché aux aspects linguistiques et psycholinguistiques de l’apprentissage d’une langue étrangère par les adultes avec l’élaboration du terme « interlanguage » (traduit interlangue en français) pour rendre compte des connaissances intermédiaires de l’apprenant en langue étrangère. Pour cet auteur tout comme pour d’autres chercheurs qui ont orienté les recherches sur la notion, l’interlangue est une « compétence transitoire » (Coder, 1967), « une « langue approximative » (Nemser, 1971) caractérisée par une véritable instabilité d’autant plus que les règles grammaticales de l’interlangue ne correspondent pas aux règles retrouvées dans la langue maternelle de l’apprenant ni celles observées dans la langue cible : en général, l’interlangue n’est pas destiné à évoluer vers une meilleure pratique de la langue.Or, l’observation de l’interlangue dans les textes des romanciers de l’Afrique subsaharienne d’expression française remet en cause cette définition des premiers chercheurs : dans les textes, l’nterlangue fait accroître le lexique du vocabulaire, elle réutilise les structures syntaxiques pour innover la syntaxe, en plus de cela, elle diversifie les figures de styles pour embellir la stylistique existante. Le rajeunissement lexical est visible à travers l’introduction des emprunts, alternances codiques, calques et néologies. Au niveau syntaxique, l'on y observe un emploi inhabituel des outils syntaxiques comme par exemple la détermination, les pronoms, la ponctuation et une insistance des traits morphosyntaxes. A ces structures s'ajoutent les maximes et les proverbes présentant de fait la stylistique comme un élément textuel diversifié.La sociocritique de Zima est l'approche autour de laquelle nous tenons ces informations. Elle se présente ici comme une perspective qui cerne le mieux la socialité du texte littéraire. Elle ouvre la voie à l'analyse de l'interlangue qu'elle a su identifier dans les oeuvres. Grâce à elle, l'on découvre que ce concept fait appel à la cohabitation culturelle des peuples aux microscopes différents. Il suscite la diversité des cultures et évoque le multilinguisme et l'interculturalité, deux poumons importants pour définir la Francophonie institutionnelle, linguistique et littéraire. Les principes auxquelles prône la notion de l'interlangue peuvent restructurer la relation France/AfriqueThis research seeks to read the contributions of interlanguage in the novels of Francophone sub-Saharan Africa. This linguistic and sociolinguistic notion sees its first research orientation with Selinker (1972). American researcher attached to the linguistic and psycholinguistic aspects of the learning of a foreign language by adults with the elaboration of the term "interlanguage" to account for the intermediate knowledge of the learner in a foreign language. For this author, as for other researchers who have oriented research on the notion, the interlanguage is a "transitional skill" (Coder, 1967), an "approximate language" (Nemser, 1971) characterized by real instability Especially since the grammatical rules of the interlanguage do not correspond to the rules found in the mother tongue of the learner or those observed in the target language: in general, the interlanguage is not intended to evolve towards a better Practice of the language.However, the observation of interlanguage in the texts of novelists in French-speaking sub-Saharan Africa calls into question this definition of the first researchers: in the texts, the interlanguage increases the lexicon of vocabulary, reuses structures Syntactics to innovate the syntax, in addition to that, it diversifies the figures of styles to embellish the existing stylistics. The lexical rejuvenation is visible through the introduction of borrowings, codical alternations, layers and neologies. At the syntactic level, there is an unusual use of syntactic tools as well as determination, pronouns, punctuation and insistence of morphosyntax features. To these structures are added the maxims and proverbs presenting in fact stylistics as a diversified textual element.The sociocritic of Zima is the approach around which we hold this information. It presents itself here as a perspective that best identifies the sociality of the literary text. It opens the way to the analysis of the interlanguage which it has identified in works. Thanks to it, it is discovered that this concept calls for the cultural coexistence of peoples with different microscopes. It raises the diversity of cultures and evokes multilingualism and interculturality, two important lungs to define the institutional, linguistic and literary Francophonie. The principles advocated by the notion of interlanguage can restructure the France / Africa relationship
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Frischknecht, Lorenz. "Quand le comment explique le pourquoi : les trois versions successives du "Manuscrit trouvé à Saragosse" (1794, 1804, 1810) de Jean Potocki." Thesis, Montpellier 3, 2012. http://www.theses.fr/2012MON30005.
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L’histoire du texte a toujours accompagné la recherche sur le Manuscrit trouvé à Saragosse, roman-somme de l’aristocrate polonais Jean Potocki (1761-1815). Mais elle ne peut pourtant pas expliquer pourquoi l’auteur en a rédigé trois versions successives. Ce que l’on peut dégager du texte, c’est la manière dont Potocki a modifié les versions dites de 1794, 1804 et 1810. Ainsi, si l’on compare minutieusement le texte et la structure des versions, on constate que certaines tendances de réajustements apparaissent à tous les niveaux de l’écriture : celui des mots, celui des phrases et celui des chapitres ou « journées ». À titre d’exemple, on peut citer la tendance à la concision, puisque les histoires racontées sont plus concentrées dans les versions remaniées. On peut mentionner aussi les modifications euphoniques ou rythmiques, qui sont perceptibles si l’on compare entre eux les mots choisis par l’auteur et qui permettent d’établir plusieurs synthèses concernant les refontes de la structure globale du romanThe history of text has never failed to accompany the researches about Manuscrit trouvé a Saragosse, monumental novel by the Polish aristocrat Jean Potocki (1761-1815). Still it does not explain why the author has written three successive versions. The only differences you can read out of the text is the way Potocki has modified each version of the novel (1794, 1804, 1810). A careful comparison of text and structure of each version show certain tendencies of reworking at all levels of writing: that of words, the sentences and the chapters or “journées”. One of these tendencies for example is the concision, as the stories in the modified versions are told more concentrated. Also euphonic and rhythmic changes may be mentioned here: they appear in comparison with the words chosen by the author and allow further syntheses with the revision of the entire novel structure
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Tanniou, Sophie Nicole Isabelle. "Decoding identities in 'Francophone' African postcolonial spaces : local novels, global narratives." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6360/.
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My research bridges the gap between Anglophone postcolonial studies and Francophone literary studies by looking at Francophone literature from West and Equatorial Africa, which remains under-studied in France. This work answers key questions: how can this literature be interpreted beyond its current confines? How does it rethink local and global identities? What theoretical configurations can be applied to these writers to bring them into greater academic and public prominence? I propose a comprehensive analysis of this literature’s significance in the world through a comparative reading of five contemporary regional novels in their political, social and historical context. This multidirectional reading allows me to evoke what Dominic Thomas calls an ‘intercultural dynamics’ in which colonialism ‘finds itself relocated as a mechanism that proceeds from globalization’, and integrates various spatial zones in which thinking is produced. It brings forward key writers situated ‘outside of the parameters of Frenchness’ inscribed in cosmopolitan decolonizing and cultural reconstruction trends, such as Léonora Miano, a young Cameroonian author and winner of six French literary prizes; Fatou Diome, a Senegalese best-selling writer; Sénouvo Agbota Zinsou from Togo, 63 and in political exile; one contemporary writer, Kangni Alem (Togo), and one more established intellectual, Boubacar Boris Diop (Senegal).
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Goffinet, Bruno. "Entre Kuma et Kune. Lectures socio-littéraires des rires romanesques dans la Collection « Monde noir poche », Hatier 1980-1988." Thesis, Sorbonne université, 2021. http://www.theses.fr/2021SORUL169.
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Afin de comprendre la structuration authentique du récit fictionnel africain, on peut détacher délicatement les strates du Sérieux apparent et de la Dérision réaliste de plusieurs mondes en révolution permanente. C’est la mission que s’est fixée cette thèse, au premier sens du terme « symbolique », dans la mesure où elle se confronte d’abord aux grandes théories du rire en littérature, en tant qu’action sociale partant d’une quête ésotérique native. Avançant dans la démystification de l’objet et du sujet écrivant/lisant en fin post-colonialisme trentenaire, on découvre une armature immémoriale de statuts initiés sans cérémonie, faite de princes déchus, de novices aveugles ou de sorcières mal aimées, qui suggèrent avec beaucoup d’autres une tentation : celle de distinguer, sous la page imprimée en coopération, une distribution de tragi-comédie inhumaine, survolée par l’Écrivain noir unique, guidé en ses enfers par un philosophe naturel. Dans cette recherche de l’ironique survie ancestrale, grâce à la risible contingence humaine, l’ordonnancement des signes africains dévoile à son tour la refondation d’un discours vieux comme le Cynisme historique, dévoyé par ses avatars pragmatiques-inertes, vite devenus machiavélismes éternels. À la lumière de cette lanterne romanesque en plein jour sociétal du sous-continent françafricain ténébreux, les rires spontanés ou cultivés, et des éclats plus subtilement enformulés trouvent un chemin à leur démarche supposée commune : promouvoir littérairement individus et collectivités dans un monde noir débarrassé de la barbarie innommable et sans un scrupule d’humour, sinon sadiqueSo as to unterstand the authentic structuration of the africain fictional story, strata can be gently removed from the patent Serious and the realistic Derision out of several universes on their permanent revolving orbit. It is the mission assumed by this thesis, by the first meaning of the word « symbolic », insofar as it first confronted with the great theories of laughter in literature as a social action coming from an esoteric native quest. Promoting demystification both of the writing and readind object and of the subject at the end of a thirty-year ood period of post-colonialism, an immemorial framework of initiated status can be discovered, made of deposed princes, blind novices or unloved witches. They suggest, along with many others, a temptation : to distinguish, under the page printed by cooperation, the casting of an inhuman tragicomedy overflew by the unique black Writer, guided throught his hells by a natural philosopher. In this research of the ironical ancestral survival, thanks to the risible human contingency, this arrangement of the african signs reveals in its turn the refoundation of a discourse as old as the historical Cynism. This has been misguided by its inert-pragmatic avatars, quickly transformed into permanent machiavellianisms. Under the illumining of this novelistic lantern, in the societal daylight of the dark franco-african subcontinent, the spontaneous or cultured laughters, and the more subtly expressed roarings, find a way for their supposed common approach : to literarily promote individuals and collectivities, in a black world freed from unspeakable barbarity, lacking in the least scruple of humour other than a sadictic one
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Blé, Raoul Germain. "Contribution au bilan du nouvel ordre mondial de l'information et de la communication : le cas des pays du Conseil de l'Entente confrontés à l'émergence de l'industrie audiovisuelle." Grenoble 3, 1993. http://www.theses.fr/1993GRE39016.
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Cette these s'interesse au conseil de l'entente qui est une organisation sousregionale en afrique de l'ouest, regroupant cinq pays francophones : benin, burkinafaso, cote-d'ivoire, niger, togo. La pauvrete etant la caracteristique essentielle et le sous-developpement le denominateur commun aux etats cites, quels sont le role et la place des medias dans leur processus de developpement ? quelle est la signification du nouvel ordre dans ces pays qui demeurent encore un enjeu culturel important pour la france et un marche en pleine expansion pour l'industrie culturelle et audiovisuelle. Dans un contexte mondial domine par les egoismes nationaux et regi par la loi du marche, l'information et la communication se soumettent obligatoirement aux decisions du plus fort. Elles sont le reflet d'une situation ou un petit nombre de pays riches et ou de puissantes entreprises transnationales modelent, suivant leurs interets, les aspects fondamentaux des relations internationales. Dans cet ordre d'idees, cette recherche porte donc egalement sur les differentes questions nord-sud et sud-sud. C'est surtout une contribution au bilan du n. O. M. I. C (1980-1990), tout en interpellant le lecteur sur l'emergence actuelle de l'industrie audiovisuelle a laquelle le tiers-monde est confronte. Car si l'enjeu politique de l'information et de la communication n'est pas identique partout, la concurrence economique se revele etre le facteur le plus determinant dans la bataille que se livrent les grands groupes pour le controle de l'information devenue une marchandise rentableThis phd will be looking closely at the western african states alliance, a west-african sub-regional organization composed of five french speaking countries : benin, burkina-faso, ivory coast, niger and togo. With poverty being the main characteristic of the above mentioned countries and under-development their common denominator, then which are the role and position of the media in their development process ? what is the significance of the new order in these states, still representing an important cultural stake for france as well as a fully blooming market for the cultural and audiovisual industry ? in a global context dominated by national self interests and ruled by market laws, information and communication must abide to the decisions of the strongest. They reflect a situation where a small number of rich countries and or of powerful multinational firms are shaping the fundamental aspects of international relations to the best of their interests. Bearing that in mind, the present research also deals with the various north-south and south-south questions. It is mostly a contribution to the i. C. N. W. O. Results of 1980-1990, whilst forcing the reader to question the current emergence of the audiovisual industry to which the third world is being confronted. For even though the political stakes presented by information and communication are not identical everywhere, economic competition turns out to be the most determining factor in the battle fought by the big groups around information control, information having now become profitable merchandise
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Lemus, Kayla Tamara. "Le Roman Graphique Comme Lieu Propice Pour Repenser L'identité D'un Point De Vue Postcolonial." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/816.
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This thesis examines the potential of the graphic novel as a site for rethinking identity from a postcolonial perspective. I begin with an in-depth analysis of comic theory and breakdown the elements that distinguish the graphic novel from other literary genres. In addition, I highlight the importance of narration in the graphic novel, thus setting a framework for how to analyze the interplay between text and image as it relates to the narrative and vice versa. I use this framework to investigate how notions of masculinity, memory, and historical references are employed in the Brazilian graphic novel, Dois Irmãos, and the French graphic novel, l’Arabe du Futur, thus highlighting postcolonial concepts of identity formation illuminated in the narratives of young Arab boys narratives of their fathers.
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Genty, Elodie Rabenstein-Michel Ingeborg. "Elfriede Jelinek, prix Nobel de littérature 2004. Réactions francophones et anglophones." [S.l.] : [s.n.], 2005. http://www.enssib.fr/bibliotheque/documents/dessride/rrbgenty.pdf.
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Ndomaina, Aiah K. "Repetition, Resistance, and Renewal: Postmodern and Postcolonial Narrative Strategies in Selected Francophone African Novels." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392392192.
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Ndomaïna, Aiah K. "Repetiton, resistance, and renewal : postmodern and postcolonial narrative strategies in selected francophone African novels /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487950658545574.
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Sela, Tal. "Le roman africain francophone au tournant des indépendances (1950-1960) : la construction d'un nouvel ethos d'auteur." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC017/document.
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La présente recherche s’intéresse à l’identité que l’auteur élabore de manière singulière dans le texte. Elle révèle des procédures discursives, argumentatives et stylistiques qui constituent à la fois l’œuvre et son auteur. Si les enjeux du discours littéraire sont ceux qui préoccupent un écrivain africain soucieux de l’avenir de son pays, sa singularité artistique dépend moins de son origine africaine que de sa manière originale de s’intégrer dans la République mondiale des lettres, à partir du champ littéraire français, en fonction de l’ensemble des discours littéraires et sociaux qui traversent ce champ particulier. La recherche examine l’image discursive (ethos) qui se construit dans les romans de deux auteurs : Le docker noir (1956) et Les Bouts de bois de Dieu (1960) d’Ousmane Sembène ; Le Pauvre Christ de Bomba 1956 et Mission terminée 1957 de Mongo Beti – les deux « écrivains africains » les plus réputés qui ont publié leur premier roman avant les IndépendancesThis research focuses on the identity that an author uniquely constructs and elaborates throughout his works. In doing so, the thesis reveals major discursive, argumentative and stylistic aspects of the literary works as well as of the image of their authors. Although their writing may be concerned with the future of their country, the artistic uniqueness of the work depends less on one’s African origins, and more on his connections to The World Republic of Letters as a member of the French literary field, taking into account the totality of literary and social discourses that constitute this field. This study wishes to examine the discursive Image (ethos) of two authors – Ousmane Sembène (Le docker noir 1956 et Les Bouts de bois de Dieu 1960) and Mongo Beti (Le Pauvre Christ de Bomba 1956 and Mission terminée 1957) – two of the most acclaimed “African writers” published before the time of the African Independence (1960’s)
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Howell, Anna. "Insavoir and Representation in Comics| Modal and Temporal Intersections in Contemporary Francophone Familial and Historical Graphic Novels." Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3712439.
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French literary theorists Dominique Viart and Bruno Vercier identify the beginning of a new era for French literature in the 1980s, characterized by hypotheses, hesitations, and the general notion that truth and reality cannot be fully grasped by discourse. The 1980s can be considered as transitional for the comics medium as well. Art Spiegelman's Maus (first published in 1980, completed in 1991) demonstrated that comics are not only capable of representing difficult familial and historical pasts, but that visual narratives benefit from formal and aesthetic devices that are inherent to the ninth art's polysemiotic possibilities. In this dissertation, I study francophone comics in which a second- or third-generation individual seeks to understand a familial past that exceeds his or her personal experience and that has previously been silenced or repressed, either individually (by the primary witness) or collectively (by the political hegemony). In the research corpus, the narrator's search elicits modal and temporal intersectional spaces: representation and anti-representation in Chapter One, the past and the present in Chapter Two, the collective and the individual in Chapter Three, and the interplay between memory, history, and imagination in the concluding Chapter Four. In addition to an interdisciplinary theoretical framework, Viart's notion of insavoir [not-knowing] and Pierre Nora's concept of "sites of memory" act as overarching theoretical tools throughout the essay.
The thematic organization of intersectional spaces fosters the identification of recurrent devices as the individual discussions reinforce and nuance one another sequentially and retroactively. Aware of the inherent limitations of representation and the notion of cognitive insavoir, the authors of the research corpus attempt to communicate meaning instead of presupposing understanding or the ability to "know" a traumatic, violent, and repressed past (and the capability to represent such a history through text and image). Such recurrences are symptomatic of an emerging sub-category within the medium, wherein the figure of the intersection is pertinent and productive precisely because these works operate in multi-directional insavoir. Like novels in the literary era identified by Viart and Vericer, the resulting representations oppose binary thought, opting instead for narratives that are self-critical, uncomfortable, thought-provoking, and ultimately, perhaps, more true.
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Dougherty-Messi, Etienne. "Re-presenting a nation : francophone Cameroon in the novels and films of Beti, Bekolo, Beyala, Teno and Oyono." Thesis, University of Aberdeen, 2010. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=128223.
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In this thesis I will trace the shifting representations of post-Independence Cameroon through a detailed analysis of the literary texts of two of its most celebrated writers (Mongo Beti and Calixthe Beyala), and the cinematic production of two of its most innovative filmmakers (Jean-Marie Téno and Pierre Békolo). Theoretically, this study will be informed by both European and African post-colonial criticism, as well as other recent works of feminism, philosophy, and political theory, and will thereby critically engage with both Western and Afrocentric approaches to Sub-Saharan Africa’s literary and cinematic self-representation. The Cameroonian writers and filmmakers that will be the focus of this project provide an opportunity for a kind of critical dialogue between Western and African post-colonial interpretations of Sub-Saharan African cultural texts. Starting with the theories of Franz Fanon and Albert Memmi on de-colonisation and the preservation of an authentic African identity, I will look at the question of Cameroon’s cultural and national identity, which is often portrayed as Francophone and yet authentically African, as a useful example of the complex nature of post-colonial Sub-Saharan Africa’s self-perception. Beti’s works (1953-2000) and their representation of a ‘lost’ Cameroonian nation that must be rediscovered fully display this complexity. The novels of Calixthe Beyala stand in stark contrast to the male-centred representation of Cameroon to be found in Beti’s work. Her celebration of marginal and dispossessed figures directly addresses the marginalising and exclusionary forces at work in most literary representations of Sub-Saharan Africa. In this section I will use the key post-colonial concepts of marginality, hybridity, and positionality that have been popularised by Homi K. Bhabha and Gayatri Spivak to assess the extent to which women writers like Beyala have become crucially important to Sub-Saharan Africa’s self conception. Cinema has likewise become increasingly important in Cameroon as a medium of cultural self-representation. Cameroonian filmmakers have begun to exploit cinema’s power as an effective tool for mass political activism and change. This has brought about such critically acclaimed films as Téno’s Retours au pays natal (2000), and Békolo’s Le Complot d’Aristote (1996). In my thesis I will show how these filmmakers respond to the socio-political challenges of Cameroon, and thereby construct a fertile space for dialogical exchange between all producers of cultural texts. The close analysis of their films will demonstrate the ways in which cinema is inherently bound up with other critical discourses on post colonialism in Africa, and the way in which it is intimately linked to literary concerns in the current period.
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Lutsyshyna, Oksana. "Postcolonial Herstory: The Novels of Assia Djebar (Algeria) and Oksana Zabuzhko (Ukraine): A Comparative Analysis." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001459.
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Oliveira, Glaucia Regina Fernandes de. "La noire de... em novela e filme: uma visão da identidade cultural senegalesa." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-11112015-141015/.
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Na África francófona muitos intelectuais usaram a literatura e o cinema como veículos de exaltação aos valores culturais da terra, de transformação social e política. O escritor e cineasta Sembène Ousmane pode ser considerado um destes intelectuais, uma vez que por meio de uma vasta produção literária e cinematográfica abordou temas recorrentes à sociedade na qual pertencia, fazendo dessas duas artes importantes aliadas no seu percurso de militante. A presente pesquisa visa estudar de que maneira a novela e o filme homônimo La noire de... exprimiram a visão do escritor e cineasta sobre de identidade cultural do Senegal. Para tanto, discutiremos o projeto literário e cinematográfico de Sembène, levando em consideração o contexto político do Senegal e da França. Além disso, discutiremos também o conceito de pós-colonialismo, por entender que esse campo teórico é imperativo para se pensar a identidade cultural senegalesa.In Francofone Africa lots of intellectuals used literature and film-making as means of exaltation to the lands cultural values, social and political transformation. The writer and film-maker Sembène Ousmane can be considered one of these intellectuals, once through a vast literary and film production brought current issues about the society he belonged to, allying these two important pieces of art in his millitant path. The present research aims to study in which way the novel and the eponymous film La noire de... expressed the vision of this writer and director about the cultural identity of Senegal. Therefore, the literary and film Project of Sembène will be discussed, taking into consideration the political context of Senegal and France. Furthermore, we will also discuss the post-colonialism concept, for understanding that this theoretical field is highly importante to think about the Senegalese cultural identity.
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Johnson, Wolter Mary Joanne. "The quest according to Julien Gracq : a study of the search for the beyond in Gracq's three novels and his play Le roi pêcheur." PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/4246.
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Julien Gracq' s quest for the "au-delà" is similar in many ways to the Surrealists' attempts to get in touch with the Beyond and to find that mythical and ideal point where binary oppositions are no longer contradictory but complementary. However, he differs greatly from the Surrealists in that his writing is anything but "automatic". Whereas he acknowledges being influenced by the Surrealists' ideas and by the works of certain authors, notably Goethe, Wagner, and Edgar Allen Poe, his works are a unique and carefully constructed web of style techniques, double-entendres, intertextual references, poetic devices, and a deliberate blurring of the dividing line between clear and obscure.
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Biyele, François. "États et logiques médiatiques en Afrique subsaharienne : la presse panafricaine face à la démocratie au Benin, au Congo, au Cameroun et en Côte d'Ivoire au cours de la décennie 1990." Paris 3, 2005. http://www.theses.fr/2005PA030044.
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A partir d'un corpus hétérogène par sa thématique et sa périodicité, nous avons effectué une analyse de contenu et du discours de Jeune Afrique et du Nouvel Afrique Asie portant sur les titres des articles à la "Une" que ces deux journaux ont consacré au Bénin, au Congo, au Cameroun et à la Côte d'Ivoire au cours de la décennie 1990 pour déterminer l'évolution du processus démocratique engagé dans ces pays au début de cette décennie. Nous partons de l'hypothèse suivante : comme lors des indépendances acquises en 1960, les dirigeants des quatre pays semblent s'être appropriés le renouveau démocratique que ces pays ont connu au début de la décennie 1990. Nous nous interrogeons sur le rôle de la presse panafricaine notamment de Jeune Afrique et du Nouvel Afrique Asie, sur ce processus. Dans la première partie, nous retraçons brièvement l'histoire des quatre pays depuis les indépendances jusqu'à la fin des années 80. Dans la deuxième partie, nous restituons les faits exogènes et endogènes qui ont amené les quatre pays à instaurer la démocratie au détriment du monopartisme. Dans la troisième partie de la thèse, nous procédons à une analyse de contenu des titres à la "Une", où nous pointons le discours des journalistes de Jeune Afrique et du Nouvel Afrique Asie sur les pays de référence. Cette analyse est complétée par le dépouillement d'un nombre limité d'entretien. Cette thèse s'efforce d'identifier les logiques médiatiques à l'œuvre, afin de cerner le rôle que pourrait jouer la presse panafricaine dans un continent où le processus démocratique va s'intensifiantThrough an heterogenous corpus out of his thematic and his periodicity, we worked an analysis of content and discourse of Jeune Afrique and Nouvel Afrique Asie, two panafrican news magazine. This analysis is about the headlines on the front page that these news magazine consecrated to Benin, Congo, Cameroon and Ivory Coastin order to determine the evolution of democratic processus engaged in these countries at the beginning of 1990 decade. We suppose that , like in 1960, the four countries'independnce year, theirs leaders took over themselves the revival democratic that these countries live since the beginning of 1990 decade. We ask ourselves about panafrican press place in this processus. In the first part, we relate briefly the history of these countries since the independences until 80 end's years. In te second part, through national and international facts, we show how these countries choose democraty to the detriment of monolithic system. In the third part of the thesis, we analyze the content of headlines on the front page where we establish the discourse of Jeune Afrique and Nouvel Afrique Asie reporters about the countries of reference. This analysis is completed by the studying of a limited nomber of interview. This thesis try to identify the media logics those exist in order to determine the role panafrican press could play in a continent where democratic processus intensify
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Elia, Catherine Ann. "Medieval Christocentric Imagery in Selected Novels by Georges Bernanos." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5024.
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In the fictional world of the twentieth century author, Georges Bernanos, a medieval spirituality is reflected through Christocentric imagery. This study highlights the Christocentric focus of medieval spirituality found in three bernanosian characters: Donissan in Sous le Soleil de Satan, Chantal in La Joie, and le cure d'Ambricourt in Journal d'un cure de campagne. Two medieval images, the Mirror and the Way, provided a backdrop for considering common thematic characteristics. This study is divided into two parts. Part One comprises two chapters which present background for textual analysis in Bernanos' three novels. Chapter one explores formative elements in medieval spirituality. These include: descriptions of the medieval mindset, clerical and ecclesial influences, devotional trends related to themes of Christocentric imitation, edification images, specifically, the Mirror and the Way, and chivalry. Chapter two presents formative elements in Bernanos' spirituality. Familial, clerical and ecclesial influences of his childhood contributed to his Christocentric spirituality. Biographical descriptions of Bernanos' adolescent and adult years reveal similarities of his lived experience to medieval themes of pilgrimage, chivalry and imitation. In Part Two, Donissan, Chantal and le cure are considered in the context of medieval trends to imitate Christ. Images of the Way and the Mirror emerge in the four chapters of this section. In chapter three, a textual analysis is presented which juxtaposes virtuous qualities of each main character to the virtues of the medieval devotion to the Infancy. In chapters four and five, the characters are described in relation to another major devotional trend of medieval times: the Passion. Chapter four considers the bernanosian saints as imitators of Jesus' agony while chapter five addresses their imitation of his Way of the cross. In both chapters, imagery related to medieval Christ-like imitation is identified. Chapter six highlights themes of death and resurrection, the culminating steps of the medieval journey of imitation. Descriptions of Bernanos' saintly instruments of grace emphasize their adherence to the medieval pursuit towards wholeness. Dawn imagery and the theme of communion of saints are treated in this discussion of transformation. Endnotes accompany each of the six chapters.
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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 cosmopolitesThis 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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Gerring, Michele Laurenne. "Conflicting Representations of Maghrebi-French Integration in France: a Spectrum of Hospitality from Derrida to Foucault, as Seen in Contemporary Novels, Films and the Magazine "Paris-Match"." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1417723824.
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"Reactions to the French canon in the francophone novel." Tulane University, 2001.
Find full textAbstract:
This dissertation focuses on reactions to the French canon in four Francophone novels. The study examines the use of allusions to, quotations from, and parallels with French canonical works in an effort to determine how these canonical works are mobilized in the creation of a new vision. The new visions generated through the relationship with the canonical range from the creation of new philosophical systems, to political action, to the colonial encounter, to the role of literature in the indoctrination of colonized subjects Chapter I examines Cheikh Hamidou Kane's treatment of Rene Descartes and Blaise Pascal in the novel L'Aventure ambigue. Parallels between the thought of Pascal and Kane's Diallobe people are discussed. What is ultimately revealed is how Descartes in particular is used to upset the credibility of the Diallobe ideological system and how his thought accompanies the arrival of a modern philosophical system Chapter II consists of a study of Ousmane Sembene's novel Les Bouts de bois de Dieu, and of his treatment of Andre Malraux's La Condition humaine in that novel. Sembene develops a new vision of the French canon and of the African characters' relationship to it. The chapter goes on to trace the process through which the French canonical text is subordinated to the values and traditions of the politically committed African characters Chapter III examines thematic and structural parallels between Amadou N'Diaye's Assoka ou les derniers fours de Koumbi and Gustave Flaubert's Salammbo. What emerges is a new vision of the colonial encounter in which the French are seen not as a civilizing force but as a tool in the hands of a monotheistic God bringing the rule of Islam to Africa The final chapter analyzes the mobilization of Arthur Rimbaud's Une Saison en enfer and of the modernist poetic tradition by Daniel Maximin in his novel L'Isole soleil. After showing how Rimbaud's prose poem functions as a structural motif, the chapter looks at how Maximin re-evaluates Caribbean literature's relationship with the French texts that have had such an important influence on Caribbean writersacase@tulane.edu
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Pierre, Emeline. "Le polar de la Caraïbe francophone : enjeux de l’appropriation du genre." Thèse, 2015. http://hdl.handle.net/1866/16018.
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Pour minoré et ignoré qu’il fût, le roman policier est désormais légitimé par l’institution littéraire. À parcourir les livres publiés dans la Caraïbe francophone, le genre demeure dans la marge de cette production [issue de la Caraïbe francophone (Haïti, Guadeloupe, Guyane française, Martinique)]. Quoiqu’il en soit, on notera que les années 1990 ont inauguré une véritable éclosion de publications de polars. Tout cela augure d’une acclimatation de ce genre qui ne s’accompagne pas moins de questionnements sur les spécificités éventuelles du polar caribéen francophone. Se situe-t-il dans la convention? Tente-il au contraire d’établir une distanciation avec la norme? C’est pour répondre à ces interrogations que cette thèse se propose d’explorer les enjeux de l’appropriation du polar provenant de cette aire géographique. À l’aune de la poétique des genres, de la sociocritique et de l’intermédialité, un corpus composé de quatorze romans fait l’objet d’une étude approfondie.
Dans le premier chapitre, un bref récapitulatif permet de situer les œuvres à l’étude dans l’histoire littéraire du genre tout en soulignant l’adaptation du polar dans la Caraïbe de langue française. Il en ressort qu’un nombre significatif d’écrivains, attentifs à la latence du magico-religieux dans leur société, mettent en scène le surnaturel alors que le roman policier conventionnel plébiscite la méthode logico-déductive. C’est la raison pour laquelle le second chapitre s’intéresse à l’usage de l’inexplicable et son rapport avec le cartésianisme. Quant au troisième chapitre, il se penche sur un topos du genre : la violence telle qu’elle surgit dans ses dimensions commémoratives et répétitives de l’histoire tumultueuse de la Caraïbe. Notre corpus tend à relier la notion du crime, fut-il d’emprise originelle, à l’histoire post-coloniale. Dans la mesure où les personnages constituent un élément clé du genre, ils sont sondés, dans un quatrième chapitre, en regard de la critique sociale qu’ils incarnent et véhiculent. Le dernier chapitre cherche à circonscrire l’intermédialité qui structure et qualifie l’œuvre au sein du roman policier depuis sa genèse. Somme toute, ces divers axes contribuent à mieux comprendre le phénomène de transposition du polar dans cette région du monde.Although long looked down on and given short shrift by the literary establishment, the detective novel now enjoys legitimacy. Yet a survey of such books published in the French-speaking Caribbean (Haiti, Guadeloupe, French Guiana, Martinique) indicates that this genre remains marginalized there. Be that as it may, the 1990’s ushered in a publishing surge on detective novels. While this attests to the genre’s acculturation, it nevertheless raises questions about which, if any, characteristics distinguish the Caribbean, francophone detective novel. Does it fit mould, or conversely seek to establish distance between itself and the norm? To answer such questions this thesis will explore the dynamics of appropriating the detective novel in said geocultural space. And in-depth study of fourteen novels in light of the poetics of genres, sociocriticism, and intermediality, forms the body of this thesis. Its first chapter sets out a brief overview so as to contextualize these fourteen novels within the literary history of this genre, while at the same time highlighting the detective novel’s adaptation to the French-speaking Caribbean. This overview demonstrates that a significant number of writers pay heed to the magic and sorcery implied in their society so that they incorporate the supernatural, whereas the standard detective novel overwhelmingly adopts the logico-detective mindset. This explains why the second chapter addresses the use of the inscrutable and its relationship to Cartesianism. Meantime, the third chapter focuses on a topos of the genre, namely violence, with its commemorative and recurring manifestations in the Caribbean’s tumultuous history. Regardless of its immediate cause, the fourteen novels tend to conceive crime as linked to postcolonial history. Those characters who prove key to the genre make up the fourth chapter which examines them from the perspective of the social critique the articulate and personify. The final chapter endeavours to delineate the intermediality that structures the detective novel and has constituted its touchtone from the start. In short, the different avenues of inquiry enable one to grasp the confrontation between this genre’s traditional canon and its creative variants. This contributes to a better understanding of the phenomenon of transposing the detective novel to this region of the world.
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Bevill, Whitney. "Subversive Representations of Education in Francophone Novels of the Colonial Maghreb." 2011. https://scholarworks.umass.edu/theses/582.
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Much work exploring alterity and hybridity in the Maghreb ignores representations of education which confront seminal formative experiences, specifically education. French colonial education was problematic because it granted access to the colonizer’s culture, yet it also created a rupture in self-identity for Maghrebi students. In this thesis, I interrogate the literary representations of sites and sources of education by analyzing how these representations discuss the tension between formal French education and informal Maghrebi education.
My thesis begins with a historical overview of colonial education in the Maghreb. I then discuss literary methods of negotiating identity, contrasting Arab and Western autobiography especially. Furthermore, I compare writing practices informed by a French education and a North African upbringing. Next, I compare formal and informal sites of education—the school, home and community—which articulate sources of alterity experienced during colonial childhood. Writers interrogate formal settings, including the school, classrooms, teachers, and examinations, and gaze upon the normative space and dominant culture which contradict that of the home. Conversely, informal settings provide subversive sources of education that resist the power structures of colonial France. These sites, including parents, the home, and community, provide an oppositional education and a means of resistance to rejected systems of power.
Both settings represent spaces of cultural confrontation that serve as both a means of betrayal as well as benefit to students. The texts I consider discuss the dynamic end of the French colonial period yet were written over a period of time that allowed for personal reflection by the authors as well as for contributions by literary critics and historians that affected the perception and comprehension of the volatile period at the end of French colonialism and the fall of the Fourth Republic.
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Bourega, Assia. "Voix et images du peuple dans la trilogie policière Morituri et le roman À quoi rêvent les loups de Yasmina Khadra." Thèse, 2018. http://hdl.handle.net/1866/21589.
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Denommé, Amélie. "Le Quatrième siècle d'Édouard Glissant : écrire l'enracinement. Figures, parcours et enjeux." Thèse, 2011. http://hdl.handle.net/1866/8475.
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Le roman Le Quatrième siècle, considéré comme un pilier de l’œuvre de l’écrivain martiniquais Édouard Glissant, est une réinvention du passé et de l’histoire des Antilles, tout en présentant une dimension moins étudiée : celle de l’enracinement dans le nouveau pays, de la création d’une communauté singulière et métissée. Glissant suggère que, malgré l’abolition de l’esclavage, beaucoup de chemin reste encore à faire et que la construction d’une identité passe par des ancrages solides et multiples dans le pays. Afin d’explorer ce thème, cette étude analyse la construction du parcours figuratif de l’enracinement dans Le Quatrième siècle. L’étude de divers personnages et de certains éléments du paysage, en particulier la mer, les mornes et la plaine, permettent de mieux cerner l’écriture de l’enracinement dans cette œuvre. En effet, par le biais de l’onomastique, des figures emblématiques de la colonisation, de la déconstruction des relations de pouvoir et du symbolisme de l’espace, Glissant met en scène les limites du marronnage, créant plutôt un imaginaire centré sur la définition de la collectivité à travers un lent processus d’enracinement et d’appropriation de l’espace.The novel Le Quatrième siècle, considered as a pillar of the work of the Martinique writer Édouard Glissant, is a reinvention of the past and history of the Antilles, while presenting a less studied dimension : that of taking root in the new country, the creation of a singular and mixed-race community. Glissant suggests that, in spite of abolition, a long road still lies ahead and that the construction of an identity passes by solid and multiple anchoring in the country. In order to explore this topic, this study analyzes the construction of the figurative course of enrooting in Le Quatrième siècle. The study of various characters and certain elements of the landscape, in particular the sea, the mountains and the plain, make it possible to better determine the process of taking root in this novel. Indeed, through onomastic means, the emblematic figures of colonization, the deconstruction of the relations of power and the symbolism of space, Glissant sets the limits of marronnage, creating a universe centered on the definition of community through a slow process of enrooting and the appropriation of space.