L’entre-deux identitaire dans quelques oeuvres d’écrivains francophones “immigrantsˮ, “cas de Dany Laferrière, d’Alain Mabanckou, de Calixthe Beyala et de Lottin Wekapeˮ
- Authors: Kayumba, Viviane Ngoie Banza
- Date: 2019
- Subjects: African literature (French) -- History and criticism , Immigrants in literature , Mabanckou, Alain, 1966-. Black bazaar , Laferrière, Dany. Je suis un écrivain japonais , Beyala, Calixthe. Le Petit prince de Belleville , Wekape, Lottin, 1968-. J’appartiens au monde
- Language: French
- Type: text , Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/150929 , vital:39018
- Description: This dissertation examines the theme of hybrid identities in Mabanckou, Laferrière, Beyala and Wekape’s novels : Black Bazar, Le Petit prince de Belleville, Je suis un écrivain japonais and J’appartiens au monde. Hybrid identity raises the issue of identity diversity and contemporary francophone literature is characterised by the emergence of fictional narratives increasingly numerous. This research undertaken is driven by the desire to extend the field of investigation in francophone literature by taking into account a varied corpus of Haitian, Congolese, and Cameroonian literatures. I have opted for writers who settled in a foreign country and have adopted a foreign language that they considered to be part of a foreign literary world; writers who are between two or more cultures which they depict in French. The few existing studies on hybrid identities on these four novels focused more on formal and linguistic analysis and omitted meaningful sociocritic analysis. It is clear that a full study on sociocritic approach on hybrid identity on these four authors remains to be done. The research is demonstrating how different characters created by these four postmodern immigrant French-speaking writers occasionally function similarly in their texts. This gives a clear understanding of the specific behaviour of immigrants characters, vis-à-vis their various situations in the novels, and how these immigrants seek to address the problems they encounter. As this research offers reflections related to the identities and nationalities of immigrants, Laferrière, Mabanckou, Beyala and Wekape’s texts are based on the search for social belonging and a literary membership in this modern world. Therefore, they are analysing their position in a literary field as well as in a social field. In their texts they highlight the Space real or imaginary. In which way and how this Space contribute to the evolution of francophone literature? To what extent does francophone literature takes into account this representation of the Space? These questions lead to a reflection on the position occupied by these authors in the francophone field and the source of their literary inspirations. My interest in these authors is motivated by the fact that, by living and writing in a country which is not their place of birth, they each reveal different aspects of hybrid identity. Each of them, has his or her personal and original way of tackling the problem of mixed identity. They present their characters in different situations and different contexts, showing that each has been in contact with several cultures which they have assimilated and each lived in his or her own way a particular story. My study’s focus is to understand the problems of contact of cultures and their consequences, and to explore how through the characters of the novel, immigrant French speaking writers understood their acculturation as themselves have experienced an identity crisis, resulting from the confrontation of the culture of their new homeland and the culture of their country of origin. For this reason, Bourdieu’s approach “la sociocritique” will help me to found out the origin of the author’s obsession with the question of hybrid identity. I have chosen these four immigrant speaking writers to explore the strategies implemented by the novels’ narrators to construct their identities and to find out how the narrators express the intentions of the authors. In their texts, Mabanckou, Beyala, Laferrière and Wekape have used various strategies to express the quest for identity which gives clear indications of the authors’ creativity such as humour, parody, or solemnity and gravity - and the narrative voices reveal distinctive attitudes in relation to hybrid identity. At this level, other approaches will also be called for, such as the work of Westphal, Doubrovsky, Genette, Colona, etc. Through my investigation, these works present similarities and dissimilarities. Each author tackled the questions of hybrid identities according to his own experience. From there, a different commitment emerges, depending on the degree of inquiry into questions about immigration. These authors all evoke the social precariousness of their characters or the immigrant and privilege an urban framework. The examination of these works allowed me to identify their place in Francophonie literature and to discover the importance of their texts. The four novels relate to the search for identity, an aesthetic way and a search for freedom. They possess aesthetic qualities, they have a high degree of coherence. Their romantic choice shows their creativity and their strategies engender a hybrid writing that stems from their position between several languages and place these novels within the world literature.
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Transgression and transcultural blending: reading the work of Adelaide Fassinou
- Authors: Ishaya, Nandi Salome
- Date: 2017
- Subjects: Fassinou, Adélaïde, 1955- -- Criticism and interpretation , Fassinou, Adélaïde, 1955- -- Jeté en pâture , Fassinou, Adélaïde, 1955- -- Modukpè, le rêve brisé. , African literature (French) -- History and criticism
- Language: French , English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/7500 , vital:21266
- Description: In Adelaide Fassinou’s novel Jete en pature (“Thrown to the lions/wolves”), the female character Fifame declares that “novels/books have sides that one is attached to. The lives of people roll pass our eyes. Some stories resemble ours” (JP, 147). Fassinou herself says: By reading this book dear friend, the stories of all these women who lived nowhere except in my imagination, may be like yours. But the fiction in which they themselves moved makes it so close and we share in their tragedy (MRB, 7). The above comments reflect the idea of sociocriticism which opines that a literary work could be a representation of the society of its author. This goes to say that real events can feed literary imagination more and more. Also, Fifame continues that “a book/novel is a path marked by steps, falls, and races towards a future that is bright or a bleak” (JP, 147). The verbs which connote ‘bright’ and ‘bleak’ in this comment unveil the writing idea/conception which Fassinou adheres to. “Bright” in our opinion could connote the gains of cross cultural blending, the precise outcome/result of modernity. “Bleak” on the other hand could refer to the violation of certain cultural values and or better still to transgressive attitudes in a society that is in the process of radical transformation. As such, transgression and cross cultural blending are the focal points of our discussion in this research. We have chosen to analyse some literary works of Adelaide Fassinou, a beninoise who came into the literary scene at the threshold of the new millennium, in 2000. It could then be said that Fassinou belongs to a new generation of African writers, the writers of the new millennium. The title of her first novel is revealing. Its title, Modukpe, le reve brise could imply that man always has a dream but in the course of time, this dream could be broken due to one factor or the other. In Fassinou, the lack of the realization of dreams could be the result of our vision of the world where new ideas oppose tradition to the extent that modernity is seen simply as a transgression of the laws of tradition. Admittedly, it is transgression in the fictional novel, a transgression against tradition and or nature because “nature has its laws”. The life experiences of man especially the female gender, “A whole lifetime is not enough to speak about it” And the story of being “Thrown to the lions” is one of such experiences. Reading Fassinou’s work, one vi could note that she presents enough social problems which reflect the notion of transgression. As a result, for the woman to liberate herself, the author who represents the woman, resorts to writing “Poems of love and brambles” of “Her exiles and her loves” because it is needful to speak so as to feel better within oneself. This action of breaking the silence by the woman constitutes in itself a transgression because, in the culture of the author, the woman should be reduced to silence. Fassinou has the urge to show that cruelty in the home, inflexible will, excessive masculinity and insensibility could lead to rebellion, dissatisfaction and violence which could affect the whole society. In view of this, to love one child above the others could compromise family cohesion. It is in this regard that suicide formed part of the theme of this research. This could represent the image of national violence provoked by tribalism and geopolitics which could be noticed in many countries on the African continent. For most critics, the transgression of traditional values is due to cultural blending because this blending is seen as the evolution of the society and the culture which represent a society that finds itself at the cross roads. Transgression in Fassinou’s works is the demystification of certain traditional beliefs. The transgression of some characters leads to bitter and traumatic experiences. Be that as it may, the author recommends/advocates, through her writing, a way of escape: hope. It shows through the representations made by the author that determination to overcome the challenges faced and the decision to put a cross on past bitter experiences are strong indications for individual transformation which would lead to the desired transformation and development of Africa. Transgression and cultural blending in the works of Fassinou are not limited to thematic study; it is also about the transgression of standard language codes and the mixing of languages. The second part of this thesis is devoted to the stylistic study of Fassinou’s works. As such, we are going to equally study formal aspects of Fassinou’s writing as a symbol of transgression and transcultural blending. , Dans le roman Jete en pature d’Adelaide Fassinou, le personnage feminin, Fifame, declare que « les livres ont un cote attachant. Ils deroulent sous nos regards la vie de personnes qui nous semblent si proches que nous nous identifions a elles. Certaines histoires ressemblent a la notre » (JP, 147). Fassinou elle-meme dit : En lisant ce livre, chere amie, tu feras egalement tienne I ’histoire de toutes ces femmes qui n ’ont vecu nulle part, sauf dans mon imagination. Mais la fiction dans laquelle elles se meuvent nous les rend encore plus proches st nous faitpartager leurs drames (MRB, 7). Ces propos refletent l’idee de la sociocritique qui indique qu’une reuvre litteraire pourrait etre une representation de la societe de son auteur(e). Ceci revient a dire que des evenements reels peuvent alimenter de plus en plus l’imagination litteraire. Aussi, poursuit-elle, « un livre est un chemin jalonne de marches, de chutes et de courses vers des lendemains qui chantent ou qui dechantent » (JP, 147). Les verbes « chanter » et « dechanter » dans ces propos devoilent la conception de l’ecriture a laquelle Fassinou adhere. « Chanter », a notre avis, pourrait denoter les gains des croisements des cultures, le resultat meme du modernisme. « Dechanter » pour sa part pourrait renvoyer a la violation de certaines valeurs traditionnelles et ou mieux encore aux attitudes transgressives dans une societe en pleine mutation. Ainsi donc la transgression et le metissage culturel constituent le point central de la discussion de cette recherche. Nous avons choisi d’analyser quelques reuvres litteraires d’Adelaide Fassinou, une ecrivaine beninoise qui est entree sur la scene litteraire au seuil du nouveau millenaire, en 2000. Par ce fait, on dirait que Fassinou appartient a une nouvelle generation d’ecrivains : les ecrivains du nouveau millenaire. Le titre du premier roman de Fassinou est revelateur. Il s’institule Modukpe, le reve brise, qui implique que l’homme a toujours un reve mais au cours du temps, ce reve pourrait etre brise. Chez Fassinou, ce manque de materialisation de reves serait le resultat de notre vision du monde ou les conceptions nouvelles rivalisent avec la tradition au point que la modernite soit simplement vue comme une transgression de lois de la tradition. C’est certes la transgression dans l’univers romanesque, une transgression contre la tradition et / ou la nature car « la nature a ses lois ». Et les experiences vecues par l’homme et surtout par la femme, Toute une vie ne viii suffirait pas pour en Parler. Et l’histoire d’etre Jete en pature est l’une de ses experiences. En lisant l’reuvre de Fassinou, on peut constater qu’elle presente assez de problemes sociaux qui renvoient a la notion de la transgression. Il en resulte que, pour se liberer, l’auteure qui represente la femme, recourt a ecrire des Poemes d ’amour et de ronces, de [S]es exiles, [s]es amours car il faut parler pour se sentir bien en soi-meme. Cette action de briser le silence par la femme constitue aussi en elle, une transgression car dans la tradition de l’auteure, la femme devrait etre reduite au silence. Fassinou a besoin de montrer que la cruaute au foyer, la volonte inflexible, la masculinite excessive et l’insensibilite conduisent a la revolte, au mecontentement et a la violence pouvant affecter toute la societe. Eu egard a cela, aimer un enfant au-dessus des autres compromettrait la cohesion familiale. C’est ainsi que le sujet du suicide fait partie de cette recherche. Ceci pourrait representer l’image de la violence nationale provoquee par le tribalisme et la geopolitique qu’on pourrait remarquer dans plusieurs pays sur le continent africain. Pour la plupart des critiques, la transgression des valeurs traditionnelles est due au metissage culturel car ce metissage est vu comme une evolution de la societe et de la culture qui represente une societe qui se trouve a la croisee des chemins. La transgression dans l’reuvre de Fassinou est la demystification de certaines croyances traditionnelles. La transgression de certains personnages conduit aux experiences ameres et traumatisantes. Quoi qu’il en soit, l’auteure preconise toujours, au moyen de son ecriture, une voie de sortie : l’espoir. Il transparait des representations que fait l’auteure que la determination pour surmonter les defis et la decision de mettre une croix sur les experiences ameres du passe sont des indications fortes pour la transformation individuelle qui amenera a la transformation et au developpement tant desire de l’Afrique. La transgression et le metissage culturel dans l’reuvre de Fassinou ne se limitent pas aux etudes thematiques ; il s’agit egalement de la transgression du code langagier standard et du melange des langues. La deuxieme partie de cette these est consacree a une etude stylistique de l’reuvre de Fassinou. Pour cela, nous avons etudie egalement les aspects des aspects formels de l’ecriture de Fassinou comme symbole de la transgression et du metissage culturel.
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