French Studies in Southern Africa - Volume 2013, Issue 43, 2013
Volumes & issues
Volume 2013, Issue 43, 2013
Author Bernard De MeyerSource: French Studies in Southern Africa 2013, pp 1 –20 (2013)More Less
Recent writings in French by African authors show an increasing diversity. Distancing themselves from the established literary canons, such as the Négritude movement or the socio-political novel, today's authors experiment with writing, participating in the world republic of letters (Casanova) and becoming increasingly recognized by the literary institution. Against this background, the article discusses how writers, living or having lived in exile, express the return to their native country through their fiction. In these ostensibly less political novels, narrative means are substantially different from those of traditional narration. New possibilities are explored, such as the multiplication of narrators, the perversion of genres, and an original connection to space. Drawing on the works of some exiled African writers (mainly Mongo Beti, Patrice Nganang and Alain Mabanckou) the article aims to show that the return to the continent is symptomatic of the authors' desire to be integrated into world literature. This paradox will be clarified by analysing narrative and intertextual processes, using mainly Dominique Maingueneau concepts of scenography and parotopy.
Author Catherine Du ToitSource: French Studies in Southern Africa 2013, pp 21 –39 (2013)More Less
Author of a collection of vignettes about Don Juan, Henri-Pierre Roché decided to devote his life to an examination of the moral, intellectual, social and sexual relations between women and men, in which his real-life experiences would be the main source of reference, filling a diary spanning sixty years. This article examines the discourse of seduction in both his diary and his correspondence, focussing on the section of the diary that forms the framework for Jules et Jim (1920-21). At the start of his relationship with Helen Hessel (the Kathe / Catherine of Jules et Jim), Roché had suggested that she too should keep a diary of their affair. Written in French, German and English, Helen Hessel's diary functions on several levels. It is realistic, visionary, absorbed in thoughts and emotions and yet critical of herself and others. The article offers a juxtaposed reading of the two diaries and explores the possibilities of such a comparative reading: the linguistic, intercultural and identitary aspects involved in the mechanisms of seduction.
Author Abdoulaye ImorouSource: French Studies in Southern Africa 2013, pp 40 –62 (2013)More Less
This article focuses on Trois femmes puissantes by Marie NDiaye. The novel, which won the Goncourt Prize in 2009, includes three stories, each of which portrays an African woman: Norah, Fanta and Khady Demba. The article investigates in which way these women are strong. It also attempts to measure the novel's impact on the evolution of the representation of African women in literature. It appears that the notion of strength is, in this case, not associated with the notion of power. These women are strong because they have been able to stand against the process of dehumanization while claiming the right to have happy lives. Furthermore, these representations of women by Marie NDiaye seems to follow the general portrayal of African women figures in literature - the woman as victim, the poto mitan woman and the misovire - while at the same time contesting some of their features.
Représentations culturelles et simulation globale : le cas du scénario pédagogique « Création d'entreprise au Sénégal » ê l'Université du CapAuthor Sophie Le RouxSource: French Studies in Southern Africa 2013, pp 63 –86 (2013)More Less
Taking the French for business course of the University of Cape Town as its framework, the article questions the impact of the technique of global simulation on learners' representation of a French-speaking country. It describes the context of the study. It explains what a global simulation is, and dwells on the concepts of "intercultural competences" and "cultural representations", showing their relevance to the study. It then presents a research project undertaken to verify the assumption that global simulation could have a positive impact on learners' representations.
Author Andrew ManyawuSource: French Studies in Southern Africa 2013, pp 87 –111 (2013)More Less
This article examines Les Fanatiques, a novel by Max Gallo (2006), from the perspective of Critical Discourse Analysis (CDA), in order to deconstruct the notion of the clash of civilisations developed in the novel. The concept of discourse representation, a key element of intertextuality, is used to examine the incorporation of the utterances of two major characters, Julien Nori, narrator and proponent of a materialistic and individualistic irreligion, and Zuba Khadjar, who articulates the Islamist perspective. Les Fanatiques is a novel with a message and its plot is propelled by the energy generated by the debate among the various characters represented in it. It illustrates a theory of the Islamisation of France that Max Gallo has been developing for several decades. The article concludes that Gallo uses discourse representation to express his bitterness towards French people who remain passive in the face of the threat of the Islamisation of their country. In particular, his representation of Zuba Khadjar uses irony to sound the alarm bells.
Réécriture d'un genre : l'autobiographie politique des « Pères de la Nation » dans L'Ex-père de la nation (1987) d'Aminata Sow FallAuthor Polo MojiSource: French Studies in Southern Africa 2013, pp 112 –133 (2013)More Less
Aminata Sow Fall's L'Ex-père de la nation (1987) is an adaptation of the genre of political autobiography in Africa. Using Jean-Marie Schaeffer's definition of genre conventions in its analysis of modalities of transformation, this article presents the novel as a parody which adopts the setting and autobiographical style of the political autobiography in order to inverse schema of heroic triumph into that of tragic decline. Irony is a formal indicator of this thematic modification based on a hypertextual relation to the autobiographical genre of origin. An analysis of rhetorical strategies which subvert this genre is based on the novel's metatextual relation to the "father of the nation" mythology in African political discourse. Sow Fall's satirical humour is a technique that indicates the novel's critical stance through humour. By erasing the schema of separate political and domestic spheres she adopts a "feminine" approach in her adaptation, questioning the centrality of the male figure in the patriarchal conception of the African nation.
Migration africaine vers l'Europe : l'héroïsme dans Un jeune Africain qui pleure l'Europe ou une odyssée amère d'Éric Alain KamdomAuthor Pierre-Claver MonguiSource: French Studies in Southern Africa 2013, pp 134 –155 (2013)More Less
By means of a Homeric reference Alain Kamdom's text already signals in its subtitle that it belongs to an epic register. In this reading, the work depicts a heroic trek in the following sense. Its protagonists, at least during their migration from south to south, are confronted by difficulties, which are characteristic of the archetypal sort of action of a Ulysses whose extraordinary quest determines, through its stereotypes (courage, power, swindle, glory, etc.), the perception of what are the essential qualities of an exceptional man. Migration is here the element that puts the hero to the test and by which he becomes a figure meandering on the chess board of economic globalization.
Texte comme prétexte : la transfiguration générique dans des romans de Sony Labou Tansi et de Ngugi wa Thiong'oAuthor Gilbert Ndi ShangSource: French Studies in Southern Africa 2013, pp 156 –172 (2013)More Less
The primacy of the novel as representation of the social, economic and political transmutations in postcolonial Africa can be explained through its propensity to assimilate other modes of artistic representation, turning it into an appropriate medium of generic fusion. Through the analysis of Sony Labou Tansi's L'État honteux and Ngugi wa Thiong'o's Wizard of the Crow, this article seeks to examine the generic configuration novels undergo as they attempt to represent extreme social conditions and the paradoxes of the post-colonial political space. With close regard to their narrative structures, this paper argues that although these texts are primarily known as "novels", they make recourse to corporal and theatrical forms that broaden their possible modes of apprehension beyond that of the novel. Tansi transforms the novelistic genre to express inhuman political violence while Ngugi's theatrical bodies expose the sham of postcolonial politics. In another dimension, while Tansi's organic text follows a postmodernist de-anchoring of the signifier, Ngugi's text reveals subtle forms of authorial intrusion in the determination of textual signification.
Tagtig gedigte en twee essays, Michel Houellebecq; Catherine du Toit & collaborateurs (Transl.) : comptes rendusAuthor Jean-Louis CornilleSource: French Studies in Southern Africa 2013, pp 174 –176 (2013)More Less
On sait qu'avant de se faire connaître par ses romans, Michel Houellebecq a débuté par la poésie : c'est une entrée possible dans la littérature, autrefois jugée inévitable. De nos jours quelque peu délaissée, elle est d'autant plus apte à recevoir l'expression d'un des sentiments les plus persistants dans l'approche houellebecquienne : la mélancolie. Car on a fait son deuil de la poésie : et c'est bien dans la reconduction de cette forme perdue que se manifeste d'abord la nostalgie du sujet postmoderne que mettent en scène les poèmes de Houellebecq, regroupés en trois recueils, Le sens du combat, La poursuite du bonheur, Renaissance.
Oskar en die pienk tannie [Oscar et la dame rose], Eric-Emmanuel Schmitt, Naòmi Morgan (Transl.) : comptes rendusAuthor Jaco AlantSource: French Studies in Southern Africa 2013, pp 176 –180 (2013)More Less
Traduire la littérature française en afrikaans n'est pas une activité à l'histoire aussi courte qu'on n'est tenté de le croire. « Mevrou Bovary » fut publié en 1948 déjà, par exemple, les nationalistes fervents de l'époque (la même année voit l'arrivée au pouvoir du Parti nationaliste de Malan, Verwoerd, etc.) témoignant d'un vif désir de faire entendre « la littérature mondiale » (à défaut d'être la littérature-monde !) dans leur langue parlée au fin fond de l'Afrique.