Roman d'apprentissage et liberté romanesque

RésuméA l'image de son personnage, qui se déplace en subissant toutes sortes d'expériences lui permettant de « grandir », le roman d'apprentissage traverse les siècles et les cultures en Occident, mais trouve aussi un écho tout à fait particulier parmi de nombreux romans d'Afrique noire francophone. Ce genre littéraire se découvre tant parmi les productions de l'époque coloniale que parmi les plus contemporaines et peut être envisagé en tant que métaphore d'une autonomie langagière et littéraire progressivement acquise, tout en gardant à l'esprit que les catégories génériques occidentales n'ont pas à être dupliquées telles quelles sur les productions fictionnelles africaines. L'hypothèse de travail associe les dimensions diachronique et synchronique pour observer un croisement de pratiques formelles et génériques dans les textes de fiction romanesque d'Afrique subsaharienne. Elle utilise dans ce cadre les romans Karim d'Ousmane Socé (1935) et Une Vie de boy de Ferdinand Oyono (1956).AbstractLike their protagonists, who undergo a journey and in the process come of age, coming-on-age novels have abounded and evolved throughout the centuries in the West - but they are also present in sub-Saharian African literature. The coming-of-age genre was popular during colonial times and is even more so today. Where African Francophone literature is concerned, we can take this type of novel as a metaphor for its gradually acquired linguistic and literary autonomy, keeping in mind that Western genres and patterns cannot be applied willy-nilly to this new generation of African litterateurs. Taking into account both historical and territorial aspects, we will examine African Francophone literature, stylistically and thematically, in its approch to gender. To do so, we will analyse Ousmane Socé's Karim (1935) and Ferdinand Oyono's Une vie de boy (A boy servant's life, 1956).

La conception du "dialogue" de Mikhaïl Bakhtine et ses sources sociologiques (l'exemple des "Problèmes de l'oeuvre de Dostoïevski" [1929])

Résumé: L'article porte sur la conception du « dialogue » de Mikhaïl Bakhtine dans laquelle s'articulent deux groupes d'idées : 1) la notion de « dialogue » en tant que forme de l'interaction verbale interindividuelle (l'échange des répliques) et 2) la notion de « dialogisme » comme principe qui prévoit un rapport particulier entre le « Moi » (le « Je ») et l'« Autrui ». Son but consiste à 1) analyser ces notions au sens de Bakhtine, en s'appuyant sur le texte russe des Problèmes de l'oeuvre de Dostoïevski (1929) ; et à 2) montrer leurs sources sociologiques (principalement russes). Il y est également question de la notion de « polyphonie » introduite par Bakhtine pour caractériser la particularité de la construction des romans de Dostoïevski et d'une facette des réflexions bakhtiniennes sur le rôle de la « polyphonie » chez Dostoïevski, contenues dans le texte russe de 1929, abandonnées dans la version de 1963 et, de ce fait, méconnues des chercheurs francophones n'ayant accès qu'à la traduction des Problèmes de la poétique de Dostoïevski (1963). This paper examines the conception of "dialogue" elaborated by Mikhaïl Bakhtin in which are articulated two groups of ideas : 1) the notion of "dialogue" as a form of verbal interindividual interaction (an exchange of speech) and 2) the notion of "dialogism" as a principle which implies a relation between the "Me" (the "I") and the "Other". Its aim is 1) to analyse these notions in the sens of Bakhtin, on the base of russian text of Problems of Dostoyevsky's Art (1929) and 2) to show their sociological (mainly russian) origins. The paper also deals with the notion of "polyphony" introduced by Bakhtin to characterize the particularity of Dostoyevsky's method of constructing novels and with one facet of bakhtinian reflections (expounded in the text of 1929, omitted in the version of 1963, thereby unknown by francophone researchers who have access only to the translation of Problems of Dostoyevsky's Poetics (1963)) on the role of "polyphony" in Dostoyevsky's works.

"Voyage through death/to life upon these shores": the living dead of the Middle Passage

While historical studies of the Atlantic slave trade have amply demonstrated the magnitude of slave mortality during the Middle Passage, only recently have they started to examine how the captives might have endured and coped with this traumatic experience. Although it constitutes a major topos in African diasporic culture, the Middle Passage has only occasionally been represented directly and in details in novels and in films. This article examines three recent narratives of the Middle Passage, Fred D'Aguiar's novel Feeding the Ghosts (1998), Guy Deslauriers's film Passage du milieu (2000), and Stephanie Smallwood's historical study Saltwater Slavery: A Middle Passage from Africa to American Diaspora (2007). Beyond their individual poetic, aesthetic, and scholarly qualities, what is most striking about these three texts is that they all use the figure of the living dead in order to explore the captives' experience of the transatlantic journey. If the ghastly quality of the living dead powerfully captures the life-threatening material and physical conditions the captives endured on the voyage, its dual, liminal character also allows D'Aguiar, Deslauriers, and Smallwood to represent the metaphysical, psychological, social, and cultural journey they were forced to undertake. Through their use of the trope of the living dead, these three texts show that if death is indeed a central aspect of the experience of the Middle Passage, it impacts the captives in ways that go well beyond the issue of mortality.

El medievalismo fértil de Paloma Díaz-Mas

The author of this article is concerned with trying to understand why Paloma Díaz-Mas, the writer of such an excellent novel as La tierra fértil (1999), has not received much critical attention. He underlines three main reasons. First, she does not live in Madrid or Barcelona and so she is far away from the main centres of cultural power. Second, she teaches Spanish literature in the Basque Country, a political and linguistic community which significantly differs from that of many other writers. Third, she writes historical novels, which does not appear to be very fashionable in Spain these days. Moreover, Díaz-Mas is a woman writer who does not make use of the most commonly available feminine patterns, and she does not seem to offer a model easy to include in a given feminist methodology either. However, Mérida-Jiménez argues that Paloma provides an intelligent deconstruction of “male authority” through subtle rhetorical means, as well as a representation of the weakness of his “domination” in very innovative ways, such as those derived from the dialectics between history and fiction, centrality and marginality, heterosexuality and homosexuality, individual and society, dream and reason or tradition and modernity.

The ‘Dys-Appearing’ Body in Doris Lessing’s The Diary of a Good Neighbour and Margaret Forster’s Have the Men Had Enough?

If the old body is usually read as a synonym of fragility and upcoming illness, even though not the case for most elderly citizens, the reality is that the longer we live, the increased probability of being affected by different illnesses cannot be eluded or denied. In Doris Lessing’s The Diary of a Good Neighbour and Margaret Forster’s Have the Men Had Enough? the reader is invited to participate in the day-to-day routines of two aged female protagonists, as well as to empathize with their inner feelings as they go through their last life stage. In fact, their ‘dys-appearing’ bodies, marked by their respective terminal illnesses, force these characters to grow closer to those around them and to accept the help of their families and friends, despite their desire to keep their free will and independence until the very end. The analysis of the two novels within the framework of ageing studies aims to show the contradictions existing between a growing ageing society and the negative cultural connotations of old age in Western society and the need to revise them.

Old Women, Young Souls: History as a Living Matter

The passionate and deceptive life stories of the protagonists in Angela Carter’s Wise Children (1990) and Rose Tremain’s The Cupboard (1984), women in their seventies and eighties, are entangled with historical events that influenced England, Europe and the rest of the world. In these novels, Angela Carter and Rose Tremain challenge not only notions of ageing by presenting elder protagonists who are lively and strong, but also the idea of history as unique, true and unquestionable by conferring on them the status of story and historytellers.

Invisible Environments: Old Age and its spaces

Despite the progressive ageing of a worldwide population, negative attitudes towards old age have proliferated thanks to cultural constructs and myths that, for decades, have presented old age as a synonym of decay, deterioration and loss. Moreover, even though every human being knows he/she will age and that ageing is a process that cannot be stopped, it always seems distant, far off in the future and, therefore, remains invisible. In this paper, I aim to analyse the invisibility of old age and its spaces through two contemporary novels and their ageing females protagonists –Maudie Fowler in Doris Lessing ’s The Diary of a Good Neighbour and Erica March in Rose Tremain ’s The Cupboard. Although invisible to the rest of society, these elderly characters succeed in becoming significant in the lives of younger protagonists who, immersed in their active lives, become aware of the need to enlarge our vision of old age.

L'exploration temporelle comme modalité du voyage imaginaire dans la bande dessinée franco-belge (1930-1980)

In this paper, I explore the motif of time travel in science fictional French comics until the eighties. Time travel incorporates a fascinating potential for narrative representation, since moving back in time may multiply timelines, according to the well-known paradox of the grandfather. This virtuality has become very popular in novels and in movies, since In his Bootstraps (Heinlein, 1941) and La Jetée (Marker, 1962) until the recent Looper (Johnson, 2012) but it has been rarely represented in French comics before the eighties and the apparition of time paradoxes in series like "Yoko Tsuno" and, mostly, "Valérian agent spatio-temporel". Firstly, many modalities of time travel do not engender time paradoxes, like exploration of prehistoric sanctuaries, imaginary travel, or cryogenic sleep followed by an awakening if a future world with no hope to return in the past. Secondly, time travel has been mostly interpreted as a mere extension of the classic motif of the "extraordinary journey", as exemplified for centuries in fictions by Verne, Mercier, Swift, or Stevenson. Thus, the graphic potential of time travel for the representation of spectacular exotic worlds has predominated in French comic tradition, and this tendency has been encouraged by the dominant mode of publication until the end of the sixties. Indeed, complex scriptwriting involving multiple timelines would not fit the form of a weekly feuilleton addressed to a young audience, because it would be too demanding cognitively speaking. It illustrates also the dominance of graphic concerns over a taste for complex scriptwriting in many comics of this period. Still, the development of time paradoxes in Pierre Christin scriptwriting underlines the potential of the media when it is published in series of albums or in graphic novels. At the same time, Jean-Claude Mézières drawings-featuring spectacular representations of foreign worlds-show that the visual interest of spectacular time travels remains a central issue for this popular graphic medium. Cette étude porte sur le motif du voyage temporel dans la bande dessinée franco-belge de science- fiction jusque dans les années quatre-vingt. Le voyage temporel intègre un potentiel fascinant pour la représentation narrative, étant donné que le retour dans le passé est susceptible d'engendrer des lignes temporelles multiples, selon le paradoxe bien connu du « grand-père ». Cette virtualité est devenue très populaire dans les romans et dans les films, depuis In his Bootstraps (Heinlein, 1941) et La Jetée (Marker, 1962) jusqu'au récent Looper (Johnson, 2012), mais elle a rarement été représentée dans la bande dessinée franco-belge avant les années quatre-vingt et l'apparition de paradoxes temporels dans des séries comme « Yoko Tsuno » et, surtout, « Valérian agent spatio-temporel ». Tout d'abord, de nombreuses modalités du voyage dans le temps n'engendrent aucun paradoxe, par exemple l'exploration de sanctuaires préhistoriques, le voyage illusoire ou le sommeil cryogénique suivi d'un réveil dans le futur, sans espoir de revenir dans le passé. Deuxièmement, le voyage dans le temps a été plus souvent interprété comme une simple extension du motif classique du « voyage extraordinaire », tel qu'on le retrouve, depuis le XVIIIe siècle, les fictions de Verne, Mercier, Swift ou Stevenson. Ainsi, le potentiel graphique du voyage dans le temps pour la représentation de mondes exotiques spectaculaires a prédominé dans la tradition franco-belge et cette tendance a été encouragée par le mode de publication dominant jusqu'à la fin des années soixante. En effet, l'écriture de scénarios complexes impliquant de multiples lignes temporelles ne semble pas adaptée à la forme d'un feuilleton hebdomadaire destiné à un jeune public, parce qu'il aurait été trop exigeant, cognitivement parlant. Cela illustre également la prédominance de préoccupations graphiques sur l'écriture de scénarios complexes dans de nombreuses bandes dessinées de cette période. Pourtant, le développement de paradoxes temporels dans les scénarios de Pierre Christin souligne le potentiel du média quand il est publié en série d'albums ou dans des romans graphiques. Parallèlement, les dessins de Jean-Claude Mézières, qui proposent des représentations spectaculaires de mondes étrangers, montre que l'intérêt visuel du voyage dans le temps demeure une question centrale pour ce média populaire.

Gustav Hasford's Gothic Poetics of Demystification

Gustav Hasford is the author of two important Vietnam War novels: The Short-Timers (1979), which was adapted by Stanley Kubrick into Full Metal Jacket (1987), and The Phantom Blooper (1990), its sequel. Relentlessly critical of the war that destroyed his generation, Hasford uses an array of Gothic themes, tropes and figures - such as the werewolf, vampire, and ghost - to describe the transformation of men into monsters that begins with basic training and can never be reversed. These and other Gothic devices allow Hasford to demystify and disenchant the Vietnam War, to strip it of euphemisms and official myths, and to reveal the violence that lays beneath. Unlike other well-known writers of the same generation, such as Michael Herr and Chris O'Brien, Hasford eschews postmodern techniques in order to pursue a rhetorical strategy of horror combined with black humor. The results are two novels of extraordinary ferocity, critical acumen and wit. The chapter concludes with an analysis of the specifically Gothic reading experience of ethical dilemma - a Gothic exercise in judgment - choreographed by both narratives.

Aspects de la représentation de l'autre dans les romans grecs et "Les Métamorphoses" d'Apulée

Les romans grecs et les Métamorphoses d'Apulée - même si les modalités sont différentes pour ce dernier - sont des fictions en prose qui fonctionnent autour de topoi auxquels la figure de l'Autre n'échappe pas. Bien que le monde grec soit alors radicalement différent de ce qu'il était au Ve siècle avant J.-C, période à laquelle l'identité grecque est construite par opposition à la figure du barbare, les romanciers qui prennent la plume à partir du 1er siècle avant notre ère utilisent un certain nombre de stéréotypes hérités de l'époque classique, alors mise à l'honneur par le mouvement de la Seconde Sophistique. Il s'agit d'étudier dans le détail certains éléments de la représentation de l'Autre pour déterminer qui il est, comment il se comporte, ce qui le constitue en Autre. Puis, à partir de cette esquisse, nécessairement incomplète, d'évaluer ce que cette représentation peut induire sur l'image de l'identité grecque à l'époque impériale, par le jeu de miroir que F. Hartog a décelé dans l'oeuvre d'Hérodote. Une première partie est consacrée aux rapports entre l'homme et l'animal ainsi qu'à l'image de la sauvagerie, ce qui permet d'explorer les bornes romanesques de l'humanité. La seconde partie s'attache à des éléments que l'époque classique a plus particulièrement mis en avant pour distinguer les Grecs des non-Grecs : le critère de la langue, l'art de faire la guerre et le discours politique qui est tenu sur les institutions barbares. La troisième partie étudie la place des dieux et des pratiques religieuses dans la définition de l'Autre. J'espère ainsi contribuer à la compréhension du genre romanesque et des représentations culturelles de l'empire « gréco-romain ». -- The Greek novels and The Metamorphoses of Apuleius, even if it is in different terms for the last, are prose fictions which are based on topoi, and the figure of the Other is one of them. Although the Greek world was radically different of what it was in the fifth century BC, time during which Greek identity is contructed as opposed to the figure of the barbaros, the authors of novels, who wrote from the first century BC onward, used some stereotypes inherited from classical period, which was celebrated by the Second Sophistic movement. The aim of this thesis is to study in detail some elements of the representation of the Other to determine who it is, how he behaves, what makes him other. Then, from this sketch, necessarily incomplete, to evaluate what this representation says about the image of Greek identity in the imperial age, according to the play of the mirror detected by F. Hartog in the text of Herodotus. The first part of the thesis is dedicated to the relationship between man and animal and to the image of savagery, in order to explore the novelistic limits of humanity. The second part concentrates on elements that classical period had particularly insisted on to promote the distinction between Greeks and non-Greeks : the linguistic criterion, the way to make war, and the politic discourse on the barbaric institutions. The third part study the place of the gods and of religious practices in the definition of the Other. I hope to contribute to the understanding of novel genre and of cultural representations of the « greco- roman- empire ».

Contribució a l'estudi de la col·lecció «La Novel·la Estrangera».

La col·lecció «La Novel·la Estrangera» és constituïda per trenta-vuit títols d’aparició quinzenal en una primera etapa i setmanal en una segona i última. De dimensions reduïdes (entre 40 i 80 pàgines), no va arribar, amb alguna excepció, a publicar novel·les, sinó tan sols narrativa curta. Pel format, el disseny, el contingut, el preu i la forma de distribució i venda, la col·lecció anava destinada a un públic ampli. La selecció d’autors traduïts, eclèctica, respon també a la voluntat d’arribar a un sector extens de lectors. Iniciativa d’escriptors joves, la trajectòria de la col·lecció estigué marcada per la precarietat de l’estructura editorial adoptada, cosa que la va condemnar a la fallida.

Crònica del Pallars. Reconstrucció d'un món perdut a les novel·les de Maria Barbal

Peer-reviewed

Cicle del Pallars: tres novel·les i un univers literari

La comunicació al Congrés de Geografies Literàries-Universos literaris de Vic pretén demostrar com Maria Barbal crea un univers literari a l'entorn del Pallars amb les tres novel·les del Cicle del Pallars.

Fiktiivisen kirjallisuuden maailmasta monikulttuuriseen Suomeen. Ennakointikertomus kirjallisuudenopetuksen ja monikulttuurisuuskasvatuksen välineenä

From the world of fiction literature into multi-cultural Finland. Anticipatory story as an educational tool in teaching of literature and multiculturalism The research clarifies the relationship between reading fiction literature and multicultural value education in basic education. The research focuses on the subject didactics of mother tongue and literature and on the literature teaching in particular. The objective is to develop a method that is easily transferable into a teaching context so as to intensify the educational discussion based on fiction literature. In essence, understanding fiction literature and the ethical and moral thinking resemble one another, because both of them aim at empathizing with the thinking of a person or with a situation foreign to oneself. For this reason fiction literature is ideally suited for the discussion on ethical and moral values within a subject entity in the basic education. The empirical unit of the research consists of two parts. The first part explains how youth novels published in the years 1993 – 2007 describe multiculturalism in Finnish society. Books on multiculturalism are still few in number within youth literature, and people with a foreign background are mainly minor or background characters in such literary works. Nevertheless, youth novels serve well as a starting point for an educational discussion about multicultural issues. More often than not characters in youth novels are stereotypes and even opposite to each other. The juxtaposing makes a young reader question the stereotypes associated with immigrants. Besides the stereotype, reference to a prototype or a model is possible. The second part tests the usefulness of an anticipatory story based on a fictive text for an educational discussion about multicultural issues. The empirical material was collected from the eighth-grade teaching groups in basic education as follows: one teaching group was an immigrant group, the second one a group of Finns with experience of immigrants while the third group of students had hardly any experience of immigrants. The anticipatory stories were written on the basis of extracts from youth novels with multicultural themes. The material collected for a total of 120 anticipatory stories was analysed by using meaning cue analysis. Using the meaning cue analysis, the anticipatory stories were divided into three groups: stories with predominantly positive meaning cues of interculturalism, ambivalent stories with both positive and negative meaning cues of interculturalism and the stories with predominantly negative meaning cues of interculturalism. The meaning cues produced by girls and boys differ from one another, in particular, by the negative meaning cues of interculturalism. For girls, the predominant meaning cue is fear whereas for boys, it is that of violence. It would also seem that the students, in particular, boys with little experience of immigrants produce more negative meaning cues of interculturalism than do immigrants or Finnish students with experience of immigrants. Further still, it seems that active reading of fiction literature affects the meaning cues of interculturalism in an ambivalent direction. In the way of youth novels this is understandable, because youth novels in general are made up of opposite characters and meaning cues. The less the student takes an interest in reading, the more he used meaning cues from outside the parent text for his anticipatory story. No doubt it would be possible to use fiction literature in the literature education to a much higher extent than it is being used today whereby the literature could be used in basic education for reviewing subject entities or study contents of other study subjects. By way of an anticipatory story and the meaning cue analysis, it is possible to intensify the educational discussions based on fiction literature. However, using fiction literature in the literature education requires consideration of the specific genre of fiction literature.

Soraääniä, sitaatteja ja suunnitelmallisuutta. Moniäänisyys Eira Stenbergin romaanituotannossa

Tutkin väitöskirjassani Eira Stenbergin (s. 1943) romaanituotannon moniäänisyyttä, joka liittyy niin subjektiin, kertomisen prosessiin kuin todellisuuskäsityksiin. Aineistonani ovat Stenbergin 1980–1990-luvulla kirjoittamat, tutkimusongelmani kannalta keskeiseen ajanjaksoon kuuluvat romaanit Paratiisin vangit (1984), Häikäisy (1987), Kuun puutarhat (1990) sekä Gulliverin tytär (1993). 1980-luvulla postmodernista tuli kirjallisen kulttuurin keskeisimpiä aiheita Suomessa, ja subjektista tuli ongelma jopa siinä määrin että puhuttiin sen kuolemasta. Ääni oli 1980-luvulla osa subjektia koskevaa keskustelua: yhtäältä nousevan feministisen liikkeen identiteettipoliittisena ja emansipatorisena metaforana, toisaalta jälkistrukturalismin antihumanismin uhkakuvana, joka koski subjektin ääntä alkuperän lähteenä ja persoonan ilmaisuna. Äänen käsitteen voidaan katsoa implikoivan jonkinlaista käsitystä subjektista, ja tarkastelenkin tutkimuksessani erityisesti henkilöhahmoja, kertojia ja kertomisen prosessia, mutta myös tekijän suunnitelmallisuutta ja kuulijaa kohti orientoitumista. Yhdistelen tutkimuksessani retorista kertomuksen teoriaa dekonstruktioon sekä feministisiin subjektiteorioihin. Myös Mihail Bahtinin käsitys moniäänisestä romaanista on työssäni keskeinen. Problematisoin tutkimuksessani äänen kytköksen sisimmän ilmaisuun, omistamiseen ja auktoriteettiin ja ymmärrän sen keskustelualueena, jossa kohtaavat erilaiset arvot ja näkemykset maailmasta. Tällöin kaikenkattava puhe subjektin kuolemasta sekä käsitykset 1980-luvun kirjallisuudesta maailmasta vieraantuneena ja yksityisen alueelle vetäytyvänä problematisoituvat. Stenbergin tuotannon perusteella voi sanoa, että kirjallisuuden äänet saavat merkityksensä vasta erilaisina äänensävyinä konkreettisissa ja ainutkertaisissa konteksteissa. Tämä viittaa tarpeeseen ymmärtää kirjallisuusteoreettisessa keskustelussa usein historiattomana ja universaalina nähty käsite historiaan paikantuneena: eivät vain erityiset aineistot, vaan myös erityiset kontekstit määrittelevät äänen saamia merkityksiä.