Summaries 1 Zusammenf Assungen

SUMMARIES 1 ZUSAMMENF ASSUNGEN

Jan os RIESZ: On the tresholds 01 colonial IIterature. This essay fust asks for a systematic approach of pictures and literary images, which could take their mutuallinks into account. Secondly, it proposes a metho- dical program in order to analyse pictures as illustrations, photographies, etc. ; it takes into consideration historical evolution and variety of genres. Third,. the article comments upon what especially concems the wrappers of the colonial books. At laIt, Borneexamples are given, which are choosen in Belgian colonial and post-colonial literature. (PH)

Marie-Christine BRUGAILLERE: A Journal Supportlng a Conquest, Le mOUFement giographique (1884-1908). From the Geographie Conference of Brussels in 1876, launches Leopold il busily into the African venture. Some scientists, joumalists and business men, more or less bound by their curiosity for the exploration, become interested through the Geographie Societies. A.-J. Wauters, a cultured mind, a literature and geography enthusiast, takes a part in the founding of the Mouvement giographique in 1884, when the Berlin Conference starts. He becomes soon the editor of fuis paper which is brought out fust twice a month, then weekly, frOID1884 til 1922. Supporting the leopoldian conquest, this paper publishes aIl the available evidence about Africa, so that it is a kind of collective diary for the European «Movement». The privileged topics are: engineering (bridges, roads, railways), geographic and cartographie information, the political data of the expansion, which may be followed almost froIDday to day and which focus on business. The Mouvement giographique is also interesting for its iconography : drawing and engraving are gradually replaced by photography.

Jean-Luc VELLUT: Emeri Cambier (1865-1943), Founder 01 the Kasal-Mlsslon. The production 01 a missionary 01 legend. The growing fascination for the world of images, is sometimes exercised at the expense of interest in «reality» itself. Indeed, in the eyes of «post-modernist» historians, reality appears as being out of our reach, there being no possible contact with the real world, but only with its images and mental representations. It is argued here that fuis extrerne scepticism opens the way to authors who feel entitled to select freely «images», without regard for the contexts in which they originate. It is argued here that the world of images cannot be meaningfully assessed without confrontation with what we can reconstruct of the past through analysis and description of «reality» as a whole. The following pages fust outline the history of a Roman Catholic mission through its formative years (1891-1913) in the former Belgian Congo, as it can be retrieved froIDunpublished sources. They

IMAGES DE L'AFRIQUE ET DU CONOOIZAIRE. -ISBN 2-87277-004-6. Summaries / ZUsammenfassungen- 355

then proceed to present the fluctuating images attached to the founder of that mission. ln tom, P~rtl E. Cambier bas appeared as the ideal type of the pioneering missionary, in line with the tradition of missionary literature well-known Binee the 18th century. He later served as a rallying point for Catholic identity in a hostile, rationalistic, world, and later again as a national hero of Belgian colonisation. To-day, Cambier provokes controversy among students of the colonial period. ln every case, the production of images bas served particular purposes. Their analysis though legitimate in its own right should Dot act as a substitute for a critical appraisal of the «reality behind».

Hans-Jürgen LCSEBRINK: Das Blld Afrikas und die Darstellung von Belgisch-Kongo in den franzosischen und belglschen Kolonial- ausstellungen (1889-1958). Ausgehend von der Feststellung, daB die Kolonialausstellungen cines der wichtigsten und breitenwirksamsten Medien der Afrikadarstellung im Europa des ausgehenden 19. und der ersten Hiilite des 20. jabrhunderts gewesen sind, behan- delt der Beitrag die In-Szene-Setzung der belgischen Kongo-Kolonie VOlallem untel drei Gesichtspunkten: erstens wird der ans sehr untersehiedliehen Text- 8Ortenzusammengesetzte Diskurs der Kolonialausstellungen in den Bliek gerUckt, in denen sowohl theatralische Elemente ais auch verschiedene Medien der Schrift- lichkeit (Zeitungsberichterstattung, Kataloge, gedruekte Reden etc.) und der ScM- Den Künste (Bildende Kunsl, Malerei) zur Geltung kommen; einen zweiten Gegenstandsbereich bilden die Prlisenz - und mit ihr die spezülSehen Formen der Inszenierung - der Afrikaner selbst im Rahmen der Kolonialausstellungen, VOl allem in Gestalt der «Eingeborenendôrfer», die sich bei den belgischen Kolo- nialausstellungen erstmals 1897 in Tervueren finden; und drittens werden Unter- schiede und Gemeinsamkeiten des Nationenbegriffs im Vergleich zwischen Belgien und Frankreich herausgearbeitet Kennzeiehnenderweise fand das Konzept eiDer nationalen Einheit zwischen Belgien und dem Kongo - cine Vorstellung, die sieh ausdrUcklich aueh an die franzôsische Vorstellung der «Plus Grande France» anknüpft - erst gegen Ende der Kolonialzeit cine fast paradoxal zu nennende Auspragung :1958 bei der BrUsseIer Weltausstellung und damit zwei Jabre VOlder Unabhangigkeit Belgisch-Kongos.

Édouard VINCKE: Dlseourse about Black Man. Images in the town spaces of Brussels. The objective of this paper is to extract a coherent meaning from a multitude of written messages and icons throughout the public space of Brussels and, particu- lary, those referring 10 the image of the Black Man as it is conceived within the popular imagination. We will analyse, in counterpoint, the image of the White Man, as civiliser and explorer, and images of the «Xenos» incamated by the Indian and the Arab. Data was collected over a period of thirteen years through the systematic photographing of exterior urban representations relevant to the subject. The theoretical framework combines two düferent approaehes. Firstly, a content as defmed of Marc Angenot and secondIy, a qualitative anthropological approach based on the grid inspired by the work of Jan Nederveen Pieterse. The empirica1 framework is based on the division of the whole into specifie sub-areas : official signa (monuments, national symbols), street and traffle signa (speeüically),market, cultural, politieal, and humanitarian publieity (posters, shop signa and window displays), and finally, a mobile sub-area (stickers and images on elothing). These different sub-areas can be qua1if1edas «legitimate», as defmed by Pierre Bourdieu. Outside of these subareas there also exista the «ille- gitimate» are&,within which fall some murais and graffiti of ail kinds. 356 - Summaries / Zusammenfassungen

The paradigm of the Blact Man emerges tram this repertary of siloS and images. The paradigm is underpinned by a number of states attributed ta Blacts : natural state,savage, a state of servility ,and a state of infantility. However, the paradigm must also take inta 8CCOuntthe voluntarily anomicseries of posters by Benetton. ln opposition ta this there is the image of the White Man as a hero, either as civilizer or as an adventurer. An encompassing and precise meaning appears out of ail the visual messages. It closely reflecta the relations between Belgium and Africa and the needs of the entertainment and clothing industries.

Jean-Louis DUFAYS: Anthology heritage and cultural stereotypes. Mental pletures of Afrlca from French lIterature handbooks ln French-speaklng Belglum (1960-1990) This fust exploration of African imagery in French-language Belgian school anthologies aims ta break the obsession of ideological demystifieation, starting trom IWo propositions: fustly, it is both unavoidable and necessary that sehool- books should contain many stereotypes, for any understanding of complieated matters depends on the use of simplification; secondly, the stereotype of the mental pietures retainedby the textbooks is not incompatible with a diversity of speech and a genuine care for cultural differences. The comprehensive study - SI anthologies intended for secondary teaching, published tram 1960 ta 1990 - devotes a rather limited part ta Afriea, varying according ta the periods and apparently linked ta the objectives that are assigned ta the French course. As ta the choice of texts relating ta Afriea, it actually favours French writers over Belgians and Afrieans, - which only repeata and reinforces the present hierarehies in the literary field. The mental pietures conveyed deal- in order of importance - with the elements of African scenery, action of Europeans on the African soil, life and behaviour of Africans and, fmally, evaluation of the colonial wort and the future of Afdca. From those varions mental pictures arises a tension between, on the one band, a «uoiver- sa1ist» option, which endeavours ta rediscover the reproduction of certain western patterns in the African realities of texta, and, on the other band, a «particularist» option, which is above ail concerned about differences. It stands ta reason, however, that the sporadic and summary feature of those mental pictures does not prevent a minority of school-books tram really paying attention ta the cultural and literary realities of Africa.

Sabine CORNE LIS: «Congolese sketches.: tram BuIs to Vaueieroy, some looks at the Congo by Belglan arUsts (1898- 1930). This study concerna the images brought back by the plastic artists, not only in their pictural work, but also in the writings they have left us. Our purpose here is ta compare the artistic sensibilities of three painters of the XIXthcentury and the sensitivity of another whom one may consider as a representative character of the interwar period: Pierre de Vaucleroy, who stayed in the Belgian Congo for eight months in 1926-27. The trio includes : Louis Van Engelen, the "offICiaI"painter, entrusted with commemorative painting; Louis Moreels, a painter sent as a journalist; Charles BuIs, an amateur painter, mayor of Brussels. The texta fuIt illustrate the theme of the return ta source of Western man who fcels himself cramped in bis "civilization" and who meets a new form of humanity and an unspoiled environment. Secondly, they offer images of Nature, more specifically of the tropical forest: ta tbis cames the difficulty of mastering light and form. They also present images of the African, which are not froc from the commonplaces current at the Ume, but which may lead ta some censure of the social organisation of the Congo Free State. The letters of de Vaucleroy belong to Summaries/ Zusammenfassungen- 357 another period: they reject categorical judgements, witness the desire to better know other people and the commonplace of «innocent Africa» (Vellut, 1990). AlI this leads us to briefly discuss the mutual discovery of Western and African Art.

Jean-Pierre DE RYCKE: Pierre de Vaueleroy, Maler und Sehrlft- steller des belglsehenKongos. Das Wort dureh das BUd und du BUd dureh du Wort. Dem belgischen Maler Pierre de Vaucleroy (Brüssel, 1892- id., 1980) ist es gelungen, die verschiedenen kOnstierischen Strômungen, die in der ersten Hâlfte des 20. lahrhunderts enstanden sind (Symbolismus, Fauvismus, Kubismus und Expressionismus), in der Zwischenkriegszeit auf dekorative Weise zu vereinigen. ln den lahren 1926-27 unternahm er ebenfalls cine Reise von acht Monaten in den belgischen Kongo. Dieser Reise verkanden wir cine betrlichtliche Anzahl von Skizzen, GemlUden und Fotos, sowie cine Sammlung von Briefen an seine Gattin, die im labre 1933 untel dem TItel Noin et Blanc verüffentlicht worden ist. Seine afrikanischen Kunstzeugnisse zeuge von eiDer wechselseitigen Annlihe- rung des Malers einerseits und des Schriftstellers anderseits und verstehen sich sowohl etglinzend aIs auch Obereinstimmend. Die Erglinzung besteht darin, dass das yom Schriftsteller an Crt Verfasste, das eigentliche WeseR des Schauspielers ankOndigt, welches der Maler Pierre de Vaucleroy erst Bach seiner ROckkehr in Belgien wird umsetzen k6nnen. Ûbereinstimmung, weil die besonderen AusdrOcke des Schriftstellers den gestalterischen Werten seiner GemlUde entsprechen.

Jean-Pierre DE RYCKE: Pierre de Vaucleroy, palnter and wrlter of the Belglan Congo. The ward by the pldore and the plctore by the ward. Pierre de Vaucleroy (Brussels, 1892 - id., 1980) is a Belgian painter who succeeded in synthesizing the main artistic currents of the fast part of the xxth century (symbolism, fauvism. cubism and expressionism) in the period between the two World Wars in a decorative manDer. ln 1926-27 he undertook a joumey of eight months to the Belgian Congo, which inspired a remarkable graphie ensemble (sketches, paintings, photographies) as weIl as a collection of letters addressed to bis wüe, published in 1933 with the title Noin et Blanc. The African productions reveal the two artistic approaches, the painter's on one Bide, the writer's on the other Bide,one being complementary and convergent to the other. Firstly complementary, because the artist's writings announce the essence of the spectacle which the painter Pierre de Vaucleroy will oRly transform on bis retOrD home. Secondly convergent, the vocabulary used by the writer evoking the lame plastic value as bis paintings.

Catherine GROUT: «1 came to the Blaek Season» or Black and White ln Marcel Broodthaers's Work. Marcel Broodthaers gave up poetry in 1964 to take up plastic arts. AlI bis work, from then ~til bis death in 1976, expressed bis criticism of writing, the image and also society and its institutions. The way he uses black and white colors in lame warks reflects thought which is led by alterity and duality. H the author speaks about Congo in his worJcLe problème noir en Belgique ("BlacJcproblem in BeJgium"), he also speaks about writing in the general, and about newspapers in particular. Analysing and actualizing Arthur Rimbaud, he dreams of an Africa that could be an antidote for conventions and well-mannered ways ; he was to show this Africa tbrougb subversive exhibitions, in real or fictitious museums. 358 - Summaries / Zusammenfassungen

Marie-Rose Maurln-Abomo: Tintin t", Congo oder das Kllschee Tom Neger. ln den dreissiger Jahren speisen sich die Zeichnungen Hergés BUSzwei graBen Gegebenheiten : Dem Einzug und der Entwicldung des Comics in Europa und dem koloniaIen Aufschwung, den Belgien erflihrt. Hergé wird zum Echo des belgischen Abenteuer in der Welt; er verkôrpert die westlichen Werte in einem kritischen Moment des europliischen Geschichte, dem Erwachen des Nationalismus. So nimmt der Kongo seinen Platz in diesem belgischen Abenteuer ein, selbst wenn Tintin im Kongo verschiedene Aspekte der «Négraille» herauskristallisiert, die durch Reiseberichte übermittelt werden. Die gezeichnete Erzlihlung, die von der Sorbonne aIs «neunte Knnst» bezeich- net wird, stellt sich aIs ein System von «Zeichen» dar und beweist so die Darstel- long der Welt Tintins, die dem Kongo, ebenso wie alleu anderen besuchten Llindern, ein deutliches Gesicht gibt, das mehr oder weniger annehmbare Klischees produziert. Jedes Bildchen, jeder Rahmen wird Triger von verschiedenen und vielflUtigenBedeutungen. Der Comic gehorcht prlizisen Kritieren, die Hergé in seinem Album ausgiebig verwendet. Wie der Roman manipuliert und verformt er die Wirklichkeit. Er wihlt sich seine Ziele aus, die er entweder durch VergrOsserungoder durch Vereinfachung mit Verlinderungen versieht.

M BIYE Lumbala: Images of the Black Man and of Congo/Zaïre ln Les AJlentures de Jimmy TousseuL Most of the studies of the Black Man's image in the western media - comic strips, movies, literature... - generally point out an image of belittlement. The Black Man is showed on the one band as a simple-minded, eternaI child and faithful servant of the White, and on the other band as a wild negro, unleashing bis cannibalistic and sexuaI tendencies. This image appears in literature, cinema, some missionary or ethnographie publications, in the mind of the people, etc. Belgian strip cartoons, colonial or post-coloniaI, are full of these caricaturaI images too : in the adventures of Tintin, of Blondin et Cirage, etc., stereotyped clichés depicting the Black Man remain the lame. ln order to study the way of looking at him in the Belgian comic strips of the end xxth century, we have choosen the case of the Aventures de Jimmy Tousseul, by Daniel Desorgher and Stephen Desberg, published at the beginning of the nineties. This is an anaIysis of the five issues of this series published so fat : Le serpent d'ébène, L'atelier de la mort, Le crépuscule blanc, L'homme brisé and Le royaume du liopard.

Jacques CARION: Bob Morane's Afrlca The five African adventures of this popular hero were published between 1954 and 1959. They were located in a kind of scenery containing aIl the elements that were at this time discovered by young people listening to the radio, watching the movies or reading the comics. The hero is never lost in the African landscape, which is precisely described and kept in the distance. This landscape DeVet becomes a narrative figure: its fonction is to fumish the elements which start again or thwart the process of adventure, and which produce the «naturaI African sight» where human beings, animaIs and nature are transmuted into ;esthetic objects.

TSBIBOLA Kalengayl Blblane: Images of Afrlca ln the series of noTels SylJlie, of René Philippe. Some novels of the series Sylvie (Marabout Mademoiselle) present two images of Congo! Zaïre and of Africa, that May be seen as closely linked. A negative Summaries/ Zusammenfassungen- 359 image: savagery, superstition, laziness, underdevelopment, subhumanity; and a positive one, including human values (conferring real human status to the Negro). This study is about these human values in the four novels intended for the youth.

Jacques MARX: Ultra-modern Glanees at the Gloomy Maghreb This essay analyses how Maghrebian realities are perceived through an ultra- modem, "fm de siècle" mentality which is in league with the pictorial tradition. It is based on the travers acCOURtof Edmond Picard: El Moghreb Al Aksa (Brus- sels, 1889), which must be considered the seminal work on the relation between Belgian literature and the Maghreb. The perspective chosen affects the views and the aesthetic misrepresentation which produce two distortions : loin the issue of Flaubert, an antithesis between the modem Orient (Morocco, contemporaneous with Picard), described in terms of senile decay, and the dream of the Orient, seen with a major aesthetic overinvestment, in which the North- African Roman ruins are the main point. The opposition serves as prelude to the great topic of colonial literature: the confrontation, seen for instance in Louis Bertrand's work, of the blurred, incoherent barbarie world with imperial regulating latinity. 20 An adjustment of the ultra-modem spirit to maghrebian contrasts. After many reversais inspired by Huysmans, Picard's work leads to a phantasmatic tera- tology, which shows the connexion between the author's aesthetics and bis preposterous theory about aryano-semitism. So, the hypothesis of a intervening mind between exoticism and properly called colonial literature is confnmed. Belgian discourse about the Maghreb does Dot appear as a way of acting and thinking freely, but as a canoter-image of the joint occidental identity, and fmally as a way to manage the european culture in itself.

Mare QUAGBEBEUR: «Zwanze» and Science at the Conquest or the Empire: Nirep Le, myllère, du Congo. The french-language Belgian novel which corresponds to the first Belgian seizure of Central Africa, by way of the Independent Congo State, is a popular adventure novel Les mystères du Congo. It was brought out at the beginning of 1887, by a publisher in league with the leopoldian entreprises. It was announced by the progressive journal La Nation, and illustrated by some young artists of this period. The novel is full of geological, geographic, zoologie and ethnographie information, mixed with the adventures of a cosmopolitan group travelling in the heart of Africa to rescue the lister of one of the characters, eloped with a Portu- guese slaver. The narrative's tempo and its specifie organisation are to be found in a kind of humor and language form, the «zwanze», which is peculiar to XIXth century Belgium. Also, an emblematic figure, which extends and transforms Charles De Coster's «Ulenspiegel», is in a conspicuous position, exhibiting in bis own way the problems of Dame and identity which appear in all the french- language Belgian literature.

Anca MANIUTIU: Michel de Ghelderode and his Negroes The presence of the Negro in Michel de Ghelderode's dramatic work is closely linked to the theatrical lesthetics of bis fast period of creation (1925-1930), when the author embraced the dramatic forms of the avant-garde whose goal was to crush the rigid framework of the tradition al theatre by invigorating it through a constant intrusion of burlesque and parodie elements borrowed from music-hall, circus, puppet shows and the burlesque pantomime. Several stereotypes related ta 360 - Summaries / Zusammenfassungen

Negroes are used on a spectacular level and turned into a rich source of dramatic effects. This paper deals with two Negro-characters: Beni-Bouftout in Don Juan (1926) and Bam-Boulah in Pantagleil.e (1929). They illustrate the category of eeeentricity rather than that of exotism. Bam-Boulah, the "real" Negro, and Beni- Bouftout, the black mast, are both fantasy Negroes, with no real "colonial", social or historical connotation, they are the '~olly clowns" as compared to the "sad clowns", Pantagleize and Don Juan. Bam-Boulah, in a way, embodies the "à l'envers" (upside-down) myth of the Bon Sauvage: the world could be saved by the lavage who, frOIDwithin the civilization, is going to reform it by means of revolution. Beni-Bouftout is another earnivalesque-type (refering to the catego- ries described by M. Bakhtin), the ridiculous counter-weigbt of anything that might seem serions in don Juan's drama. He embodies an unusual and eccentric don Juan, destructive and regenerating at the lame time.

Joachim SCHULTZ: Baobab: Das Vokabular des Exotlsmus und des Prlmltlvlsmus lm Werk von Hellens, Michaux, Pansaers Die drei Autoren - Michaux, Pansaers und Hellens -, die icb in meinem Arti- tel vorstelle, unterscbeiden sicb sowobl von den Autoren der Kolonialliteratur aIs aucb von denen der exotistiscben Literatur. Zum eiDeR briDgeR sie mehr oder weniger direkt ibren Abscbeu gegenüber dem europl1iscben Imperialismus zum Ausdruck, zum anderen ist ibnen nicbt an eiDer nostalgiscben Darstellung femer Uinder gelegen. Sie bevorzugen eiDeR"primitiven Stil", und sie folgen damit zum TeH den Forderung der Futuristen, die eiDeRTelegrammstil, die Zerstiirung der Syntax, Wortketten, kurz: eiDeR"biiBlicben Stil" gefordert baben. Am nlicbsten kommt dem Clément Pansaers in seinem dadaistiscben Wortkonklomeraten wie der gerreselunapark, in die er - aber nicht so stark wie spliterTristan Tzara in seinen Poèmes nègres - exotische Wôrter ("tam tam", "cannibale", "tsé-tsé", "féticbe", etc.) zusammenbangslos einfügt, um den Charakter der Fremdbeit, des Primitiven nocb zu verstlirken. ln Micbaux' Gedicbt Baobab stebt das Mitleiden mit dem Elend des scbwarzen Kontinents mehr im Vordergrund ; Hellens buldigt in seinem Roman Bass-Bassina-Boulou einem pantheisticben Primitivismus, mokiert sicb aber zugleich über den Primitivismus à la mode im Paris der zwanziger Jabre. Alle drei Autoren verbindet eine In-Frage-Stellung der Werte der europlHscben Zivilisation, denen sie die "primitiven" Werte der Reinbeit, Wabrbeit und Einfachbeit gegenüberstellen.

DJUNGU SIMBA Charles: Negro ln Franz Hellens' Mélusine. ln the way of a parody, Mélusine questions many of the clichés whicb organize the «intellectual comfort» of the civilized west. If the narrative easHy conforma to the classical patterns of idylls and travelliterature, it is ooly, as it seems, in aIder to subvert them. So, there could exist two sets of data about the image of the Black Man in Mélusine: 1°) an automatie element, wbicb alginates in the picares-que and exotic genre, even if it is to a certain extent updated; 2°) a specifie element, that bas to be analysed for its outcomes in narrative: the search for identity, symbolised by the search for the cathedral in the desert.

Françoise CHENET: Images of Afrlca ln the works of Charles Plisnier. «It remains Africll» (Mariages): Mrica as a disappointing last resort. As a place for the decomposition and the new composition of the Ego. As the place of the beginning, yet of barm. Summaries / Zusammenfassungen- 361

This essay analyses these conflicting «Impressions of Africa» by studying the problems of focus and the symbolic (thus also ideologic) space's organization in the novels of Ch. Plisnier.

MALASI NOANDU Denis: Congo (Zaïre), Rwanda, Burundi ln Roger Bodart's Dialogues africains and Marie Gevers'Des mille collines aux neuf J'olcans. As is weIl known. the 1950s, the epoch in which Roger Bodart (1952) and Marie Gevers (1953) published their accounts of their travels to Africa (Le. the Belgian Congo and the mandated territories), were characterized by a rather negative European conceptualization of the African man. Nevertheless, these authors remarkably manage to present a quite objective picture of the Africans. ln ibis picture, it il, among other things, acknowledged that the information on the Africans is at that moment very limited. As sncb, it allows for a somewhat more positive evaluation of both the actors and their environment. The view of the African as «a grown child», «naive», and «leisurely» is rebutted and replaced by concepts sncb as «observant», «energetic», «social», «ambiguous» , etc. Also, the view of Africa as a «wild and ungrateful continent» is replaced by terms sncb as «a vigorous and exuberant land» - a land which, in the authors' eyes, suffers frOIDa lack of social harmony. This lack is a striking element in the encounter between the Western and the African civilizations, in that it leads to real anguish for the authors. Nonetheless, they remain optimistic about the future of the continent, which they claim lies in the bands of the Africans themselves.

Pierre HALEN: Doctor Cham and the Pink Negress. Two Traces of an Afrlca to corne ln Marcel Thlry's Work Why does Africa, especially the Kivu region, appear in Marcel Thiry's short story: u concerto pour Anne Queur (1949)? This essay tries to answer this question and at the lame time reflects on a methodology to identify the so-called «Images of Africa» in literature. The method here includes lame historical and comparative considerations (the officiaI image of the «modem Congo» in the years 1945-1960, brought into contraIt with the preceding theme of savage- Bess ; the works of Paul Dresse, Thiry's friend who travelled in Central Africa, and especially the foreword of Pierre Daye to his essay u Ruanda aujourd'hui (1940) ; the European context in the post-war period). It also takes the internaI semiotic system of this tale into account, so that the «Image of Africa» here is based bath on an inversion (the scientist «Cham» leading Mankind to a New Age, first without, then within «Flesh» , errors, lies and nationalism) and on an internaI comparison (the Congolese people with the French; the Black Man against the early colonial officer Lucien Queur). The Third World, as it appears in 1949 through this tale about the future, is an evenly matched part of the World. Finally, another Thiry wode, the poem Prose des Cellules He lA (1969), shows the figure of an American black woman also setting Mankind free frOIDdeath through scientific research.

Robert JOUANNY: Africa and the Third World in Conrad Detrez's L'herbe 4 briller. The narrator's encounter with a young Congolese is the starting point of a difficult initiation into life, which will go on in Brazil and which will allow the discovery of his contradictions and bis uncertainties, in contact with the Black Man, this fascinating and different Other. Both sentimental education and novel of desconstruction, L'herbe 4 briller is based on a constant opposition between the real world, full of bitter disillusions, and a mythic representation of the black world, fascinating but illusive too. At the end of a painful course, the narrator of 362 - Summaries / Zusammenfassungen this autobiograpbic novel is deprived of bis ideal and of bis faith ; conscious of the vanity of bis ideological fight, he finds bimself unable to assume, as the Black Men he imagines, a duality that could be the very relation to reality and that could release him froIDbis gullt and froIDbis yeaming for an impossible unity of being. Wrapped in an unbearable scbizophrenia, he bas no other issue but death, and he waits for it as for the oo1ypossible way to peace.

Antoine TSBITUNGUKONGOLO : The Congo ln Jean Louvet's dramatlc work. Incidence and Meanlngs. Popular literature in French-speaking Belgium bas written about the Congo since the years of the conquest, preceding and justifying il. But on the contrary, "stately" literature bas mocked or ignored it; as a matter of facto tbis taboo is partial. Three works of Jean Louvet, a playwright who is both the explorer and the guardian of the memory for bis old-industrial region, carry allusions to the Congo that bind the desÜDYof the colony to the sudden self awareness of the alienated working class in Wallonia. Sncb incidences are meaningful for what concerns the images of the colonial world in the consciousness of the working class. They reveal pieces of a collective memory which had been sensitive to Borne tropical dreams; at the lame time, they explain why a playwright, who was a progressive intellectual, rejected colonisation, represented through the phallic symbol of the whip.

Jean-Marc MOURA: Relations between the Thlrd World and the Western World ln the Works of Pierre Mertens This essay analyses the images of Mrica and the Third World in the works of Pierre Mertens, mainly through bis major political novel, Les bons offices. This essay shows how the African Third World represented by Biafra and decolonization in Congo, forms one of the clements in the ideological and moral education of the main character, Paul Sanchotte. Like the Third World, which is sometimes symbolized as a broken up body, Mrica makes Sanchotte realize bis moral, intellectual and existential inadequacy. This essay shows how the novel lies within the framework of a French and Belgian novelistic inspiration which deals with the exhaustion of Third Worldism, combined with the confusion of European intellectuals faced with the tormented and unpredictable history of a Third World they believed they had understood.

Juvénal NGORWANUBUSA: Post-colonlal Burundi ln Belglan franco- phone IIterature When Burundi achieved independence in 1962, the literary image of the country was at the lame time converted. Whereas colonialliterature presented the country as a peaceful and cohesive whole keeping the two most important groups of the society - Hutu and Tutsi - together, the belgian contemporaneous literature offers the contrary image of a clash among them. Anyway, this struggle is the main theme of Nadine Nyangoma's Le chant desfusillés and Anna Geramys' Le reste du monde. This article analyses an adventure of initiation, fronted by the bloody conflicts of 1965 and 1972. Mutima, Nyangoma's hero, will die during tbese struggles, and Marine Lears, the young teacher conceived by Geramys, will leave Burundi carrying away a dislike for life itself that will DeVetquit ber. This essay also sets the insoluble problem of objectivity in literature.