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Prã©Sence Francophone, Numã©Ro 87 Présence Francophone: Revue internationale de langue et de littérature Volume 87 Number 1 L e social et ses discours dans le Article 1 roman francophone d’Afrique et des Antilles 12-1-2016 Présence Francophone, Numéro 87 Follow this and additional works at: https://crossworks.holycross.edu/pf Part of the French and Francophone Language and Literature Commons Recommended Citation (2016) "Présence Francophone, Numéro 87," Présence Francophone: Revue internationale de langue et de littérature: Vol. 87 : No. 1 , Article 1. Available at: https://crossworks.holycross.edu/pf/vol87/iss1/1 This Complete Issue is brought to you for free and open access by CrossWorks. It has been accepted for inclusion in Présence Francophone: Revue internationale de langue et de littérature by an authorized editor of CrossWorks. et al.: Présence Francophone, Numéro 87 REVUE INTERNATIONALE DE LANGUE ET DE LITTÉRATURE Le social et ses discours dans le roman francophone d’Afrique et des Antilles Published by CrossWorks, 2016 1 Présence Francophone: Revue internationale de langue et de littérature, Vol. 87, No. 1 [2016], Art. 1 https://crossworks.holycross.edu/pf/vol87/iss1/1 2 et al.: Présence Francophone, Numéro 87 PRÉSENCE FRANCOPHONE 06 Numéro 87 Le social et ses discours dans le roman francophone d’Afrique et des Antilles DOSSIER Présentation Justin Bisanswa et Olga Hel-Bongo ....................................5 Ironie et autoréflexivité dans Un dimanche au cachot de Patrick Chamoiseau Olga Hel-Bongo .................................................................6 Voies/voix réflexives du discours social mortifère dans L’ombre de Baudelaire de Fabienne Pasquet Lucienne J. Serrano ..........................................................9 Alfred Alexandre : écrivain « post-créol(ist)e » ? Françoise Simasotchi-Bronès ...........................................4 Portrait de l’exclu dans Le lys et le flamboyant d’Henri Lopes Médard Bouazi ..................................................................68 Essai de typologie des familles éclatées dans l’œuvre romanesque de Calixthe Beyala Clémentine Mansiantima Nzimbu ......................................79 Littérature congolaise : imaginaire et miroir de l’urgence sociale Ngwarsungu Chiwengo ...................................................00 Quelle modernité congolaise ? Et quelle(s) modalité(s) pour la dire ? Charles Djungu-Simba K. ................................................4 « Nous avons besoin d’ouvrir le pays » : le développement et le scénario clef du point de vue chrétien dans l’espace social des séries télévisées de Kinshasa Katrien Pype ....................................................................40 Published by CrossWorks, 2016 3 Présence Francophone: Revue internationale de langue et de littérature, Vol. 87, No. 1 [2016], Art. 1 4 Fabulations ou imaginaires vacillants : l’écriture de Rakotoson et Raharimanana entre histoire, mémoire et urgence du social Ute Fendler ......................................................................64 La configuration du monde social dans le discours littéraire d’Alioum Fantouré Buata B. Malela ...............................................................77 Urgence du social et dimension utopique du roman africain. Une lecture de Pacte de sang de Pius Ngandu Nkashama Kasereka Kavwahirehi .....................................................9 D’une altérité l’autre. L’énigme de l’homosexualité dans Le bel immonde de V. Y. Mudimbe Justin Bisanswa ............................................................... INDEX........................................................................................40 ABSTRACTS .............................................................................45 https://crossworks.holycross.edu/pf/vol87/iss1/1 4 et al.: Présence Francophone, Numéro 87 Présentation 5 Le social et ses discours dans le roman francophone d’Afrique et des Antilles ne certaine tradition critique a toujours souligné la relation entre Ule roman francophone et l’environnement socio-historique. Objet d’une lecture mimétique, le texte est perçu comme un miroir des sociétés et des cultures dont il émerge. Même le chaos énonciatif est souvent considéré comme le signe anomique de ces sociétés postcoloniales réputées avoir tourné le dos au développement depuis leur accession à l’indépendance politique. Saisies à travers la notion d’engagement en vogue lors de l’émergence, leurs littératures sont vues selon un rapport de reflet du réel, du social. Le point commun des textes qui constituent ce numéro est l’interrogation des modalités par lesquelles l’écrivain francophone dit le monde et comment chaque discours traduit l’histoire et son énonciation (Greimas et Courtés, 1979), c’est-à-dire l’implication du sujet dans ce qu’il dit. Construisant le monde selon sa propre visée ou son intentionnalité, l’auteur se construit aussi lui-même, se met en scène. L’écriture est ainsi, dans une perspective sociale élaborée par Flahaut (1979), une médiation entre le sujet et le monde, un « intermédiaire » entre soi, les autres et le monde. La fiction garde ses droits, avec ses revirements, ses rebonds, ses fantasmes. Les textes qui composent ce numéro s’efforcent d’analyser la formation sociale à laquelle appartient le sujet en relation avec le discours où cette formation apparaît. Chaque prise de parole rend compte de la charge sociale que l’individu véhicule à travers ses actes. On sait que la littérature exprime le discours social dans son ensemble, au sens où l’entend Marc Angenot : « tout ce qui se dit, tout ce qui s’écrit dans un état de société donné » (1989 : 20). Comme Mikhaïl Bakhtine l’a régulièrement rappelé dans ses écrits, le langage a « inévitablement les harmoniques du contexte » dans lequel il apparaît. Les signes qu’il rassemble et agence ne sont jamais neutres, mais constituent une « concrétion socio-idéologique vivante » et « une opinion multilingue sur le monde » (1978 : 114). Dans cette perspective, Olga Hél-Bongo s’attache à montrer comment, dans Un dimanche au cachot, tout en révélant la mémoire de l’esclavage, le roman suscite et exprime un doute sur l’intrigue Published by CrossWorks, 2016 5 Présence Francophone: Revue internationale de langue et de littérature, Vol. 87, No. 1 [2016], Art. 1 6 Présentation comme sur les personnages, grâce à la subversion, à la parodie et au reniement des excès. Établissant un nouveau pacte avec son lecteur, l’écrivain livre ses stratégies de fabrication littéraire et jette un regard parodique et ironique sur le monde, sur lui-même, sur ses œuvres et sur sa posture d’essayiste. Pour Olga Hél-Bongo, le métatexte qui constitue l’intrigue du roman conjugue étroitement aspect ludique et regard lucide dans un contexte d’auto-parodie sur les romans antérieurs et sur le discours critique à propos de ces œuvres. La dénégation, la citation, le commentaire, l’épopée, la mise en abyme forment le dispositif narratif de Chamoiseau et inscrivent la diversité au cœur de l’identité de l’Antillais et de la fiction du moi. Le personnage de Caroline se présente ainsi comme l’instance-relai entre sa propre histoire, racontée par le narrateur, l’éducateur-écrivain, alias Chamoiseau, et l’histoire de L’Oubliée, surnommée ainsi parce que mal aimée et abandonnée par sa mère. Ce dédoublement des personnages est le pivot de deux temporalités narratives, celle du présent de la narration et celle de notre époque contemporaine. Il apparaît que l’autoréflexivité interrompt fréquemment le récit pour se livrer à des considérations générales sur le monde, les personnages, la littérature, la modernité, le statut des Antilles. Lucienne Serrano, pour sa part, s’efforce de décrypter l’énigme des « voies/voix réflexives du discours social mortifère dans L’ombre de Baudelaire de Fabienne Pasquet ». Le roman use d’une intertextualité et d’une interdiscursivité effervescentes. « L’ombre dont il est question dans le titre de l’ouvrage, écrit Serrano, révèle, tout en la cachant, Jeanne Duval, la maîtresse de Baudelaire ». À la mort du héros de la révolution haïtienne, Makandour, une petite fille, respectant le vœu de ce dernier, tue de neuf coups de couteau « son petit bon-ange », déchirant ainsi le livre de l’esclavage et inaugurant la conquête de la liberté. Pourtant, dix ans après, se trouvant à Paris, « cette enfant devenue femme » ne se souvient plus de son passé, et c’est un narrateur, Privat, qui raconte sa vie. Serrano observe la superposition et l’enchevêtrement des réseaux narratifs : les réminiscences à partir d’un signe ou d’un indice (le « vieux flacon »), l’histoire de « l’inspirateur de la révolte des esclaves d’Haïti » et de sa geste libératrice, sa zombification lors de sa mort, l’histoire de Jeanne Duval, maîtresse de Baudelaire, racontée par https://crossworks.holycross.edu/pf/vol87/iss1/1 6 et al.: Présence Francophone, Numéro 87 Présence Francophone 7 Privat ignorant tout du passé de celle-ci et ne mentionnant jamais le sien, celle de Privat au travers de celle de Jeanne. Mais Jeanne reste une énigme : on ne sait rien d’elle, quand et pourquoi elle a quitté Haïti, quand elle est arrivée à Paris. Par une analyse psychanalytique, Serrano démonte le « naufrage de mémoire » de Jeanne à partir du symbole du « flacon vide » de Baudelaire. Cette jeune femme dont on ignore tout, et qui ne veut rien savoir de son passé, avait renoncé à la lutte de Makandour et choisi l’amour et la gloire comme on peut le voir à travers ses successives métamorphoses : maîtresse et muse du célèbre Baudelaire, sa disparition de la toile de
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