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L'écriture Poétique Dans L'espace Ouest-Africain

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L'écriture Poétique Dans L'espace Ouest-Africain UNIVERSITE DE LIMOGES ECOLE DOCTORALE THEMATIQUE : LETTRES, PENSEE, ARTS ET HISTOIRE FACULTE DES LETTRES ET DES SCIENCES HUMAINES Thèse N° Thèse pour obtenir le grade de Docteur de l’Université de Limoges Discipline / Spécialité : Lettres Présentée et soutenue par LICE JOHN MENDY Le 25 novembre 2011 L’ECRITURE POETIQUE DANS L’ESPACE OUEST-AFRICAIN Thèse dirigée par le Michel Beniamino JURY: Président du Jury M. Jean-Michel Devesa, Université de Bordeaux III Examinateurs : M. Jean-Michel Devesa, Université de Bordeaux III Jean Dominique Pénel, HDR, Université de Gambie Michel Beniamino, Université de Limoges DEDICACE A ma famille qui ne cesse de m’apporter le soutien moral. Particulièrement à ma femme Antowanette Mendy. A mon feu ami d’enfance Sergent-Chef Mamadou Lamine Badjie. En témoignage de ma gratitude. Au professeur Djibril Agne de l’UCAD qui après ma licence à l’UCAD m’a encouragé de continuer les études. REMERCIEMENTS Au professeur Michel Beniamino de qui nous avons bénéficié d’un encadrement rigoureux et constant. Nous lui exprimons toute notre gratitude. A Jean-Dominique Penel dont nous ne cesserons de dire Merci pour avoir initié ce programme de l’Université de Limoges en Gambie. A madame Chitour qui nous a aussi accompagné pendant ce cursus. A la coopération française qui sans elle nous ne serions là aujourd’hui. A l’écrivain et économiste Tijan M. Sallah qui n’a ménagé aucun effort pour m’apporter la documentation nécessaire et répondre à mes requêtes. Au Poète Amadou Lamine Sall qui était à ma disposition dès mon premier contact avec lui. Au professeur Tony Lopez University of Plymouth avec qui j’ai eu une discussion fructueuse lors de mes recherches à Londres. A Hassoum Ceesay, historien au Musée National de Gambie. A Madame Bessac de la scolarité de Limoges qui était toujours à l’écoute des étudiants gambiens. A l’écrivain et économiste Toumany Mendy, Paris et Moustapha sow, Londres qui ne ménageaient aucun effort pour me faciliter la tâche lors de mes recherches. A mon service, The West African Examinations Council (WAEC), Banjul de son soutien sans faille. A tous ceux qui ont manifesté un intérêt pour la réalisation de ce travail, nous disons merci. 2 SOMMAIRE DEDICACE ______________________________________________________________ 1 REMERCIEMENTS________________________________________________________ 2 INTRODUCTION GENERALE ________________________________________________ 5 PREMIERE PARTIE : POETIQUE DE LA PERSPECTIVE _____________________________ 14 L’AMOUR COMME HARMONIE DU MONDE _______________________________ 15 CHAPITRE I: LE DESIR____________________________________________________ 16 I. 1 LE CORPS COMME ELEMENT DU DESIR ________________________________ 18 I. 2 FRAGMENT DE L’EROS SEXUEL_______________________________________ 40 I. 3 LA FEMME COMME DON DIVIN ______________________________________ 58 I. 4 L’INCONSTANCE DU DESIR __________________________________________ 76 CHAPITRE II : UNE QUÊTE D’ETERNITE ______________________________________ 86 II. 1 LE DESIR MYSTIQUE _______________________________________________ 90 II. 2 CHEIKH AMADOU BAMBA ET LE MOURIDISME ________________________ 113 II. 3 UNE PRIERE DE DEMANDE ________________________________________ 134 II. 4 L’AMOUR COMME L’ESPOIR UNIVERSEL______________________________ 148 II. 5 LA TOLERANCE AU SERVICE DE L’HUMANITE __________________________ 164 II. 6 L’ELOGE DE LA LIBERTE ___________________________________________ 176 II. 7 L’UNITE COMME SOURCE DE DEVELOPPEMENT _______________________ 187 CHAPITRE III : LE POETE ET LA SOCIETE _____________________________________ 205 III. 1 LE POUVOIR ET LA CORRUPTION DANS L’ŒUVRE _____________________ 207 III. 2 UN REGARD SUR LES TRACES COLONIALES ___________________________ 249 III. 3 LE RÔLE DU POETE DANS LA SOCIETE _______________________________ 261 DEUXIEME PARTIE : L’ECRITURE ____________________________________________ 280 INTRODUCTION : LA STRUCTURE POETIQUE ______________________________ 281 CHAPITRE I: UNE ETUDE PARATEXTUELLE __________________________________ 284 I. 1 LE CHOIX DES COUVERTURES _______________________________________ 286 I. 2 UNE ORIENTATION DES TITRES DANS L’ŒUVRE ________________________ 294 I. 3 LES DEDICACES __________________________________________________ 312 I. 4 L’USAGE DES EPIGRAPHES _________________________________________ 340 CHAPITRE II : LE DISCOURS POETIQUE______________________________________ 352 II. 1 CHOIX DU LANGAGE _____________________________________________ 355 II. 2 LA FUSION PROSE POEME _________________________________________ 369 II. 3 UNE TENDANCE VERS LE POEME LIBRE_______________________________ 379 II. 4 UNE COMPOSITION INTERTEXTUELLE DANS L'ŒUVRE __________________ 388 II. 5 LA POLYPHONIE DANS L’ŒUVRE____________________________________ 400 II. 6 LA COULEUR CARNAVALESQUE DANS L’ŒUVRE _______________________ 407 3 II. 7 LE REPETITIF DANS L’ŒUVRE_______________________________________ 423 II. 8 LA NARRATION__________________________________________________ 433 II. 9 LA DESCRIPTION_________________________________________________ 443 II. 10 L’ORALITE _____________________________________________________ 453 CHAPITRE III : L’ESPACE ET LE TEMPS ______________________________________ 467 III. 1 UNE POETIQUE DU PAYSAGE ______________________________________ 471 III. 2 LES EMBRAYEURS RECURRENTS DANS L’ŒUVRE (JE, POÈTE/NARRATEUR) _ 482 III. 3 LES MAJUSCULES ET LES NOMS PROPRES DANS L’ŒUVRE ______________ 492 III. 4 LA RARETE DE LA PONCTUATION DANS L’ŒUVRE______________________ 496 III. 5 LE SILENCE DANS L’ŒUVRE _______________________________________ 500 CONCLUSION GENERALE __________________________________________________ 506 INDEX _________________________________________________________________ 529 BIBLIOGRAPHIE _________________________________________________________ 529 I. CORPUS _________________________________________________________ 536 II. BIBLIOGRAPHIE GENERALE _________________________________________ 537 III. REVUES ET ARTICLES ______________________________________________ 545 ANNEXE________________________________________________________________ 547 I. CORRESPONDANCES ADRESSEES A TIJAN M. SALLAH _____________________ 548 II. AMADOU LAMINE SALL ____________________________________________ 557 III. CONTEXTE SOCIO- HISTORIQUE DU MOURIDISME_______________________ 565 IV. CONTEXTE SOCIO-HISTORIQUE DES TOUCOULEURS _____________________ 572 4 INTRODUCTION GENERALE 5 Dans cette thèse, nous nous proposons de cerner le sujet suivant : L’écriture poétique dans l'espace ouest-africain. II s'agit là d'une analyse comparative de l'œuvre de Tijan M. Sallah, un écrivain gambien, dont la langue d'écriture est l'anglais, et de celle de Amadou Lamine Sall, qui, originaire du Sénégal, écrit en français. Avant de revenir à la thèse proprement dite, nous jugeons nécessaire de vous présenter brièvement nos poètes et leurs œuvres. Ceci nous permettra de mieux comprendre la thématique du présent travail. Tijan M. Sallah est né à Serrekunda (Gambie) en 1958. Après de brillantes études au Lycée St. Augustin de Banjul, il part aux Etats Unis où ses études supérieures sont couronnées par un doctorat en économie à Virginia Polytechnic Institute. Son goût pour la littérature et son talent se sont très tôt manifestés à travers le journal du Lycée : « Sunu Kibaro1 » Les mots du Révérend Père Gough, prêtre irlandais et professeur d’anglais au Lycée à l’époque, revêtent un caractère prophétique, si on considère le Sallah d’aujourd’hui. Le père Gough disait ces mots que voici : « May be someday you will be the Gambia’s great writer, and the students will be reading your works in the Moore and Beier anthology2 » (Peut – être un jour tu deviendras un très grand écrivain gambien et les étudiants étudieront tes œuvres dans les anthologies de Moore et Beier.) Sallah a fait preuve de talent à travers différents établissements universitaires aux Etats – Unis. Professeur d’économie à Kutztown University en Pennsylvanie et en Caroline Nord A&T State University à Greesboro. Poète, écrivain et Economiste, Tijan M. Sallah Sallah est ajourd’hui le directeur du service chargé du renforcement des capacités et du partenariat à la Banque Mondiale. En 1984, il fut honoré d’un doctorat honoris causa en littérature par l’Académie Mondiale des Arts et de la Culture à Taipei, Taiwan. Son premier recueil de poèmes When Africa was a Young Woman, Writers Workshop,Calcutta, India, 1980, (Quand l’Afrique était une jeune femme ) le rendit célèbre : les critiques lui furent favorables et la BBC diffusait cette œuvre sur les ondes. C’est dans cette perspective que le critique américain Charles Larson disait : « There is little question about Sallah’s talent » (On n’a pas grande chose à dire concernant le talent de Sallah.) C’est un recueil de 54 pages, dédié à sa mère. Ce recueil est divisé en deux parties : la première intitulée « On Africa », contient 9 1 Mots Wolof et Manding qui veulent dire notre journa.l 2 Dr. Fatima Jagne, The Gambia Weekly, no 33 6 poèmes, la seconde, intitulée « On People, Places and Things », en comprend 27. Ce recueil analyse l’Afrique précoloniale et les brusques changements qui ont suivi la période postcoloniale. Son deuxième livre, Before The New Earth, Writers Workshop, India, 1988 (Avant la Nouvelle Terre) est une œuvre composée de 16 nouvelles. La plupart des histoires sont tirées de l’expérience gambienne. Ce sont des histoires morales d’une société qui se cherche tout en jetant un regard sur son passé pour mieux préparer son avenir. Plus qu’une fiction,
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