Le thème de l’immigration a inspiré une floraison d’œuvres littéraires francophones. Celles-ci prennent appui sur les grandes mobilités humaines et technologiques inhérentes au XXIesiècle et figurent les défis propres à la société de globalisation, principalement les problèmes de cohabitation interculturelle. La réception de ce corpus, dans le cas du roman africain subsaharien, parle de l’émergence d’une "nouvelle génération" de romanciers africains; thèse par ailleurs accréditée par la démarche institutionnelle des écrivains migrants eux-mêmes, comme en témoigne l’affiliation de certains au mouvement de la "littérature-monde" en français. La thèse se propose d’interroger cette problématique à travers une approche inspirée de l’analyse du discours littéraire. Elle se fonde sur le rappel de l’historiographie du roman africain de voyage. Il s’agit d’abord de questionner la périodisation des œuvres qui mettent en scène le parcours d’un personnage africain en Occident, dont certaines, bien que fondatrices, sont rarement prises en compte par le discours critique. Ensuite l’analyse porte sur la comparaison des œuvres de la "négritude" et celles de la "migritude",d’une part à l’aune des catégories comme le personnage, l’espace et l’imaginaire; d’autre part à travers les phénomènes d’intertextualité entre ces romans. Enfin, à la lumière des théories postcoloniales et de la sociologie du fait littéraire, la thèse présente cette littérature émergente comme la réécriture d’une archive; l’interrogation relative à l’accessibilité de l’Afrique et de sa diaspora à la culture du monde global. En cela la "migritude" se pose comme un mot-valise qui intègre aussi le discours de la "négritude". / The topic of immigration has inspired an explosion of novels in Francophone Literature. They usually lean on the twenty-first century’s mobility of people and technologies in order to fictionalize issues related to cosmopolitanism. In the specific context of sub-Saharan African Literature, literary criticism assimilates this corpus to the ‘’Migritude’’, a phenomenon presented as the raising of a new generation of African writers in contemporary France. The writer’s institutional approach also comes to strengthen this perception. Indeed, a mess of them have signed the manifesto of the World Literature in French. Our thesis needs to examine these problems through the Literature Discourse Analysis approach. The primary step is about the reminder of historiography related to postcolonial African travel fictions. Afterwards the reflection seeks to compare those African novels, between the founding and the recent, on the basis of categories such as characters, space and imaginary. With regard to postcolonial theories as well as the narrative phenomenon of intertextuality, this thesis finally consider the emerging of post-colonial African Travel Literature as the rewriting of an archive running across Francophone African travel-writings since the early twenty century. They all question the accessibility of Africa and its diaspora to the Global Culture.

L’étude porte sur le rapport entre la littérature et l’histoire, plus précisément sur la récupération de l’histoire en littérature. En effet, au regard de certaines fictions on constate que le fait historique vient nourrir le contenu des textes. En d’autres termes, le fait historique devient un réservoir dans lequel les écrivains vont puiser la matière de leurs œuvres. Toutefois si on s’accorde sur le principe que le texte littéraire puise dans l’histoire, il est évident que la matière historique peut être exploitée à des fins diverses. Ainsi on peut s’interroger sur les motivations des auteurs qui puisent dans le passé.On rapportera cette problématique à deux écrivains africains : Mongo Beti et Patrice Nganang. On s’interrogera sur les effets escomptés par ces auteurs qui ont recours à l’histoire. L’exploration du passé, qui leur permet de se positionner, est un prétexte, un moyen pour eux de se forger une nouvelle conscience. Dans leurs œuvres, la dimension historique sert à formuler des approches sociopolitiques, à critiquer l’ordre établi, à affirmer le rôle et la place de l’écrivain dans le champ littéraire. C’est leur statut d’écrivain qui est ainsi redéfini. / The study focuses on the relationship between literature and history, specifically on the recovery of literature in history. Indeed, under certain fictions shows that the historical fact comes to feed the contents of the texts. In other words, the historical fact is a reservoir in which writers will draw material from their works. However if there is agreement on the principle that the literary text draws from history, it is clear that the historical material can be exploited for various purposes. So one wonders about the motives of the authors that tap into the past.We bring this issue to two African writers: Mongo Beti and Patrice Nganang. We will discuss the expected effects by these authors that use history. The exploration of the past, enabling them to position itself, is a pretext, a way for them to forge a new consciousness. In their works, the historical dimension is used to formulate socio-political approaches to criticize the established order, to affirm the role and place of the writer in the literary field. It is their status as a writer who is redefined.

Il s’agit de présenter une étude critique et comparative des romans No Longer at Ease (1960) et A Man of the People (1966), de l’écrivain Nigérian Chinua Achebe, et de A geração da utopia (1992) et Predadores (2005), de l’Angolais Pepetela. Par l’analyse des contextes historique, géographique, politique et littéraire qui tournent autour et quitraversent la tessiture des romans étudiés, l’on propose de montrer comment les deux écrivains africains s’approprient du roman, genre cosmopolite par excellence, pour l’adapter aux conditions locales de production du roman dans l’Afrique postcoloniale, de façon à exprimer littérairement la (dis)jonction entre métropole et postcolonie et le processus de (re)construction de la nouvelle nation. Notre intérêt dans l’analyse de ces romans est de réfléchir sur les types de négociations et concessions que les narrateurs ont besoin de faire pour raconter leurs récits. Pour ce faire, nous étudions le statut du narrateur, la configuration des personnages, la transformation du processus social en forme littéraire, la représentation de la nation et le langage mis en pratique par les auteurs pour représenter cette réalité. Les personnages évoqués sont ceux qui représentent la nouvelle « bourgeoisie » du moment postcolonial du Nigéria et de l’Angola, lesquels font partie de cette nouvelle classe sociale, responsable par la sphère bureaucratique qui surgit dans les pays africains après les processus d’indépendance, à partir des années 1960. La mise en dialogue des écrivains Pepetela et Achebe se fonde dans la proximité de style littéraire présentée par eux et par le rapprochement démontré par l’élection des sujets traités dans leurs ouvrages. Il faut encore préciser qu’ils sont tous les deux des observateurs perspicaces de la réalité de leurs pays et qu’ils se servent d’un langage acéré, rempli d’une ironie subtile. L’on propose, donc, dans cette étude, devérifier la thèse de l’existence d’une articulation entre le thème de l’ascension des personnages corrompus, membres des nouvelles élites bourgeoises, et les modifications progressives des récits analysés, dans la mesure où l’on passe de la lecture des romans dont les trames narratives représentent des moments antérieurs aux mouvements d’indépendances vers la lecture de romans qui mettent en scène des contextes postérieurs aux indépendances. Partant de l’analyse des composantes identitaires et linguistiques, nous examinons les points de confluence et diffluence entre les oeuvres deAchebe et Pepetela dans la représentation des élites postcoloniales / This dissertation presents a critical and comparative study of the novels entitled No Longer at Ease (1960) and A man of the People 1966), by the Nigerian writer Chinua Achebe, and the novels A geração da utopia (1992) and Predadores (2005), by the Angolan writer Pepetela. By means of the analysis of historical, geographical, political and literary contexts that surround and permeate the fabric of the novels mentioned above, we demonstrate how both African writers appropriate the novel – a cosmopolitan genre par excellence – to adapt it to local conditions of novel production in postcolonial Africa, so to literarily express the (mis)match between metropolis and postcolony and the process of (re)construction of the new nation. What interests us in these novels is to reflect on the types of negotiations and concessions that the narrators need to do to tell their stories. To do so, we study the status of the narrator, the configuration of the characters, the transformation of the social process in literary form, the representation of the nation and the language summoned by the authors to represent such reality. We focus primarily on the characters that represent the new “bourgeois” of the postcolonial periods in Nigeria and Angola, who belong to these new social class, responsible for the burocratic domain which emerges in African countries after the processes for independence in the 60’s. We chose Pepetela to dialogue with Achebe because they have similar literary style and because their thematic choices are very similar. Both are keen observers of their countries’ realities and they use sharp language, full of subtle irony. Thus, we propose to investigate the thesis that there is an articulation between the theme of the rising of corrupted characters, members of new bourgeois elites, and the progressive modifications in the narratives analysed, as we move from the reading of novels which enact moments previous to the independences, to the reading of novels which portray the contexts after them. From the analysis of the identity and linguistic components, we investigated the points of confluence and detachment between Achebe’s and Pepetela’s works in representing postcolonialrealities / Esta tese apresenta um estudo crítico e comparativo dos romances No Longer at Ease (1960) e A Man of the People (1966), do escritor nigeriano Chinua Achebe, e de A geração da utopia (1992) e Predadores (2005), do angolano Pepetela. Por meio da análise dos contextos histórico, geográfico, político e literário que circundam e perpassam a tessitura dos referidos romances, propomos mostrar como ambos os escritores africanos apropriam-se do romance, gênero cosmopolita por excelência, para adaptá-lo às condições locais de produção do romance na África pós-colonial, de modoa expressar literariamente o (des)encontro entre metrópole e pós-colônia e o processo de (re)construção da nova nação. O que nos interessa nesses romances é refletir sobre que tipos de negociações e concessões os narradores precisam fazer para contar suas histórias. Para isso, estudamos o estatuto do narrador, a configuração dos personagens, atransformação do processo social em forma literária, a representação da nação e a linguagem convocada pelos autores para representar tal realidade. Enfocamos primordialmente os personagens que representam os novos “burgueses” da fase póscolonial da Nigéria e de Angola, os quais fazem parte da nova classe social, responsável pela esfera burocrática que surge nos países africanos depois dos processos de independência, a partir dos anos 1960. A escolha de Pepetela para dialogar com Achebe fundamenta-se na proximidade de estilo literário apresentado pelos dois autores e pelaafinidade que demonstram na eleição dos temas tratados em suas obras. Ambos são observadores perspicazes das realidades de seus países e utilizam linguagem afiada, repleta de sutil ironia. Propomos, portanto, averiguar a tese de que existe uma articulação entre o tema da ascensão dos personagens corruptos, membros das novas elites burguesas, e as modificações progressivas das narrativas analisadas, na medida em que passamos da leitura dos romances cujos enredos representam momentos anteriores às independências para a leitura dos romances que encenam contextosposteriores a elas. Partindo da análise dos componentes identitários e linguísticos, investigamos os pontos de confluência e de distanciamento entre as obras de Achebe e Pepetela, na representação das realidades pós-coloniai

This thesis examines representations of the French educational system in Senegal as presented in L'aventure ambiguë and L'appel des arènes. Each unfolding respectively within a colonial and postcolonial Senegalese context, the novels problematize the French school system by incorporating representations of its failures. As this thesis will argue, analyzing each author's educational discourse will unmask a Senegalese perspective on a French institution, showcase various ways that Senegalese students internalized their educational experience and provide representations of the ways in which French education could be, and was, utilized by its pupils. Using two African novels in French to interpret historical experience will facilitate understanding of the French educational system from a Senegalese perspective. The first chapters create a foundation for analysis: Chapter two explains French goals and objectives when implementing a formal educational system in West Africa, while chapter three explores the form and function of the African novel in order to present it as a useful historical tool. Having defined the African novel in French as a viable means to interpret historical experience, chapter four focuses analysis on revealing how a system that was meant to procure French dominance, was ultimately transformed into a tool for Senegalese advantage. / Master of Arts

This study examines the role of African novelists as major sources of historiography of Africa, and the socio-cultural experience of its people. Although many African novelists have over the years reflected issues of social and political significance in their works, only a few scholarly works seem to have addressed this phenomenon adequately. A major objective of this dissertation then is to help fill this gap by explicating these issues in the fiction of Chinua Achebe, a great iconic figure in African Literature. Utilizing the conceptual and analytical framework suggested in C.T. Keto's, Africa-Centered Perspective on History (1989), the contexts, themes, structures and techniques of the following five novels were examined: Things Fall Apart (1958), No Longer at Ease (1960), Arrow of God (1964), A Man of the People (1966), and Anthills of the Savannah (1987). The novels were shown to be replete with cogent social and political insights which provide an accurate portraiture of African/ Nigerian history of the 19th and 20th Century. The study seeks to make a modest contribution to the steadily mounting body of Africa centered criticism of the African novel/fiction within the context of African social and political history. / African American Studies

Nossa pesquisa teve como objeto de estudo os romances Mãe, materno mar (2001), do angolano Boaventura Cardoso (1944-), e Um rio chamado tempo, uma casa chamada terra (2003), do moçambicano Mia Couto (António Emílio Leite Couto [1955-]). O estudo centrou-se na análise comparativa dos dois romances, procurando desvendar, através da forma, as estratégias empregadas na construção temporal de suas narrativas, e a capacidade de as mesmas refletirem e iluminarem o conflito modernidade versus tradição na experiência social onde as obras se produziram. E, conseqüentemente, apontar o quanto tais estratégias revelam das peculiaridades do gênero romanesco em sua versão africana. Para embasar a hipótese do tempo como elemento-chave em nosso estudo, elegemos alguns recursos teóricos e interpretativos de Norbert Elias, Paul Ricoeur e Leda Martins, além das contribuições gerais da crítica literária africana e africanista. / The object of our study are the novels Mãe, materno mar (2001) by the Angolan writer Boaventura Cardoso (1944-), and Um rio chamado tempo, uma casa chamada terra (2003) by the Mozambiquean writer Mia Couto (António Emílio Leite Couto [1955-]). The research focuses upon a comparative analysis of these novels by pointing to the strategies applied to temporal constructions into these narratives, as well as their capacity of reflecting and illuminating the conflict between modernity versus tradition in the social experience where these works have been produced. And therefore, to discover how such strategies would reveal the peculiarities of the genre novel in its African version. In order to base the hypothesis of \"time\" as a key-element in our study, we elected some theoretical and interpretative resources from Norbert Elias, Paul Ricoeur, and Leda Martins; as well as general contributions from African and Africanist literary criticism.

No description available.

Nossa pesquisa teve como objeto de estudo os romances Mãe, materno mar (2001), do angolano Boaventura Cardoso (1944-), e Um rio chamado tempo, uma casa chamada terra (2003), do moçambicano Mia Couto (António Emílio Leite Couto [1955-]). O estudo centrou-se na análise comparativa dos dois romances, procurando desvendar, através da forma, as estratégias empregadas na construção temporal de suas narrativas, e a capacidade de as mesmas refletirem e iluminarem o conflito modernidade versus tradição na experiência social onde as obras se produziram. E, conseqüentemente, apontar o quanto tais estratégias revelam das peculiaridades do gênero romanesco em sua versão africana. Para embasar a hipótese do tempo como elemento-chave em nosso estudo, elegemos alguns recursos teóricos e interpretativos de Norbert Elias, Paul Ricoeur e Leda Martins, além das contribuições gerais da crítica literária africana e africanista. / The object of our study are the novels Mãe, materno mar (2001) by the Angolan writer Boaventura Cardoso (1944-), and Um rio chamado tempo, uma casa chamada terra (2003) by the Mozambiquean writer Mia Couto (António Emílio Leite Couto [1955-]). The research focuses upon a comparative analysis of these novels by pointing to the strategies applied to temporal constructions into these narratives, as well as their capacity of reflecting and illuminating the conflict between modernity versus tradition in the social experience where these works have been produced. And therefore, to discover how such strategies would reveal the peculiarities of the genre novel in its African version. In order to base the hypothesis of \"time\" as a key-element in our study, we elected some theoretical and interpretative resources from Norbert Elias, Paul Ricoeur, and Leda Martins; as well as general contributions from African and Africanist literary criticism.

Le but de cette thèse est d’étudier l’écriture du corps chez deux romancières qui ont l’Afrique comme terre natale ; Ahlam Mosteghanemi de l’Algérie et Calixthe Beyala du Cameroun. Notre analyse trace l’inscription du corps dans une structure symbolique où se croisent discours sociaux et pratiques littéraires. L’écriture du corps, féminin et masculin, est étudiée dans une optique de problématisation des pratiques sociales et littéraires qui lui sont attachées. Plus qu’une simple représentation, le corps devient un travestissement esthétique par lequel les deux romancières contournent la censure pour aborder tous les tabous de leurs sociétés. Ainsi l’espace dudit corps réunit des discours de subversion et de renversement, mais aussi de négociation et d’autocensure. D’autre part le corps sujet d’écriture porte en lui un déchirement, un morcellement et une souffrance et ne semble se concevoir et se vivre que dans la douleur et dans la difficulté d’être. Ce corps textuel sentant et souffrant exprime un rapport au monde et aux autres et s’inscrit dans une quête de confirmation de soi. / The goal of this thesis is the study of way tow African novelists describe the body ; Ahlam Mosteghanemi from Algéria and Calixthe Beyala from Cameroon. Our analisis traces the writings about the body to a symbolic structure where social discourses meet literary practices. The writings about the body, male or female, are studied from a perspective locked in the problematics of social and literary practices. More than a simple description, the body becomes an esthetic disguise through which the two novelists bypass censorship to tackle all their cultural taboos. Thus the sphere of the body combines discourses of subversion and reversal as well as negotiation and self censorship. What’s more, the body subject of literature bears in itself a tearing, a division and a suffering and seems to only understand and live its existence in pain and difficulty. This literal body that feels and suffers expresses a relationship to the world and to others and is part of a quest for self-affirmation.

No description available.