Ce travail tente d’établir, à partir de la pensée et de la vision que développe Edouard Glissant dans ses essais, une nouvelle approche, ou du moins une approche différente de la littérature comparée. Cette approche a pour fondement les concepts clés tels que le chaos-monde, le tout-monde, la créolisation et l’opacité. La relation surgit de ce que Glissant nomme le chaos-monde, cette rencontre, ce choc de cultures toujours à l’oeuvre dans notre monde. Cette confrontation, ce contact avec l’autre ne peut que produire de la relation. Nous vivons depuis toujours, et aujourd’hui bien plus que jamais, dans un espace pluriel caractérisé par la participation-confrontation, selon des modes variés, hétérogènes, voire conflictuels, de multiples cultures; quand bien même nous n’aurions jamais vu ces autres peuples, le fait d’avoir connaissance de leur existence contraint toujours déjà et nécessairement à l’instauration d’une relation. Cette relation, qui, chez Glissant, est avant tout à l’oeuvre dans le monde des hommes, comporte tous les éléments d’une approche comparatiste en littérature : mettre en relation des ouvrages différents mais néanmoins équivalents, analyser un ouvrage en gardant à l’esprit la multiplicité d’oeuvres existantes, comparer tout en respectant les différences propres à chaque oeuvre, telle est, semble-t-il, la tâche du comparatiste. Il s’agit, à partir du chaos-monde perçu comme confrontation de tous les ouvrages de notre corpus, de révéler une relation au sens glissantien du terme. Les termes de déclinaisons, inclinations et déclins nous engagent dans la description des trajets de lectures en montrant autant les capacités que les limites de cette approche. / Building on the theory developed by Edouard Glissant in his essays, this work attempts to draw up a different approach for the analysis of compared literature. This method is based on the key concepts developed by Glissant. All relationships are the offsprings of what Glissant calls the chaos-world, which is this encounter, this clash of cultures constantly at work in our world. This confrontation with the other cannot but give rise to relationship. Since time immemorial, we’ve been living and today we, more than ever, live in a plural setting, the defining characteristic of which is the cooperation and confrontation of multiple cultures on varied, heterogeneous and even conflictual modes; even if we have not seen these people who are so different and come into direct contact with their cultures as such, the very fact that we know of their existence always compels us to start some kind of relationship. In the works of Glissant, this relationship, which is at work in the world of human beings, comprises all the required elements for a comparative approach in the field of literature. Indeed, it would seem that the task of the comparatist consists in bringing together different but comparable works, in analyzing a piece of work while having in mind the multiplicity of works existing at the same time, and in comparing everything whilst respecting the differences exclusive to each work. Starting from the chaos-world perceived as a confrontation between all the works of our corpus, the whole point for us is to lay bare a relationship the way Glissant understands it. The concepts of declension, inclination and decline commit us to a description of reading journeys during which we show the scope as well as the limitations of this approach.

Text in English / Abstracts in English, Afrikaans and isiZulu / The present study deploys Ngugi wa Thiongo’s (2009) decolonial concepts of dismembering and re-membering to critically explore J. M Coetzee’s selected fiction. In my reading of the novels Waiting for the Barbarians, Foe and Disgrace, I relate concepts of dismembering and re-membering to decoloniality. In the rendition of Ngugi, dismembering refers to the displacement and dispossession of the colonised, and their mental colonisation through cultural imperialism. Re-membering becomes the decolonial effort to undo physical and psychological dismembering. In the same way in which, since the Berlin Conference of 1884/5, Africa was divided, mapped and colonised, the cultures and histories of Africans were dismembered and dominated. Concerns for the land are expressed in the mapping and the confiscation of land which is depicted in the native’s desert dwellings in Waiting for the Barbarians, Cruso’s clearing of the land in Foe and Petrus’s taking over of Lucy’s farm in Disgrace. Furthermore, Coetzee’s use of language is one important narrative strategy that is explored to ascertain how Coetzee negates or speaks for, of and about the colonised through the narrator focaliser. This study reveals the reflexive nature of the selected novels and seeks answers to the question of why Coetzee tends to make his “black” characters voiceless and rootless (and sometimes nameless)? Is Coetzee suggesting that they have been silenced by history, by colonialism, or is he suggesting that he, the author, has no right to speak on their behalf? In the mode of writing and story-telling, is Coetzee suggesting the impossibility of the coloniser to speak for the colonised or, in speaking of them, does he give the servant characters a voice and can this voice be theirs, or can it be considered reliable? Is Coetzee presenting the power of passivity as a means of resistance and re-membering? This study, from a decolonial perspective, engages with the complex way Coetzee handles voice and the question of the agency of the colonised. / Hierdie studie benut Ngũgĩ wa Thiong'o (2009) se dekoloniale begrippe van verdeling en herindeling in ʼn kritiese beskouing van J. M. Coetzee se geselekteerde fiksie. In my vertolking van die romans Waiting for the Barbarians, Foe en Disgrace, bring ek die begrippe van verdeling en herindeling in verband met dekolonialisme. In Ngũgĩ se vertolking verwys verdeling na die verplasing en onteiening van die gekoloniseerdes, en hul geestelike kolonisering deur kulturele imperialisme. Herindeling word die dekoloniale poging om fisiese en sielkundige herindeling ongedaan te maak. Op dieselfde manier wat Afrika verdeel, gekarteer en gekoloniseer is sedert die Berlynse Konferensie van 1884/5, is Afrikane se kulture en geskiedenisse verdeel en gedomineer. Kommer oor die grond word te kenne gegee in die kartering en konfiskering van grond – soos uitgebeeld in die boorling se woestynverblyf in Waiting for the Barbarians, Cruso se opruiming van die grond in Foe en Petrus se oorname van Lucy se plaas in Disgrace. Verder is Coetzee se taalgebruik ʼn belangrike verhalende strategie wat bestudeer word om vas te stel hoe Coetzee die gekoloniseerde ontken of vir, van en oor die gekoloniseerde praat deur middel van die verteller/fokaliseerder. Hierdie studie openbaar die refleksiewe aard van die geselekteerde romans en soek vir antwoorde op die vraag van waarom Coetzee geneig is om sy “swart” karakters stemloos en wortelloos (en soms, naamloos) te maak. Suggereer Coetzee dat hulle deur die geskiedenis, deur kolonialisme, stilgemaak is – of suggereer hy dat hy, die outeur, nie die reg het om namens hulle te praat nie? Wil Coetzee deur sy manier van skryf en vertelling, aan die hand doen dat dit onmoontlik is dat die koloniseerder vir die gekoloniseerde kan praat; of, wanneer hy van hulle praat, gee hy aan die dienaarkarakters ʼn stem en kan dit hulle stem wees, of kan dit as betroubaar beskou word? Hou Coetzee die kraag van passiwiteit voor as ʼn vorm van weerstand en herindeling? Hierdie studie ondersoek, vanuit ʼn dekoloniale perspektief, die komplekse wyse waarop Coetzee stem en die vraag van die tussenkoms van die gekoloniseerde hanteer. / Ucwaningo lwamanje luchitha imiqondo ka-Ngũgĩ wa Thiong'o (2009) yokuqothula nokujoyina kabusha ukungabuswa ngelinye izwe ekuhloliseni ngokucophelela ukuqamba okukhethiwe kukaJ.M. Coetzee. Ekufundeni kwami amanoveli i-Waiting for the Barbarians, Foe and Disgrace, ngichaza imiqondo yokuqothula futhi ukujoyina kabusha ekungabusweni ngelinye izwe. Ekuhumusheni kuka-Ngũgĩ, ukuqothula kubhekisela ekufudukeni nasekuthunjweni kwalabo ababuswa ngelinye izwe, kanye nengqondo yabo ekubusweni ngelinye izwe ngokusebenzisa imiphakathi yamasiko. Ukujoyina kabusha kuba wumzamo wokungabuswa ngelinye izwe ukulungisa ukuqothula kokukhubazeka ngokomzimba nangokwengqondo. Ngendlela efanayo lapho i-Afrika ihlukaniswe ngakhona, ihlelwe ibalazwe futhi ibuzwa ngelinye izwe kusukela kwiNgqungquthela yaseBerlin ka 1884/5, amasiko kanye nemilando yabantu base-Afrika yaqothulwa futhi yabuswa. Ukukhathazeka kwezwe kuboniswa ebalazweni nasekuthunjweni komhlaba - njengoba kuboniswe ezindaweni zokuhlala zasogwadule ku- Waiting for the Barbarians, ku-Cruso ukuhlanzwa komhlaba-enovelini i-Foe nakuPetrus ukuthatha ipulazi likaLucy enovelini i-Disgrace. Ngaphezu kwalokho, ukusetshenziswa kolimi lukaCoetzee kuyisisindo esisodwa esibalulekile sokulandisa esihlolisiswayo ukuze kuqinisekiswe ukuthi uCozezee uphikisa kanjani noma ukhuluma kanjani, futhi mayelana nababuswa ngelinye izwe ngokusebenzisa umlandisi. Lolu cwaningo lwembula uhlobo oluthile lokucabanga lwamanoveli akhethiwe futhi lufuna izimpendulo embuzweni wokuthi kungani uCoetzee ejwayele ukwenza "abalingisi" bakhe abamnyama bengabonakali futhi bangenasisekelo (futhi ngezinye izikhathi abangenalo igama). Ingabe uCoetzee uphakamisa ukuthi baye bathuliswa ngumlando, ngukubuswa ngelinye izwe, noma ingabe uphakamisa ukuthi yena, umbhali, akanalo ilungelo lokukhuluma egameni labo? Ngendlela yokubhala nokuxoxa ngezindaba, ingabe uCoetzee uphakamisa ukuthi akunakwenzeka ukuba obusa elinye izwe akhulumele ababuswayo kulelo zwe noma, uma ekhuluma ngabo, uyabanika abalingiswa abayinceku izwi futhi leli zwi lingaba ngelabo, noma lingathathwa njengelethembekile? Ingabe uCoetzee uveza amandla okungahambisani njengendlela yokumelana nokujoyina kabusha? Lolu cwaningo, kusukela embonweni wokungabuswa ngelinye izwe, luhambisana nendlela eyinkimbinkimbi uCoetzee alawula izwi kanye nombuzo wokumela ababuswayo. / English Studies / M.A. (Theory of Literature: (English Studies))