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Omniprésente dans l’édition pour la jeunesse ou à destination du grand public, la novélisation est pourtant peu visible dans le champ littéraire francophone, sans doute parce qu’elle est associée au versant le plus mercantile de la production éditoriale. D’où une pénurie d’études critiques la concernant. Seulement deux chercheurs, Monique Carcaud-Macaire et Jan Baetens, étudient ces textes, définis a minima comme un type d’adaptation d’un scénario cinématographique et/ou audiovisuel à un texte fictif. On constate que leur choix orthographique, « novellisation », fait autorité dans la critique, si succincte soit-elle. S’ils désignent ainsi le genre de manière globale, ils s’attachent surtout à des romans édités de façon marginale et dont les contextes d’écriture et d’édition posent, selon nous, la question de leur appartenance au genre. C’est en tout cas délaisser un pan conséquent de la production actuelle. Car tous les acteurs de la chaîne de production de ces textes (auteurs, éditeurs, producteurs, etc.) parlent tous, eux, de « novélisation ». On se propose donc de dresser un état des lieux de la novélisation francophone contemporaine sans critère de littérarité préétablie, c'est-à-dire sans briser le continuum qui va de la littérature dite industrielle à la Littérature. En s’appuyant sur des exemples précis et sur les témoignages des professionnels rencontrés, l’analyse des modalités de conception, d’écriture et de diffusion des différents corpus permettra de préciser les spécificités génériques de la novélisation. Hybride, par essence intermédiatique, le genre est emblématique d’une époque culturelle où les oeuvres ne cessent de circuler entre différents supports. / Though omnipresent in youth publication or for the general public, novelization is not very visible in the French literary field, probably because it is closely associated to its most mercantile editorial production. Hence a shortage of critical studies about it. Only two researchers, Monnique Carcaud-Macaire and Jan Baetens, are studying these texts, defined a minima as a type of adaptation of a screenplay and/or audiovisual one to fictitious texts. We can observe that the way they chose to spell it : « novellisation » is accepted as an authority in the critics (as rare as they can be). If they globally designate the genre as such, they deal above all with published novels in a marginal way-the writing and publishing contexts of which-is asking for us the question of their belonging to the genre. This means leaving aside a consequent part of the actual production, as every actor in the process of these texts production(author, publishers, producers,etc.)speak of «novelisation ». We shall therefore map out the state of contemporary French novelisation regardless of pre-established literary criteria, meaning, without breaking the continuum of literature called industrial to the Literature. Based on specific examples and the testimonies of the professionals we have met, our analysis on the procedures ofconception , writing and the diffusion of different corpus will enable us to clarify the generic specificities of novelization. Hybrid, intermedial in essence, the genre is emblematic of a cultural era where the works constantly flow to and fro different media.

<p>This study is the first one devoted solely to the writings of the South African black novelist Miriam Tlali. It argues that her works constitute literary resistance not only to apartheid, noted by previous scholars, but also to South African patriarchies. Examining Tlali’s novels <i>Muriel at Metropolita</i>n (1975) and <i>Amandla!</i> (1980), and several short stories from <i>Mihloti</i> (1984) and <i>Footprints in the Quag</i> (1989), the study pits these texts against the black literary tradition dominated by men and also reads them within the social context of South African patriarchies, with its social restrictions on women and its taboos concerning sexualities. To distance herself from the patriarchal values inherent in the male literary tradition and to negotiate social and sexual restrictions on women, I argue, Tlali deploys narrative strategies like generic difference, generic dialogism, a double-voiced discourse, “whispering,” and “distancing.”</p><p>Drawing on the theories of Mikhail Bakhtin and Julia Kristeva, this study first explores “novelistic” traits in <i>Muriel</i> which function both to resist male literary conventions, like the epic mode of narrative, and to criticise their patriarchal ideology. Second, relying on Bakhtin, it analyses the generic dialogism and double-voicedness in <i>Amandla!</i>. Finally, making use of Kristeva’s semiotics and her theory of sacrifice, the study traces the development of a sacrificial discourse of gendered violence from <i>Amandla!</i> to some of Tlali’s short stories. Supported by Martha J. Reinecke’s explication of Kristeva, I show that Tlali’s texts insist that gendered violence upholds the sacrificial economies of both patriarchal apartheid and African patriarchy. The strategies of “whispering” and “distancing,” I claim, surface in Tlali’s addressing of the sensitive issues of black women’s victimisation and gendered violence. “Whispering” entails muting the criticism of the perpetrators of gendered violence, whereas “distancing” results in dis/placing gendered violence on the margins of the community. This study also examines the literary/social context of Tlali’s oeuvre: it explores specific traits of the South African black literary tradition, how the issue of rape has been addressed there, and the depiction of African patriarchy in autobiographies by South African black women.</p>

This study is the first one devoted solely to the writings of the South African black novelist Miriam Tlali. It argues that her works constitute literary resistance not only to apartheid, noted by previous scholars, but also to South African patriarchies. Examining Tlali’s novels Muriel at Metropolitan (1975) and Amandla! (1980), and several short stories from Mihloti (1984) and Footprints in the Quag (1989), the study pits these texts against the black literary tradition dominated by men and also reads them within the social context of South African patriarchies, with its social restrictions on women and its taboos concerning sexualities. To distance herself from the patriarchal values inherent in the male literary tradition and to negotiate social and sexual restrictions on women, I argue, Tlali deploys narrative strategies like generic difference, generic dialogism, a double-voiced discourse, “whispering,” and “distancing.” Drawing on the theories of Mikhail Bakhtin and Julia Kristeva, this study first explores “novelistic” traits in Muriel which function both to resist male literary conventions, like the epic mode of narrative, and to criticise their patriarchal ideology. Second, relying on Bakhtin, it analyses the generic dialogism and double-voicedness in Amandla!. Finally, making use of Kristeva’s semiotics and her theory of sacrifice, the study traces the development of a sacrificial discourse of gendered violence from Amandla! to some of Tlali’s short stories. Supported by Martha J. Reinecke’s explication of Kristeva, I show that Tlali’s texts insist that gendered violence upholds the sacrificial economies of both patriarchal apartheid and African patriarchy. The strategies of “whispering” and “distancing,” I claim, surface in Tlali’s addressing of the sensitive issues of black women’s victimisation and gendered violence. “Whispering” entails muting the criticism of the perpetrators of gendered violence, whereas “distancing” results in dis/placing gendered violence on the margins of the community. This study also examines the literary/social context of Tlali’s oeuvre: it explores specific traits of the South African black literary tradition, how the issue of rape has been addressed there, and the depiction of African patriarchy in autobiographies by South African black women.

Ce travail de recherche vise à analyser les comportements de scripteurs novices en situation écologique dans un genre qu’ils n’ont jamais travaillé auparavant : la novélisation. Une première partie de la thèse est consacrée à définir le phénomène littéraire de la novélisation d’un point de vue historique, linguistique et narratologique. Le genre est en effet un inconnu des canons scolaires alors qu’il bénéficie d’une certaine audience auprès des jeunes générations. Le principe de la novélisation se fonde sur l’adaptation livresque d’un discours audiovisuel (film, série, jeux vidéo). Dans le paysage éditorial, elle recouvre des formes très variées de transposition en fonction des intentions portées par l’auteur qui joue des opportunités offertes par la transsémiotisation d’un médium à l’autre. Les deuxième et troisième parties de la thèse se proposent d’observer comment les élèves s’emparent des potentialités du genre, avec ou sans séquence d’enseignement-apprentissage, à partir de plusieurs déjà-là filmiques qui leur sont proposés. Le protocole expérimenté dans 7 classes de primaire et du secondaire fournit un corpus large de 469 textes individuels. Les résultats de l’analyse du corpus permettent de déceler les obstacles qui entravent la mise en texte-mise en œuvre des novélisations mais aussi, d’observer des habiletés déployées par les rédacteurs novices. À l’issue de cette étude, des perspectives de didactisation du genre sont envisagées pour une application et un usage efficient dans les classes. / This research aims at analysing the novice writers’ behaviours, in an ecological situation, in a genre they have never worked on before: novelization. The first part of this thesis is dedicated to the definition of novelization as a literary phenomenon that from a historical, linguistic and narratological perspective. Indeed, this genre is absent from the school curricula while it benefits from a certain audience among younger generations. The principle of novelization is based on a book adaptation of an audiovisual document (film, series, video-games). In the publication world, transposition can be highly varied depending on the intentions of the author who uses the opportunities that the trans-semiotization from one medium to the other offers. The second and the second part focus on how the pupils grasp the potentials of this genre, within or without a teaching-learning sequence, from several pre-existing filmic media that are given to them. The research protocol, which was carried out in 7 primary and secondary school classes, provides a range of 469 individual texts. The results of the analysis of this corpus enable us not only to detect the obstacles that prevent the pupils from writing and implement the novelization but also to observe the skills the novice writers make use of. Following this study, we consider to implement didactization prospects of this genre that will be applied and used efficiently in classes.