Le fragmentaire dans le roman francophone africain
At the heart of the aesthetic constellations in French African fiction, a particular form of writing has appeared during the last two decades that breaks with the compact, linear récit-fleuve of first-generation writers. Henceforth, writing is characterized by work that is increasingly conscious of...
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fttriple:oai:gotriple.eu:10.7202/010785ar 2023-05-15T18:11:58+02:00 Le fragmentaire dans le roman francophone africain The fragmentary in the French-speaking African novel Gbanou, Sélom Komlan 2004-01-01 https://doi.org/10.7202/010785ar http://id.erudit.org/iderudit/010785ar fr fre Tangence Érudit doi:10.7202/010785ar http://id.erudit.org/iderudit/010785ar undefined Tangence litt lang Text https://vocabularies.coar-repositories.org/resource_types/c_18cf/ 2004 fttriple https://doi.org/10.7202/010785ar 2023-01-22T17:11:13Z At the heart of the aesthetic constellations in French African fiction, a particular form of writing has appeared during the last two decades that breaks with the compact, linear récit-fleuve of first-generation writers. Henceforth, writing is characterized by work that is increasingly conscious of invention and intervention as regards both language and the body of fiction, resulting in a heterogeneous—even eccentric—entity that escapes the classic form of the novel. The transformations heralded by authors such as Ahmadou Kourouma, Mohamed-Alioum Fantouré or Henri Lopes fortunately continue in post-colonial writers (Sami Tchak, Kossi Efoui, Abdouhraman Wabéri, etc.), particularly in a situation of exile, giving the idea that fiction seeks to subscribe to the various fantasies and shocks that excite the conscience of exiles/migrants or, conversely, wishes to take advantage of the postmodern aesthetic of rupture, crumbling and chaos discovered in the new relationship to the world fostered by globalization. In a large number of writers, writing becomes an exercise in sclerosis of form and is entirely absorbed by a taste for—and perhaps even an obsession with—fragmentation, chaos, intrigue and the nonsense of life. Au centre des constellations esthétiques dans le roman africain d’expression française est apparue, ces deux dernières décennies, une forme particulière d’écriture qui rompt avec le récit-fleuve linéairement compact des écrivains de la première génération. L’écriture participe désormais d’un travail de plus en plus conscient d’invention et d’intervention tant sur le langage que sur le corps du projet romanesque pour aboutir à un ensemble hétérogène, à la limite hétéroclite, qui échappe à la forme classique du roman. Les transformations annoncées par des auteurs comme Ahmadou Kourouma, Mohamed-Alioum Fantouré ou Henri Lopes se poursuivent avec bonheur chez les écrivains de la postcolonie (Sami Tchak, Kossi Efoui, Abdouhraman Wabéri, etc.), surtout en situation d’exil, et donnent à penser que le ... Text sami Unknown Tangence 75 83 105 |
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At the heart of the aesthetic constellations in French African fiction, a particular form of writing has appeared during the last two decades that breaks with the compact, linear récit-fleuve of first-generation writers. Henceforth, writing is characterized by work that is increasingly conscious of invention and intervention as regards both language and the body of fiction, resulting in a heterogeneous—even eccentric—entity that escapes the classic form of the novel. The transformations heralded by authors such as Ahmadou Kourouma, Mohamed-Alioum Fantouré or Henri Lopes fortunately continue in post-colonial writers (Sami Tchak, Kossi Efoui, Abdouhraman Wabéri, etc.), particularly in a situation of exile, giving the idea that fiction seeks to subscribe to the various fantasies and shocks that excite the conscience of exiles/migrants or, conversely, wishes to take advantage of the postmodern aesthetic of rupture, crumbling and chaos discovered in the new relationship to the world fostered by globalization. In a large number of writers, writing becomes an exercise in sclerosis of form and is entirely absorbed by a taste for—and perhaps even an obsession with—fragmentation, chaos, intrigue and the nonsense of life. Au centre des constellations esthétiques dans le roman africain d’expression française est apparue, ces deux dernières décennies, une forme particulière d’écriture qui rompt avec le récit-fleuve linéairement compact des écrivains de la première génération. L’écriture participe désormais d’un travail de plus en plus conscient d’invention et d’intervention tant sur le langage que sur le corps du projet romanesque pour aboutir à un ensemble hétérogène, à la limite hétéroclite, qui échappe à la forme classique du roman. Les transformations annoncées par des auteurs comme Ahmadou Kourouma, Mohamed-Alioum Fantouré ou Henri Lopes se poursuivent avec bonheur chez les écrivains de la postcolonie (Sami Tchak, Kossi Efoui, Abdouhraman Wabéri, etc.), surtout en situation d’exil, et donnent à penser que le ... |
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Gbanou, Sélom Komlan |
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Gbanou, Sélom Komlan |
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Gbanou, Sélom Komlan |
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Le fragmentaire dans le roman francophone africain |
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Le fragmentaire dans le roman francophone africain |
title_full |
Le fragmentaire dans le roman francophone africain |
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Le fragmentaire dans le roman francophone africain |
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Le fragmentaire dans le roman francophone africain |
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le fragmentaire dans le roman francophone africain |
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Tangence |
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2004 |
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https://doi.org/10.7202/010785ar http://id.erudit.org/iderudit/010785ar |
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