The new writing of violence : the stakes of mutation in francophone africain literature since 1980

• Main Author: Kabuya Ngoie, Salomon Ramcy
• Other Authors: Université de Lorraine, Ranaivoson, Dominique, Mulongo, Kalonda-ba-Mpeta
• Format: Thesis
• Language: French
• Published: 2014
• Subjects: Écritures; Violence; Rupture; Histoire littéraire; Innovations esthétiques; Engagement; Emergence; Représentation; Bourreau; Victime; Pouvoir; Scriptures; Breaking; Literary history; Aesthetic innovations; Commitment; Executioner; Victim; Power; litt; hist; Pivot; sami
• Online Access: http://www.theses.fr/2014LORR0175/document

"Novelty" and "violence»! These two notions are recurrent in the comments about Francophone African literatures. They are at the heart of all its historiography since some decades now. One can hardly speak of Amadou Kourouma , Sony Labou Tansi, Sami Tchak or Jean-Luc Raharimana without arises the question of novelty and, at the same time , that of violence in or of scripture. But this evidence, this raw truth deserves to be examined in order to know exactly what novelty and violence return. If they can be addressed independently, it is their confrontation, with writing as a meeting point, which appears concrete elements for literary history. Indeed, studying them together, this thesis tries to see to what extent they imply one and the other. Therefore, after evaluating the concepts of novelty, out in the field of Francophone African literature, we relied on four authors whose aesthetic and trajectories are representative of major trends in the writings of violence. They suggest policy all changes over the years. From the overall Sony Labou Tansi’s writing, to writing game Edem Awumey, through the rehashing of Kossi Efoui and Theo Ananissoh’s minimalism, it is possible to monitor the introduction of new forms of writing and to find the gateway to new models of representation. « Nouveauté » et « violence » ! Ces deux notions sont bien récurrentes dans les commentaires sur les littératures africaines francophones. Elles sont au cœur de toute son historiographie depuis quelques décennies maintenant. On ne peut guère parler d’Amadou Kourouma, de Sony Labou Tansi, de Sami Tchak ou de Jean-Luc Raharimana sans que ne se pose la question de la nouveauté et dans le même temps, celle de la violence dans ou de l’écriture. Mais cette évidence, cette vérité brute mérite d’être interrogée afin de savoir exactement à quoi nouveauté et violence renvoient. Si elles peuvent être abordées de façon indépendante, c’est de leur confrontation, avec l’écriture comme pivot, qu’apparaissent des éléments concrets pour une histoire ...