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La novella qui figure en première partie de mon mémoire emprunte la forme d'une biographie négative, c'est-à-dire du récit de ce qui n'est jamais arrivé dans la vie d'un personnage nommé Rita Houle, exploratrice quinquagénaire. Un narrateur-biographe est la voix de ce drame statique. Dévoré par son ambition et gonflé d'orgueil, il rêve de rendre compte de grandes conquêtes, d'être le narrateur d'un roman de Goethe. Or, il se retrouve au cœur d'un récit de non-apprentissage où, comme dans les romans de Robert Walser, pas une leçon ne peut être tirée. L'objet de son œuvre est défaillant et il est forcé de se rendre à l'évidence : pour rédiger la biographie de Rita Houle, il devra composer avec une absence d'histoire et d'héroïne. L'enjeu formel …
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In 1832, Balzac wrote a short story entitled Le Colonel Chabert in which he pictured the extraordinary destiny of an officer of the Imperial Army, Chabert. Having been buried under a heap of dead bodies at the Battle in Eylau, Chabert is considered dead by his companions and relatives, and fails from this day on to be acknowledged as a living person. Could Le Colonel Chabert be considered the first modern literary work devoted to the issue of disappearance?
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Dedicated to Peter Handke's first book to present itself as the result of daily and discontinuous writing, the primary goal of this paper is to show the work's singularity in relation to the very genre of the notebook and literary practices in general. The weight of the world is indeed a work in which a new way of perceiving, writing and even working must be invented, since it seems that it is in a field below literature that the new writing claimed by Handke must now be developed. In this perspective, I intend here to retrace the lineaments of such a programme marked by a systematic mistrust of the forms and literary reflexes instituted, especially within the work, and to identify the general features of its execution. At the same time, I will be led to consider the relationship with the reader that the notebook-journal establishes, since a new literature necessarily implies a transformation of the reading experience of the one who receives it.
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This article focuses on the recurring presence of the dog figure in postcolonial literature – and more specifically on its use by African Francophone writers. The various connotations attached to the dog – understood in the literal as well as in the figurative sense – build a constellation of unstable patterns, and frequently interact with the contemporary revival of a cynical posture. The closer reading of two novels by Patrice Nganang and Fiston Mwanza Mujila allows us to follow the unfolding of a canine leitmotiv and the simultaneous questioning of the postcolonial identity in a context of globalised cynicism.