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AbstractDespite the progressive disappearance of referential elements, Ying Chen's recent novels — L'ingratitude (1995), Immobile (1998) and Le champ dans la mer (2002) — bear witness, in their own way, to the state of contemporary society: they are imbued with social discourse and could be described, however paradoxically, as family novels or “filiation stories.” In erasing known signs and traces, in preferring forgetfulness, and in attempting to renounce origins and the past, they delineate the contours of a cultural memory that seems to resist the monumental and prefer non-chronological form, silence and rift over great collective narratives.
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AbstractThis article, partly inspired by theories of wandering and Chantal Chawaf's reflections on writing the body and affectivity, examines the idea that Copies conformes (1989), by Monique LaRue, follows the repeated wanderings of a journeying mother. Locating her between being and action, outside of attributions related to the male/female dichotomy, these wanderings actually suggest what women and men have in common.
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In our paper, we analyze the manuscripts of the Sonderkommando of Auschwitz-Birkenau (a special unit of Jewish deportees formed by the SS to be in charge of the gas chambers and the crematories). We would like to underline the importance of the literary framework for these Holocaust testimonies. Relating to the concepts of historical testimony and memorial work (R. Dulong), as well as the notion of literary event (S. Fish), we would like to show how the narrative structure of these testimonies does not only transmit the facts, but creates a kind of a poetic experience in the mind of the reader, an experience which forms a literary analogon to the real experience of the witness.
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Keywords: Documentaire, intermédialité, autobiographie, authenticité, reportage
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This study proposes to reevaluate African criticism by emphasizing the relationship between the role enjoyed by the novel in opening up literary genres and the basic principle of literary writing. After having defined the notion of transcultural and transgeneric esthetics advocated by the great African novelists, I will show how this notion shapes the meaning of some novels. I will try to demonstrate how African criticism is characterized by the ideological thinking of africanity and europeanity and then describe how some African novelists abolish the borders that criticism usually erects between African texts and those of other areas in the world. My hypothesis is that, because African novels are polyphonic, like many others produced throughout the world, it seems more accurate to approach these texts by placing them in the more general context of the beginning of this third millennium, which is characterized by transcultural and transgeneric writing.