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- Haiti (2)
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Articles 1 - 3 of 3
Full-Text Articles in Latin American Languages and Societies
Édouard Glissant : Du Dé-Lire Verbal Au Discours Maîtrisé, Katell Colin-Thébaudeau
Édouard Glissant : Du Dé-Lire Verbal Au Discours Maîtrisé, Katell Colin-Thébaudeau
Présence Francophone: Revue internationale de langue et de littérature
This article questions the experience of delirium of the character of Marie Celat and places it in relation to the violence of identity and cultural alienation linked to the history of the West Indies. Using the word “Odono” as a pretext, which was transmitted to the character by a family tale, the text tackles the problem of the identity and origin of the subject. In Marie Celat’s delirium, the reference to “Odono” opens the way for diverse positions on the subject of enunciation, stretching the historical truth into an a-temporal, a-spatial, “out of chronology” event. The words juxtapose each other …
Le Goût Des Jeunes Filles De Dany Laferrière : Du Chaos À La Reconstruction Du Sens, Nathalie Courcy
Le Goût Des Jeunes Filles De Dany Laferrière : Du Chaos À La Reconstruction Du Sens, Nathalie Courcy
Présence Francophone: Revue internationale de langue et de littérature
This paper analyses the way politics, society and the representation of speech is structured in Le goût des jeunes filles, Dany Laferrière’s fourth novel. How do the events told and the disorganised narration itself symbolise the unspeakable? Moreover, how does the characters’ speech rebuild the meaning of existence, and how does Laferrière see the future? Chaos, madness, all that overtakes or destroys the norm, anchors fiction in an attempt to reorganize reality and the imaginary.
Par-Delà Le Chaos : Aube Tranquille De Jean-Claude Fignolé, Lucienne J. Serrano
Par-Delà Le Chaos : Aube Tranquille De Jean-Claude Fignolé, Lucienne J. Serrano
Présence Francophone: Revue internationale de langue et de littérature
This article analyses how Fignolé’s book puts into words an unbearable state sprung from the chaos of slavery. This is an oxymoronic writing experience, because how can the unspeakable be named? Writing is not thought here, but rather a driving force digging into an intimate movement of rebellion and using language in a glib form, free from conscious meaning and logic, in order to reveal a preconscious meaning. The writer then becomes an archaeologist of pain. He tries to transcribe the scream in splintered space and time, so that memory finds landmarks once again. Writing thus becomes an experience aiming …