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Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Il presente articolo intende indagare e comparare le modalità attraverso le quali Édouard Glissant e Salman Rushdie pensano e rappresentano la mondialità nelle proprie opere. In un primo momento verranno analizzati i percorsi intellettuali dei due autori, caratterizzati dalla ricerca di un “terzo-spazio” (oltre la dicotomia centro-periferia) all’interno del campo transnazionale della letteratura. In seguito, si inseriranno le loro riflessioni teoriche nel più ampio dibattito su World Literature e Littérature-monde. Infine, compareremo le loro concezioni del realismo, caratterizzate da uno stretto legame tra il locale transculturale (India e Antille) e il tout-monde creolizzato.

Parce que la littérature-monde a généralement été réduite à une littérature « en français », notre étude veut montrer que tel n’a pas toujours été le cas. Avant la publication du manifeste des 44 et de l’anthologie Pour une littérature-monde, la notion, liée aux activités menées autour du festival Étonnants Voyageurs, a largement évolué. En prenant partie pour une lecture rétrospective des espaces géographiques modélisés par les discours manifestaires et l’association des contributeurs à un pays dans les anthologies publiées sous l’effigie de ce mouvement, nous montrons que ce concept renvoie tour à tour à une littérature européenne, postcoloniale, extra-hexagonale et internationale de langue française en France.

L’élaboration d’une anthologie mondiale des littératures africaines représente, à mon sens, une conjoncture opportune pour revisiter l’histoire littéraire africaine pour la recentrer et la repenser dans ses relations avec le cadre dans lequel elle s’est constituée dans le continent africain. L’anthologie de Roland Lebel Le Livre du pays noir (1927), rééditée ensuite dans la collection de Roger Little (L’Harmattan, Autrement mêmes) représente, à cet égard, un jalon. Car, au-delà de son parti-pris colonial, il pointe la complexité du canon africain formé à l’intersection des pratiques littéraires extranationales, voire transnationales. L’essai procède en étude en trois temps. Il ouvre avec une lecture croisée de la colonisation et de la mondialisation, tournants cruciaux de la dénationalisation littéraire ; et cerne ensuite, à partir d’une lecture d’une série d’anthologies coloniales et postcoloniales, les évolutions et les transformations de l’idée que l’on se faisait de la littérature africaine ; pour clore, enfin, sur une enquête sur ce que disent les critiques littéraires des relations entre ces deux pôles littéraires. On aura saisi ainsi l’importance de la prise en compte du processus historique de l’élaboration de la littérature monde dès lors qu’il s’agit de concevoir une anthologisation mondiale des littératures africaines.

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Alternative Francophone is the property of Alternative Francophone and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Alternative Francophone is the property of Alternative Francophone and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In March of 2007 French newspaper Le Monde published the co-signed manifesto laying out the project of littérature-monde. Since then it has received much scholarly attention and has often been associated with its Anglophone counterpart, world literature. This article draws on Barbara Cassin's concept of the untranslatable in the Vocabulaire européen des philosophies (2004) to complicate the project of littérature-monde: it needs to be articulated in relation to, rather than as a translation of, world literature. Following Cassin's linguistic claim to a "maintien d' une pluralité," this article calls for contemporary literary scholarship to acknowledge littérature-monde and world literature as responses to different social, political, and cultural issues. Applying conceptual and philosophical untranslatability to the intrinsically different littérature-monde and to world literature destabilizes these fields' global reach and consequently opens the possibility to consider them as co-existent, independent ways of reading literature on a global scale. [ABSTRACT FROM AUTHOR]

Cartographier le roman (comme langue et forme poétique) du Moyen Âge à la lumière de la mondialisation implique une déterritorialisation des concepts mêmes à travers lesquelles nous saisissons la spécificité de cette littérature, un déplacement constant du regard qui nous pousse à investir thèmes, motifs et notions structurantes du récit médiéval de nouvelles significations : double mouvement dont les enjeux poétiques, culturels et théoriques constituent un véritable défi pour les études littéraires.

Arguing that the concept of littérature-monde conceals unequal relations between literary cultures, this article examines the socio-economic contexts of literary translation from and into Breton from the fifteenth to the twenty-first century. The value of translation across the corpus of 1025 texts lies primarily in creating intercultural relationships and promoting cultural diversity. Translation into Breton represents a vital defence of a language with dwindling speaker numbers: in the late 1970s it increases dramatically, with littérature de jeunesse spearheading a change in state policy allowing regional languages to be taught in schools. Yet translation can also reinforce an existing power imbalance, highlighting the central role played by French in the linguistic and literary construction of Breton society. Poetry, songs and contes translated from Breton often perpetuate stereotypes of a bardic, oral culture, while nationalist writers reject self-translation into French as capitulation before the dominant culture. Since the 1980s, many have chosen to bypass French by translating into languages such as Welsh, Scottish, Irish or Catalan, creating a network of minority literatures. Since the market for Breton translation is so small, however, such texts serve as valuable identity markers, a symbolic, affective force articulating a quest for socio-political legitimacy via literature. [ABSTRACT FROM AUTHOR]

Since the mid-1990s, in the context of growing globalization, the attempts to categorize French-speaking literatures have multiplied. At the same time, many authors emphasize their desire for a renewed perception of their writings. Redefining their poetics, some of them – including a certain number of young African writers – now claim to be perceived not for their otherness but for the literary quality of their works. This movement seems to culminate with the publication in 2007 of the 'Manifeste pour une littérature-monde' which calls for a ‘Copernican revolution’, namely a change of status of the literatures of ‘Outre France’, their recognition in central positions, the stopping of distinctions or even categorical discriminations and the end of the concept of ‘Francophonie’. This powerful and well-publicized act of speaking has the main advantage of naming an uneasiness, but it paradoxically contributes to a reinforcement of the existing structures of the system and of the pernicious effects of these, as revealed by the example of the consecration of Alain Mabanckou by the instances of the ‘center’, elected to the chair of literary creation at the Collège de France (2015–16). Indeed, generating the hyper-visibility of a small number of writers among others through the phenomena of ‘spectacularizing’ the author, they refer more than ever whole sections of French-speaking literature to the field of the ‘unperceived’ (‘'imperçu'’). Depuis le milieu des années 1990, dans le contexte d’une mondialisation grandissante, les tentatives de catégorisation des littératures de langue française se sont multipliées. Parallèlement, de nombreux auteurs font valoir leur aspiration à une perception renouvelée de leurs écrits. Redéfinissant leurs poétiques, certains d’entre eux – notamment un certain nombre de jeunes auteurs africains – réclament désormais d’être perçus non pour leur altérité mais pour la qualité littéraire de leurs oeuvres. Ce mouvement semble culminer avec la publication en 2007 du 'Manifeste pour une littérature-monde', qui appelle de ses voeux une ‘révolution copernicienne’, à savoir un changement de statut des littératures d’‘Outre France’, leur reconnaissance dans des positions centrales, l’arrêt des distinctions voire discriminations catégorielles et la fin de la francophonie. Cette prise de parole puissante et médiatiquement très relayée a pour principal avantage de nommer un malaise, mais elle contribue paradoxalement à un renforcement des structures systémiques existantes et aux effets pernicieux de celles-ci, ainsi que le révèle l’exemple de la consécration par les instances du ‘centre’ d’Alain Mabanckou, élu à la chaire de création littéraire du Collège de France (2015–16). En effet, générant l’hyper-visibilité d’un petit nombre d’écrivains entre autres au travers des phénomènes de ‘spectacularisation’ de l’auteur, elles renvoient plus que jamais des pans entiers des littératures francophones au domaine de l”imperçu’.

This article demonstrates that in Demain j’aurai vingt ans (“Tomorrow I will be Twenty”) Alain Mabanckou, while talking about his childhood in Pointe Noire in Congo, also talks about justifying his adhesion to the littérature-monde movement. In the main, fictional works of Alain Mabanckou portray his vision of African literature, Verre Cassé being a perfect example of this. While this earlier novel only highlights this vision, Demain j’aurai vingt ans tries to prove that this vision is the only pertinent one. In this regard, Mabanckou attempts to deconstruct the argument that the upholders of littérature-monde, to which he belongs, are westernized and too remote from African realities. The article further examines and analyses the strategies of the author based on the notions of paratopy and scenography as developed by Dominique Maingueneau in Le discours littéraire. Paratopie et scène d’énonciation (“Literary Discourse. Paratopy and enunciation scene”).

This article follows David Damrosch's recent proposals regarding the future perspectives of world literature. In examining the situation of world literature, translation studies and francophone arts in Canada, this article looks at the globalizing approaches favoured by previous studies on Quebec and Franco-Canadian productions before studying what appears be the blind spot of these approaches, that is translation, itself at the centre of Damrosch's conception for world literature. The discussion then considers two more contemporary issues of world literature: the hypermediality of theatre and its "ultraminor" manifestations within Quebec and Franco-Canadian arts. The dialogue established in these pages looks at how world literature reflects on globalization which, as several postcolonial critics have pointed out, remains, in the absence of truly "global" studies, intensely focused on American literary experiences. By focusing the theoretical statements of world literature on issues of Quebec and Franco-Canadian arts often rendered invisible by the former, we propose to expand them to the interdisciplinary potential of translation and the circulation of hypermedia dramatic works. Conversely, the discourse of world literature, until now rarely represented in francophone cultural studies in Canada, proves to be very rich, introducing relatively new concepts and promoting practices that otherwise would remain relatively unnoticed. [ABSTRACT FROM AUTHOR]

This article examines how contemporary Québécois literature is worlding itself. The term "worlding" being problematic, its use in this article departs from that of David Damrosch and other scholars who consider literature to be "worlded" when it has been integrated into a canon of literary works from around the world that ought to be, and sometimes are, read. In this study, I focus on the works of literature themselves in order to analyze how they inscribe the "world" through a problematization of history, identity, languages, and, in Wajdi Mouawad's theatre in particular, of time and space. The four plays that make up Mouawad's Sang des promesses cycle are connected through overarching themes such as war and conflict, ruptured family lines, death, and blurred identities, but, more importantly, they are preoccupied with historical and political events suggesting that, regardless of how distant they may be (in time and in space), they nonetheless shape the world now. Thus, the plays show that events such as the Franco-Prussian War of 1870 or the Lebanese Civil War of the 1970s and 1980s have an impact now, even on readers or spectators in Quebec. Mouawad's tetralogy highlights how Quebec is inextricably connected to global concerns and urges that we share the ethical responsibility in creating a world that is less violent. [ABSTRACT FROM AUTHOR]

How can an untranslatable text be read as world literature? Gaston Miron's only published collection of poetry, L'homme rapaillé, is of course a national, and even nationalist, work. While limited translations exist, their failure is inevitable to the extent that Miron's language, beyond its fragmented syntax and play with prosody, abounds with neologisms and elements drawn from deep within the Québécois lexicon. In fact, the text is, in a sense, against translation as much in its form as in its content. Furthermore, one might expect that the collection's overt political engagement and rootedness in the specific experiences and events of the Quiet Revolution would circumscribe the possibility of an extended readership. However, within the francophone world at least, L'homme rapaillé's circulation and influence has far exceeded the borders of Quebec, in large part because its militancy and aesthetics eschew both provincialism and any facile conception of the universal. This article examines how the poetic construction of the "Québécanthrope," precisely because of its concern for the local and the intimate, and its simultaneous lyrical dialogue with key figures of decolonization (Césaire, Depestre, Memmi, and Fanon, among others), becomes a gesture of worlding. The article argues for reading Miron as a theorist and practitioner of world literature, viewing Quebec through the lens of relation. I draw on the work of Emily Apter, Vilashini Cooppan, and Jacques Derrida to unpack the implications of Miron's articulation of the local word and the world, focusing on his signed hapax, "amironner." [ABSTRACT FROM AUTHOR]

As a professor of comparative literature in French from Quebec and in English from English-speaking Canada, I am not at all convinced by the project of worlding contemporary Québécois literature. Discussions of this matter are usually found under the umbrella expression "littérature- monde" in France. Taking into account the manifesto published in the newspaper Le Monde in Paris in 2007—and reprinted in Montreal's daily for intellectuals, Le Devoir, a few days later—I will argue that the case made for "littérature-monde" in the French-speaking world is conceived of in terms that are not applicable to Québécois literature in French. The usual symbolic structures that underlie this discourse (centre/périphérie; Nord/Sud; littérature des Blancs contre celle des Noirs) are not appropriate to Québécois literature in French, given, among other elements, the very strong "institution littéraire" that has existed in the territory for at least the last 60 years and actually for a longer period of time. I will base my arguments in part on the manifesto and on contributions found in the book Pour une littérature-monde (2007), published some months after the manifesto, and then contextualize them in the light of more recent contributions to the discussion. This article contains five parts: the professor, the context, the manifesto, reactions to the manifesto, and "Le cas du Québec," in which I suggest an alternative model. [ABSTRACT FROM AUTHOR]

The objective of the present article is to analyze the representation of Quebec literature in four literary blogs: Littérature du Québec, Passion chronique, le fil rouge and Page par Page. In light of the claims made by the authors of the manifesto "Pour une 'littérature-monde' en français" (Le Bris et al. 2007), we will examine the extent to which the writers of these blogs perceive Quebec literature as a component of the world literary landscape, characterized by esthetic and stylistic diversity beyond the political and ethnocultural compartmentalization of writers. We will also attempt to examine the role of literary blogs, one of the contemporary forms of literary criticism, in promoting and legitimizing literary works in the Quebec literary field, one of the most advanced in the use of new technologies in the service of literature. [ABSTRACT FROM AUTHOR]

Copyright of Synergies Portugal is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abdelkébir Khatibi (Maroc) and Dany Laferrière (Haïti–Québec) belong to different cultural areas, but share the same linguistic practice in a postcolonial context. They are also similar in their conception of writing literature in a transitional world for a global age where the novel, as a Western form in its origin and under its authority, and also as an access point to modernity for the writers of the global South, aims at a certain form of transnational order. Both of these writers reject the dogmatic definition of identity from the perspective of an origin and of a supposed secular pact between fiction and nation. This paper examines the shift between francophone global fiction by way of a "regional criticism." However, this emerging global rhetoric, recently called "littérature-monde," may appear as a new utopian paradigm. [ABSTRACT FROM AUTHOR]

Nancy Huston's Lignes de faille, recipient of the Prix Femina in 2006, was one of five literary works mentioned at the outset of a collectively signed document published in March 2007 in Le Monde. Titled 'Pour une littérature-monde en français', this manifesto claimed to identify a revolution in French-language literature, lauding the fact that a variety of works by writers from diverse locations now represented 'the world'. It is not surprising that Lignes de faille figures in this text, for Huston's novel marked a new transnational orientation in an œuvre that was already rich and varied. Lignes de faille moves to strategic places around the globe to tell the tale of a family whose displacements have led to traits and troubles that have been transmitted across continents and generations, suggesting that while national roots may not cling to us, hereditary ones may be deferred, but not, in the end, denied. [ABSTRACT FROM AUTHOR]

This essay explores the question of origins in Alain Mabanckou's critically acclaimed novel, Verre Cassé (2005). While it has been argued that Mabanckou's text falls in line with the littérature-monde paradigm and thus debunks the notion of Francophonie, I contend that it depicts the entire enterprise of origins as always already doomed to failure and proposes in its place a relational thought-model that surpasses the dialectical thought that grounds universalism and particularism alike. Thematically, Mabanckou portrays character quests for originality as absurd; on the level of narrative mode, he uses murky narrative positions and temporality to unhinge the authority of the singular speaking subject; finally, through the incorporation of intertextual references, he defies the very logic driving the notion of origins. Composing his text out of others' gone before, Mabanckou pushes diversity to a higher conceptual level; he appropriates and repurposes old fragments, joining them up in one relational space so that they might gain new meaning. [ABSTRACT FROM AUTHOR]

Copyright of Francosphères is the property of Liverpool University Press / Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The very concept of littérature-monde is full of contradictions. The present text presents the ideological foundations and the international conjuncture in the framework of which it arose. In form of thesis and in a polemic way, the emergence of this notion is placed into what can be called crisis of French culture which seems to go together with a crisis in Francophonie. Littérature-monde is created on the basis of the English concept of World Literatures in English. In order to explain the success of this term, it needs to be located into what can be called with Bourdieu “the field of knowledge”.

La littérature offre au professeur de FLE un espace privilégié de lecture de l’identité et de l’altérité, d’accès à l’univers socio-culturel que la langue véhicule et de réflexion sur la langue. Le débat ouvert en France sur la mort de la francophonie et sur la naissance d’une « littérature-monde » en français ouvre une nouvelle perspective pour le professeur à propos du choix de textes d’auteurs passeurs culturels pour la classe de FLE.

L'oeuvre romanesque d'Alain Mabanckou se distingue par une esthétique qui s'inscrit essentiellement dans une dynamique transgressive et subversive. Le romancier déjoue avec dextérité les codes du genre romanesque. Le roman se transforme de la sorte en un espace de liberté absolue, où les deux notions de transgression et de subversion permettent de rompre les liens avec les règles du roman classique. Menée non seulement à l'encontre des normes génériques, l'écriture subversive cherche, en outre, à s'affranchir de la tutelle et de la tyrannie de la langue française. Caractérisée par une hybridité générique, cette écriture privilégie le mélange des registres, la resémantisation des termes, imprime à la phrase plusieurs distorsions et annonce de la sorte l'émergence d'une littérature de langue française libérée de ses attaches originelles et rejetant du coup l'appellation de « littérature francophone » au profit d'une « littérature monde ». [ABSTRACT FROM AUTHOR]

Un long chemin a été parcouru dans l'univers de la francophonie depuis l'apparition des mouvements de la « négritude » dans les années 30, puis de ceux d'« antillanité », de « créolité », une quarantaine d'années plus tard. L'objectif principal de la création de ces concepts, que nous passerons en revue dans notre article, est sans aucun doute l'affirmation de son identité propre et par conséquent, dans l'univers des littératures en langue française, l'opposition à la domination de la littérature franco-française. Aujourd'hui, à l'heure d'une « francophonie transculturelle » on parle de « mondialité » et de diversité culturelle. C'est notamment la notion de « littérature monde » qui a eu sa consécration officielle en 2007 lors de la publication d'un manifeste signé par 44 écrivains francophones qui réclamaient la suppression du centre et de la périphérie, le décloisonnement des frontières de l'imaginaire et « une littérature-monde en langue française consciemment affirmée ». Il s'agira ici d'essayer de dresser un état des lieux du chemin parcouru, de s'interroger ensuite sur les raisons de l'émergence de la notion de « littérature monde » et enfin de noter pourquoi l'apparition et la promotion de cette notion ont provoqué parfois de vives controverses. [ABSTRACT FROM AUTHOR]

Albert Camus's conflicted legacy in Algeria not only reveals his vague place in the annuals of Algerian history, but also offers authors a means to segue into other moral, humanist and postcolonial questions confronting Algeria's post-années noires(the Dark Years, also known as the Black Decade), the rarely discussed and psychologically troubling 1990s civil war period. Challenging how history has been documented in Algeria since 1962, contemporary authors, Kamel Daoud and Hamid Grine, use Camus as a metaphorical foil to expose topical and often delicate issues, as well as the murky choices made by political authorities and the Front de Libération Nationale (FLN) following decolonisation. What would have happened if Camus had stayed, and if Algerian revolutionaries had thought more about hispensée méditerranée(Mediterranean thought, or ‘a Mediterranean way of thinking'), a concept that, although flawed, did promote a certain unique Mediterranean, multicultural way of being-in-the-world? [ABSTRACT FROM PUBLISHER]