70<\/div><\/div><\/div><\/div>Printemps\u00a0\/ Primavera\u00a02016<\/strong><\/h2>\nFrancophonies barbares<\/strong><\/em><\/h1>\nsous la direction de<\/strong><\/h3>\nNicolas Hossard<\/strong><\/h3>\n![\"\"](\"http:\/\/www.lilec.it\/francofonia\/wp\/wp-content\/uploads\/2017\/03\/JSTOR_Logo_RGB_60x76-1.gif\")
<\/a><\/p>\nLire ce num\u00e9ro sur JSTOR<\/a>
\nLeggere questo numero su JSTOR<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>Sommaire \/\u00a0<\/span>Indice<\/span><\/h2>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Nicolas Hossard<\/strong>,\u00a0Penser la francophonie par la barbarie?<\/span><\/p>\n<\/div>Articles<\/h4><\/a><\/li>
R\u00e9sum\u00e9s<\/h4><\/a><\/li>
Abstracts<\/h4><\/a><\/li>
Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div>Articles<\/h4><\/a><\/li><\/ul><\/div>\nMaria Chiara Gnocchi<\/strong>, Le barbare d\u2019\u00e0 c\u00f4t\u00e9 (1900-1939)<\/p>\nBernadette Cailler<\/strong>,\u00a0<\/span>Nostalgie et conqu\u00eate\u00a0: mythes de la barbarie dans <\/span>Le Barbare enchant\u00e9<\/em> de Rapha\u00ebl Confiant<\/span><\/p>\nMarjorie\u00a0Jung<\/strong>,\u00a0Une \u00e9pop\u00e9e barbare. La figure de l\u2019homme nouveau dans l\u2019\u0153uvre de Frantz Fanon<\/span><\/p>\nValeria Sperti<\/strong>,\u00a0Chacun est le barbare de l\u2019autre: p\u00e8re et fils dans <\/span>L\u2019Africain<\/em>\u00a0<\/i>de J.M.G. Le Cl\u00e9zio<\/span><\/p>\nIbrahima\u00a0Diouf<\/strong>,\u00a0Un v\u00e9ritable roman barbare ? La langue fran\u00e7aise \u00e0 l\u2019\u00e9coute de la barbarie dans<\/span> <\/i>Batouala<\/em> (1921) de Ren\u00e9 Maran<\/span><\/p>\nChlo\u00e9 Vandendorpe<\/strong>,\u00a0<\/span>Kossi Efoui, une langue barbare \u00e0 l\u2019usage du monde<\/span><\/p>\nNicolas Hossard<\/strong>,\u00a0Gen\u00e8se d\u2019une ambigu\u00eft\u00e9\u00a0: francophonie et barbarie dans l\u2019\u0153uvre de Jean-Jacques Rousseau<\/span>\u00a0<\/span><\/p>\n<\/div>R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div>\nMaria Chiara Gnocchi<\/strong>, Le barbare d\u2019\u00e0 c\u00f4t\u00e9 (1900-1939)
\nAu tournant du XXe si\u00e8cle, plusieurs protagonistes du monde litt\u00e9raire invoquent la venue des \u00ab\u202fbarbares\u202f\u00bb, qu\u2019ils reconnaissent dans certaines cat\u00e9gories d\u2019\u00e9crivains. Leurs v\u0153ux seront exauc\u00e9s\u202f: on assiste bient\u00f4t \u00e0 l\u2019affirmation dans le champ litt\u00e9raire de diff\u00e9rents auteurs dont la \u00ab\u202fbarbarie\u202f\u00bb est particuli\u00e8rement appr\u00e9ci\u00e9e. Ce sont, pour la plupart, des \u00ab\u202fbarbares d\u2019\u00e0 c\u00f4t\u00e9\u202f\u00bb\u202f: des francophones de Belgique ou de Suisse, des \u00e9trangers ayant adopt\u00e9 la langue fran\u00e7aise, des Fran\u00e7ais ayant \u00e9migr\u00e9\u202f; ou alors des provinciaux ou, pour finir, des \u00e9crivains aux marges de l\u2019institution, comme les non professionnels de l\u2019\u00e9criture. Cet article illustre comment \u00e9mergent ces quelques auteurs, \u00e0 partir de quels changements dans le champ litt\u00e9raire. L\u2019auteure explique ensuite comment se d\u00e9cline leur \u00ab\u202fbarbarie\u202f\u00bb, telle qu\u2019elle est per\u00e7ue par la critique, ce qui permet de comprendre les enjeux de l\u2019\u00e9tiquette qui leur est attribu\u00e9e et les implications des choix narratifs et esth\u00e9tiques des auteurs eux-m\u00eames.<\/p>\nBernadette Cailler<\/strong>,\u00a0<\/span>Nostalgie et conqu\u00eate\u00a0: mythes de la barbarie dans <\/span>Le Barbare enchant\u00e9<\/em> de Rapha\u00ebl Confiant
\nCet article consid\u00e8re deux sens du terme \u00ab\u202fbarbare\u202f\u00bb li\u00e9s aux mythes de la Barbarie dans la cr\u00e9ativit\u00e9 contemporaine de langue fran\u00e7aise. a) Centr\u00e9 en grande partie sur l\u2019aventure martiniquaise de Paul Gauguin, Le Barbare enchant\u00e9 (Rapha\u00ebl Confiant, 2003) reprend un th\u00e8me h\u00e9rit\u00e9 de l\u2019esprit milieu-et-fin-de-si\u00e8cle (XIXe) o\u00f9, de l\u2019int\u00e9rieur m\u00eame d\u2019une civilisation qui s\u2019est crue depuis longtemps sup\u00e9rieure, \u00e9merge la nostalgie d\u2019une rencontre, voire de l\u2019identification, avec le \u00ab\u202fbon sauvage\u202f\u00bb. b) Le roman inclut la m\u00e9moire de conqu\u00eates, de d\u00e9shumanisation, de barbarisation chez colonisateurs et colonis\u00e9s. Une fois \u00e9tudi\u00e9e l\u2019\u00e9criture complexe, originale de Confiant, Cailler examine la dialectique existant, dans le texte, entre culture et barbarie, enchantement et d\u00e9senchantement. D\u2019une part, elle se demande si Confiant r\u00e9ussit \u00e0 d\u00e9mystifier, fragiliser certaines pr\u00e9suppositions de son protagoniste\u202f: d\u00e9senchantement n\u00e9cessaire\u202f; d\u2019autre part, si, dans le r\u00e9cit, s\u2019affirme une m\u00e9tamorphose de Gauguin l\u2019artiste\u202f: enchantement positif n\u00e9 de la valorisation de maints \u00e9l\u00e9ments de culture antillaise.
\n<\/span><\/p>\nMarjorie\u00a0Jung<\/strong>,\u00a0Une \u00e9pop\u00e9e barbare. La figure de l\u2019homme nouveau dans l\u2019\u0153uvre de Frantz Fanon
\nProposer une analyse de la figure du barbare \u00e0 l\u2019aune de l\u2019\u0153uvre de Frantz Fanon suppose de penser le d\u00e9cloisonnement pr\u00e9alable de l\u2019ensemble des champs du savoir, n\u00e9cessaire \u00e0 l\u2019ouverture d\u2019une multiplicit\u00e9 de r\u00e9seaux signifiants qui, du colonis\u00e9 \u00e0 l\u2019homme nouveau, illustrent le chemin d\u2019une praxis totalisante en mouvement. L\u2019\u0153uvre fanonienne assoit son travail de r\u00e9historicisation sur un retournement de la dialectique coloniale, au sein de laquelle le barbare pr\u00e9figure la mise en place d\u2019une nouvelle dynamique ontologique. Cette derni\u00e8re, mue par une conversion de la violence, introduit le Moi \u00e0 la possibilit\u00e9 de sa toute-puissance narcissique. Fanon nous livre la voix des damn\u00e9s, de ces \u00ab\u202fderniers qui seront les premiers\u202f\u00bb, dont l\u2019impossibilit\u00e9 historique est corr\u00e9lative \u00e0 l\u2019impossibilit\u00e9 discursive. Aussi est-ce encore au prisme de l\u2019impossibilit\u00e9 du dire \u2013 celle du colonis\u00e9, du noir, du musulman et plus loin de l\u2019ali\u00e9n\u00e9 \u2013 que sera analys\u00e9e la figure du barbare.
\n<\/span><\/p>\nValeria Sperti<\/strong>,\u00a0Chacun est le barbare de l\u2019autre: p\u00e8re et fils dans <\/span>L\u2019Africain\u00a0<\/em>de J.M.G. Le Cl\u00e9zio
\n<\/i>L\u2019Africain de J.M.G. Le Cl\u00e9zio, livre bref et complexe, est un retour aux origines de l\u2019\u00e9crivain et une remont\u00e9e dans le temps sur les traces d\u2019un homme myst\u00e9rieux et inconnu, le p\u00e8re de l\u2019auteur. Le mot \u00ab\u202fbarbare\u202f\u00bb y est banni, mais des \u00ab\u202feffets barbares\u202f\u00bb connotent l\u2019\u0153uvre, qui se compose d\u2019un texte et de quinze clich\u00e9s pris par le p\u00e8re de l\u2019auteur pendant sa vie africaine. L\u2019article d\u00e9finit la notion d\u2019\u00ab\u202feffet barbare\u202f\u00bb et montre que cet effet se d\u00e9ploie dans une dimension ext\u00e9rieure, ethnopsychologique, repr\u00e9sent\u00e9e par le contact avec le \u00ab\u202fsauvage\u202f\u00bb qui \u00e9choit au fils et au p\u00e8re. Cet effet barbare renverse les cat\u00e9gories coloniales, exhibant son sens positif de force primitive, myst\u00e9rieuse et archa\u00efque, pour atteindre ensuite une dimension plus int\u00e9rieure, affective, qui investit la relation interpersonnelle, filiale. Chacun des deux personnages est \u00ab\u202fbarbare\u202f\u00bb par rapport \u00e0 l\u2019autre et l\u2019article montre comment les images reproduites, donnant voix au silence du p\u00e8re, contribuent \u00e0 cette d\u00e9clinaison ext\u00e9rieure et int\u00e9rieure de l\u2019\u00ab\u202feffet barbare\u202f\u00bb.
\n<\/i><\/span><\/p>\nIbrahima\u00a0Diouf<\/strong>,\u00a0Un v\u00e9ritable roman barbare ? La langue fran\u00e7aise \u00e0 l\u2019\u00e9coute de la barbarie dans<\/span> <\/i>Batouala<\/em> (1921) de Ren\u00e9 Maran
\nL\u2019enjeu de cette \u00e9tude est de comprendre comment Ren\u00e9 Maran, sans pour autant prendre le parti axiologique et dialectique de la \u00ab\u202fbarbarie\u202f\u00bb contre la \u00ab\u202fcivilisation\u202f\u00bb coloniale, ni en introduisant v\u00e9ritablement la langue parl\u00e9e dans la narration par un travail affirmativement \u00ab\u202fbarbare\u202f\u00bb sur la voix, est parvenu \u00e0 faire de Batouala (1921) une \u0153uvre fondatrice de la n\u00e9gritude en francophonie. Nous proposerons donc, dans le prolongement de l\u2019historiographie senghorienne, une lecture de l\u2019\u0153uvre comme po\u00e9tique barbare de transition vers la n\u00e9gritude litt\u00e9raire, en montrant comment c\u2019est l\u2019attention presque auditive de la langue fran\u00e7aise \u00e0 l\u2019\u00e9gard de la barbarie du monde qui conf\u00e8re au roman son potentiel fondateur dans l\u2019histoire litt\u00e9raire.
\n<\/span><\/p>\nChlo\u00e9 Vandendorpe<\/strong>,\u00a0<\/span>Kossi Efoui, une langue barbare \u00e0 l\u2019usage du monde<\/span>
\n<\/span><\/i>La barbarie, irr\u00e9ductible \u00e0 une unique d\u00e9finition, connote la violence destructrice comme la force cr\u00e9atrice\u202f; Kossi Efoui, qui se \u00ab\u202fm\u00e9fie des mots\u202f\u00bb, joue de cette ambigu\u00eft\u00e9.\u202fDans son \u0153uvre, la barbarie, entendue comme violence d\u00e9cha\u00een\u00e9e dans un \u00e9tat d\u2019impunit\u00e9, se drape du voile de la civilisation qui la rationalise gr\u00e2ce \u00e0 une langue amn\u00e9sique qui entend r\u00e9f\u00e9rer de mani\u00e8re imm\u00e9diate, univoque et n\u00e9cessaire. Comme pour \u00e9viter la possibilit\u00e9 d\u2019une barbarie litt\u00e9rale, Kossi Efoui opte pour une barbarie litt\u00e9raire, pour une langue qui semble balbutier et \u00e0 laquelle il reste toujours une part d\u2019\u00e9tranget\u00e9, dont on ne peut affirmer en avoir parfaitement saisi le sens. Loin d\u2019\u00eatre li\u00e9e \u00e0 la pr\u00e9sence d\u2019expressions issues de l\u2019\u00e9w\u00e9 ou \u00e0 une r\u00e9cup\u00e9ration du \u00ab\u202ftrash\u202f\u00bb \u2013 barbare donn\u00e9 en spectacle \u2013, l\u2019\u00e9tranget\u00e9 de cette langue se situe dans la d\u00e9r\u00e9alisation, les d\u00e9tours, la d\u00e9stabilisation, et dans le jeu incessant par lequel elle se d\u00e9finit. Une telle langue, sans rien affirmer, met infiniment en contact, sugg\u00e8re des rapprochements sans assimiler et engendre \u00e9chos, r\u00e9sonances et harmoniques chez celui qui \u00e9coute.<\/span>
\n<\/span><\/i><\/p>\nNicolas Hossard<\/strong>,\u00a0Gen\u00e8se d\u2019une ambigu\u00eft\u00e9\u00a0: francophonie et barbarie dans l\u2019\u0153uvre de Jean-Jacques Rousseau<\/span>
\n<\/span><\/i>V\u00e9ritable \u00ab\u202fmoment barbare\u202f\u00bb, \u00e0 l\u2019origine d\u2019une ambigu\u00eft\u00e9 essentielle dans la compr\u00e9hension de l\u2019histoire litt\u00e9raire, l\u2019\u0153uvre de Jean-Jacques Rousseau d\u00e9crit une sc\u00e8ne primitive de la francophonie, dans son contenu philosophique, ses liens consubstantiels avec la discursivit\u00e9 barbare, et surtout sa proposition litt\u00e9raire. C\u2019est le geste fondateur d\u2019une conception francophoniste de l\u2019\u00e9criture, c\u2019est-\u00e0-dire de l\u2019inscription de la voix dans la litt\u00e9rature de langue fran\u00e7aise. Trois arguments rousseauistes fournissent \u00e0 cet article la mati\u00e8re d\u2019une th\u00e9orie radicale de la francophonie comme\u202f1) Alt\u00e9rologie r\u00e9activant, \u00e0 l\u2019int\u00e9rieur de la langue et de la culture fran\u00e7aises, un certain rapport au latin et au monde romain, dans ses ambigu\u00eft\u00e9s \u00e0 l\u2019\u00e9gard de la barbarie\u202f2) Phonocentrisme philosophique, exprim\u00e9 dans et contre la langue fran\u00e7aise, \u00e0 la fois physique et m\u00e9taphysique de la pr\u00e9sence 3) Communication litt\u00e9raire autour d\u2019une authenticit\u00e9 fond\u00e9e sur l\u2019accord entre une anthropologie et une \u00ab\u202fbarbarie\u202f\u00bb litt\u00e9rale du sujet, dont d\u00e9coule une litt\u00e9rarit\u00e9 perfectionn\u00e9e.<\/span>
\n<\/span><\/p>\n<\/div>Abstracts<\/h4><\/a><\/li><\/ul><\/div>\nMaria Chiara Gnocchi<\/strong>, The barbarian next door (1900-1939)
\nAt the turn of the 20th century, several protagonists of the literary world invoke the coming of the \u00ab\u202fbarbarians\u202f\u00bb, whom they recognize in some categories of writers. Their wishes will come true\u202f: many authors, whose \u00ab\u202fbarbarity\u202f\u00bb is particularly appreciated, will soon establish themselves in the literary field. They are mostly \u00ab\u202fnext door barbarians\u202f\u00bb\u202f: francophone writers from Belgium or Switzerland\u202f; foreigners who have adopted the French language\u202f; French people who emigrated\u202f; provincial or non-professional writers. Starting from an analysis of the changes in the literary field, this article tackles the way these authors emerge. The author then focuses on the characteristics of their barbarism (as perceived by critics). This will help to understand the issues related to the use of such a label, as well as the implications for the authors\u2019 narrative and aesthetic options.<\/p>\nBernadette Cailler<\/strong>, Nostalgia and conquest: myths of barbarism in Rapha\u00ebl Confiant\u2019s Le Barbare enchant\u00e9
\n<\/em><\/span>This article considers two meanings of the word \u00ab\u202fbarbarian\u202f\u00bb as linked to myths of Barbarism in contemporary French-language creativity. a) Focusing to a great extent on Paul Gauguin\u2019s Martinican adventure, Le Barbare enchant\u00e9 (Rapha\u00ebl Confiant, 2003) takes up a theme inherited from the mid-end-of-the-century spirit (19th) in which, from within a civilization that has for long believed itself to be superior, comes out a nostalgia for, even an identification with the \u00ab\u202fnoble savage\u202f\u00bb. b) The novel includes the memory of conquests, dehumanization, barbarization among colonizers and colonized. Following a study of Confiant\u2019s complex, original writing, Cailler examines the dialectic, in the text, between culture and barbarism, enchantment and disenchantment. She wonders whether Confiant succeeds in demystifying, weakening some of his protagonist\u2019s presuppositions\u202f: a necessary disenchantment\u202f; and also, whether the reading process reveals a metamorphosis in Gauguin, the artist\u202f: a positive enchantment grounded in the valorization of many Antillean cultural elements.
\n<\/span><\/p>\nMarjorie\u00a0Jung<\/strong>, A barbarian epic. The figure of the new man in Frantz Fanon\u2019s work
\nTo propose an analysis of the barbarian figure is by reference to the work of Frantz Fanon, supposes to think the preliminary de-compartmentalization of all the fields of the knowledge, necessary to the opening of a multiplicity of significant networks which, from the colonized to the new man, illustrate the way of a totalizing praxis in movement. The fanonian work of re-historicization is based on a reversal of the colonial dialectic, within which the barbarian prefigures the rising of a new ontological dynamic. This dynamic, moved by a conversion of the violence, allows the self to experiment its narcissistic omnipotence. Fanon delivers us the voice of the damned, of \u00ab\u202fthe last ones who will be the first ones\u202f\u00bb, whose historic impossibility is correlative to the impossibility. So, it is still in the prism of the impossibility to say \u2013 for the colonized, the black, the Muslim and farther the insane person \u2013 that will be analyzed the figure of the barbarian.
\n<\/span><\/p>\nValeria Sperti<\/strong>, Everyone is the the barbarian of the other: father and son in J.M.G Le Cl\u00e9zio\u2019s L\u2019Africain<\/em>
\n<\/em>L\u2019Africain by J.M.G. Le Cl\u00e9zio, a small yet complex autobiographical novel, is, for the author, a return to the origins and a step back into the past on the footsteps of a mysterious and unknown man\u202f: his father. The word \u00ab\u202fbarbarian\u202f\u00bb is forbidden, but the \u00ab\u202fbarbaric effects\u202f\u00bb connotate this work composed of a text and fifteen shots taken by the father of the author during his lifetime\u202fin Africa. The article defines the concept of \u00ab\u202fbarbaric effect\u202f\u00bb and then shows that this effect unfolds in an external ethnopsychological dimension represented by the contact with the \u00ab\u202fsavage\u202f\u00bb, which evades both the father and the son. This barbaric effect knocks over the colonial categories to then reach a more internal, emotional dimension, including the filial interpersonal relationship. Each of the two characters is \u00ab\u202fbarbaric\u202f\u00bb in relation to the other and the article shows how photographs, giving a voice to the father\u2019s silence, contribute to the exterior and interior range of the barbaric effect.
\n<\/em><\/span><\/p>\nIbrahima\u00a0Diouf<\/strong>, A true barbaric novel? the French language listening to barbarity in Batoula <\/em>(1921) by Ren\u00e9 Maran
\nThe main issue of this essay is to understand how Ren\u00e9 Maran, without taking the axiological and dialectical side of \u00ab\u202fbarbary\u202f\u00bb against colonial \u00ab\u202fcivilization\u202f\u00bb, nor really introducing spoken language into narration by an affirmatively \u00ab\u202fbarbaric\u202f\u00bb work on voice, achieved to make Batouala (1921) a founding piece of negritude in francophony. We will read it, following Senghorian historiography, as transitional barbaric poetry to literary negritude, and will show how the founding potential of this novel in litterary history comes from the almost auditive focus of french language towards world\u2019s barbary.
\n<\/span><\/p>\nChlo\u00e9 Vandendorpe<\/strong>, Kossi Efoui, a barbaric language for the use of the world
\nThe word barbarity has a broad span of meanings, and simultaneously refers to destructive violence and creative power. Kossi Efoui, who claims to be suspicious about words, plays on this ambiguity. In his books, barbarity, understood as unleashed and unpunished violence, acts behind the mask of civilization, which rationalizes it through language. This use of language allows only necessary and clear-cut speeches, embedded in the very moment, with no possible questioning. As to avoid barbarity in acts, Kossi Efoui favours literary barbarity. His language seems to stammer, and by instilling weirdness, keeps the reader from fully comprehending it. Its strange aspects do not really lie on the use of words and expressions from Ewe, or on a harsh way of displaying barbarity as a show, but emerge from \u00ab\u202fderealisation\u202f\u00bb, detours, destabilization, endless movement\u2026 Such a language states nothing\u202f: it smoothly connects ideas. It suggests links without blending. It brings about echoes and harmonic resonance to the audience.
\n<\/span><\/p>\nNicolas Hossard<\/strong>, Genesis of an ambiguity: francophony and barbarism in Jean-Jacques Rousseau\u2019s work
\nTrue \u00ab\u202fbarbaric moment\u202f\u00bb, source of an essential ambiguity in the understanding of literary history, Jean-Jacques Rousseau\u2019s work describes a primitive scene of francophony, in its philosophical contents, its consubstantial relations with barbaric discursivity, and above all its literary proposition. That is the founding gesture of a francophonist writing\u2019s conception, in other words voice\u2019s inscription into french-language literature. Three rousseauist arguments give to this essay matter to a radical theory of francophony as 1) An alterology reactivating, inside french culture and language, a certain relationship with Latin language and Roman world, in its ambiguities towards barbary 2) A philosophical phonocentrism, expressed inside and against french language, and which is both physics and metaphysics of presence 3) A literary communication about an authenticity based in the concordance between an anthropology and a subjective \u00ab\u202fbarbary\u202f\u00bb which would be litteral, what gives rise to a perfected literarity.
\n<\/span><\/p>\n<\/div>
Francophonies barbares<\/strong><\/em><\/h1>\nsous la direction de<\/strong><\/h3>\nNicolas Hossard<\/strong><\/h3>\n<\/a><\/p>\nLire ce num\u00e9ro sur JSTOR<\/a>
\nLeggere questo numero su JSTOR<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>Sommaire \/\u00a0<\/span>Indice<\/span><\/h2>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Nicolas Hossard<\/strong>,\u00a0Penser la francophonie par la barbarie?<\/span><\/p>\n<\/div>Articles<\/h4><\/a><\/li>
R\u00e9sum\u00e9s<\/h4><\/a><\/li>
Abstracts<\/h4><\/a><\/li>
Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div>Articles<\/h4><\/a><\/li><\/ul><\/div>\nMaria Chiara Gnocchi<\/strong>, Le barbare d\u2019\u00e0 c\u00f4t\u00e9 (1900-1939)<\/p>\nBernadette Cailler<\/strong>,\u00a0<\/span>Nostalgie et conqu\u00eate\u00a0: mythes de la barbarie dans <\/span>Le Barbare enchant\u00e9<\/em> de Rapha\u00ebl Confiant<\/span><\/p>\nMarjorie\u00a0Jung<\/strong>,\u00a0Une \u00e9pop\u00e9e barbare. La figure de l\u2019homme nouveau dans l\u2019\u0153uvre de Frantz Fanon<\/span><\/p>\nValeria Sperti<\/strong>,\u00a0Chacun est le barbare de l\u2019autre: p\u00e8re et fils dans <\/span>L\u2019Africain<\/em>\u00a0<\/i>de J.M.G. Le Cl\u00e9zio<\/span><\/p>\nIbrahima\u00a0Diouf<\/strong>,\u00a0Un v\u00e9ritable roman barbare ? La langue fran\u00e7aise \u00e0 l\u2019\u00e9coute de la barbarie dans<\/span> <\/i>Batouala<\/em> (1921) de Ren\u00e9 Maran<\/span><\/p>\nChlo\u00e9 Vandendorpe<\/strong>,\u00a0<\/span>Kossi Efoui, une langue barbare \u00e0 l\u2019usage du monde<\/span><\/p>\nNicolas Hossard<\/strong>,\u00a0Gen\u00e8se d\u2019une ambigu\u00eft\u00e9\u00a0: francophonie et barbarie dans l\u2019\u0153uvre de Jean-Jacques Rousseau<\/span>\u00a0<\/span><\/p>\n<\/div>R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div>\nMaria Chiara Gnocchi<\/strong>, Le barbare d\u2019\u00e0 c\u00f4t\u00e9 (1900-1939)
\nAu tournant du XXe si\u00e8cle, plusieurs protagonistes du monde litt\u00e9raire invoquent la venue des \u00ab\u202fbarbares\u202f\u00bb, qu\u2019ils reconnaissent dans certaines cat\u00e9gories d\u2019\u00e9crivains. Leurs v\u0153ux seront exauc\u00e9s\u202f: on assiste bient\u00f4t \u00e0 l\u2019affirmation dans le champ litt\u00e9raire de diff\u00e9rents auteurs dont la \u00ab\u202fbarbarie\u202f\u00bb est particuli\u00e8rement appr\u00e9ci\u00e9e. Ce sont, pour la plupart, des \u00ab\u202fbarbares d\u2019\u00e0 c\u00f4t\u00e9\u202f\u00bb\u202f: des francophones de Belgique ou de Suisse, des \u00e9trangers ayant adopt\u00e9 la langue fran\u00e7aise, des Fran\u00e7ais ayant \u00e9migr\u00e9\u202f; ou alors des provinciaux ou, pour finir, des \u00e9crivains aux marges de l\u2019institution, comme les non professionnels de l\u2019\u00e9criture. Cet article illustre comment \u00e9mergent ces quelques auteurs, \u00e0 partir de quels changements dans le champ litt\u00e9raire. L\u2019auteure explique ensuite comment se d\u00e9cline leur \u00ab\u202fbarbarie\u202f\u00bb, telle qu\u2019elle est per\u00e7ue par la critique, ce qui permet de comprendre les enjeux de l\u2019\u00e9tiquette qui leur est attribu\u00e9e et les implications des choix narratifs et esth\u00e9tiques des auteurs eux-m\u00eames.<\/p>\nBernadette Cailler<\/strong>,\u00a0<\/span>Nostalgie et conqu\u00eate\u00a0: mythes de la barbarie dans <\/span>Le Barbare enchant\u00e9<\/em> de Rapha\u00ebl Confiant
\nCet article consid\u00e8re deux sens du terme \u00ab\u202fbarbare\u202f\u00bb li\u00e9s aux mythes de la Barbarie dans la cr\u00e9ativit\u00e9 contemporaine de langue fran\u00e7aise. a) Centr\u00e9 en grande partie sur l\u2019aventure martiniquaise de Paul Gauguin, Le Barbare enchant\u00e9 (Rapha\u00ebl Confiant, 2003) reprend un th\u00e8me h\u00e9rit\u00e9 de l\u2019esprit milieu-et-fin-de-si\u00e8cle (XIXe) o\u00f9, de l\u2019int\u00e9rieur m\u00eame d\u2019une civilisation qui s\u2019est crue depuis longtemps sup\u00e9rieure, \u00e9merge la nostalgie d\u2019une rencontre, voire de l\u2019identification, avec le \u00ab\u202fbon sauvage\u202f\u00bb. b) Le roman inclut la m\u00e9moire de conqu\u00eates, de d\u00e9shumanisation, de barbarisation chez colonisateurs et colonis\u00e9s. Une fois \u00e9tudi\u00e9e l\u2019\u00e9criture complexe, originale de Confiant, Cailler examine la dialectique existant, dans le texte, entre culture et barbarie, enchantement et d\u00e9senchantement. D\u2019une part, elle se demande si Confiant r\u00e9ussit \u00e0 d\u00e9mystifier, fragiliser certaines pr\u00e9suppositions de son protagoniste\u202f: d\u00e9senchantement n\u00e9cessaire\u202f; d\u2019autre part, si, dans le r\u00e9cit, s\u2019affirme une m\u00e9tamorphose de Gauguin l\u2019artiste\u202f: enchantement positif n\u00e9 de la valorisation de maints \u00e9l\u00e9ments de culture antillaise.
\n<\/span><\/p>\nMarjorie\u00a0Jung<\/strong>,\u00a0Une \u00e9pop\u00e9e barbare. La figure de l\u2019homme nouveau dans l\u2019\u0153uvre de Frantz Fanon
\nProposer une analyse de la figure du barbare \u00e0 l\u2019aune de l\u2019\u0153uvre de Frantz Fanon suppose de penser le d\u00e9cloisonnement pr\u00e9alable de l\u2019ensemble des champs du savoir, n\u00e9cessaire \u00e0 l\u2019ouverture d\u2019une multiplicit\u00e9 de r\u00e9seaux signifiants qui, du colonis\u00e9 \u00e0 l\u2019homme nouveau, illustrent le chemin d\u2019une praxis totalisante en mouvement. L\u2019\u0153uvre fanonienne assoit son travail de r\u00e9historicisation sur un retournement de la dialectique coloniale, au sein de laquelle le barbare pr\u00e9figure la mise en place d\u2019une nouvelle dynamique ontologique. Cette derni\u00e8re, mue par une conversion de la violence, introduit le Moi \u00e0 la possibilit\u00e9 de sa toute-puissance narcissique. Fanon nous livre la voix des damn\u00e9s, de ces \u00ab\u202fderniers qui seront les premiers\u202f\u00bb, dont l\u2019impossibilit\u00e9 historique est corr\u00e9lative \u00e0 l\u2019impossibilit\u00e9 discursive. Aussi est-ce encore au prisme de l\u2019impossibilit\u00e9 du dire \u2013 celle du colonis\u00e9, du noir, du musulman et plus loin de l\u2019ali\u00e9n\u00e9 \u2013 que sera analys\u00e9e la figure du barbare.
\n<\/span><\/p>\nValeria Sperti<\/strong>,\u00a0Chacun est le barbare de l\u2019autre: p\u00e8re et fils dans <\/span>L\u2019Africain\u00a0<\/em>de J.M.G. Le Cl\u00e9zio
\n<\/i>L\u2019Africain de J.M.G. Le Cl\u00e9zio, livre bref et complexe, est un retour aux origines de l\u2019\u00e9crivain et une remont\u00e9e dans le temps sur les traces d\u2019un homme myst\u00e9rieux et inconnu, le p\u00e8re de l\u2019auteur. Le mot \u00ab\u202fbarbare\u202f\u00bb y est banni, mais des \u00ab\u202feffets barbares\u202f\u00bb connotent l\u2019\u0153uvre, qui se compose d\u2019un texte et de quinze clich\u00e9s pris par le p\u00e8re de l\u2019auteur pendant sa vie africaine. L\u2019article d\u00e9finit la notion d\u2019\u00ab\u202feffet barbare\u202f\u00bb et montre que cet effet se d\u00e9ploie dans une dimension ext\u00e9rieure, ethnopsychologique, repr\u00e9sent\u00e9e par le contact avec le \u00ab\u202fsauvage\u202f\u00bb qui \u00e9choit au fils et au p\u00e8re. Cet effet barbare renverse les cat\u00e9gories coloniales, exhibant son sens positif de force primitive, myst\u00e9rieuse et archa\u00efque, pour atteindre ensuite une dimension plus int\u00e9rieure, affective, qui investit la relation interpersonnelle, filiale. Chacun des deux personnages est \u00ab\u202fbarbare\u202f\u00bb par rapport \u00e0 l\u2019autre et l\u2019article montre comment les images reproduites, donnant voix au silence du p\u00e8re, contribuent \u00e0 cette d\u00e9clinaison ext\u00e9rieure et int\u00e9rieure de l\u2019\u00ab\u202feffet barbare\u202f\u00bb.
\n<\/i><\/span><\/p>\nIbrahima\u00a0Diouf<\/strong>,\u00a0Un v\u00e9ritable roman barbare ? La langue fran\u00e7aise \u00e0 l\u2019\u00e9coute de la barbarie dans<\/span> <\/i>Batouala<\/em> (1921) de Ren\u00e9 Maran
\nL\u2019enjeu de cette \u00e9tude est de comprendre comment Ren\u00e9 Maran, sans pour autant prendre le parti axiologique et dialectique de la \u00ab\u202fbarbarie\u202f\u00bb contre la \u00ab\u202fcivilisation\u202f\u00bb coloniale, ni en introduisant v\u00e9ritablement la langue parl\u00e9e dans la narration par un travail affirmativement \u00ab\u202fbarbare\u202f\u00bb sur la voix, est parvenu \u00e0 faire de Batouala (1921) une \u0153uvre fondatrice de la n\u00e9gritude en francophonie. Nous proposerons donc, dans le prolongement de l\u2019historiographie senghorienne, une lecture de l\u2019\u0153uvre comme po\u00e9tique barbare de transition vers la n\u00e9gritude litt\u00e9raire, en montrant comment c\u2019est l\u2019attention presque auditive de la langue fran\u00e7aise \u00e0 l\u2019\u00e9gard de la barbarie du monde qui conf\u00e8re au roman son potentiel fondateur dans l\u2019histoire litt\u00e9raire.
\n<\/span><\/p>\nChlo\u00e9 Vandendorpe<\/strong>,\u00a0<\/span>Kossi Efoui, une langue barbare \u00e0 l\u2019usage du monde<\/span>
\n<\/span><\/i>La barbarie, irr\u00e9ductible \u00e0 une unique d\u00e9finition, connote la violence destructrice comme la force cr\u00e9atrice\u202f; Kossi Efoui, qui se \u00ab\u202fm\u00e9fie des mots\u202f\u00bb, joue de cette ambigu\u00eft\u00e9.\u202fDans son \u0153uvre, la barbarie, entendue comme violence d\u00e9cha\u00een\u00e9e dans un \u00e9tat d\u2019impunit\u00e9, se drape du voile de la civilisation qui la rationalise gr\u00e2ce \u00e0 une langue amn\u00e9sique qui entend r\u00e9f\u00e9rer de mani\u00e8re imm\u00e9diate, univoque et n\u00e9cessaire. Comme pour \u00e9viter la possibilit\u00e9 d\u2019une barbarie litt\u00e9rale, Kossi Efoui opte pour une barbarie litt\u00e9raire, pour une langue qui semble balbutier et \u00e0 laquelle il reste toujours une part d\u2019\u00e9tranget\u00e9, dont on ne peut affirmer en avoir parfaitement saisi le sens. Loin d\u2019\u00eatre li\u00e9e \u00e0 la pr\u00e9sence d\u2019expressions issues de l\u2019\u00e9w\u00e9 ou \u00e0 une r\u00e9cup\u00e9ration du \u00ab\u202ftrash\u202f\u00bb \u2013 barbare donn\u00e9 en spectacle \u2013, l\u2019\u00e9tranget\u00e9 de cette langue se situe dans la d\u00e9r\u00e9alisation, les d\u00e9tours, la d\u00e9stabilisation, et dans le jeu incessant par lequel elle se d\u00e9finit. Une telle langue, sans rien affirmer, met infiniment en contact, sugg\u00e8re des rapprochements sans assimiler et engendre \u00e9chos, r\u00e9sonances et harmoniques chez celui qui \u00e9coute.<\/span>
\n<\/span><\/i><\/p>\nNicolas Hossard<\/strong>,\u00a0Gen\u00e8se d\u2019une ambigu\u00eft\u00e9\u00a0: francophonie et barbarie dans l\u2019\u0153uvre de Jean-Jacques Rousseau<\/span>
\n<\/span><\/i>V\u00e9ritable \u00ab\u202fmoment barbare\u202f\u00bb, \u00e0 l\u2019origine d\u2019une ambigu\u00eft\u00e9 essentielle dans la compr\u00e9hension de l\u2019histoire litt\u00e9raire, l\u2019\u0153uvre de Jean-Jacques Rousseau d\u00e9crit une sc\u00e8ne primitive de la francophonie, dans son contenu philosophique, ses liens consubstantiels avec la discursivit\u00e9 barbare, et surtout sa proposition litt\u00e9raire. C\u2019est le geste fondateur d\u2019une conception francophoniste de l\u2019\u00e9criture, c\u2019est-\u00e0-dire de l\u2019inscription de la voix dans la litt\u00e9rature de langue fran\u00e7aise. Trois arguments rousseauistes fournissent \u00e0 cet article la mati\u00e8re d\u2019une th\u00e9orie radicale de la francophonie comme\u202f1) Alt\u00e9rologie r\u00e9activant, \u00e0 l\u2019int\u00e9rieur de la langue et de la culture fran\u00e7aises, un certain rapport au latin et au monde romain, dans ses ambigu\u00eft\u00e9s \u00e0 l\u2019\u00e9gard de la barbarie\u202f2) Phonocentrisme philosophique, exprim\u00e9 dans et contre la langue fran\u00e7aise, \u00e0 la fois physique et m\u00e9taphysique de la pr\u00e9sence 3) Communication litt\u00e9raire autour d\u2019une authenticit\u00e9 fond\u00e9e sur l\u2019accord entre une anthropologie et une \u00ab\u202fbarbarie\u202f\u00bb litt\u00e9rale du sujet, dont d\u00e9coule une litt\u00e9rarit\u00e9 perfectionn\u00e9e.<\/span>
\n<\/span><\/p>\n<\/div>Abstracts<\/h4><\/a><\/li><\/ul><\/div>\nMaria Chiara Gnocchi<\/strong>, The barbarian next door (1900-1939)
\nAt the turn of the 20th century, several protagonists of the literary world invoke the coming of the \u00ab\u202fbarbarians\u202f\u00bb, whom they recognize in some categories of writers. Their wishes will come true\u202f: many authors, whose \u00ab\u202fbarbarity\u202f\u00bb is particularly appreciated, will soon establish themselves in the literary field. They are mostly \u00ab\u202fnext door barbarians\u202f\u00bb\u202f: francophone writers from Belgium or Switzerland\u202f; foreigners who have adopted the French language\u202f; French people who emigrated\u202f; provincial or non-professional writers. Starting from an analysis of the changes in the literary field, this article tackles the way these authors emerge. The author then focuses on the characteristics of their barbarism (as perceived by critics). This will help to understand the issues related to the use of such a label, as well as the implications for the authors\u2019 narrative and aesthetic options.<\/p>\nBernadette Cailler<\/strong>, Nostalgia and conquest: myths of barbarism in Rapha\u00ebl Confiant\u2019s Le Barbare enchant\u00e9
\n<\/em><\/span>This article considers two meanings of the word \u00ab\u202fbarbarian\u202f\u00bb as linked to myths of Barbarism in contemporary French-language creativity. a) Focusing to a great extent on Paul Gauguin\u2019s Martinican adventure, Le Barbare enchant\u00e9 (Rapha\u00ebl Confiant, 2003) takes up a theme inherited from the mid-end-of-the-century spirit (19th) in which, from within a civilization that has for long believed itself to be superior, comes out a nostalgia for, even an identification with the \u00ab\u202fnoble savage\u202f\u00bb. b) The novel includes the memory of conquests, dehumanization, barbarization among colonizers and colonized. Following a study of Confiant\u2019s complex, original writing, Cailler examines the dialectic, in the text, between culture and barbarism, enchantment and disenchantment. She wonders whether Confiant succeeds in demystifying, weakening some of his protagonist\u2019s presuppositions\u202f: a necessary disenchantment\u202f; and also, whether the reading process reveals a metamorphosis in Gauguin, the artist\u202f: a positive enchantment grounded in the valorization of many Antillean cultural elements.
\n<\/span><\/p>\nMarjorie\u00a0Jung<\/strong>, A barbarian epic. The figure of the new man in Frantz Fanon\u2019s work
\nTo propose an analysis of the barbarian figure is by reference to the work of Frantz Fanon, supposes to think the preliminary de-compartmentalization of all the fields of the knowledge, necessary to the opening of a multiplicity of significant networks which, from the colonized to the new man, illustrate the way of a totalizing praxis in movement. The fanonian work of re-historicization is based on a reversal of the colonial dialectic, within which the barbarian prefigures the rising of a new ontological dynamic. This dynamic, moved by a conversion of the violence, allows the self to experiment its narcissistic omnipotence. Fanon delivers us the voice of the damned, of \u00ab\u202fthe last ones who will be the first ones\u202f\u00bb, whose historic impossibility is correlative to the impossibility. So, it is still in the prism of the impossibility to say \u2013 for the colonized, the black, the Muslim and farther the insane person \u2013 that will be analyzed the figure of the barbarian.
\n<\/span><\/p>\nValeria Sperti<\/strong>, Everyone is the the barbarian of the other: father and son in J.M.G Le Cl\u00e9zio\u2019s L\u2019Africain<\/em>
\n<\/em>L\u2019Africain by J.M.G. Le Cl\u00e9zio, a small yet complex autobiographical novel, is, for the author, a return to the origins and a step back into the past on the footsteps of a mysterious and unknown man\u202f: his father. The word \u00ab\u202fbarbarian\u202f\u00bb is forbidden, but the \u00ab\u202fbarbaric effects\u202f\u00bb connotate this work composed of a text and fifteen shots taken by the father of the author during his lifetime\u202fin Africa. The article defines the concept of \u00ab\u202fbarbaric effect\u202f\u00bb and then shows that this effect unfolds in an external ethnopsychological dimension represented by the contact with the \u00ab\u202fsavage\u202f\u00bb, which evades both the father and the son. This barbaric effect knocks over the colonial categories to then reach a more internal, emotional dimension, including the filial interpersonal relationship. Each of the two characters is \u00ab\u202fbarbaric\u202f\u00bb in relation to the other and the article shows how photographs, giving a voice to the father\u2019s silence, contribute to the exterior and interior range of the barbaric effect.
\n<\/em><\/span><\/p>\nIbrahima\u00a0Diouf<\/strong>, A true barbaric novel? the French language listening to barbarity in Batoula <\/em>(1921) by Ren\u00e9 Maran
\nThe main issue of this essay is to understand how Ren\u00e9 Maran, without taking the axiological and dialectical side of \u00ab\u202fbarbary\u202f\u00bb against colonial \u00ab\u202fcivilization\u202f\u00bb, nor really introducing spoken language into narration by an affirmatively \u00ab\u202fbarbaric\u202f\u00bb work on voice, achieved to make Batouala (1921) a founding piece of negritude in francophony. We will read it, following Senghorian historiography, as transitional barbaric poetry to literary negritude, and will show how the founding potential of this novel in litterary history comes from the almost auditive focus of french language towards world\u2019s barbary.
\n<\/span><\/p>\nChlo\u00e9 Vandendorpe<\/strong>, Kossi Efoui, a barbaric language for the use of the world
\nThe word barbarity has a broad span of meanings, and simultaneously refers to destructive violence and creative power. Kossi Efoui, who claims to be suspicious about words, plays on this ambiguity. In his books, barbarity, understood as unleashed and unpunished violence, acts behind the mask of civilization, which rationalizes it through language. This use of language allows only necessary and clear-cut speeches, embedded in the very moment, with no possible questioning. As to avoid barbarity in acts, Kossi Efoui favours literary barbarity. His language seems to stammer, and by instilling weirdness, keeps the reader from fully comprehending it. Its strange aspects do not really lie on the use of words and expressions from Ewe, or on a harsh way of displaying barbarity as a show, but emerge from \u00ab\u202fderealisation\u202f\u00bb, detours, destabilization, endless movement\u2026 Such a language states nothing\u202f: it smoothly connects ideas. It suggests links without blending. It brings about echoes and harmonic resonance to the audience.
\n<\/span><\/p>\nNicolas Hossard<\/strong>, Genesis of an ambiguity: francophony and barbarism in Jean-Jacques Rousseau\u2019s work
\nTrue \u00ab\u202fbarbaric moment\u202f\u00bb, source of an essential ambiguity in the understanding of literary history, Jean-Jacques Rousseau\u2019s work describes a primitive scene of francophony, in its philosophical contents, its consubstantial relations with barbaric discursivity, and above all its literary proposition. That is the founding gesture of a francophonist writing\u2019s conception, in other words voice\u2019s inscription into french-language literature. Three rousseauist arguments give to this essay matter to a radical theory of francophony as 1) An alterology reactivating, inside french culture and language, a certain relationship with Latin language and Roman world, in its ambiguities towards barbary 2) A philosophical phonocentrism, expressed inside and against french language, and which is both physics and metaphysics of presence 3) A literary communication about an authenticity based in the concordance between an anthropology and a subjective \u00ab\u202fbarbary\u202f\u00bb which would be litteral, what gives rise to a perfected literarity.
\n<\/span><\/p>\n<\/div>
Nicolas Hossard<\/strong><\/h3>\n<\/a><\/p>\nLire ce num\u00e9ro sur JSTOR<\/a>
\nLeggere questo numero su JSTOR<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>Sommaire \/\u00a0<\/span>Indice<\/span><\/h2>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Nicolas Hossard<\/strong>,\u00a0Penser la francophonie par la barbarie?<\/span><\/p>\n<\/div>Articles<\/h4><\/a><\/li>
R\u00e9sum\u00e9s<\/h4><\/a><\/li>
Abstracts<\/h4><\/a><\/li>
Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div>Articles<\/h4><\/a><\/li><\/ul><\/div>\nMaria Chiara Gnocchi<\/strong>, Le barbare d\u2019\u00e0 c\u00f4t\u00e9 (1900-1939)<\/p>\nBernadette Cailler<\/strong>,\u00a0<\/span>Nostalgie et conqu\u00eate\u00a0: mythes de la barbarie dans <\/span>Le Barbare enchant\u00e9<\/em> de Rapha\u00ebl Confiant<\/span><\/p>\nMarjorie\u00a0Jung<\/strong>,\u00a0Une \u00e9pop\u00e9e barbare. La figure de l\u2019homme nouveau dans l\u2019\u0153uvre de Frantz Fanon<\/span><\/p>\nValeria Sperti<\/strong>,\u00a0Chacun est le barbare de l\u2019autre: p\u00e8re et fils dans <\/span>L\u2019Africain<\/em>\u00a0<\/i>de J.M.G. Le Cl\u00e9zio<\/span><\/p>\nIbrahima\u00a0Diouf<\/strong>,\u00a0Un v\u00e9ritable roman barbare ? La langue fran\u00e7aise \u00e0 l\u2019\u00e9coute de la barbarie dans<\/span> <\/i>Batouala<\/em> (1921) de Ren\u00e9 Maran<\/span><\/p>\nChlo\u00e9 Vandendorpe<\/strong>,\u00a0<\/span>Kossi Efoui, une langue barbare \u00e0 l\u2019usage du monde<\/span><\/p>\nNicolas Hossard<\/strong>,\u00a0Gen\u00e8se d\u2019une ambigu\u00eft\u00e9\u00a0: francophonie et barbarie dans l\u2019\u0153uvre de Jean-Jacques Rousseau<\/span>\u00a0<\/span><\/p>\n<\/div>R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div>\nMaria Chiara Gnocchi<\/strong>, Le barbare d\u2019\u00e0 c\u00f4t\u00e9 (1900-1939)
\nAu tournant du XXe si\u00e8cle, plusieurs protagonistes du monde litt\u00e9raire invoquent la venue des \u00ab\u202fbarbares\u202f\u00bb, qu\u2019ils reconnaissent dans certaines cat\u00e9gories d\u2019\u00e9crivains. Leurs v\u0153ux seront exauc\u00e9s\u202f: on assiste bient\u00f4t \u00e0 l\u2019affirmation dans le champ litt\u00e9raire de diff\u00e9rents auteurs dont la \u00ab\u202fbarbarie\u202f\u00bb est particuli\u00e8rement appr\u00e9ci\u00e9e. Ce sont, pour la plupart, des \u00ab\u202fbarbares d\u2019\u00e0 c\u00f4t\u00e9\u202f\u00bb\u202f: des francophones de Belgique ou de Suisse, des \u00e9trangers ayant adopt\u00e9 la langue fran\u00e7aise, des Fran\u00e7ais ayant \u00e9migr\u00e9\u202f; ou alors des provinciaux ou, pour finir, des \u00e9crivains aux marges de l\u2019institution, comme les non professionnels de l\u2019\u00e9criture. Cet article illustre comment \u00e9mergent ces quelques auteurs, \u00e0 partir de quels changements dans le champ litt\u00e9raire. L\u2019auteure explique ensuite comment se d\u00e9cline leur \u00ab\u202fbarbarie\u202f\u00bb, telle qu\u2019elle est per\u00e7ue par la critique, ce qui permet de comprendre les enjeux de l\u2019\u00e9tiquette qui leur est attribu\u00e9e et les implications des choix narratifs et esth\u00e9tiques des auteurs eux-m\u00eames.<\/p>\nBernadette Cailler<\/strong>,\u00a0<\/span>Nostalgie et conqu\u00eate\u00a0: mythes de la barbarie dans <\/span>Le Barbare enchant\u00e9<\/em> de Rapha\u00ebl Confiant
\nCet article consid\u00e8re deux sens du terme \u00ab\u202fbarbare\u202f\u00bb li\u00e9s aux mythes de la Barbarie dans la cr\u00e9ativit\u00e9 contemporaine de langue fran\u00e7aise. a) Centr\u00e9 en grande partie sur l\u2019aventure martiniquaise de Paul Gauguin, Le Barbare enchant\u00e9 (Rapha\u00ebl Confiant, 2003) reprend un th\u00e8me h\u00e9rit\u00e9 de l\u2019esprit milieu-et-fin-de-si\u00e8cle (XIXe) o\u00f9, de l\u2019int\u00e9rieur m\u00eame d\u2019une civilisation qui s\u2019est crue depuis longtemps sup\u00e9rieure, \u00e9merge la nostalgie d\u2019une rencontre, voire de l\u2019identification, avec le \u00ab\u202fbon sauvage\u202f\u00bb. b) Le roman inclut la m\u00e9moire de conqu\u00eates, de d\u00e9shumanisation, de barbarisation chez colonisateurs et colonis\u00e9s. Une fois \u00e9tudi\u00e9e l\u2019\u00e9criture complexe, originale de Confiant, Cailler examine la dialectique existant, dans le texte, entre culture et barbarie, enchantement et d\u00e9senchantement. D\u2019une part, elle se demande si Confiant r\u00e9ussit \u00e0 d\u00e9mystifier, fragiliser certaines pr\u00e9suppositions de son protagoniste\u202f: d\u00e9senchantement n\u00e9cessaire\u202f; d\u2019autre part, si, dans le r\u00e9cit, s\u2019affirme une m\u00e9tamorphose de Gauguin l\u2019artiste\u202f: enchantement positif n\u00e9 de la valorisation de maints \u00e9l\u00e9ments de culture antillaise.
\n<\/span><\/p>\nMarjorie\u00a0Jung<\/strong>,\u00a0Une \u00e9pop\u00e9e barbare. La figure de l\u2019homme nouveau dans l\u2019\u0153uvre de Frantz Fanon
\nProposer une analyse de la figure du barbare \u00e0 l\u2019aune de l\u2019\u0153uvre de Frantz Fanon suppose de penser le d\u00e9cloisonnement pr\u00e9alable de l\u2019ensemble des champs du savoir, n\u00e9cessaire \u00e0 l\u2019ouverture d\u2019une multiplicit\u00e9 de r\u00e9seaux signifiants qui, du colonis\u00e9 \u00e0 l\u2019homme nouveau, illustrent le chemin d\u2019une praxis totalisante en mouvement. L\u2019\u0153uvre fanonienne assoit son travail de r\u00e9historicisation sur un retournement de la dialectique coloniale, au sein de laquelle le barbare pr\u00e9figure la mise en place d\u2019une nouvelle dynamique ontologique. Cette derni\u00e8re, mue par une conversion de la violence, introduit le Moi \u00e0 la possibilit\u00e9 de sa toute-puissance narcissique. Fanon nous livre la voix des damn\u00e9s, de ces \u00ab\u202fderniers qui seront les premiers\u202f\u00bb, dont l\u2019impossibilit\u00e9 historique est corr\u00e9lative \u00e0 l\u2019impossibilit\u00e9 discursive. Aussi est-ce encore au prisme de l\u2019impossibilit\u00e9 du dire \u2013 celle du colonis\u00e9, du noir, du musulman et plus loin de l\u2019ali\u00e9n\u00e9 \u2013 que sera analys\u00e9e la figure du barbare.
\n<\/span><\/p>\nValeria Sperti<\/strong>,\u00a0Chacun est le barbare de l\u2019autre: p\u00e8re et fils dans <\/span>L\u2019Africain\u00a0<\/em>de J.M.G. Le Cl\u00e9zio
\n<\/i>L\u2019Africain de J.M.G. Le Cl\u00e9zio, livre bref et complexe, est un retour aux origines de l\u2019\u00e9crivain et une remont\u00e9e dans le temps sur les traces d\u2019un homme myst\u00e9rieux et inconnu, le p\u00e8re de l\u2019auteur. Le mot \u00ab\u202fbarbare\u202f\u00bb y est banni, mais des \u00ab\u202feffets barbares\u202f\u00bb connotent l\u2019\u0153uvre, qui se compose d\u2019un texte et de quinze clich\u00e9s pris par le p\u00e8re de l\u2019auteur pendant sa vie africaine. L\u2019article d\u00e9finit la notion d\u2019\u00ab\u202feffet barbare\u202f\u00bb et montre que cet effet se d\u00e9ploie dans une dimension ext\u00e9rieure, ethnopsychologique, repr\u00e9sent\u00e9e par le contact avec le \u00ab\u202fsauvage\u202f\u00bb qui \u00e9choit au fils et au p\u00e8re. Cet effet barbare renverse les cat\u00e9gories coloniales, exhibant son sens positif de force primitive, myst\u00e9rieuse et archa\u00efque, pour atteindre ensuite une dimension plus int\u00e9rieure, affective, qui investit la relation interpersonnelle, filiale. Chacun des deux personnages est \u00ab\u202fbarbare\u202f\u00bb par rapport \u00e0 l\u2019autre et l\u2019article montre comment les images reproduites, donnant voix au silence du p\u00e8re, contribuent \u00e0 cette d\u00e9clinaison ext\u00e9rieure et int\u00e9rieure de l\u2019\u00ab\u202feffet barbare\u202f\u00bb.
\n<\/i><\/span><\/p>\nIbrahima\u00a0Diouf<\/strong>,\u00a0Un v\u00e9ritable roman barbare ? La langue fran\u00e7aise \u00e0 l\u2019\u00e9coute de la barbarie dans<\/span> <\/i>Batouala<\/em> (1921) de Ren\u00e9 Maran
\nL\u2019enjeu de cette \u00e9tude est de comprendre comment Ren\u00e9 Maran, sans pour autant prendre le parti axiologique et dialectique de la \u00ab\u202fbarbarie\u202f\u00bb contre la \u00ab\u202fcivilisation\u202f\u00bb coloniale, ni en introduisant v\u00e9ritablement la langue parl\u00e9e dans la narration par un travail affirmativement \u00ab\u202fbarbare\u202f\u00bb sur la voix, est parvenu \u00e0 faire de Batouala (1921) une \u0153uvre fondatrice de la n\u00e9gritude en francophonie. Nous proposerons donc, dans le prolongement de l\u2019historiographie senghorienne, une lecture de l\u2019\u0153uvre comme po\u00e9tique barbare de transition vers la n\u00e9gritude litt\u00e9raire, en montrant comment c\u2019est l\u2019attention presque auditive de la langue fran\u00e7aise \u00e0 l\u2019\u00e9gard de la barbarie du monde qui conf\u00e8re au roman son potentiel fondateur dans l\u2019histoire litt\u00e9raire.
\n<\/span><\/p>\nChlo\u00e9 Vandendorpe<\/strong>,\u00a0<\/span>Kossi Efoui, une langue barbare \u00e0 l\u2019usage du monde<\/span>
\n<\/span><\/i>La barbarie, irr\u00e9ductible \u00e0 une unique d\u00e9finition, connote la violence destructrice comme la force cr\u00e9atrice\u202f; Kossi Efoui, qui se \u00ab\u202fm\u00e9fie des mots\u202f\u00bb, joue de cette ambigu\u00eft\u00e9.\u202fDans son \u0153uvre, la barbarie, entendue comme violence d\u00e9cha\u00een\u00e9e dans un \u00e9tat d\u2019impunit\u00e9, se drape du voile de la civilisation qui la rationalise gr\u00e2ce \u00e0 une langue amn\u00e9sique qui entend r\u00e9f\u00e9rer de mani\u00e8re imm\u00e9diate, univoque et n\u00e9cessaire. Comme pour \u00e9viter la possibilit\u00e9 d\u2019une barbarie litt\u00e9rale, Kossi Efoui opte pour une barbarie litt\u00e9raire, pour une langue qui semble balbutier et \u00e0 laquelle il reste toujours une part d\u2019\u00e9tranget\u00e9, dont on ne peut affirmer en avoir parfaitement saisi le sens. Loin d\u2019\u00eatre li\u00e9e \u00e0 la pr\u00e9sence d\u2019expressions issues de l\u2019\u00e9w\u00e9 ou \u00e0 une r\u00e9cup\u00e9ration du \u00ab\u202ftrash\u202f\u00bb \u2013 barbare donn\u00e9 en spectacle \u2013, l\u2019\u00e9tranget\u00e9 de cette langue se situe dans la d\u00e9r\u00e9alisation, les d\u00e9tours, la d\u00e9stabilisation, et dans le jeu incessant par lequel elle se d\u00e9finit. Une telle langue, sans rien affirmer, met infiniment en contact, sugg\u00e8re des rapprochements sans assimiler et engendre \u00e9chos, r\u00e9sonances et harmoniques chez celui qui \u00e9coute.<\/span>
\n<\/span><\/i><\/p>\nNicolas Hossard<\/strong>,\u00a0Gen\u00e8se d\u2019une ambigu\u00eft\u00e9\u00a0: francophonie et barbarie dans l\u2019\u0153uvre de Jean-Jacques Rousseau<\/span>
\n<\/span><\/i>V\u00e9ritable \u00ab\u202fmoment barbare\u202f\u00bb, \u00e0 l\u2019origine d\u2019une ambigu\u00eft\u00e9 essentielle dans la compr\u00e9hension de l\u2019histoire litt\u00e9raire, l\u2019\u0153uvre de Jean-Jacques Rousseau d\u00e9crit une sc\u00e8ne primitive de la francophonie, dans son contenu philosophique, ses liens consubstantiels avec la discursivit\u00e9 barbare, et surtout sa proposition litt\u00e9raire. C\u2019est le geste fondateur d\u2019une conception francophoniste de l\u2019\u00e9criture, c\u2019est-\u00e0-dire de l\u2019inscription de la voix dans la litt\u00e9rature de langue fran\u00e7aise. Trois arguments rousseauistes fournissent \u00e0 cet article la mati\u00e8re d\u2019une th\u00e9orie radicale de la francophonie comme\u202f1) Alt\u00e9rologie r\u00e9activant, \u00e0 l\u2019int\u00e9rieur de la langue et de la culture fran\u00e7aises, un certain rapport au latin et au monde romain, dans ses ambigu\u00eft\u00e9s \u00e0 l\u2019\u00e9gard de la barbarie\u202f2) Phonocentrisme philosophique, exprim\u00e9 dans et contre la langue fran\u00e7aise, \u00e0 la fois physique et m\u00e9taphysique de la pr\u00e9sence 3) Communication litt\u00e9raire autour d\u2019une authenticit\u00e9 fond\u00e9e sur l\u2019accord entre une anthropologie et une \u00ab\u202fbarbarie\u202f\u00bb litt\u00e9rale du sujet, dont d\u00e9coule une litt\u00e9rarit\u00e9 perfectionn\u00e9e.<\/span>
\n<\/span><\/p>\n<\/div>Abstracts<\/h4><\/a><\/li><\/ul><\/div>\nMaria Chiara Gnocchi<\/strong>, The barbarian next door (1900-1939)
\nAt the turn of the 20th century, several protagonists of the literary world invoke the coming of the \u00ab\u202fbarbarians\u202f\u00bb, whom they recognize in some categories of writers. Their wishes will come true\u202f: many authors, whose \u00ab\u202fbarbarity\u202f\u00bb is particularly appreciated, will soon establish themselves in the literary field. They are mostly \u00ab\u202fnext door barbarians\u202f\u00bb\u202f: francophone writers from Belgium or Switzerland\u202f; foreigners who have adopted the French language\u202f; French people who emigrated\u202f; provincial or non-professional writers. Starting from an analysis of the changes in the literary field, this article tackles the way these authors emerge. The author then focuses on the characteristics of their barbarism (as perceived by critics). This will help to understand the issues related to the use of such a label, as well as the implications for the authors\u2019 narrative and aesthetic options.<\/p>\nBernadette Cailler<\/strong>, Nostalgia and conquest: myths of barbarism in Rapha\u00ebl Confiant\u2019s Le Barbare enchant\u00e9
\n<\/em><\/span>This article considers two meanings of the word \u00ab\u202fbarbarian\u202f\u00bb as linked to myths of Barbarism in contemporary French-language creativity. a) Focusing to a great extent on Paul Gauguin\u2019s Martinican adventure, Le Barbare enchant\u00e9 (Rapha\u00ebl Confiant, 2003) takes up a theme inherited from the mid-end-of-the-century spirit (19th) in which, from within a civilization that has for long believed itself to be superior, comes out a nostalgia for, even an identification with the \u00ab\u202fnoble savage\u202f\u00bb. b) The novel includes the memory of conquests, dehumanization, barbarization among colonizers and colonized. Following a study of Confiant\u2019s complex, original writing, Cailler examines the dialectic, in the text, between culture and barbarism, enchantment and disenchantment. She wonders whether Confiant succeeds in demystifying, weakening some of his protagonist\u2019s presuppositions\u202f: a necessary disenchantment\u202f; and also, whether the reading process reveals a metamorphosis in Gauguin, the artist\u202f: a positive enchantment grounded in the valorization of many Antillean cultural elements.
\n<\/span><\/p>\nMarjorie\u00a0Jung<\/strong>, A barbarian epic. The figure of the new man in Frantz Fanon\u2019s work
\nTo propose an analysis of the barbarian figure is by reference to the work of Frantz Fanon, supposes to think the preliminary de-compartmentalization of all the fields of the knowledge, necessary to the opening of a multiplicity of significant networks which, from the colonized to the new man, illustrate the way of a totalizing praxis in movement. The fanonian work of re-historicization is based on a reversal of the colonial dialectic, within which the barbarian prefigures the rising of a new ontological dynamic. This dynamic, moved by a conversion of the violence, allows the self to experiment its narcissistic omnipotence. Fanon delivers us the voice of the damned, of \u00ab\u202fthe last ones who will be the first ones\u202f\u00bb, whose historic impossibility is correlative to the impossibility. So, it is still in the prism of the impossibility to say \u2013 for the colonized, the black, the Muslim and farther the insane person \u2013 that will be analyzed the figure of the barbarian.
\n<\/span><\/p>\nValeria Sperti<\/strong>, Everyone is the the barbarian of the other: father and son in J.M.G Le Cl\u00e9zio\u2019s L\u2019Africain<\/em>
\n<\/em>L\u2019Africain by J.M.G. Le Cl\u00e9zio, a small yet complex autobiographical novel, is, for the author, a return to the origins and a step back into the past on the footsteps of a mysterious and unknown man\u202f: his father. The word \u00ab\u202fbarbarian\u202f\u00bb is forbidden, but the \u00ab\u202fbarbaric effects\u202f\u00bb connotate this work composed of a text and fifteen shots taken by the father of the author during his lifetime\u202fin Africa. The article defines the concept of \u00ab\u202fbarbaric effect\u202f\u00bb and then shows that this effect unfolds in an external ethnopsychological dimension represented by the contact with the \u00ab\u202fsavage\u202f\u00bb, which evades both the father and the son. This barbaric effect knocks over the colonial categories to then reach a more internal, emotional dimension, including the filial interpersonal relationship. Each of the two characters is \u00ab\u202fbarbaric\u202f\u00bb in relation to the other and the article shows how photographs, giving a voice to the father\u2019s silence, contribute to the exterior and interior range of the barbaric effect.
\n<\/em><\/span><\/p>\nIbrahima\u00a0Diouf<\/strong>, A true barbaric novel? the French language listening to barbarity in Batoula <\/em>(1921) by Ren\u00e9 Maran
\nThe main issue of this essay is to understand how Ren\u00e9 Maran, without taking the axiological and dialectical side of \u00ab\u202fbarbary\u202f\u00bb against colonial \u00ab\u202fcivilization\u202f\u00bb, nor really introducing spoken language into narration by an affirmatively \u00ab\u202fbarbaric\u202f\u00bb work on voice, achieved to make Batouala (1921) a founding piece of negritude in francophony. We will read it, following Senghorian historiography, as transitional barbaric poetry to literary negritude, and will show how the founding potential of this novel in litterary history comes from the almost auditive focus of french language towards world\u2019s barbary.
\n<\/span><\/p>\nChlo\u00e9 Vandendorpe<\/strong>, Kossi Efoui, a barbaric language for the use of the world
\nThe word barbarity has a broad span of meanings, and simultaneously refers to destructive violence and creative power. Kossi Efoui, who claims to be suspicious about words, plays on this ambiguity. In his books, barbarity, understood as unleashed and unpunished violence, acts behind the mask of civilization, which rationalizes it through language. This use of language allows only necessary and clear-cut speeches, embedded in the very moment, with no possible questioning. As to avoid barbarity in acts, Kossi Efoui favours literary barbarity. His language seems to stammer, and by instilling weirdness, keeps the reader from fully comprehending it. Its strange aspects do not really lie on the use of words and expressions from Ewe, or on a harsh way of displaying barbarity as a show, but emerge from \u00ab\u202fderealisation\u202f\u00bb, detours, destabilization, endless movement\u2026 Such a language states nothing\u202f: it smoothly connects ideas. It suggests links without blending. It brings about echoes and harmonic resonance to the audience.
\n<\/span><\/p>\nNicolas Hossard<\/strong>, Genesis of an ambiguity: francophony and barbarism in Jean-Jacques Rousseau\u2019s work
\nTrue \u00ab\u202fbarbaric moment\u202f\u00bb, source of an essential ambiguity in the understanding of literary history, Jean-Jacques Rousseau\u2019s work describes a primitive scene of francophony, in its philosophical contents, its consubstantial relations with barbaric discursivity, and above all its literary proposition. That is the founding gesture of a francophonist writing\u2019s conception, in other words voice\u2019s inscription into french-language literature. Three rousseauist arguments give to this essay matter to a radical theory of francophony as 1) An alterology reactivating, inside french culture and language, a certain relationship with Latin language and Roman world, in its ambiguities towards barbary 2) A philosophical phonocentrism, expressed inside and against french language, and which is both physics and metaphysics of presence 3) A literary communication about an authenticity based in the concordance between an anthropology and a subjective \u00ab\u202fbarbary\u202f\u00bb which would be litteral, what gives rise to a perfected literarity.
\n<\/span><\/p>\n<\/div>
<\/a><\/p>\nLire ce num\u00e9ro sur JSTOR<\/a> Nicolas Hossard<\/strong>,\u00a0Penser la francophonie par la barbarie?<\/span><\/p>\n<\/div> Maria Chiara Gnocchi<\/strong>, Le barbare d\u2019\u00e0 c\u00f4t\u00e9 (1900-1939)<\/p>\n Bernadette Cailler<\/strong>,\u00a0<\/span>Nostalgie et conqu\u00eate\u00a0: mythes de la barbarie dans <\/span>Le Barbare enchant\u00e9<\/em> de Rapha\u00ebl Confiant<\/span><\/p>\n Marjorie\u00a0Jung<\/strong>,\u00a0Une \u00e9pop\u00e9e barbare. La figure de l\u2019homme nouveau dans l\u2019\u0153uvre de Frantz Fanon<\/span><\/p>\n Valeria Sperti<\/strong>,\u00a0Chacun est le barbare de l\u2019autre: p\u00e8re et fils dans <\/span>L\u2019Africain<\/em>\u00a0<\/i>de J.M.G. Le Cl\u00e9zio<\/span><\/p>\n Ibrahima\u00a0Diouf<\/strong>,\u00a0Un v\u00e9ritable roman barbare ? La langue fran\u00e7aise \u00e0 l\u2019\u00e9coute de la barbarie dans<\/span> <\/i>Batouala<\/em> (1921) de Ren\u00e9 Maran<\/span><\/p>\n Chlo\u00e9 Vandendorpe<\/strong>,\u00a0<\/span>Kossi Efoui, une langue barbare \u00e0 l\u2019usage du monde<\/span><\/p>\n Nicolas Hossard<\/strong>,\u00a0Gen\u00e8se d\u2019une ambigu\u00eft\u00e9\u00a0: francophonie et barbarie dans l\u2019\u0153uvre de Jean-Jacques Rousseau<\/span>\u00a0<\/span><\/p>\n<\/div> Maria Chiara Gnocchi<\/strong>, Le barbare d\u2019\u00e0 c\u00f4t\u00e9 (1900-1939) Bernadette Cailler<\/strong>,\u00a0<\/span>Nostalgie et conqu\u00eate\u00a0: mythes de la barbarie dans <\/span>Le Barbare enchant\u00e9<\/em> de Rapha\u00ebl Confiant Marjorie\u00a0Jung<\/strong>,\u00a0Une \u00e9pop\u00e9e barbare. La figure de l\u2019homme nouveau dans l\u2019\u0153uvre de Frantz Fanon Valeria Sperti<\/strong>,\u00a0Chacun est le barbare de l\u2019autre: p\u00e8re et fils dans <\/span>L\u2019Africain\u00a0<\/em>de J.M.G. Le Cl\u00e9zio Ibrahima\u00a0Diouf<\/strong>,\u00a0Un v\u00e9ritable roman barbare ? La langue fran\u00e7aise \u00e0 l\u2019\u00e9coute de la barbarie dans<\/span> <\/i>Batouala<\/em> (1921) de Ren\u00e9 Maran Chlo\u00e9 Vandendorpe<\/strong>,\u00a0<\/span>Kossi Efoui, une langue barbare \u00e0 l\u2019usage du monde<\/span> Nicolas Hossard<\/strong>,\u00a0Gen\u00e8se d\u2019une ambigu\u00eft\u00e9\u00a0: francophonie et barbarie dans l\u2019\u0153uvre de Jean-Jacques Rousseau<\/span> Maria Chiara Gnocchi<\/strong>, The barbarian next door (1900-1939) Bernadette Cailler<\/strong>, Nostalgia and conquest: myths of barbarism in Rapha\u00ebl Confiant\u2019s Le Barbare enchant\u00e9 Marjorie\u00a0Jung<\/strong>, A barbarian epic. The figure of the new man in Frantz Fanon\u2019s work Valeria Sperti<\/strong>, Everyone is the the barbarian of the other: father and son in J.M.G Le Cl\u00e9zio\u2019s L\u2019Africain<\/em> Ibrahima\u00a0Diouf<\/strong>, A true barbaric novel? the French language listening to barbarity in Batoula <\/em>(1921) by Ren\u00e9 Maran Chlo\u00e9 Vandendorpe<\/strong>, Kossi Efoui, a barbaric language for the use of the world Nicolas Hossard<\/strong>, Genesis of an ambiguity: francophony and barbarism in Jean-Jacques Rousseau\u2019s work
\nLeggere questo numero su JSTOR<\/a><\/p>\n<\/div>Sommaire \/\u00a0<\/span>Indice<\/span><\/h2>\n<\/div>
Articles<\/h4><\/a><\/li>
R\u00e9sum\u00e9s<\/h4><\/a><\/li>
Abstracts<\/h4><\/a><\/li>
Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div>
Articles<\/h4><\/a><\/li><\/ul><\/div>
R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div>
\nAu tournant du XXe si\u00e8cle, plusieurs protagonistes du monde litt\u00e9raire invoquent la venue des \u00ab\u202fbarbares\u202f\u00bb, qu\u2019ils reconnaissent dans certaines cat\u00e9gories d\u2019\u00e9crivains. Leurs v\u0153ux seront exauc\u00e9s\u202f: on assiste bient\u00f4t \u00e0 l\u2019affirmation dans le champ litt\u00e9raire de diff\u00e9rents auteurs dont la \u00ab\u202fbarbarie\u202f\u00bb est particuli\u00e8rement appr\u00e9ci\u00e9e. Ce sont, pour la plupart, des \u00ab\u202fbarbares d\u2019\u00e0 c\u00f4t\u00e9\u202f\u00bb\u202f: des francophones de Belgique ou de Suisse, des \u00e9trangers ayant adopt\u00e9 la langue fran\u00e7aise, des Fran\u00e7ais ayant \u00e9migr\u00e9\u202f; ou alors des provinciaux ou, pour finir, des \u00e9crivains aux marges de l\u2019institution, comme les non professionnels de l\u2019\u00e9criture. Cet article illustre comment \u00e9mergent ces quelques auteurs, \u00e0 partir de quels changements dans le champ litt\u00e9raire. L\u2019auteure explique ensuite comment se d\u00e9cline leur \u00ab\u202fbarbarie\u202f\u00bb, telle qu\u2019elle est per\u00e7ue par la critique, ce qui permet de comprendre les enjeux de l\u2019\u00e9tiquette qui leur est attribu\u00e9e et les implications des choix narratifs et esth\u00e9tiques des auteurs eux-m\u00eames.<\/p>\n
\nCet article consid\u00e8re deux sens du terme \u00ab\u202fbarbare\u202f\u00bb li\u00e9s aux mythes de la Barbarie dans la cr\u00e9ativit\u00e9 contemporaine de langue fran\u00e7aise. a) Centr\u00e9 en grande partie sur l\u2019aventure martiniquaise de Paul Gauguin, Le Barbare enchant\u00e9 (Rapha\u00ebl Confiant, 2003) reprend un th\u00e8me h\u00e9rit\u00e9 de l\u2019esprit milieu-et-fin-de-si\u00e8cle (XIXe) o\u00f9, de l\u2019int\u00e9rieur m\u00eame d\u2019une civilisation qui s\u2019est crue depuis longtemps sup\u00e9rieure, \u00e9merge la nostalgie d\u2019une rencontre, voire de l\u2019identification, avec le \u00ab\u202fbon sauvage\u202f\u00bb. b) Le roman inclut la m\u00e9moire de conqu\u00eates, de d\u00e9shumanisation, de barbarisation chez colonisateurs et colonis\u00e9s. Une fois \u00e9tudi\u00e9e l\u2019\u00e9criture complexe, originale de Confiant, Cailler examine la dialectique existant, dans le texte, entre culture et barbarie, enchantement et d\u00e9senchantement. D\u2019une part, elle se demande si Confiant r\u00e9ussit \u00e0 d\u00e9mystifier, fragiliser certaines pr\u00e9suppositions de son protagoniste\u202f: d\u00e9senchantement n\u00e9cessaire\u202f; d\u2019autre part, si, dans le r\u00e9cit, s\u2019affirme une m\u00e9tamorphose de Gauguin l\u2019artiste\u202f: enchantement positif n\u00e9 de la valorisation de maints \u00e9l\u00e9ments de culture antillaise.
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\nProposer une analyse de la figure du barbare \u00e0 l\u2019aune de l\u2019\u0153uvre de Frantz Fanon suppose de penser le d\u00e9cloisonnement pr\u00e9alable de l\u2019ensemble des champs du savoir, n\u00e9cessaire \u00e0 l\u2019ouverture d\u2019une multiplicit\u00e9 de r\u00e9seaux signifiants qui, du colonis\u00e9 \u00e0 l\u2019homme nouveau, illustrent le chemin d\u2019une praxis totalisante en mouvement. L\u2019\u0153uvre fanonienne assoit son travail de r\u00e9historicisation sur un retournement de la dialectique coloniale, au sein de laquelle le barbare pr\u00e9figure la mise en place d\u2019une nouvelle dynamique ontologique. Cette derni\u00e8re, mue par une conversion de la violence, introduit le Moi \u00e0 la possibilit\u00e9 de sa toute-puissance narcissique. Fanon nous livre la voix des damn\u00e9s, de ces \u00ab\u202fderniers qui seront les premiers\u202f\u00bb, dont l\u2019impossibilit\u00e9 historique est corr\u00e9lative \u00e0 l\u2019impossibilit\u00e9 discursive. Aussi est-ce encore au prisme de l\u2019impossibilit\u00e9 du dire \u2013 celle du colonis\u00e9, du noir, du musulman et plus loin de l\u2019ali\u00e9n\u00e9 \u2013 que sera analys\u00e9e la figure du barbare.
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\n<\/i>L\u2019Africain de J.M.G. Le Cl\u00e9zio, livre bref et complexe, est un retour aux origines de l\u2019\u00e9crivain et une remont\u00e9e dans le temps sur les traces d\u2019un homme myst\u00e9rieux et inconnu, le p\u00e8re de l\u2019auteur. Le mot \u00ab\u202fbarbare\u202f\u00bb y est banni, mais des \u00ab\u202feffets barbares\u202f\u00bb connotent l\u2019\u0153uvre, qui se compose d\u2019un texte et de quinze clich\u00e9s pris par le p\u00e8re de l\u2019auteur pendant sa vie africaine. L\u2019article d\u00e9finit la notion d\u2019\u00ab\u202feffet barbare\u202f\u00bb et montre que cet effet se d\u00e9ploie dans une dimension ext\u00e9rieure, ethnopsychologique, repr\u00e9sent\u00e9e par le contact avec le \u00ab\u202fsauvage\u202f\u00bb qui \u00e9choit au fils et au p\u00e8re. Cet effet barbare renverse les cat\u00e9gories coloniales, exhibant son sens positif de force primitive, myst\u00e9rieuse et archa\u00efque, pour atteindre ensuite une dimension plus int\u00e9rieure, affective, qui investit la relation interpersonnelle, filiale. Chacun des deux personnages est \u00ab\u202fbarbare\u202f\u00bb par rapport \u00e0 l\u2019autre et l\u2019article montre comment les images reproduites, donnant voix au silence du p\u00e8re, contribuent \u00e0 cette d\u00e9clinaison ext\u00e9rieure et int\u00e9rieure de l\u2019\u00ab\u202feffet barbare\u202f\u00bb.
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\nL\u2019enjeu de cette \u00e9tude est de comprendre comment Ren\u00e9 Maran, sans pour autant prendre le parti axiologique et dialectique de la \u00ab\u202fbarbarie\u202f\u00bb contre la \u00ab\u202fcivilisation\u202f\u00bb coloniale, ni en introduisant v\u00e9ritablement la langue parl\u00e9e dans la narration par un travail affirmativement \u00ab\u202fbarbare\u202f\u00bb sur la voix, est parvenu \u00e0 faire de Batouala (1921) une \u0153uvre fondatrice de la n\u00e9gritude en francophonie. Nous proposerons donc, dans le prolongement de l\u2019historiographie senghorienne, une lecture de l\u2019\u0153uvre comme po\u00e9tique barbare de transition vers la n\u00e9gritude litt\u00e9raire, en montrant comment c\u2019est l\u2019attention presque auditive de la langue fran\u00e7aise \u00e0 l\u2019\u00e9gard de la barbarie du monde qui conf\u00e8re au roman son potentiel fondateur dans l\u2019histoire litt\u00e9raire.
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\n<\/span><\/i>La barbarie, irr\u00e9ductible \u00e0 une unique d\u00e9finition, connote la violence destructrice comme la force cr\u00e9atrice\u202f; Kossi Efoui, qui se \u00ab\u202fm\u00e9fie des mots\u202f\u00bb, joue de cette ambigu\u00eft\u00e9.\u202fDans son \u0153uvre, la barbarie, entendue comme violence d\u00e9cha\u00een\u00e9e dans un \u00e9tat d\u2019impunit\u00e9, se drape du voile de la civilisation qui la rationalise gr\u00e2ce \u00e0 une langue amn\u00e9sique qui entend r\u00e9f\u00e9rer de mani\u00e8re imm\u00e9diate, univoque et n\u00e9cessaire. Comme pour \u00e9viter la possibilit\u00e9 d\u2019une barbarie litt\u00e9rale, Kossi Efoui opte pour une barbarie litt\u00e9raire, pour une langue qui semble balbutier et \u00e0 laquelle il reste toujours une part d\u2019\u00e9tranget\u00e9, dont on ne peut affirmer en avoir parfaitement saisi le sens. Loin d\u2019\u00eatre li\u00e9e \u00e0 la pr\u00e9sence d\u2019expressions issues de l\u2019\u00e9w\u00e9 ou \u00e0 une r\u00e9cup\u00e9ration du \u00ab\u202ftrash\u202f\u00bb \u2013 barbare donn\u00e9 en spectacle \u2013, l\u2019\u00e9tranget\u00e9 de cette langue se situe dans la d\u00e9r\u00e9alisation, les d\u00e9tours, la d\u00e9stabilisation, et dans le jeu incessant par lequel elle se d\u00e9finit. Une telle langue, sans rien affirmer, met infiniment en contact, sugg\u00e8re des rapprochements sans assimiler et engendre \u00e9chos, r\u00e9sonances et harmoniques chez celui qui \u00e9coute.<\/span>
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\n<\/span><\/i>V\u00e9ritable \u00ab\u202fmoment barbare\u202f\u00bb, \u00e0 l\u2019origine d\u2019une ambigu\u00eft\u00e9 essentielle dans la compr\u00e9hension de l\u2019histoire litt\u00e9raire, l\u2019\u0153uvre de Jean-Jacques Rousseau d\u00e9crit une sc\u00e8ne primitive de la francophonie, dans son contenu philosophique, ses liens consubstantiels avec la discursivit\u00e9 barbare, et surtout sa proposition litt\u00e9raire. C\u2019est le geste fondateur d\u2019une conception francophoniste de l\u2019\u00e9criture, c\u2019est-\u00e0-dire de l\u2019inscription de la voix dans la litt\u00e9rature de langue fran\u00e7aise. Trois arguments rousseauistes fournissent \u00e0 cet article la mati\u00e8re d\u2019une th\u00e9orie radicale de la francophonie comme\u202f1) Alt\u00e9rologie r\u00e9activant, \u00e0 l\u2019int\u00e9rieur de la langue et de la culture fran\u00e7aises, un certain rapport au latin et au monde romain, dans ses ambigu\u00eft\u00e9s \u00e0 l\u2019\u00e9gard de la barbarie\u202f2) Phonocentrisme philosophique, exprim\u00e9 dans et contre la langue fran\u00e7aise, \u00e0 la fois physique et m\u00e9taphysique de la pr\u00e9sence 3) Communication litt\u00e9raire autour d\u2019une authenticit\u00e9 fond\u00e9e sur l\u2019accord entre une anthropologie et une \u00ab\u202fbarbarie\u202f\u00bb litt\u00e9rale du sujet, dont d\u00e9coule une litt\u00e9rarit\u00e9 perfectionn\u00e9e.<\/span>
\n<\/span><\/p>\n<\/div>Abstracts<\/h4><\/a><\/li><\/ul><\/div>
\nAt the turn of the 20th century, several protagonists of the literary world invoke the coming of the \u00ab\u202fbarbarians\u202f\u00bb, whom they recognize in some categories of writers. Their wishes will come true\u202f: many authors, whose \u00ab\u202fbarbarity\u202f\u00bb is particularly appreciated, will soon establish themselves in the literary field. They are mostly \u00ab\u202fnext door barbarians\u202f\u00bb\u202f: francophone writers from Belgium or Switzerland\u202f; foreigners who have adopted the French language\u202f; French people who emigrated\u202f; provincial or non-professional writers. Starting from an analysis of the changes in the literary field, this article tackles the way these authors emerge. The author then focuses on the characteristics of their barbarism (as perceived by critics). This will help to understand the issues related to the use of such a label, as well as the implications for the authors\u2019 narrative and aesthetic options.<\/p>\n
\n<\/em><\/span>This article considers two meanings of the word \u00ab\u202fbarbarian\u202f\u00bb as linked to myths of Barbarism in contemporary French-language creativity. a) Focusing to a great extent on Paul Gauguin\u2019s Martinican adventure, Le Barbare enchant\u00e9 (Rapha\u00ebl Confiant, 2003) takes up a theme inherited from the mid-end-of-the-century spirit (19th) in which, from within a civilization that has for long believed itself to be superior, comes out a nostalgia for, even an identification with the \u00ab\u202fnoble savage\u202f\u00bb. b) The novel includes the memory of conquests, dehumanization, barbarization among colonizers and colonized. Following a study of Confiant\u2019s complex, original writing, Cailler examines the dialectic, in the text, between culture and barbarism, enchantment and disenchantment. She wonders whether Confiant succeeds in demystifying, weakening some of his protagonist\u2019s presuppositions\u202f: a necessary disenchantment\u202f; and also, whether the reading process reveals a metamorphosis in Gauguin, the artist\u202f: a positive enchantment grounded in the valorization of many Antillean cultural elements.
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\nTo propose an analysis of the barbarian figure is by reference to the work of Frantz Fanon, supposes to think the preliminary de-compartmentalization of all the fields of the knowledge, necessary to the opening of a multiplicity of significant networks which, from the colonized to the new man, illustrate the way of a totalizing praxis in movement. The fanonian work of re-historicization is based on a reversal of the colonial dialectic, within which the barbarian prefigures the rising of a new ontological dynamic. This dynamic, moved by a conversion of the violence, allows the self to experiment its narcissistic omnipotence. Fanon delivers us the voice of the damned, of \u00ab\u202fthe last ones who will be the first ones\u202f\u00bb, whose historic impossibility is correlative to the impossibility. So, it is still in the prism of the impossibility to say \u2013 for the colonized, the black, the Muslim and farther the insane person \u2013 that will be analyzed the figure of the barbarian.
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\n<\/em>L\u2019Africain by J.M.G. Le Cl\u00e9zio, a small yet complex autobiographical novel, is, for the author, a return to the origins and a step back into the past on the footsteps of a mysterious and unknown man\u202f: his father. The word \u00ab\u202fbarbarian\u202f\u00bb is forbidden, but the \u00ab\u202fbarbaric effects\u202f\u00bb connotate this work composed of a text and fifteen shots taken by the father of the author during his lifetime\u202fin Africa. The article defines the concept of \u00ab\u202fbarbaric effect\u202f\u00bb and then shows that this effect unfolds in an external ethnopsychological dimension represented by the contact with the \u00ab\u202fsavage\u202f\u00bb, which evades both the father and the son. This barbaric effect knocks over the colonial categories to then reach a more internal, emotional dimension, including the filial interpersonal relationship. Each of the two characters is \u00ab\u202fbarbaric\u202f\u00bb in relation to the other and the article shows how photographs, giving a voice to the father\u2019s silence, contribute to the exterior and interior range of the barbaric effect.
\n<\/em><\/span><\/p>\n
\nThe main issue of this essay is to understand how Ren\u00e9 Maran, without taking the axiological and dialectical side of \u00ab\u202fbarbary\u202f\u00bb against colonial \u00ab\u202fcivilization\u202f\u00bb, nor really introducing spoken language into narration by an affirmatively \u00ab\u202fbarbaric\u202f\u00bb work on voice, achieved to make Batouala (1921) a founding piece of negritude in francophony. We will read it, following Senghorian historiography, as transitional barbaric poetry to literary negritude, and will show how the founding potential of this novel in litterary history comes from the almost auditive focus of french language towards world\u2019s barbary.
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\nThe word barbarity has a broad span of meanings, and simultaneously refers to destructive violence and creative power. Kossi Efoui, who claims to be suspicious about words, plays on this ambiguity. In his books, barbarity, understood as unleashed and unpunished violence, acts behind the mask of civilization, which rationalizes it through language. This use of language allows only necessary and clear-cut speeches, embedded in the very moment, with no possible questioning. As to avoid barbarity in acts, Kossi Efoui favours literary barbarity. His language seems to stammer, and by instilling weirdness, keeps the reader from fully comprehending it. Its strange aspects do not really lie on the use of words and expressions from Ewe, or on a harsh way of displaying barbarity as a show, but emerge from \u00ab\u202fderealisation\u202f\u00bb, detours, destabilization, endless movement\u2026 Such a language states nothing\u202f: it smoothly connects ideas. It suggests links without blending. It brings about echoes and harmonic resonance to the audience.
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\nTrue \u00ab\u202fbarbaric moment\u202f\u00bb, source of an essential ambiguity in the understanding of literary history, Jean-Jacques Rousseau\u2019s work describes a primitive scene of francophony, in its philosophical contents, its consubstantial relations with barbaric discursivity, and above all its literary proposition. That is the founding gesture of a francophonist writing\u2019s conception, in other words voice\u2019s inscription into french-language literature. Three rousseauist arguments give to this essay matter to a radical theory of francophony as 1) An alterology reactivating, inside french culture and language, a certain relationship with Latin language and Roman world, in its ambiguities towards barbary 2) A philosophical phonocentrism, expressed inside and against french language, and which is both physics and metaphysics of presence 3) A literary communication about an authenticity based in the concordance between an anthropology and a subjective \u00ab\u202fbarbary\u202f\u00bb which would be litteral, what gives rise to a perfected literarity.
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