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K<\/strong>asongo <\/strong>M<\/strong>ulenda <\/strong>K<\/strong>apanga<\/strong>, Derri\u00e8re l\u2019imm\u00e9diatet\u00e9, les points nodaux dans le r\u00e9cit congolais : deux g\u00e9n\u00e9rations d\u2019\u00e9crivains
\nCet article examine la probl\u00e9matique de la narrativisation <\/em>des moments identitaires de deux g\u00e9n\u00e9rations d\u2019\u00e9crivains congolais, celle de l\u2019\u00e9poque mobutienne <\/em>(1965-1997) et celle de l\u2019\u00e9poque des crises r\u00e9centes (1998-pr\u00e9sent). Malgr\u00e9 des affirmations \u00e0 une radicale diff\u00e9rence, la pesanteur de l\u2019imm\u00e9diatet\u00e9 <\/em>s\u2019impose et ne peut emp\u00eacher la rem\u00e9moration du pass\u00e9. En effet, le refus de ne pas nommer les traces m\u00e9morielles dans les discours fictionnels ne signifie nullement leurs disparitions. L\u2019\u00e9tude se sert de l\u2019analyse des deux romans importants, La Re-production <\/em>de Mpoyi-Buatu et Tram 83 <\/em>de Mwanza Mujila. Est-ce que le pass\u00e9 est absolument absent de leurs discours litt\u00e9raires et id\u00e9ologiques \u00e0 cause de \u00ab\u00a0la tyrannie du quotidien\u00a0\u00bb ? Les deux g\u00e9n\u00e9rations ont abond\u00e9 dans la m\u00eame direction dans la rem\u00e9moration du pass\u00e9, mais de fa\u00e7ons narratives divergentes : l\u2019une sur le plan national se rem\u00e9more des points essentiels, et l\u2019autre privil\u00e9gie l\u2019imm\u00e9diatet\u00e9.<\/p>\nK<\/strong>aren <\/strong>B<\/strong>ouwer<\/strong>, Nostalgie et m\u00e9moire en transit : Samantha \u00e0 Kinshasa <\/em>de Marie-Louise Mumbu
\nLa soixantaine de vignettes qui composent le roman de Mumbu \u00e9voquent avec nostalgie la ville que Samantha quitte car l\u2019histoire douloureuse du Congo (de L\u00e9opold II jusqu\u2019au pr\u00e9sent) a hypoth\u00e9qu\u00e9 l\u2019avenir du pays qui ne lui procure plus \u00ab\u00a0aucun espace de r\u00eave\u00a0\u00bb. Le \u00ab\u00a0tour complet de Kinshasa\u00a0\u00bb de ses p\u00e9r\u00e9grinations int\u00e9rieures s\u2019op\u00e8re lors du vol Kinshasa-Paris. Dans le chapitre introductoire Samantha se penche \u00e9galement sur la perte du pays de son enfance, le Za\u00efre, devenu depuis la RDC. Notre analyse s\u2019inspire des deux types de nostalgie \u2013 r\u00e9paratrice et r\u00e9fl\u00e9chie \u2013 identifi\u00e9s par Svetlana Boym tout en examinant l\u2019influence capitale de l\u2019imm\u00e9diatet\u00e9 de la m\u00e9morisation du fait que le pr\u00e9sent du r\u00e9cit se situe dans le non-lieu de l\u2019avion, avant que Samantha ne passe enfin \u00ab de l\u2019autre c\u00f4t\u00e9 de l\u2019existence \u00bb que repr\u00e9sente l\u2019Europe.<\/p>\nK<\/strong>atie <\/strong>T<\/strong>idmarsh<\/strong>, Tram 83 <\/em>: Trains, traumatismes et transnationalisme dans les \u00e9crits de Fiston Mwanza Mujila
\nAlors que le protagoniste de Tram 83<\/em>, Lucien, \u00e9crit un \u00ab\u00a0th\u00e9\u00e2tre-conte\u00a0\u00bb sur l\u2019histoire douloureuse de son pays, l\u2019auteur du roman, Fiston Mwanza Mujila, choisit d\u2019\u00e9voquer l\u2019imm\u00e9diatet\u00e9 de la vie au seul bar de la \u00ab\u00a0Ville-Pays\u00a0\u00bb, le Tram 83, o\u00f9 se d\u00e9roule la majeure partie du r\u00e9cit. En comparant la d\u00e9marche litt\u00e9raire de l\u2019auteur du roman \u00e0 celle de son protagoniste, Lucien (et \u00e0 sa \u00ab\u00a0litt\u00e9rature-locomotive\u00a0\u00bb), cet article explore l\u2019\u00e9mergence de la m\u00e9moire congolaise, entre pr\u00e9sent globalis\u00e9 et pass\u00e9 imp\u00e9rial. Dans un contexte o\u00f9 on parle souvent d\u2019un \u00ab\u00a0manque\u00a0\u00bb de m\u00e9moire nationale congolaise, ce roman, qui a pour cadre un pays fictif, nous pousse \u00e0 nous demander dans quelle mesure on peut parler d\u2019une m\u00e9moire nationale, et questionne l\u2019imp\u00e9ratif de devoir combler ce soi-disant manque, mettant au d\u00e9fi quelques-unes de nos fa\u00e7ons habituelles de comprendre la m\u00e9moire.<\/p>\n\u00c9<\/strong>lo\u00efse <\/strong>B<\/strong>rezault<\/strong>, Mondialisation et \u00ab\u00a0afrocontemporan\u00e9it\u00e9\u00a0\u00bb dans Congo Inc. <\/em>ou comment repenser la m\u00e9moire coloniale et la modernit\u00e9 ?
\nDans Congo Inc. Le testament de Bismark<\/em>, Isookanga est un jeune pygm\u00e9e qui part \u00ab\u00a0mondialiser\u00a0\u00bb dans la ville de Kinshasa. Derri\u00e8re ce leitmotiv volontairement vague, Bofane questionne avec humour les enjeux de la mondialisation dans une soci\u00e9t\u00e9 amn\u00e9sique de son pass\u00e9 et pourtant constamment travaill\u00e9e par son rapport \u00e0 l\u2019Occident. La m\u00e9moire de la colonisation, m\u00eame si elle est effac\u00e9e (mise \u00e0 part l\u2019allusion dans le titre) revient hanter les personnages sans pour autant les an\u00e9antir, comme si l\u2019Afrique de Bismarck et de L\u00e9opold \u00e9tait finalement d\u00e9pass\u00e9e par les nouveaux enjeux que cr\u00e9e la mondialisation en Afrique. Comment comprendre cette amn\u00e9sie dans un pays mondialis\u00e9 ? Faut-il \u00e9radiquer le pass\u00e9 pour se reconstruire ? Isookanga a su op\u00e9rer la fusion entre savoirs traditionnels et modernes, sans tomber dans l\u2019ali\u00e9nation. Il replace l\u2019humain au coeur des \u00e9changes et offre une autre alternative au projet capitaliste qui transforme l\u2019humain en une simple marchandise.<\/p>\nE<\/strong>lara <\/strong>B<\/strong>ertho<\/strong>, Cacophonies de la m\u00e9moire et \u00e9blouissements imp\u00e9riaux (Sinzo Aanza, G\u00e9n\u00e9alogie d\u2019une banalit\u00e9<\/em>)
\nG\u00e9n\u00e9alogie d\u2019une banalit\u00e9<\/em>, du romancier Sinzo Aanza, prend comme point de d\u00e9part un fait divers \u00e0 Lubumbashi, dans le quartier populaire du Bronx, lorsqu\u2019une mine s\u2019effondre, entra\u00eenant une partie du quartier avec elle. Au milieu d\u2019une ville-capharna\u00fcm, l\u2019argent, le trafic de m\u00e9taux, le sexe, les lueurs des m\u00e9dias agissent comme des \u00ab\u00a0\u00e9blouissements\u00a0\u00bb, au sens que donne \u00e0 ce terme Joseph Tonda dans son ouvrage r\u00e9cent L\u2019Imp\u00e9rialisme postcolonial. Critique de la soci\u00e9t\u00e9 des \u00e9blouissements<\/em>. Nous analyserons les mises en sc\u00e8ne de ces \u00e9blouissements dans le roman, en en soulignant leurs port\u00e9es m\u00e9morielles et en examinant comment la m\u00e9moire se construit entre la \u00ab\u00a0banalit\u00e9\u00a0\u00bb du quotidien et la stratification historique dont le forage devient le symbole.<\/p>\nJ<\/strong>ean de <\/strong>D<\/strong>ieu <\/strong>I<\/strong>tsieki <\/strong>P<\/strong>utu <\/strong>B<\/strong>asey<\/strong>, La rumba des mots ou le \u00ab\u00a0prose combat\u00a0\u00bb de Blaise Ndala : dire le naufrage de l\u2019histoire et d\u00e9crypter les origines d\u2019une apocalypse joyeuse
\nDans J\u2019irai danser sur la tombe de Senghor <\/em>(2014) et Sans capote ni kalachnikov <\/em>(2017), la fiction de Ndala s\u2019ancre dans l\u2019histoire r\u00e9cente de la R\u00e9publique D\u00e9mocratique du Congo dont elle propose une version corrig\u00e9e, \u00e0 partir de deux moments-cl\u00e9s : le combat de boxe Ali- Foreman en 1974 \u00e0 Kinshasa, et la guerre \u00e0 l\u2019Est du pays. \u00c0 cette fin, le romancier choisit la strat\u00e9gie de l\u2019humour en confiant la parole aux acteurs et t\u00e9moins directs des \u00e9v\u00e9nements. Si les r\u00e9cits participent d\u2019un travail de m\u00e9moire, des noms comme Zangamoyo (\u00ab\u00a0Qui n\u2019a pas d\u2019\u00e2me\u00a0\u00bb) et Kapitisapiang (\u00ab\u00a0brouilleur de traces\/rep\u00e8res\u00a0\u00bb) soulignent plut\u00f4t une amn\u00e9sie et un imaginaire vide. Ils cantonnent la soci\u00e9t\u00e9 dans un pr\u00e9sentisme aveugle et un ethos de jouissance forcen\u00e9, face enchant\u00e9e d\u2019une apocalypse joyeuse \u00e0 laquelle la musique et le sport (le foot) servent d\u2019exutoires.<\/p>\nM<\/strong>atthias <\/strong>D<\/strong>e <\/strong>G<\/strong>roof<\/strong>, A<\/strong>lessandro <\/strong>J<\/strong>edlowski<\/strong>, Congolese Cinema Today : Memories of the Present in Kinshasa\u2019s New Wave Cinema (2008-2018)
\nQuelle est la place de la m\u00e9moire culturelle dans le cin\u00e9ma congolais contemporain ? Cet article tente de r\u00e9pondre \u00e0 cette question en se concentrant sur la fa\u00e7on dont la m\u00e9moire est th\u00e9matis\u00e9e dans les films produits par la \u00ab Nouvelle vague \u00bb de cin\u00e9astes congolais \u00e0 Kinshasa, en grande partie issus du programme de formation Atelier Action (2008- 2015). Les auteurs affrontent, dans un premier temps, l\u2019histoire du cin\u00e9ma en R\u00e9publique d\u00e9mocratique du Congo ; d\u2019autre part ils situent et contextualisent le travail de l\u2019Atelier Actions et discutent de ses retomb\u00e9es sur le cin\u00e9ma contemporain \u00e0 Kinshasa. Pour finir, ils analysent comment cette nouvelle vague relie le pass\u00e9 et le pr\u00e9sent \u00e0 travers la cr\u00e9ation d\u2019un cin\u00e9ma qui \u2013 \u00e0 l\u2019instar de la litt\u00e9rature congolaise contemporaine \u2013 embrasse l\u2019\u00e9criture de l\u2019instant et donne vie \u00e0 une impression de pr\u00e9sent perp\u00e9tuel. L\u2019oubli cr\u00e9atif est ici le r\u00e9sultat de l\u2019impossibilit\u00e9 de raconter les traumatismes du pass\u00e9 au moment o\u00f9 l\u2019on est confront\u00e9 aux horreurs du pr\u00e9sent. Les films de la nouvelle vague congolaise de Kinshasa repr\u00e9sentent ainsi les souvenirs d\u2019un pr\u00e9sent qui glisse constamment dans le pass\u00e9.<\/p>\n<\/div>Abstracts<\/h4><\/a><\/li><\/ul><\/div>\n
K<\/strong>asongo <\/strong>M<\/strong>ulenda <\/strong>K<\/strong>apanga<\/strong>, Behind the immediacy, the nodal points in the Congolese narrative: two generations of writers
\nThis article examines the narrativization <\/em>problematic of identity moments by two generations of Congolese writers, the Mobutu era (1965-1997) and the recent multifold crisis era (1998-now). In spite of claims of differences between the two, the weight of the present (imm\u00e9diatet\u00e9<\/em>) is overwhelming and cannot obfuscate past events. Truly, the refusal not to name memory traces in fictional discourses does not mean their mere disappearance. The discussion relies on the analysis of two main novels, namely Mpoyi-Buatu\u2019s La Re-production <\/em>and Fiston Mwanza Mujila\u2019s Tram 83<\/em>. Due to the discussion, several questions worth answering come up. Is the past absolutely absent from their literary and ideological discourses because of \u00ab the tyranny of the moment \u00bb ? The two generations took a similar stand in remembering the past, but in two diverging narrative fashions: one on the national level brings back main points, and the other focuses on the immediate time.<\/p>\nK<\/strong>aren <\/strong>B<\/strong>ouwer<\/strong>, Nostalgia and memory in transit: Samantha \u00e0 Kinshasa <\/em>by Marie-Louise Mumbu
\nThe sixty-odd vignettes that make up Mumbu\u2019s novel nostalgically evoke the city that Samantha is leaving because the painful history of the Congo (from Leopold II to the present) has mortgaged the future of the country that no longer provides her with any \u00ab space to dream \u00bb. The \u00ab complete tour of Kinshasa \u00bb, her portrait of the city and its inhabitants, takes place during the flight from Kinshasa to Paris. In the introductory chapter, Samantha also reminisces about the loss of the country of her childhood, Zaire, which has since become the Democratic Republic of Congo. The analysis of the novel draws on the two kinds of nostalgia identified by Svetlana Boym \u2013 restorative and reflective \u2013 while also examining the essential role played by the fact that the memories are recent and are narrated in the transient space of the airplane before Samantha crosses over to \u00ab the other side of existence \u00bb represented by her European destination.<\/p>\nK<\/strong>atie <\/strong>T<\/strong>idmarsh<\/strong>, Tram 83<\/em>: Trains, traumas and transnationalism in the writings of Fiston Mwanza Mujila
\nIn contrast to Lucien, the protagonist of Tram 83, <\/em>who is in the process of writing a \u00ab stage-tale \u00bb about his country\u2019s painful history, the novel\u2019s author, Fiston Mwanza Mujila, chooses instead to portray the immediacy of life at the Tram 83, the Ville-Pays\u2019s only bar and setting for the majority of the narrative. By comparing the author\u2019s literary project to his protagonist Lucien\u2019s so-called \u00ab locomotive literature \u00bb, this article explores the emergence of Congolese memory, somewhere between globalised present and imperial past. In a context in which Congolese memory is often framed in terms of its \u00ab deficit \u00bb, this novel, set in a fictional country, questions to what extent it is possible to speak of national memory and challenges the imperative to make up for this apparent deficit, calling into question some of the more traditional ways in which we understand memory.<\/p>\n\u00c9<\/strong>lo\u00efse <\/strong>B<\/strong>rezault<\/strong>, Globalisation and \u00ab\u00a0afrocontemporaneity\u00a0\u00bb in Congo Inc<\/em>. or how to rethink colonial memory and modernity?
\nIn Congo Inc. Le testament de Bismark <\/em>Isookanga, a young pygmy, is going to Kinshasa to \u00ab globalize \u00bb, according to his own words. With this 2014 novel, Bofane examines with humor issues of globalization at stake in a society that seems to have lost its memory in pursuit of the Western dream. Memory of colonization, despite its erasure (except in the allusion to the title), is haunting the main characters, without destroying them. Does that mean that Bismark\u2019s and Leopold\u2019s Africa has overcome its new challenges generated by years of globalization ? What does this amnesia tell us about Congo\u2019s past but also present ? Is it a necessary means to reconstruct the country in a global era ? By merging traditional and more modern knowledges, Isookanga puts our humanity back into the center of what really matters and provides a credible alternative to capitalism that tends to transforms people into merchandise.<\/p>\nE<\/strong>lara <\/strong>B<\/strong>ertho<\/strong>, Memory\u2019s cacophonies and imperial dazzle (Sinzo Aanza, G\u00e9n\u00e9alogie d\u2019une banalit\u00e9<\/em>)
\nSinzo Aanza\u2019s G\u00e9n\u00e9alogie d\u2019une banalit\u00e9 <\/em>is focused on an accident in a popular neighbourhood named the Bronx, in Lubumbashi. An illegal mine collapsed and a part of the district also fell apart. In a huge city built like a labyrinth, money, metal trafficking, sex, medias are effects of the postcolonial \u00ab glare \u00bb defined by Joseph Tonda in his recent essay L\u2019Imp\u00e9rialisme postcolonial. Critique de la soci\u00e9t\u00e9 des \u00e9blouissements. <\/em>I will analyse the depiction of those \u00ab glares \u00bb in this novel, focusing on the politics of memory. In particular, I will study how memory is built on the daily life\u2019s banality but also on the historic stratification that the novel consciously digs into.<\/p>\nJ<\/strong>ean de <\/strong>D<\/strong>ieu <\/strong>I<\/strong>tsieki <\/strong>P<\/strong>utu <\/strong>B<\/strong>asey<\/strong>, The rumba of words or Blaise Ndala\u2019s \u00ab\u00a0prose combat\u00a0\u00bb : telling the wreck of history and deciphering the origins of an apocalypse
\nIn I will dance on the tomb of Senghor <\/em>(2014) and Without hood nor kalashnikov <\/em>(2017), the fiction of Ndala is anchored in the recent history of the Democratic Republic of Congo of which she proposes a corrected version, starting from two moment-keys : the boxing match Ali-Foreman in 1974 in Kinshasa, and the war east of country. For this purpose, the novelist chooses the strategy of humour by entrusting the word to the actors and to direct witnesses of the events. If the accounts take part of a memory work, names as Zangamoyo (\u00ab Which do not have a heart \u00bb) and Kapitisapiang (\u00ab jammer of traces\/reference mark \u00bb) rather underline an amnesia and imaginary empty. They confine the company in a blind presentism and an exaggerated ethos of pleasure, magic face of a merry apocalypse to which the music and the sport (football) are used as discharge system.<\/p>\nM<\/strong>atthias <\/strong>D<\/strong>e <\/strong>
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