Elèves et enseignant face aux étrangetés culturelles

L’article propose une réflexion sur les difficultés de traduire et appréhender les realia à l’intérieur d’une même langue, quand les univers culturels de référence sont très éloignés. Deux exemples sont présentés : la manière dont George Sand écrit François le Champi en restant fidèle au monde champêtre tout en s’adressant aux « Parisiens » et la manière dont Patrick Chamoiseau, dans son récit autobiographique Chemin-d’école, restitue le point de vue d’un enfant créole découvrant l’étrangeté des références culturelles métropolitaines enseignées à l’école.

Anthroponymes, patronymes et toponymes dans les œuvres littéraires : quelle traduction de l’onomastique ?

L’article propose une réflexion sur les difficultés de traduire et appréhender les realia à l’intérieur d’une même langue, quand les univers culturels de référence sont très éloignés. Deux exemples sont présentés : la manière dont George Sand écrit François le Champi en restant fidèle au monde champêtre tout en s’adressant aux « Parisiens » et la manière dont Patrick Chamoiseau, dans son récit autobiographique Chemin-d’école, restitue le point de vue d’un enfant créole découvrant l’étrangeté des références culturelles métropolitaines enseignées à l’école.

Colher memórias de velhos: retratos de avós em obras do Caribe francófono

Este artigo se propõe a perscrutar representações da velhice a partir do imaginário de avós em textos teórico-literários redigidos por seus netos e netas após o falecimento dos progenitores. Com o envelhecimento acentuado de diversas populações, torna-se urgente revisitar o paradigma desta fase da vida como etapa de declínio, propícia à doença, ao enfraquecimento e à inevitável morte. Partindo-se do conceito de “valor refúgio” proposto pelo crítico literário tunisiano Albert Memmi e no intuito de ‘colher memórias de velhos’, como o fez a escritora e psicóloga brasileira Éclea Bosi, nossas análises se debruçam nas relações familiares e na importância da ancestralidade no seio da sociedade em obras do caribe francófono, mais precisamente da ilha de Martinica e do arquipélago de Guadalupe. Neste sentido, acolhemos notadamente textos dos martinicanos Patrick Chamoiseau, Raphaël Confiant, Fabienne Kanor e dos guadalupenses Simone Schwarz-Bart, Maryse Condé e Dominique Lancastre nos quais estão em cena a relação entre velhice e representação literária e nos quais emergem as noções de “oralitura” (CHAMOISEAU, 2002) , “busca identitária” (CHAMOISEAU, 2016) “presentificação” (FOUCAULT, 1992), “fabulação” (HUSTON, 2008) e morte como “ausência” (CHAMOISEAU, 2016). Por fim, vislumbra-se a ancestralidade e sua importância a partir da metáfora da árvore (HAMPÂTÉ BÂ), do “húmus” (KANOR, 2006) e da “seiva” (BOSI, 2003) para dar a ver um corpo social marcado pelos ensinamentos, pelas insurgências e pelo altruísmo de avós “velhos demais para morrer” (MARIANO, 2020).

Spatial Boundaries, Abounding Spaces

Colonialism advanced its project of territorial expansion by changing the very meaning of borders and space. The colonial project scripted a unipolar spatial discourse that saw the colonies as an extension of European borders. In his monograph, Mohit Chandna engages with narrations of spatial conflicts in French and Francophone literature and film from the nineteenth to the early twenty-first century. In literary works by Jules Verne, Ananda Devi, and Patrick Chamoiseau, and film by Michael Haneke, Chandna analyzes the depiction of ever-changing borders and spatial grammar within the colonial project. In so doing, he also examines the ongoing resistance to the spatial legacies of colonial practices that act as omnipresent enforcers of colonial borders. Literature and film become sites that register colonial spatial paradigms and advance competing narratives that fracture the dominance of these borders. Through its analyses Spatial Boundaries, Abounding Spaces shows that colonialism is not a finished project relegated to our past. Colonialism is present in the here and now, and exercises its power through the borders that define us.

Spatial Boundaries, Abounding Spaces

Colonialism advanced its project of territorial expansion by changing the very meaning of borders and space. The colonial project scripted a unipolar spatial discourse that saw the colonies as an extension of European borders. In his monograph, Mohit Chandna engages with narrations of spatial conflicts in French and Francophone literature and film from the nineteenth to the early twenty-first century. In literary works by Jules Verne, Ananda Devi, and Patrick Chamoiseau, and film by Michael Haneke, Chandna analyzes the depiction of ever-changing borders and spatial grammar within the colonial project. In so doing, he also examines the ongoing resistance to the spatial legacies of colonial practices that act as omnipresent enforcers of colonial borders. Literature and film become sites that register colonial spatial paradigms and advance competing narratives that fracture the dominance of these borders. Through its analyses Spatial Boundaries, Abounding Spaces shows that colonialism is not a finished project relegated to our past. Colonialism is present in the here and now, and exercises its power through the borders that define us.