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EN
The present study shows that the novel Allah Is Not Obliged (2000) by Ahmadou Kourouma from the Ivory Coast, is an up-dated “Africanized“ transposition of Journey to the End of the Night (1932), L-F. Céline’s key 20th century French novel despite the lapse of time and different contexts, in which both works originated. After a brief introduction of contexts and Kourouma’s problem of ambivalent relationship with the French language, it focuses on the portrayal of affinity between hypotext and hypertext. The study emphasizes a similar concept of the character identical with the narrator “imposing“ a novel’s construction, a similar vision of being in the world and especially a similar need to come up with an original linguistic expression of the topic, which hides the issues of language and narration beneath the surface.
EN
This article is a case study focusing on the novel Derriére les panneaux il y a des hommes (2015) by Swiss writer Joseph Incardona. It proves that this winner of the Grand Prix de Littérature Policiére uses devices of crime fiction as a pretext to reflect on present-day social problems. After a brief introduction to the context of detective literature in France where the novel was published, an in-depth textual analysis is carried out. Its results show that the book is neither a traditional detective novel nor a thriller, but a roman noir. Subsequently, Incardona ś unique idiolect, the way in which he depicts the present, and his means of expression are discussed.
EN
The paper proposes an interpretation of two aesthetically convincing contemporary novels (L. Salvayre: La Compagnie des spectres, and C. Mavrikakis: Fleurs de crachat) dealing with the issues of memory (individual and collective, communicative and cultural). It proves that both texts, focusing on the intergenerational transmission of memories of the tragic events of World War II, come to the same conclusions as well-known memory theorists. On the one hand, they suggest that the duty to remember the victims of the past cannot be negated. On the other, they remind that memory cannot be promoted to the goal and the sole purpose of existence. Indeed, it is always necessary to keep the right measure, the so-called juste mémoire (Ricœur). Phenomena such as saturation of memory by traumatic events (Robin), selective trauma-centred memory, “sacralisation” or “abuse of the memory” (Todorov) threaten the mental health of the individual.
EN
This article is based on the hypothesis that Catherine Mavrikakis’s debut novel Deuils cannibales et mélancoliques (A cannibal and melancholy mourning, 2000), with its many autobiographic features, should not be treated as a mere therapeutic piece of writing. The introductory section takes a closer look at the auto-fictional practices of this contemporary Quebec writer. Subsequently, the article demonstrates that the novel’s preoccupation with mourning represents an original way of approaching life from the perspective of finitude and enables Mavrikakis, who is stuck in an identity crisis, to question her becoming a writer through a network of both real and imaginary relationships.
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