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Madagaskar nad przepaścią. Obraz rozpadającego się świata w nowelach Raharimanany

100%

Kalinowska E.

Afryka

2015

issue 42

63-78

This paper aims to shed light on short stories of Raharimanana – a Malagasy writer, poet, playwright and novelist (born in 1967) – as well as the image of reality of Madagascar and its inhabitants. The analysis is based on two literary works by Raharimanana, which are ones of his earliest: the series of short stories – Lucarne (1996) and Rêves sous le linceul (1998). The author analyses the situation of his mother island by pointing out all its dark sides: poverty, dirt, abjection and squalor. Human beings are wandering in the moral and material darkness; no hope of a feasible exit seems possible; there are hardly ever any signs of tenderness or love visible. Raharimanana’s style, with its rhetorical forms and a specific vocabulary, enhances the expression of his short stories and the image of Madagascar that they reflect.

Roman autobiographique ou « biographie pour soi » ? Revenir de Jean Luc Raharimanana, ou la fin du commencement

86%

Zatorska I.

Academic Journal of Modern Philology

2020

vol. 9

367-376

Instead of the cliché, “How can one be a Madagascan?,” I would suggest reversing the question, so, “How can one not be a Madagascan?”. But what would a Madagascan say constitutes being a Madagascan? The journey of the individual, marked by the awareness of a particular place – “La Grande Terre” for the inhabitants, the Red Island for foreigners − by his gestures and his beliefs, could take on an exemplary anthropological value, but under what conditions? Revenir (The Return), Raharimanana’s last and autobiographical novel (he was born in 1967), will provide the starting-point of our enquiry.Actually, Revenir is a fictionalized autobiography, since its hero, Hira, has a different name from that of the author. Or one could call it a “Biography for oneself,” to use the terminology of Dominique Viart, who defines such a work as an “indirect autobiography” or a “biography as a method,” the indirectness corresponding here to the story of his father’s life; his father had hidden his early years (an unhappy childhood) and got his son unwittingly to take on the role of family chronicler, or of writer for the public at large. The end of the story thus becomes a beginning − the history of the parental relationships − which is told at the end of the narrative. All in order to demonstrate the inextricable intertwining of two destinies: that of the father and that of the son. Thus the “story of the filiation” becomes an “(auto)biographical work of fiction” and vice-versa. And there is a third subject (object) of the action, the history of Madagascar, for which both the father and the son are spokesmen.Translated by Mark Waddicor

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1 Academic Journal of Modern Philology

1 Afryka

1 Kalinowska E.

1 Zatorska I.

1 2020

1 2015

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Madagaskar nad przepaścią. Obraz rozpadającego się świata w nowelach Raharimanany

Roman autobiographique ou « biographie pour soi » ? Revenir de Jean Luc Raharimanana, ou la fin du commencement