Today, it is perfectly possible to establish a corpus of sub-Saharan francophone authors of autobiographical novels who are already considered to be the classics of African literatures. The main characters, young Africans fascinated by French culture, suffer from identity alienation and spiritual degradation which causes a process of decomposition followed by an artificial re-composition of their past. The homeland, Africa, as a point of reference, is lost in this process. The protagonist isolates himself from his milieu and it is no more possible to distinguish whether he ignores or refuses his past in homeland. In this article, we will analyze the involuntary reminiscences occurring when the main character is in Paris. Those fragments of memory force him to reconsider his status, origins and allegiance.
The concept of hybridity continues to challenge researchers in literary and artistic studies. Derived from the field of biology, hybridity recalls the crossing of races and species. Stained with the seal of a curse, hybridity evokes impurity and bastardy. It is thus linked to transgression of the norm, to that which deviates from the natural order. When literary research examines the concept of hybridity, it seeks to identify its aesthetic, artistic, philosophical and political implications, and to study its forms of expression, in the arts and in literature. This study analyses the concept of hybridity in the new generation of Sub-Saharan Novels. Indeed, the sub-Saharan novel of the 1990s–2020s offers an opportunity to reflect on the question of hybridity within a broad vision that encompasses textuality, intermediality, interartiality and genre.
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