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Of Suffocated Hearts and Tortured Souls
A striking number of hysterical or insane female characters populate Francophone women's writing. To discover why, Orlando reads novels from a variety of cultures, teasing out key elements of Francophone identity struggles.
Colonizer and Colonized
Over the last two decades, the experiences of colonization and decolonization, once safely relegated to the margins of what occupied students of history and literature, have shifted into the latter's center of attention, in the West as elsewhere. This attention does not restrict itself to the historical dimension of colonization and decolonization, but also focuses upon their impact upon the present, for both colonizers and colonized. The nearly fifty essays here gathered examine how literature, now and in the past, keeps and has kept alive the experiences - both individual and collective - of colonization and decolonization. The contributors to this volume hail from the four corners of the ...
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Multiculturalism & Hybridity in African Literatures
This volume of essays covers all phases and geographical areas of African literature, including lesser known areas such as oral literature, literature written in African languages and Lusophone literature. Also included are articles on Caribbean literature, developments in South African theatre, and two articles on African film. Several writers receive special attention: Chinua Achebe, Maryse Conde, Wole Soyinka, Niyi Osundare, Ngugi wa Thiong'o and Hampate Ba. Also included are the key-note addresses by Achebe, Conde and Osundare.
Ni langue ni pays
"Tout est là autour de moi, il suffit de cueillir. Je me regarde dans le miroir. Que vois-je ? Une image, un reflet, un masque peut-être. Dans ce reflet, rien que je ne puisse affirmer vraiment. Vais-je me pétrifier ou sombrer dans l'abîme ?" J'aimerais croire au mythe. Quel qu'il soit. Imaginer une fabuleuse histoire à partir de ce miroir. aucun nom de pays ne me vient à l'esprit. Tout ce que je vois n'a rien à voir avec moi.
The Last Patriarch
The Last Patriarch is narrated by the daughter of Mimoun Driouch - the patriarch of the title - from his birth to her entrance into university. Mimoun believes that life on his parents' land is not his destiny" and so we follow his journey from rural Morocco to urban Cataluña. Mimoun's own violent nature and paranoia leads to frustration and rage, which he duly takes out on his wife and children. "This was not his destiny - this phrase is repeated almost like a mantra for Mimoun, who truly believes he is meant for great things. However, as the years pass, it begins to sound hollow; he does not escape the limitations of the role assigned to him by the patriarchal system, but his daughter will. El Hachmi looks at the role of women within a patriarchal culture while tackling more contemporary issues such as immigration and integration, as well as the fractured identity that results from having roots in two very distinct cultures. It is at once a powerful saga of a Moroccan family and a story of a girl's struggle to find her own identity and break free of a domineering father.
RIVES IDENTITAIRES
Crise d'identité, perte de repères : la vie s'effondre en soi et autour de soi.ŠDans ce récit, faits réels et imaginaires se mêlent, comme s'interpénètrent souffrance et joie de vivre, présent et passé, ici et ailleurs. Les personnages qui peuplent toutes ces histoires sont riches de mille visages... Ils ont jeté l'ancre pour étendre leurs racines de part et d'autre de la Méditerranée, à gauche et à droite de la Seine, dans les "pays" entre Océan et rives intérieures.
La faune hors du cercle
Un monde absurde, une tragédie grecque où les femmes apparaissent à l’écran alors que les hommes sont confinés au sol, dans un drôle d’endroit : est-ce un hôpital ? Est-ce la guerre ? Est-ce une épidémie ? Ou le fruit de leur imagination ? Ils font connaissance et essaient d’entamer un dialogue. Tous réalisent la vacuité de leur existence. Et même s’ils ne représentent rien aux yeux des hautes autorités, tous ensemble, ils désirent trouver l’issue qui les sortira de cet enfermement. La musique et la danse pourront-elles réunir hommes et femmes, balayer l’espace avec fureur et liberté ?
Myth of the Silent Woman
Beginning in the 1980s and gathering force in the last decade of the twentieth century, Moroccan women writers have become the latest group of Middle Eastern women to break their silence by writing both fiction and non-fiction. The Myth of the Silent Woman examines representative French-language texts from Moroccan women writers. Suellen Diaconoff situates these works in a discourse of social justice and reform, arguing that they contribute to the emerging national debate on democracy and help to create new public spaces of discourse and participation. In novels and short stories, essays and memoirs, including one powerful text by a dissident and former political prisoner, these authors contest hegemonic systems of thought and practice, reappraise traditional spaces and limits, shatter taboos and transgress borders. In so doing, they profoundly undermine easy assumptions about Arab women, feminism, and democracy, while boldly challenging the stereotype of the silent woman.
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