This article analyses mechanisms of the organisation and the functioning of the discourse of vengeance in the francophone African novel through an examination of Bokar N’Diaye’s La Mort des fétiches de Sénédougou and Patrick Serge Boutsindi’s L’heure de la vengeance à Quenzé. From the avenger malgré lui to the disenchanted avenger, we discover a writing that explores the complexity of human emotions, such as anger, rancour, pride, honour, jealousy, rage and hate. In hypothesising that these two texts play with a fundamental ambivalence, reinforced by the semiotics of contempt, this article aims to study the methods through which writing links vengeance to social and cultural issues.
{"title":"« Assouvir sa rancoeur » : le vengeur désenchanté chez Bokar N’Diaye et Patrick Serge Boutsindi","authors":"A. Togola","doi":"10.7202/1086328ar","DOIUrl":"https://doi.org/10.7202/1086328ar","url":null,"abstract":"This article analyses mechanisms of the organisation and the functioning of the discourse of vengeance in the francophone African novel through an examination of Bokar N’Diaye’s La Mort des fétiches de Sénédougou and Patrick Serge Boutsindi’s L’heure de la vengeance à Quenzé. From the avenger malgré lui to the disenchanted avenger, we discover a writing that explores the complexity of human emotions, such as anger, rancour, pride, honour, jealousy, rage and hate. In hypothesising that these two texts play with a fundamental ambivalence, reinforced by the semiotics of contempt, this article aims to study the methods through which writing links vengeance to social and cultural issues.","PeriodicalId":206478,"journal":{"name":"La vengeance dans le roman francophone","volume":"10 7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123831360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction : Formes et significations de la vengeance dans le roman francophone","authors":"A. Togola","doi":"10.7202/1086325ar","DOIUrl":"https://doi.org/10.7202/1086325ar","url":null,"abstract":"<jats:p />","PeriodicalId":206478,"journal":{"name":"La vengeance dans le roman francophone","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132689488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article seeks to examine representations of the female gangster commonly known as “Madame Queen,” or simply “Queenie,” who was a formidable and ingenious figure in 1920s-40s New York. Confiant calls to mind the curiously ethical and troubled roots of this Antillaise activist and “miraculous survivor” who subverts the order of power by, more often than not, producing disorder in the form of negative reciprocity, that is to say vengeance. Her story will be determined by the First World War, the start of the Civil Rights Movement, the Great Depression and the Second World War. Queenie’s agency, or shall we say, with a knowing smile, her “social engagement,” will manifest itself in the projection of a life that is fully-thought out and which, mysteriously or instinctively, unites itself to one pole or another of calculated vengeance or indefinite and radical revenge. Out of what begins as a minefield, she very nearly reconciles these opposites by opening up a field of possibilities for future generations. Thus, this woman gangster gives herself the chance to consider anew the manifestations of violence and the knots of oppression that have been omnipresent in her life. From a political, economic, judicial and cultural perspective, marginalised communities live according to the survival of the fittest. Yet who can carry the standard of liberty, of peace and of dignity without a heightened awareness that allows us to define those human values? Raphael Confiant brings a critical examination of the gaze to a world of effervescence, to forces which have barely been linked let alone brought head to head in the past. From the revenge of laughter to the questioning of the link between positive and negative reciprocity, Confiant’s search for a path to liberation by means of creation is unwavering and also inexhaustible, for from it flows the future and the map of possibilities for “the damned of the earth.”
{"title":"Au-delà de la réciprocité négative : la femme-gangster Madame St-Clair, reine de Harlem de Raphaël Confiant","authors":"Suzanne Crosta","doi":"10.7202/1086329ar","DOIUrl":"https://doi.org/10.7202/1086329ar","url":null,"abstract":"This article seeks to examine representations of the female gangster commonly known as “Madame Queen,” or simply “Queenie,” who was a formidable and ingenious figure in 1920s-40s New York. Confiant calls to mind the curiously ethical and troubled roots of this Antillaise activist and “miraculous survivor” who subverts the order of power by, more often than not, producing disorder in the form of negative reciprocity, that is to say vengeance. Her story will be determined by the First World War, the start of the Civil Rights Movement, the Great Depression and the Second World War. Queenie’s agency, or shall we say, with a knowing smile, her “social engagement,” will manifest itself in the projection of a life that is fully-thought out and which, mysteriously or instinctively, unites itself to one pole or another of calculated vengeance or indefinite and radical revenge. Out of what begins as a minefield, she very nearly reconciles these opposites by opening up a field of possibilities for future generations. Thus, this woman gangster gives herself the chance to consider anew the manifestations of violence and the knots of oppression that have been omnipresent in her life. From a political, economic, judicial and cultural perspective, marginalised communities live according to the survival of the fittest. Yet who can carry the standard of liberty, of peace and of dignity without a heightened awareness that allows us to define those human values? Raphael Confiant brings a critical examination of the gaze to a world of effervescence, to forces which have barely been linked let alone brought head to head in the past. From the revenge of laughter to the questioning of the link between positive and negative reciprocity, Confiant’s search for a path to liberation by means of creation is unwavering and also inexhaustible, for from it flows the future and the map of possibilities for “the damned of the earth.”","PeriodicalId":206478,"journal":{"name":"La vengeance dans le roman francophone","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131819874","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Standing apart from the rest of Marie Darrieussecq’s work, Being Here is Everything (2016) is, to date, the only ‘biography’ written by this author. It recounts the short life of a German painter, Paula M. Becker (1876 - 1907), whose work was largely unknown in France when this book was published. This text takes its place within a very broad contemporary literary movement – as everyone knows, ‘a fair number of today’s novelists grapple with that uncertain and unstable construct which is the story of a life’ and make it into a major ‘literary genre in the publishing landscape’ (Tadié & Cerquiglini, 339-340). Yet it stands out, in our view, thanks to the different possible levels of reading that it offers. Studying the details of Paula Becker’s life that are selected here, the words chosen and the construction of the text, makes it possible to show that Being Here is Everything also constitutes for the author an opportunity to dig down into themes and topics previously addressed in her fiction, such as feminism, the importance of travelling and of geography, the question of death and what remains after death, thus, as it were, turning certain features of this biography into mirrors. But this story also turns out to be - perhaps more than anything else - a fascinating locus of interrogation and reflection where the great questions arising in the polymorphous genre that is contemporary biography are worked through. It is such avenues that this article sets out to explore.
{"title":"La biographie comme atelier commun. À propos d’Être ici est une splendeur de Marie Darrieussecq","authors":"O. Hambursin","doi":"10.7202/1086335ar","DOIUrl":"https://doi.org/10.7202/1086335ar","url":null,"abstract":"Standing apart from the rest of Marie Darrieussecq’s work, Being Here is Everything (2016) is, to date, the only ‘biography’ written by this author. It recounts the short life of a German painter, Paula M. Becker (1876 - 1907), whose work was largely unknown in France when this book was published. This text takes its place within a very broad contemporary literary movement – as everyone knows, ‘a fair number of today’s novelists grapple with that uncertain and unstable construct which is the story of a life’ and make it into a major ‘literary genre in the publishing landscape’ (Tadié & Cerquiglini, 339-340). Yet it stands out, in our view, thanks to the different possible levels of reading that it offers. Studying the details of Paula Becker’s life that are selected here, the words chosen and the construction of the text, makes it possible to show that Being Here is Everything also constitutes for the author an opportunity to dig down into themes and topics previously addressed in her fiction, such as feminism, the importance of travelling and of geography, the question of death and what remains after death, thus, as it were, turning certain features of this biography into mirrors. But this story also turns out to be - perhaps more than anything else - a fascinating locus of interrogation and reflection where the great questions arising in the polymorphous genre that is contemporary biography are worked through. It is such avenues that this article sets out to explore.","PeriodicalId":206478,"journal":{"name":"La vengeance dans le roman francophone","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116599879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For the francophone writer, to write in French brings a twofold passion into focus. On the one hand, it is an aid to self-representation, but on the other, it represents the return of violence of a vindictive nature, signifying the rejection of assimilation to discourse under colonialism’s authority (Mignolo). In the wake of approaches to the decolonisation of creation and language, the francophone oeuvre maintains one of two possibilities. Either it is a counter-narration, which revises the official historical archives and imposes an uncompromising restitution of memory, all the while frequently responding to the violence of domination, effectively a symbolic violence, borne by language, or it maintains an attempt to build up a different culture amidst the ruins of erasure subsequent to the imperial hegemony. If the more recent movement was in reality the birth certificate of the decolonisation of francophone literature, wrapped up in a desire for nationalistic edification, the first movement emanated from a keen awareness of the role of language in the shaping of the imagination and the creation of symbolic imperial authority.It is very likely in Jean-Luc Raharimanana’s work that that we see the crystallization of both a conscientiousness in the restoration of historical archives (Madagascar 1947 and 2011) and a recourse to language as the symbolic site where an externally subjected violence gets transposed upon the range of dysfunctional language usage (Za 2008). This study hopes to explore as much of the work of this Madagascan author as possible from the perspective of a vengeance that seeks to be a return to violence (Fanon), whether such violence is real (political torture), historical (French colonisation) or even symbolic (the authority of a system of language).
{"title":"La langue francophone : d’une passion vindicative sur l’autorité coloniale du discours chez J.-L. Raharimanana","authors":"Hassan Moustir","doi":"10.7202/1086332ar","DOIUrl":"https://doi.org/10.7202/1086332ar","url":null,"abstract":"For the francophone writer, to write in French brings a twofold passion into focus. On the one hand, it is an aid to self-representation, but on the other, it represents the return of violence of a vindictive nature, signifying the rejection of assimilation to discourse under colonialism’s authority (Mignolo). In the wake of approaches to the decolonisation of creation and language, the francophone oeuvre maintains one of two possibilities. Either it is a counter-narration, which revises the official historical archives and imposes an uncompromising restitution of memory, all the while frequently responding to the violence of domination, effectively a symbolic violence, borne by language, or it maintains an attempt to build up a different culture amidst the ruins of erasure subsequent to the imperial hegemony. If the more recent movement was in reality the birth certificate of the decolonisation of francophone literature, wrapped up in a desire for nationalistic edification, the first movement emanated from a keen awareness of the role of language in the shaping of the imagination and the creation of symbolic imperial authority.It is very likely in Jean-Luc Raharimanana’s work that that we see the crystallization of both a conscientiousness in the restoration of historical archives (Madagascar 1947 and 2011) and a recourse to language as the symbolic site where an externally subjected violence gets transposed upon the range of dysfunctional language usage (Za 2008). This study hopes to explore as much of the work of this Madagascan author as possible from the perspective of a vengeance that seeks to be a return to violence (Fanon), whether such violence is real (political torture), historical (French colonisation) or even symbolic (the authority of a system of language).","PeriodicalId":206478,"journal":{"name":"La vengeance dans le roman francophone","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128565344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay examines vegetarianism and the treatment of animals in Gaétan Soucy’s L’Immaculée Conception and Music-Hall! as part of an innovative commentary on violence among humans. The novels’ unconventional use of zoomorphism and anthropomorphism in establishing animal sentience and agency places the animal at the center of moral inquiry in order to denounce violent anthropocentrism. By drawing from leading theorists of animal and vegan studies, this essay demonstrates that in Soucy’s works, animals and minority human groups are depicted as sharing a common aggressor: patriarchy and its numerous avatars. By highlighting a number of parallels in the narratives between animals and human victims of male aggression, this study brings to light the novels’ denunciation of the meat processing industry and the consumption of meat as perpetuating a divisive social order that victimizes not only animals, but also women, children, and the poor. In contrast, the narratives proffer respect for animals as the ultimate anti-violent gesture. By extension, vegetarianism presents as a critical, self-reflexive consciousness and a deep ethical awareness that breaks with patterns of violent behavior at the foundation of Western civilization.
{"title":"Human Violence and Eating Animals: Reading Gaétan Soucy through the lenses of Animal and Vegan Studies","authors":"Scott M. Powers","doi":"10.7202/1086333ar","DOIUrl":"https://doi.org/10.7202/1086333ar","url":null,"abstract":"This essay examines vegetarianism and the treatment of animals in Gaétan Soucy’s L’Immaculée Conception and Music-Hall! as part of an innovative commentary on violence among humans. The novels’ unconventional use of zoomorphism and anthropomorphism in establishing animal sentience and agency places the animal at the center of moral inquiry in order to denounce violent anthropocentrism. By drawing from leading theorists of animal and vegan studies, this essay demonstrates that in Soucy’s works, animals and minority human groups are depicted as sharing a common aggressor: patriarchy and its numerous avatars. By highlighting a number of parallels in the narratives between animals and human victims of male aggression, this study brings to light the novels’ denunciation of the meat processing industry and the consumption of meat as perpetuating a divisive social order that victimizes not only animals, but also women, children, and the poor. In contrast, the narratives proffer respect for animals as the ultimate anti-violent gesture. By extension, vegetarianism presents as a critical, self-reflexive consciousness and a deep ethical awareness that breaks with patterns of violent behavior at the foundation of Western civilization.","PeriodicalId":206478,"journal":{"name":"La vengeance dans le roman francophone","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117167743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"IN MEMORIAM : Philippe Jaccottet (1925-2021)","authors":"M. Bishop","doi":"10.7202/1086337ar","DOIUrl":"https://doi.org/10.7202/1086337ar","url":null,"abstract":"<jats:p />","PeriodicalId":206478,"journal":{"name":"La vengeance dans le roman francophone","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131308814","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In his Outlines of a Philosophy of Right, Hegel contends that revenge is just in its content but wrong in its form. In other words, it is justified in its pursuit of recognition but wrong in resorting to acts of subjective will instead of mediation through state justice, which, he argues, is founded in a rational and objective expression of collective will. While Hegel’s argument may hold in cases of conflicts between individual subjects, it is harder to sustain when the wrong is committed by supra-individual entities (States, financial institutions) particularly in (neo)colonial contexts. In light of this asymmetrical complication, I seek to revisit the conception of justice associated with the Hegelian idea of the State. I do so by looking at four contemporary francophone novels in which episodes of individual revenge are construed as provocative indices that allow me to uncover the wrong in its asymmetrical setting, that is, to see and analyze offense as the personal, individual and intimately lived effect of a (geo)political wrong inflicted by (neo)colonialism. Ultimately, the assumption of State rationality is significantly qualified due to the influence of capitalist market forces and national sentiment.
{"title":"Revenge, Coloniality, and Hegelian Justice: Experiencing Geopolitics in Sub-Saharan Fiction","authors":"Christian Uwe","doi":"10.7202/1086330ar","DOIUrl":"https://doi.org/10.7202/1086330ar","url":null,"abstract":"In his Outlines of a Philosophy of Right, Hegel contends that revenge is just in its content but wrong in its form. In other words, it is justified in its pursuit of recognition but wrong in resorting to acts of subjective will instead of mediation through state justice, which, he argues, is founded in a rational and objective expression of collective will. While Hegel’s argument may hold in cases of conflicts between individual subjects, it is harder to sustain when the wrong is committed by supra-individual entities (States, financial institutions) particularly in (neo)colonial contexts. In light of this asymmetrical complication, I seek to revisit the conception of justice associated with the Hegelian idea of the State. I do so by looking at four contemporary francophone novels in which episodes of individual revenge are construed as provocative indices that allow me to uncover the wrong in its asymmetrical setting, that is, to see and analyze offense as the personal, individual and intimately lived effect of a (geo)political wrong inflicted by (neo)colonialism. Ultimately, the assumption of State rationality is significantly qualified due to the influence of capitalist market forces and national sentiment.","PeriodicalId":206478,"journal":{"name":"La vengeance dans le roman francophone","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126815405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Nearly 70 years apart, two francophone authors, the Haitian Frédéric Marcelin (1848-1917) and the Congolese Sony Labou Tansi (1947-1995), published novels whose plot either entirely or partially calls upon the theme of vengeance, each featuring the same principal elements: women, dictators, champagne, poison, seduction and sex. In Marcelin’s La vengeance de Mama (1902, 1974), Zulma Corneille, nicknamed Mama, avenges the death of her fiancé, Épaminondas Labasterre, by making his murderer Télémaque drink poisoned champagne during an amourous rendez-vous; in Sony Labou Tansi’s La Vie et demie (1979), after seeing her entire family murdered by the Guide Providientiel de la Katamalanasie, Chaïdana, the daughter of the antagonist Martial, likewise uses poisoned champagne to kill off a number of the totalitarian country’s officials after having offered herself to them in the novel’s eponymous hotel. The goal of this article is to investigate what must be fortuitous similarities between these two novels, as it is unlikely that Labou Tansi would have read Marcelin. It aims to analyse the way in which vengeance is employed in the novels, notably the use of ruses and seduction as a means of enticing the victims.
相隔近70年，两位讲法语的作家——海地的弗莱姆·马塞林(1848-1917)和刚果的索尼·拉博·坦西(1947-1995)——都发表了小说，其情节或完全或部分地以复仇为主题，每一部小说都有相同的主要元素:女人、独裁者、香槟、毒药、诱惑和性。在马塞兰的《妈妈的复仇》(1902,1974)中，绰号“妈妈”的祖玛·高乃依为她未婚夫Épaminondas·拉巴斯特尔的死报仇，在一次浪漫的约会中，她让杀害他的凶手塔姆斯·拉巴斯特尔喝下了有毒的香槟;在索尼·拉博·坦西的《人生》(1979)中，主人公马夏尔的女儿Chaïdana在目睹自己的全家被《卡塔玛拉纳西指南》(Guide Providientiel de La Katamalanasie)谋杀后，在小说同名的酒店里向这个极权主义国家的官员们献出了自己的生命，她同样用有毒的香槟杀死了一些官员。这篇文章的目的是调查这两部小说之间有什么偶然的相似之处，因为拉布坦西不太可能读过马塞林。本文旨在分析小说中复仇的手法，尤其是用诡计和诱惑来引诱受害者。
{"title":"La vengeance chez Frédéric Marcelin et Sony Labou Tansi : La vengeance de Mama (1902, 1974) et La Vie et demie (1979)","authors":"Joubert Satyre","doi":"10.7202/1086331ar","DOIUrl":"https://doi.org/10.7202/1086331ar","url":null,"abstract":"Nearly 70 years apart, two francophone authors, the Haitian Frédéric Marcelin (1848-1917) and the Congolese Sony Labou Tansi (1947-1995), published novels whose plot either entirely or partially calls upon the theme of vengeance, each featuring the same principal elements: women, dictators, champagne, poison, seduction and sex. In Marcelin’s La vengeance de Mama (1902, 1974), Zulma Corneille, nicknamed Mama, avenges the death of her fiancé, Épaminondas Labasterre, by making his murderer Télémaque drink poisoned champagne during an amourous rendez-vous; in Sony Labou Tansi’s La Vie et demie (1979), after seeing her entire family murdered by the Guide Providientiel de la Katamalanasie, Chaïdana, the daughter of the antagonist Martial, likewise uses poisoned champagne to kill off a number of the totalitarian country’s officials after having offered herself to them in the novel’s eponymous hotel. The goal of this article is to investigate what must be fortuitous similarities between these two novels, as it is unlikely that Labou Tansi would have read Marcelin. It aims to analyse the way in which vengeance is employed in the novels, notably the use of ruses and seduction as a means of enticing the victims.","PeriodicalId":206478,"journal":{"name":"La vengeance dans le roman francophone","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121221261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Vengeance, a permanent feature of anthropology, affects all ages. If in real life we observe ordinary forms of meanness among children, narratives of vengeance portray the child in a much more complex light. This article studies two sides of the figure of the child in Francophone African children’s literature: the vengeful child and the child who is a victim of vengeance. Even children are sensitive to injustice and humiliation: the wrongs they experience provoke in them the memory of a suffering that renders their thirst for vengeance unchanging. Depending on the context or circumstances, the vengeful child can appear either noble or tragic. Yet, sometimes the child himself becomes the victim of a collective vengeance. In this case, the work poses the complex question of forgiveness.
{"title":"L’enfant dans les récits de vengeance pour la jeunesse en Afrique francophone","authors":"Kodjo Attikpoé","doi":"10.7202/1086327ar","DOIUrl":"https://doi.org/10.7202/1086327ar","url":null,"abstract":"Vengeance, a permanent feature of anthropology, affects all ages. If in real life we observe ordinary forms of meanness among children, narratives of vengeance portray the child in a much more complex light. This article studies two sides of the figure of the child in Francophone African children’s literature: the vengeful child and the child who is a victim of vengeance. Even children are sensitive to injustice and humiliation: the wrongs they experience provoke in them the memory of a suffering that renders their thirst for vengeance unchanging. Depending on the context or circumstances, the vengeful child can appear either noble or tragic. Yet, sometimes the child himself becomes the victim of a collective vengeance. In this case, the work poses the complex question of forgiveness.","PeriodicalId":206478,"journal":{"name":"La vengeance dans le roman francophone","volume":"404 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131895919","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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