Le corps est une préoccupation majeure et constante chez Marie NDiaye. Ainsi, dans son roman Ladivine, la représentation corporelle s'avère riche et récurrente, la « métamorphose » étant un trait ...distinctif de son écriture physique. Inspiré des réflexions philosophiques de Deleuze et Guattari sur le corps, notre article étudie Ladivine de NDiaye autour de l'écriture du corps, cherchant à comprendre les réflexions de l'auteure sur la condition humaine dans la société contemporaine. Pour ce faire, nous analysons, dans un premier temps, le rapport entre l'apparence, les signes physiques et les émotions pour en relever l'influence socioculturelle sur le corps ; puis, dans un deuxième temps, notre analyse se concentre sur la nature externe du corps telle qu'elle se reflète sous l'effet de la sécrétion, et sur l'instabilité et la mobilité qui caractérisent le corps ; enfin, dans un dernier temps, notre étude se focalise sur la « métamorphose » du corps, sur ses raisons, sur le sens profond de la représentation fantastique du corps sous la plume de l'écrivaine, ainsi que sur la propension philosophique de l'écrivaine dans son écriture corporelle.
This article offers an ecocritical postcolonial reading of Marie Ndiaye's novel Trois femmes puissantes (2009). It aims to investigate the representation of nature, its function in the interaction ...between the characters and unveil different attitudes towards the Earth. The analysis is divided in three parts, following the three sections of the narrative, while comparing them. In the first part, the focus is on the communicative issues between an African father and his daughter, whose mother is French, and how the flamboyant tree helps them to interact without conflict, enables them to transform symbolically into birds. The second part pictures a Franco-African family living in the French countryside and failing to communicate. The analysis concentrates on how nature seems to come between them and hinder the communicative efforts, as if they represented different groups, having opposing views on nature. The third part tells the story of a migrant from Africa, ending up in a hostile no man's land where the sole function of nature is to provide wood for the construction of ladders supposed to help climb the fence separating them from Europe.
Contrary to the transactional nature of capitalism, family inspires images of relationships that are selfless and without the expectations of reciprocity. Thus, the family construct is often ...symbolized as an altruistic space and gift to its members. By analyzing Marie NDiaye's play, Papa doit manger, I show that not unlike capitalism, family as an institution, reproduces similar dynamics of exploitation. If family is ascribed as a type of gift economy, it is not, however, a pure gift free from ulterior motives or without agenda. Rather, I argue that family tends to operate more like the archaic gift as examined in Marcel Mauss' ethnographical essay, The Gift. In NDiaye's work, as in Mauss's work, the gift is never free. In my analysis of Papa doit manger, I posit that family engages in a system of exchanges. Consequently, this system is suggested as more insidious than capitalism due to its covert nature and exploitation of family relations requiring sacrifices of its members.
The aim of this article is to demonstrate that the male protagonist of the second story of Marie NDiaye’s Three Strong Women (Trois femmes puissantes) can be viewed as a fantastic character. The ...protagonist’s hesitation in the face of unsettling phenomena – both the external world and the traumatic events from his past – constitutes the central pivot of his construction. The fantastic characteristics of Rudy Descas, whose voice is predominant in the text, reveal the multidimensionality of the supernatural in NDiaye’s work, as the boundaries between the notion of the “character” and the “phenomenon” are not clearly defined. The analysis is based on literary theories concerning the nineteenth century fantastic, the new fantastic and the African fantastic.
Marie NDiaye's writing occupies a unique position in literary French and Francophone postcolonial time and space. As shown, many biographical elements that are specific to the author's history ...reemerge through fictional figures and situations located at the crossroads of sub-Saharan African, metropolitan, and French overseas memories. They are traumatic as well as post-traumatic memories inscribed in the colonial past of France. In this article dedicated to her novel Rosie Carpe, published in 2001 at the dawn of a new century, I contend that these traumatic and post-traumatic experiences and memories have survived the historical process of decolonization and taken the shape of a reality that I explain through the notion of “identity insularities.” These identities are colonial tropes that have persisted in the postcolonial era that is ours. These imaginaries form as many identity islands keeping women and men remote from any form of autonomy. They remain, as unveiled in this novel, under the aegis of a cultural unconscious, of practices of domination and ostracization that have framed a socioeconomic reality of which men of color and women are captives. As uncovered through outbreaks of violence experienced by diverse characters in this novel, the women and men of the postcolonial era depicted by NDiaye are relinquished to the statuses of objects that can be controlled and broken, i.e., mastered. As displayed in this fiction, this centuries-old experience of domination has penetrated psyches, imaginaries, bodies, and territories spanning from metropolitan Ile-de-France to the Caribbean island of Guadeloupe.
This article focuses on the theme of the family secret as literary genre, motif, and structure in the work of the contemporary French author Gisèle Fournier. Following a triaxle scheme, the article ...analyzes the particular polyphonic writing of the secret and the unspeakable, and explores the long psychological process of the victims as depicted in Fournier’s writings. In addition, the study situates Fournier’s oeuvre in the same tradition as two of the most prominent contemporary French authors, Marie NDiaye and Laurent Mauvignier.
Dissonante Marie NDiaye ENNACIRI, AÏCHA
French forum,
01/2014, Letnik:
39, Številka:
1
Journal Article
Recenzirano
"3 Le terme de "flicage" utilisé par NDiaye pourrait être repris pour ses propres oeuvres, si on comprend par cela le fait d'être sur ses gardes, d'avoir l'impression d'être suspect, de se voir ...singularisé(e), ou, pour l'énoncer simplement, d'être incertain de son sort ou de celui de ses proches. Cette esthétique de l'hostilité et de l'incertitude est présente dès En famille (1991), et persistera dans l'ensemble de son oeuvre avec une exposition particulièrement accentuée dans Mon coeur à l'étroit (2007) et La Naufragée (1999)- Le vague et l'incertitude engendrés par le face-à-face entre les personnages et les "phénomènes," ainsi que l'extraordinaire de certains personnages ndiayiens transposés dans un environnement prosaïque, sont des éléments du registre fantastique qui composent un espace narratif dissonant.
In this article, I explore some of the key forms of intelligence, pseudo-intelligence, and stupidity depicted in the texts of Marie NDiaye. Arguing that the cerebral brilliance of many of NDiaye’s ...earlier protagonists functioned as a symptom of their emotional ‘deadness’ I go on to analyze the workings of an emerging blueprint for relationality and psychic ‘aliveness.’
In Marie NDiaye's Autoportrait en vert (Self-Portrait in Green) (Paris: Folio, 2005) and Y penser sans cesse (Constantly Thinking of It) (Talence: Editions de l'Arbre vengeur, 2011) traces and ...fragments play an important role. Ways of reading these traces are uncertain and confusing. The article sets out to explain some theoretical concepts of the trace (J. Derrida, E. Lévinas, Ch.S. Pierce, P. Ricœur), and reflects their use for analyzing literary and photographic pieces of art. In the following it is demonstrated how NDiaye uses the trace as a means to develop a quite disconcerting form of writing that only traces fragments of a story without giving precise and definitive answers. Ndiaye's traces always have auratic character in the sense of W. Benjamin. The traces of the past materialize and trouble the narrator's perception of reality. Thus enigma and phantasm dominate the first person narrators as well as their stories. It is argued that the function of this "trace writing" is to entice the reader to probe the traces of his own past as well as those of the collective history.
Asibong reflects on the extent to which spaces of healing and potential emerge out of even the most excessive terror and trauma. He pairs Marie Chauvet's Amour, colère et folie with the work of one ...of the most provocative and risk-taking francophone voices of the twentieth and twenty-first centuries: Marie NDiaye. In a meticulous analysis of the common concerns and imagined possibilities proposed by the work of these two writers, separated by a generation and an ocean, he attests to the continued relevance and lucidity of Chauvet's intellectual contribution.
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