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de compilations, sortes d'anthologies thématiques qui les réduisent à de simples objets de curiosité, sinon d'exotisme. 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data-login_uri="https://www.academia.edu/registrations/google_one_tap" data-moment_callback="onGoogleOneTapEvent" id="g_id_onload"></div><div class="ds-top-related-works--grid-container"><div class="ds-related-content--container ds-top-related-works--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="0" data-entity-id="3995732" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/3995732/LA_LITTERATURE_AFRICAINE_ET_SES_LIEUX_D_INSOUMISSION">LA LITTERATURE AFRICAINE ET SES LIEUX D’INSOUMISSION</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="4740748" href="https://xn--ubouak-gva.academia.edu/SergeAlainBorntowin">Serge Alain Borntowin</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link 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data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/24494501/LA_LITTERATURE_AFRICAINE_EN_FRAN%C3%87AIS_CINQUANTE_ANS_APRES_LES_IND%C3%89PENDANCES_Bibliographie_s%C3%A9lective">LA LITTERATURE AFRICAINE EN FRANÇAIS CINQUANTE ANS APRES LES INDÉPENDANCES Bibliographie sélective</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="47209657" href="https://independent.academia.edu/EmmanuelMaswaku">Emmanuel Maswaku</a></div><p class="ds-related-work--abstract ds2-5-body-sm">Où en est la littérature africaine francophone après cinquante ans d'indépendance, sachant qu'elle fut au début marquée par la tradition orale puis par le mouvement littéraire de la Négritude ? Les années 60 voient se poursuivre le renouveau de la création littéraire. Le poète, le romancier, le dramaturge composent souvent des oeuvres baroques où désespoir, comique et découragement se mêlent (Le Pleurer rire d'Henri Lopes, La vie et demie de Sony Labou Tansi). Les écrivains abandonnent le réalisme et se livrent à un travail sur la forme : Ahmadou Kourouma est le premier avec Les Soleils des indépendances. A partir des années 80, on assiste à l'éclosion d'un genre nouveau pour la littérature africaine, le roman policier (Achille Ngoye). En même temps une littérature jeunesse commence à se développer. La littérature féminine est quant à elle la fille des indépendances. C'est à partir des années 70 que se manifeste en Afrique une écriture féminine autonome. Le roman épistolaire de Mariama Bâ, Une si longue lettre, publié en 1979, en fut le coup d'envoi spectaculaire. En ce début du XXI e siècle, c'est le mouvement de la « Migritude », un néologisme qui combine négritude et émigration, qui caractérise cette littérature. Les nouvelles générations d'écrivains ont en commun l'expérience de l'immigration : par exemple, Fatou Diome (La Préférence nationale), Alain Mabanckou (Bleu-blanc-rouge), Sami Tchak (Place des Fête), Calixthe Beyala (Le petit prince de Belleville). Mais ils restent aussi profondément attachés à leur pays d'origine, comme Abdourahman A. Waberi (Le pays sans ombre) ou Emmanuel Dongala (Johnny chien méchant). Beaucoup d'écrivains africains, comme tous les écrivains francophones, se revendiquent de plus en plus comme des écrivains à part entière, sans épithète, accessoirement « Nègres », mais tous restent mobilisés par les problèmes de l'Afrique comme Boubacar Boris Diop, (Les tambours de la mémoire). La littérature africaine de langue française, surtout publiée à Paris, touche un lectorat européen et africain immigré. En Afrique, hormis dans le champ scolaire, l'édition locale en français restant limitée, elle n'atteint pas un large lectorat et son audience reste restreinte. Cette bibliographie sélective recense des ouvrages disponibles en accès libre, principalement dans les salles H et I de la Bibliothèque d'étude (niveau haut-de-jardin) et V de la Bibliothèque de recherche (niveau rez-de-jardin).</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"LA LITTERATURE AFRICAINE EN FRANÇAIS CINQUANTE ANS APRES LES INDÉPENDANCES Bibliographie sélective","attachmentId":44827097,"attachmentType":"pdf","work_url":"https://www.academia.edu/24494501/LA_LITTERATURE_AFRICAINE_EN_FRAN%C3%87AIS_CINQUANTE_ANS_APRES_LES_IND%C3%89PENDANCES_Bibliographie_s%C3%A9lective","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/24494501/LA_LITTERATURE_AFRICAINE_EN_FRAN%C3%87AIS_CINQUANTE_ANS_APRES_LES_IND%C3%89PENDANCES_Bibliographie_s%C3%A9lective"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="2" data-entity-id="108449370" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/108449370/La_Lorraine_des_%C3%A9crivains_africains">La Lorraine des écrivains africains</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="177934019" href="https://independent.academia.edu/LydieMoudileno">Lydie Moudileno</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Lieux, littérature et médiations dans l'espace francophone. Carole Bisenius--Penin (Dir)), 2018</p><p class="ds-related-work--abstract ds2-5-body-sm">Cette contribution se concentre sur les auteurs Gaston-Paul Effa, romancier originaire du Cameroun, et Tierno Monénembo, romancier guinéen. Tous deux peuvent être rattachés à la Lorraine mais de manière différente : Le lien de Gaston-Paul Effa est biographique, dans la mesure où il vit et travaille à Sarrebourg depuis des années (après des études à Strasbourg) ce qui fait de lui un « écrivain lorrain d'origine camerounaise ». Quant au lien du romancier Tierno Monénembo avec la Lorraine, il tient à tient à l'écriture d'un roman, Le Terroriste noir (2012), qui prend pour sujet l'engagement d'un tirailleur dans la Résistance dans les Vosges. L'étude des deux auteurs permet un double geste : D'une part les placer sur un territoire littéraire français régionalisé », et de l'autre, inciter à un regard nouveau sur la Lorraine dans lequel sa culture et sa relation au monde impliquent une prise en compte de l'histoire coloniale. Respectivement lieu de résidence (pour Gaston-Paul Effa) et lieu d'inspiration (pour Tierno Monénembo) la Lorraine de ces deux auteurs est ici revisitée à la lumière d'une histoire franco-africaine, dont elle participe pleinement.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"La Lorraine des écrivains africains","attachmentId":106829184,"attachmentType":"pdf","work_url":"https://www.academia.edu/108449370/La_Lorraine_des_%C3%A9crivains_africains","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/108449370/La_Lorraine_des_%C3%A9crivains_africains"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="3" data-entity-id="64456848" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/64456848/LA_FONCTION_ENGAGEE_DE_LA_LITTERATURE_ORALE_AFRICAINE_ET_LEPOPEE">LA FONCTION ENGAGEE DE LA LITTERATURE ORALE AFRICAINE ET L'EPOPEE</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="206444497" href="https://cucg-gh.academia.edu/MagdaleneMensah">Dr Magdalene Mensah</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Journal of Humanities and Social Sciences, 2021</p><p class="ds-related-work--abstract ds2-5-body-sm">Résumé Notre travail de recherches porte sur la fonction engagée de la littérature orale africaine. L’Afrique a une histoire et des trésors culturels oraux à travers des chants, légendes, récits historiques, épopées, contes, poèmes, panégyriques, berceuses, élégies, etc, qui sont des socles d’une véritable littérature (contrairement à la négation de l’Afrique à travers des visions des colonialistes et des écrivains européens) , comme ont permis de le révéler, les travaux de Geneviève Calame-Griaule sur les traditions orales dogon du Mali. Calame-Griaule a proposé et défini la notion de vision du monde par laquelle une société analyse et interprète ce qui l’entoure à la lumière de sa vision. C’est depuis lors que le monde littéraire a accepté que le terme « littérature orale » puisse être consacré à cette tradition. Cette littérature, depuis l’antiquité, est définie en fonction de l’existence pure et simple du corpus des récits à formes fixes transmis oralement à travers plusieurs générations pendant des siècles au sein d’une collectivité. D’après Ki-Zerbo « la tradition orale enseigne verbalement un peuple sur son passé3. » C’est à travers des discours oraux que les Africains obtiennent le raffinement de leurs pensées, et l’esthétique de l’oralité. Cette culture à part entière, est distincte de la culture de l’écriture, chacune avec ses canons et son esthétique propre. L’absence de développement de ce système d’écriture, bien que regrettable, a permis l’éclosion d’une littérature orale, riche et originale avec des relents sacrés. Jacques Chévrier le reconnaît en disant : « Chaque fois qu’un texte oral subit une transformation du passage de l’oral à l’écrit, c’est l’oralité qui perd 4. » Cette littérature orale africaine, est très fonctionnelle et engagée5. C’est une littérature d’action à la différence d’une littérature issue de la théorie de « l’Art pour l’art » de Théophile Gautier et autres. Dans les années ’30, pendant l’ère de la Négritude, il y a eu une floraison, par conséquent, du genre littéraire poétique africain dans lequel les écrivains négro-africains ont exprimé leur dégoủt du système d’exploitation colonial et cela jusqu’en 1947. C’est ainsi que Léopold Sédar Senghor, épaulé par Aimé Césaire et d’autres, invite les Africains à retourner à leurs sources historiques, à la conquête des valeurs culturelles, à s’inspirer des faits illustres et à développer leur littérature orale africaine. Il les invite également à examiner et à analyser les événements socio-culturels, politiques, économiques, littéraires, etc, et à en faire une étude synchronique et diachronique pour identifier les problèmes actuels pertinents. Ce faisant, ils éclaireront les peuples et jeunes Africains et leur apprendront à y faire face. Aimé Césaire proclame que : « Et si je ne sais que parler, c’est pour vous que je parlerai. Ma bouche sera la bouche des malheurs qui n’ont point de bouche; ma voix, la liberté de celles qui s’affaissent au cachot du désespoir6». Depuis lors, comme Césaire, nous avons donc décidé de ne pas croiser les bras dans l’attitude stérile du spectateur, mais plutôt de devenir « la bouche » et en occurrence, à travers des recherches en des épopées africaines, à partir à la conquête des valeurs, à réveiller les soleils éteints, afin de trouver pour notre peuple africain, sa liberté. Les caractéristiques fondamentales de cette littérature négro-africaine d’hier et d’aujourd’hui peuvent se résumer ainsi : - exprimer les drames et les luttes des peuples noirs, - chanter avec un souci de création artistique ces souffrances en prenant ses distances avec les canons esthétiques occidentaux, - s’appuyer sur les trésors culturels du terroir nègre. Depuis lors, l’intérêt des intellectuels africains pour les traditions orales de leurs pays s’accroît, mais ils n’ont pas bâti des théories de la littérature orale africaine, en tant que systématisation d’une forme d’art conçue de façon abstraite. Cependant, en nous inspirant des discours, des interviews, et des articles divers, nous pouvons en déduire une formalisation à même de nous guider dans l’analyse des œuvres héroïques, en l’occurrence, les actes héroïques des héros et héroïnes africaines, de façon à mettre en lumière certains aspects de la réalité politique, socioculturel, psychologique, et littéraire, ainsi qu’à illustrer certaines valeurs morales africaines. Notre outil d’analyse a été la Sociocritique. La problématique était l’ambiguïté autour des procédés de rites des épopées de la tradition orale, voire africaine, vis-à-vis les unes des autres civilisations. Notre objectif a été donc d’étudier les éléments qui les qualifient comme épopées : rôle héroïque du héros, la guerre, la qualité de la composition artistique des récits en exemplaires et d’accorder une certaine visibilité aux épopées africaines. Pour pouvoir contribuer au contenu et à la forme de la littérature africaine, nous allons donc entrer dans le monde des textes oraux de certaines épopées africaines, étudier l’action, la conduite du récit, faire comprendre de manière fine les actants et autres, donner à voir la pérennité de certains archétypes culturels africains, en vue de la valorisation de certaines en voie de disparition. Puis, nous allons étudier la langue et identifier les figures de rhétorique et l’éloquence de l’épique africaine. Nous allons œuvrer avec un souci artistique africain qui prend, plus ou moins, ses distances avec les canons occidentaux. Par exemple, l’épopée classique est en vers, car la versification favorisait sa mémorisation ; or, à travers notre travail, le monde verra que l’épopée africaine est une contextualisation de l’épopée universelle, car, le texte a une valeur contextuelle qui s’inscrit dans les valeurs universelles. L’épopée africaine est sans vers, mais elle se distingue par un accompagnement de musique et une déclamation solennelle et intense de parole qui produit déjà le rythme musical d’une épopée. Ainsi un effet d’osmose naît entre le diseur et son public comme une pratique mnémotechnique. Pour terminer, nous allons inférer la signification idéologique d’une épopée asante qui constituera un appel aux femmes ghanéennes pour qu’elles s’activent à participer à la construction du Ghana en voie de développement, car, même si l’on nait femme et qu’on le devient7, son statut ne doit pas rester fixe – on doit s’émanciper pour contribuer au développement de sa nation. Cet objectif nous a poussé vers la demande de nos questions principales : - Comment définir et reconnaitre l’épopée ? - Le récit, répond-t-il aux critères de l’épique ? - Comment l’orateur de l’épique construit-il son image et celle des personnages de son récit ? - Quelle est la qualité de la composition artistique : les effets de style, la variété des figures de rhétorique, la prestation oratoire du griot/orateur dans une épopée? Grâce à des textes oraux et écrits des récits africains et asante, nous avons eu assez d’informations qui nous ont aidées à analyser et établir la vérité de l’héroïsme et les valeurs dans les épopées africaines. Il existe une dimension idéologique /philosophique riche qui est porteur des messages de valeurs culturelles et nationales et qui doivent être soigneusement conservés dans les archives orales africaines, et que chaque famille puisse assurer leur transmission perpétuelle.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"LA FONCTION ENGAGEE DE LA LITTERATURE ORALE AFRICAINE ET L'EPOPEE","attachmentId":76483424,"attachmentType":"pdf","work_url":"https://www.academia.edu/64456848/LA_FONCTION_ENGAGEE_DE_LA_LITTERATURE_ORALE_AFRICAINE_ET_LEPOPEE","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/64456848/LA_FONCTION_ENGAGEE_DE_LA_LITTERATURE_ORALE_AFRICAINE_ET_LEPOPEE"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="49698727" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/49698727/PRATIQUE_DES_TITRES_EN_LITT%C3%89RATURE_AFRICAINE_ET_CARIB%C3%89ENNE_ENTRE_ESTH%C3%89TIQUE_VISIBILIT%C3%89_ET_FANTAISIES">PRATIQUE DES TITRES EN LITTÉRATURE AFRICAINE ET CARIBÉENNE : ENTRE ESTHÉTIQUE, VISIBILITÉ ET FANTAISIES</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="98300142" href="https://xn--universitomarbongo-jwb.academia.edu/Ga%C3%ABlNDOMBISOW">Gaël NDOMBI-SOW</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Akofena, 2020</p><p class="ds-related-work--abstract ds2-5-body-sm">Comment décoder le sens des titres des œuvres en littératures africaine et caribéenne, dans un contexte d’adaptation aux réservoirs sémiologiques et de lutte pour la visibilité au sein du champ littéraire ? Telle est la problématique centrale de cet article, qui s’emploie à analyser les effets de lecture et les fonctions des titres romanesques, en se servant d’un corpus tiré de la littérature francophone du sud. Une option essentielle est de s’intéresser aux titres répondant à trois niveaux d’interprétation : l’esthétique, la visibilité littéraire et la fantaisie afin de rendre compte de l’illusio et du positionnement auctorial.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"PRATIQUE DES TITRES EN LITTÉRATURE AFRICAINE ET CARIBÉENNE : ENTRE ESTHÉTIQUE, VISIBILITÉ ET FANTAISIES","attachmentId":67974240,"attachmentType":"pdf","work_url":"https://www.academia.edu/49698727/PRATIQUE_DES_TITRES_EN_LITT%C3%89RATURE_AFRICAINE_ET_CARIB%C3%89ENNE_ENTRE_ESTH%C3%89TIQUE_VISIBILIT%C3%89_ET_FANTAISIES","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/49698727/PRATIQUE_DES_TITRES_EN_LITT%C3%89RATURE_AFRICAINE_ET_CARIB%C3%89ENNE_ENTRE_ESTH%C3%89TIQUE_VISIBILIT%C3%89_ET_FANTAISIES"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="15016863" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/15016863/HIstoire_litt%C3%A9raire_francophone_africaine">HIstoire littéraire francophone africaine</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="7996834" href="https://unil.academia.edu/ChristineLeQuellecCottier">Christine Le Quellec Cottier</a></div><p class="ds-related-work--abstract ds2-5-body-sm">Texte introductif de la brochure Encres noires, créée pour le cours MA du même nom.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"HIstoire littéraire francophone africaine","attachmentId":38507857,"attachmentType":"pdf","work_url":"https://www.academia.edu/15016863/HIstoire_litt%C3%A9raire_francophone_africaine","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/15016863/HIstoire_litt%C3%A9raire_francophone_africaine"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="73225276" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/73225276/LHISTOIRE_COMME_VEHICULE_DU_DEVELOPPEMENT_DE_LA_LITTERATURE_FRAN%C3%87AISE_DANS_LES_UNIVERSITES_NIGERIANES">L'HISTOIRE COMME VEHICULE DU DEVELOPPEMENT DE LA LITTERATURE FRANÇAISE DANS LES UNIVERSITES NIGERIANES</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="106246544" href="https://independent.academia.edu/PeterAkongfehAgwu">Peter Akongfeh Agwu</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Peter AKONGFEH Agwu</p><p class="ds-related-work--abstract ds2-5-body-sm">On ne peut comprendre l'évolution contemporaine de la littérature française qu'à la lumière de son passé, de son histoire ou bien, d'une connaissance antérieure de cette discipline. Cette littérature s'intéresse particulièrement à la dimension historique. (Au niveau des événements qui caractérisent chaque siècle) qui seule, peut éclairer des faits qui paraissent problématiques. Elle vise aussi a garantir une bonne compréhension de ce que c'est la littérature aux étudiants de la littérature en général dans le système universitaire nigérian. C'est dans cette optique que le présent article désigne ses réflexions dans le sillage d'autre discipline qui met en pratique l'abondante relation nouée entre la littérature et l'histoire dans cette période littéraire nommée "contemporaine".Le but est uniquement d'examiner les rôles que joue l'histoire dans le développement de la littérature française dans le système universitaire nigérian.Nous allons nous focaliser sur certains faits marquants de l'histoire littéraire française,dont la"Monarchie absolue" au 17 ème siècle,de"l'âge des lumières" du 18ème siècle français.Ainsi nous allons adopter la théorie socio-historique et la théorie socio-psychologique pour entrer aux sources de notre thème choisi pour évaluer le style de l'enseignement et la réception des apprenants.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"L'HISTOIRE COMME VEHICULE DU DEVELOPPEMENT DE LA LITTERATURE FRANÇAISE DANS LES UNIVERSITES NIGERIANES","attachmentId":81828886,"attachmentType":"pdf","work_url":"https://www.academia.edu/73225276/LHISTOIRE_COMME_VEHICULE_DU_DEVELOPPEMENT_DE_LA_LITTERATURE_FRAN%C3%87AISE_DANS_LES_UNIVERSITES_NIGERIANES","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/73225276/LHISTOIRE_COMME_VEHICULE_DU_DEVELOPPEMENT_DE_LA_LITTERATURE_FRAN%C3%87AISE_DANS_LES_UNIVERSITES_NIGERIANES"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="40696643" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/40696643/REVUE_DE_LITTERATURE_ET_DESTH%C3%89TIQUE_NEGRO_AFRICAINES">REVUE DE LITTERATURE ET D'ESTHÉTIQUE NEGRO-AFRICAINES</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="126438434" href="https://fhb.academia.edu/AndredouAssouanPierre">Andredou Assouan Pierre</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"REVUE DE LITTERATURE ET D'ESTHÉTIQUE NEGRO-AFRICAINES","attachmentId":60981454,"attachmentType":"pdf","work_url":"https://www.academia.edu/40696643/REVUE_DE_LITTERATURE_ET_DESTH%C3%89TIQUE_NEGRO_AFRICAINES","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/40696643/REVUE_DE_LITTERATURE_ET_DESTH%C3%89TIQUE_NEGRO_AFRICAINES"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="2056740" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/2056740/PARIS_AU_COEUR_DE_LA_PRODUCTION_LITT%C3%89RAIRE_AFRICAINE_MONOPOLE_%C3%89DITORIAL_P%C3%89RIL_CR%C3%89ATEUR">PARIS AU COEUR DE LA PRODUCTION LITTÉRAIRE AFRICAINE : MONOPOLE ÉDITORIAL, PÉRIL CRÉATEUR </a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="2440478" href="https://uib.academia.edu/OwonoZamboClaudeEric">Claude Eric OWONO ZAMBO</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"PARIS AU COEUR DE LA PRODUCTION LITTÉRAIRE AFRICAINE : MONOPOLE ÉDITORIAL, PÉRIL CRÉATEUR ","attachmentId":30871924,"attachmentType":"pdf","work_url":"https://www.academia.edu/2056740/PARIS_AU_COEUR_DE_LA_PRODUCTION_LITT%C3%89RAIRE_AFRICAINE_MONOPOLE_%C3%89DITORIAL_P%C3%89RIL_CR%C3%89ATEUR","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/2056740/PARIS_AU_COEUR_DE_LA_PRODUCTION_LITT%C3%89RAIRE_AFRICAINE_MONOPOLE_%C3%89DITORIAL_P%C3%89RIL_CR%C3%89ATEUR"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="111016349" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/111016349/UNIONMWAN_EDEBIRI_UN_CRITIQUE_COLOSSE_DU_TH%C3%89%C3%82TRE_AFRICAIN_FRANCOPHONE">UNIONMWAN EDEBIRI : UN CRITIQUE COLOSSE DU THÉÂTRE AFRICAIN FRANCOPHONE</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="12221845" href="https://independent.academia.edu/AkanbiMudasiruIlupeju">Akanbi Mudasiru Ilupeju</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="234905559" href="https://independent.academia.edu/AkanbiIlupeju">Akanbi Ilupeju</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Eureka-Unilag Vol. N°8, 1 & 2 August/September, 2023</p><p class="ds-related-work--abstract ds2-5-body-sm">Unionmwan Edebiri est un grand chercheur nigérian dont les publications couvrent les trois grands genres littéraires, le roman, la poésie et le théâtre, voire la linguistique. Pourtant c'est dans le domaine théâtral qu'il a laissé les empreintes les plus indélébiles. Dans cet article, nous nous interrogeons sur ses publications dans la sphère théâtrale, nous servant comme tremplin son ouvrage Contributions à l'étude du théâtre africain francophone (2015) dans le but de regarder l'importance de ses contributions dans ce domaine. L'article se divise en trois, Edebiri devant les héros/héroïnes mythiques théâtraux de l'Afrique noire française, Edebiri, les réalités et le théâtre de l'ère coloniale, et Edebiri face aux problèmes sociopolitiques et le théâtre de l'époque postcoloniale en Afrique noire française. Pour notre analyse, nous adoptons l'approche éclectique, approche ouverte à diverses théories développée par l'Egyptien Caleb Gattegno et qui nous permet de regarder les publications d'Edebiri des angles multiples. Il ressort de notre étude du travail d'Edebiri le sens patriotique des héros mythiques, les excès de l'administration coloniale française en Afrique et la tyrannie des dirigeants des pays africains postindépendances. En définitive, notre étude confirme Edebiri comme un critique colosse dont les contributions au développement du théâtre de l'Afrique francophone sont exceptionnelles.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"UNIONMWAN EDEBIRI : UN CRITIQUE COLOSSE DU THÉÂTRE AFRICAIN FRANCOPHONE","attachmentId":108654912,"attachmentType":"pdf","work_url":"https://www.academia.edu/111016349/UNIONMWAN_EDEBIRI_UN_CRITIQUE_COLOSSE_DU_TH%C3%89%C3%82TRE_AFRICAIN_FRANCOPHONE","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/111016349/UNIONMWAN_EDEBIRI_UN_CRITIQUE_COLOSSE_DU_TH%C3%89%C3%82TRE_AFRICAIN_FRANCOPHONE"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":48519242,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":48519242,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_48519242" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. 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