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Ajouter un commentaire Déconstruction et renouveau esthétique: une exégèse narratologique de l’hybride et de la traduction dans Les Soleils des indépendances et Solibo Magnifique
Résumé
Les Soleils des indépendances (1968) et Solibo Magnifique (1988) manifestent deux modèles narratologiques au service d’une esthétique textuelle hybridée. Ces œuvres consacrent une intériorité narrative hétérogène offerte à un public cible divers dans un cadre de renouveau littéraire soutenu par la traduction. Ainsi, Kourouma bat en brèche le fétichisme linguistique du français par une hybridation textuelle et narrative esthétisée à travers une pratique de la traduction reposant sur une synergie entre cette langue et l’imaginaire culturel malinké. L’auteur emploie le comparatif “comme”, traducteur de l’hybride et pont de passage entre deux imaginaires, à des fins d’harmonisation culturelle et linguistique. En outre, l’analogie constitue aussi un pilier important de l’hybridation dans Les Soleils des indépendances, et elle introduit le double, français/malinké et homme/animal, respectivement en termes d’harmonie interculturelle, de bâtardise identitaire et de déchéance sociale. Solibo Magnifique de Chamoiseau oppose quant à lui la savane, espace de la parole créole, au commissariat, lieu de l’officialité, de l’unilatéral, et de l’écrit. On y retrouve deux conceptions différentes du nom. L’intérêt de ce roman créoliste réside, pour notre propos, dans sa représentation d’actes officiels de reformulation linguistique et sémantique ou traduction qui permet de passer d’un unilatéralisme discursif parfois opaque à un état d’ouverture favorable à l’expression de l’imaginaire créole dans sa pluralité. Ce transfert éclairant de culture en langue accouche d’un récit hybridé.
Les Soleils des indépendances (1968) and Solibo Magnifique (1988) unveil two narrative models conducive to a hybrid and textual aesthetics. These works celebrate a heterogeneous narrative interiority made accessible to a diverse target readership within a context of literary renewal relying on translation. Kourouma thus deconstructs the linguistic fetishism of the French language by means of a textual and narrative hybridization that translates into an aesthetic carried out through a practice of translation grounded on a synergy between this language and the malinké worldview. The writer uses the comparative “comme”, which translates the hybrid in its bridging of two imaginaries, for purposes of cultural and linguistic harmonization. As an important pillar of this hybridization, the figure of analogy also introduces the double, French/Malinké and human/animal, respectively in terms of harmony, cultural corruption and social downfall. Patrick Chamoiseau’s novel, Solibo Magnifique, on the other hand pits the savannah, a space of the Creole speech, against the place of law enforcement, the unilateral and writing, namely the police station. The narrative also features two conceptions of naming. The interest of Chamoiseau’s creolist novel lies, for this study, in its representation of official acts of linguistic and semantic reformulation or translation that make possible the passage from an often opaque discursive unilateralism to a state of openness conducive to an articulation of the Creole imaginary in its plurality. It is this illuminating transfer of culture through language that births the hybrid.
Les Soleils des indépendances (1968) and Solibo Magnifique (1988) unveil two narrative models conducive to a hybrid and textual aesthetics. These works celebrate a heterogeneous narrative interiority made accessible to a diverse target readership within a context of literary renewal relying on translation. Kourouma thus deconstructs the linguistic fetishism of the French language by means of a textual and narrative hybridization that translates into an aesthetic carried out through a practice of translation grounded on a synergy between this language and the malinké worldview. The writer uses the comparative “comme”, which translates the hybrid in its bridging of two imaginaries, for purposes of cultural and linguistic harmonization. As an important pillar of this hybridization, the figure of analogy also introduces the double, French/Malinké and human/animal, respectively in terms of harmony, cultural corruption and social downfall. Patrick Chamoiseau’s novel, Solibo Magnifique, on the other hand pits the savannah, a space of the Creole speech, against the place of law enforcement, the unilateral and writing, namely the police station. The narrative also features two conceptions of naming. The interest of Chamoiseau’s creolist novel lies, for this study, in its representation of official acts of linguistic and semantic reformulation or translation that make possible the passage from an often opaque discursive unilateralism to a state of openness conducive to an articulation of the Creole imaginary in its plurality. It is this illuminating transfer of culture through language that births the hybrid.
