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INTRODUCTION I/ INSTANCES DU RECIT a/ Le Narrateur b/ Le Narrataire c/ Le focalisateur II/ LES TRACES DU "MOI" a/ La crise de l’identité b/ L’ancrage anthropologique III/ STYLE DE L’AUTEUR Style hermétique CONCLUSION -------------------------------------------------------------------------------------------- CRELAF (Cercle de Reflexion des Etudiants en Littératures Africaines), Département de Littératures Africaines, Université Omar Bongo, Gabon
Num tempo em que Lewis Hamilton é o primeiro negro a ganhar o compeonato do Mundo de Fórmula 1, sendo também o primeiro a participar; tempo em que Barack Obama se torna Presidente dos Estados Unidos da America, lembro-me novamente do meu avó, do meu pai, das lutas que eles tiveram que travar e deparo-me subitamente com a voz da esperança. Os tempos estão a mudar! É verdade. Não basta apenas falar em mudar as mentalidades, é preciso, isso sim, trabalhar nas mentalidades. E tal é impossivel sem saber de onde vimos. É preciso criar um novo grupo de jovens angolanos que, como um vírus, possam contagiar os demais. É preciso buscar as origens étnicas e culturais. Não quero com isso dizer que se deve criar seres independentes de Angola, mas homens e mulheres capazes de entender que Angola é um estado multi-cultural e multi-étnico; que a sua etnia é a xx, a sua língua a yy, e, deste modo, compreender comportamentos sociais que só se pautam sabendo de onde se vem.
: The concept of the foreign view is a recurring theme throughout all of Herta Müller’s prose. This kind of view derives from her biography. Certainly an unique biography but it is also transferable to many other people. Expressions like „remaining in order to leave“ or „arrived, but long not here“ become guidelines of leaving and arrivals or non-arrivals. The individual acts in-between languages, worlds and in-between cultures. Identity has to change continuously, as it is always in a process.
The paper attempts at outlining some aspects of experienced intercultural phenomena in Transsylvania starting with the late 50ies and deals with the question of cultural and linguistic choice of an individual born into a multilinguistic and multicultural family. The close connection between mother tongue and identity is analysed under the particular circumstances of the author’s biographical background. The paper should be read as an autobiographical statement which the author considers necessary for the understanding of her legitimate status within present day German literature written in Romania.
The following essay is based on the narrative Die schiefe Fassade der Kindheit. Erfundene Familienkunde written by Eginald Schlattner. The action takes place in Transylvania, a region where several nations live together. The key concepts are identity and alterity, because only by analysing the other one can find and understand one’s own identify. The traits of the communities living together are portraited by Aunt Maly, a strong supporter of the German traditions and by Grisi, the grandmother, who presents the mentality of her people as opposed to the Romanian people. The story also reveals the conflicts between these two ethnical groups. Nevertheless life in Transylvania can be seen as an example of how people belonging to different cultures can peacefully live together.
This article traces the representation of love, gender and national identity in Shani Mootoo’s creative work in general and her most recent novel Valmiki’s Daughter (2008) in particular. In all her work, Mootoo describes the phenomenon of otherness as a part of the negotiating process of the protagonists' selves.Challenging xenophobia, homophobia and all forms of prejudices the author works with the concept of lesbian and bisexual love, cross-racial relationships in order to write identity and to create a home.
The present article focuses on the preservation of identity in the works of three Romanian-born authors (two of them of German origin – Herta Müller and Hans Bergel and the third of Jewish origin – Norman Manea). Their existence has been highly influenced on the one hand by being born in Romania, by the interaction with Romanian people, on the other hand by the oppressive communist regime under Ceaușescu, having to undergo censorship, imprisonment and even deportation. Therefore, all three authors have chosen to leave Romania and emigrate to Germany or America. These experiences have added new dimensions to their concept of identity. At the same time, they act as intermediaries between cultures, and keepers of their own multi-layered and complex identity.
This article aims to trace different hypostases of alterity as they occur in the novel Vaterlandstage (Days at Home) by contemporary Romanian-born German author Dieter Schlesak. The paper draws on the distinction suggested by Volker Barth between the concepts “das Fremde” (i.e. “the stranger” that remains unknowable and impossible to control) and “das Andere” (i.e. “the other” which is excluded as a result of othering). The analysis of the way in which these two forms of alterity are represented in the novel shows that they go beyond the ethnic and cultural meaning of the terms and are closely linked to Schlesak’s antimimetic poetics, his identity concept based on estrangement and not-belonging as well as to his rejection of a materialist view of the world.