Comment devient-on une écrivaine?”
Pineau, Kanor, Octavia
Bibliographic Data
| ID | 12879075 |
|---|---|
| Authors | Lorna Milne (University of St Andrews, corresponding author) |
| Year | 2024 |
| Volume | 28 |
| Issue | 3 |
| Pages | 355-372 |
| Publication date | 2024-05-26 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Contemporary French and Francophone Studies (JOURNAL) |
| Journal identifiers | ISSN: 1740-9292 • E-ISSN: 1740-9306 |
| Publisher | Routledge (PUBLISHER • GB) |
| DOI | 10.1080/17409292.2024.2342657 |
| OpenAlex | W4400037772 |
| Language | FR |
| Citations received | 1 |
| References cited | 10 |
This article examines Gis ele Pineau's Fleur de Barbarie (2007), Fabienne Kanor's Je ne suis pas un homme qui pleure (2016) and Ga el Octavia's La Bonne Histoire de Madeleine D em etrius (2020). Striking similarities between the texts produce a coherent vision of the contemporary Antillean woman writer as a rounded, independent figure who balances individual, collective, personal and literary elements of her life and adopts a singular approach to the intergenerational dynamics that are so important in Antillean culture. As a woman, she seeks to end painful intergenerational family legacies; as a writer, she detaches herself from the overdetermining, backward-looking and vertical metaphor of the literary family tree (whether patri-or matrilinear), in favor of a more horizontal fellowship of black women writers that creates space both for her and for other writers who might join her
Art · Art history · Literature · Metaphor · Sociology · Theology · African history and culture studies · Canadian Identity and History · Caribbean and African Literature and Culture · Philosophy
| Citations per year | 0.5 |
|---|---|
| Citation span | 2024 - 2024 (1) |
| Highly cited | No |