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--- oeuvres:chronique_des_sept_miseres [2015/07/02 09:14] – Modified from the form at oeuvres:chronique_des_sept_miseres Virginie Savard
+++ oeuvres:chronique_des_sept_miseres [2015/07/02 11:24] – Virginie Savard
@@ Ligne 20: / Ligne 20: @@
 \\
 //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de [[http://www.proquest.com|UMI - Proquest]]// ###
+BIZEK-TATARA, Renata, « Quelques propos sur l'humour dans //Chronique des sept misères// de Patrick Chamoiseau », dans Tomasz SWOBODA et Wierzbowska, Ewa WIERZBOWSKA (dir.), //Autour de Patrick Chamoiseau//, Sopot, Fundacja Rozwoju Uniwersytetu Gdańskiego, 2008. +++ Article de revue
 FAUSTMAN, Jean, « Chapitre II : monde fictifs représentés. //Chroniques des sept misères// », dans //Le creuset des cultures. La littérature antillaise//,  New-York, Peter Lang (Francophone Cultures and Literatures), 2004, p. 35-48. +++ Monographie
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 ### //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de [[http://www.proquest.com|UMI - Proquest]]// ###
+GOSSON, Renée K., « From The //Mornes// To The //Mangrove//: An Ecocritical Approach To Resistance In The French West Indian Novel », thèse de doctorat, University of Wisconsin-Madison, 2000, 186 f.  +++ Thèse de doctorat / mémoire de maîtrise
+### **Abstract**\\
+This study adopts an ecocritical approach to French West Indian literature of the post-//Négritude// era. I examine the ways in which Edouard Glissant and Patrick Chamoiseau use land and space metaphors in their novels to portray the degree of ecological and cultural subjugation suffered in Martinique. Embedded
+in both the physical and narrative landscape of this fiction is an endangered Creole culture, struggling to survive the encroachment of French assimilation.
+Ecologically speaking, the natural physical landscape of Martinique is manifesting sym ptom s of over-development. The concrete used to build condominiums, marinas, and superm arkets is irreparably polluting the island's natural space. This process of betonisation is illustrated, for example, by the
+land filling of the mangrove swam p to m ake room for the Lamentin airport, and the "colonization" of the hills by secondary residences and access roads.
+This ecological infringement allows Glissant and Chamoiseau to dramatically situate a vicious and mutually exclusive rivalry betw een Creole and French cultures. In their novels, the assim ilating force behind Departmentalization
+(1946) is embodied by the increasing presence of concrete, which is drastically transforming the diverse, and culturally imbued, Creole landscape of the island. A close reading of Glissant and Cham oiseau's representations of the spaces in which these cultural battles are fought, and lost, reveals a topological
+evolution which takes us from the novelistic space of the m ornes (lieu de resistance because of the maroons, or escaped slaves, who fled enslavement) down to the plaines (topologically and morally lower plantation societies below). This novelistic descent represents not only the steady physical
+m igration of Martinicans away from the hills of their former agriculturallyproductive
+existences, down into a consum er-oriented, modernized, and unmistakably French industrialized center. It also signifies a cultural alienation of the Martinican from the land, which acts as a repository for an otherwise
+unrecorded cultural history.
+In tracing the literary lineage of the maroon figure, any number of resistant characters who in some way attempt to repeat the primordial gesture of the maroon (errant djobeurs, factory strikers, indigenous fruit and vegetable
+farmers), I discuss how their continual assertions of resistance are countered by
+increasingly intensive economic and environm ental destruction from France.
+In novels such as Glissant's //Malemort// (1975) and Chamoiseau's //Chronique des
+sept misères// (1986), the maroon figure suffers a denigrated status, metaphorically linked to the devastated hinterland in which he sought refuge.
+I also situate the French West Indian writer as the last avatar of the maroon. He inscribes him self into a lineage of resistors and in a textual
+topography which, like the Creole landscape itself, is a territory dom inated by the forces of French standardization. His written French literature, like the transformative power of concrete, necessarily betrays the fluid nature of the Creole oral tradition. By continually draw ing comparisons between land and text, Glissant and Chamoiseau interrogate their ow n process and paradox of writing themselves out of subjugation in the language of the colonizer. Their narrative strategies offer new paradigms of resistance.\\
+\\
+Voir plus particulièrement le quatrième chapitre « Patrick Chamoiseau, from the //Plaines// to the //En-ville// » (p. 121-167)\\
+\\
+//La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de [[http://www.proquest.com|UMI - Proquest]]// ###
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