By Romuald Fonkoua
Ecrivain, poète, dramaturge, militant politique, Aimé Césaire (1913-2008) est l'un des acteurs prépondérants de los angeles révolution noire qui s'est jouée sur tous les continents dans l'après-guerre. Mais cet homme du monde incarne d'abord l'intellectuel français, dont l'histoire et los angeles vie jalonnent les grands moments de notre histoire.
Il y a cent ans naissait Aimé Césaire. De los angeles Martinique à l'Assemblée nationale, sa vie est jalonnée de rencontres décisives et d'amitiés essentielles. Poète, politique et dramaturge, Césaire incarne avec Brio los angeles determine de l'intellectuel noir dont les idées, les œuvres et l'action ont accompagné l'histoire de tous les opprimés et colonisés du XXe siècle. Soulignant sa prose remarquable au carrier de reasons justes, l'auteur insiste également sur son amour inconditionnel pour l. a. scène théâtrale.
Professeur de littérature francophone à l'université Paris-Sorbonne où il dirige le centre foreign d'études francophones (CIEF), Romuald Fonkoua est également professeur à Middlebury Collège (Vermont, États-Unis) et rédacteur en chef de los angeles revue Présence africaine.
Cet ouvrage a obtenu le prix Robert Delavignette de l'Académie des sciences d'outre-mer.
3Une biographie très documentée, aussi admirative qu'inspirée. "
Catherine Golliau, Le Point
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Extra resources for Aimé Césaire
Such a deﬁnition of poetic truth would not necessarily exclude that many of the events narrated might be believed to have some relationship to real past events. Both factual and nonfactual information could be preserved in the tradition, but the poet and his audience would never be interested in sorting out the one from the other, nor capable of it. Truth (aletheia) would be deﬁned simply as “all that which is preserved in the tradition,” without discrimination of fact or ﬁction. All innovations, all departures from the tradition, would be lies.
If we were to say that the Homeric poet values this brand of truth as his primary aim, we might speak of a ﬁctional variety of narration, because the narrative has no primary connection to real past events in the minds of either poet or audience. An interest in fact, in what actually happened, is subordinated to an interest in how the traditional story goes. ) Nonetheless, this kind of ﬁctional narrative presumably could never be distinguished from a nonﬁctional one as lies from truth, because traditional ﬁction would be as “true” (alethes), as unforgotten, as traditional nonﬁction.
55. 470–71. 56. 249–52. 57. It is noteworthy that, after the proem, there are no prolepses in the Odyssey in the narrator’s own words, only in the speeches of gods and prophets. 58. See “Plot Decisions” in chapter 7, 187–96. 59. Some of the more notable are these (some in the Apologue): Il. 337–39; Od. 364–70. 60. 85–86. L O U I S E H . 487–91 as Models of Archaic Narrative Do you think that such an intense power of memory as yours has inhibited your desire to invent in your books? No, I don’t think so.