This reflection focuses on the figure of IL, the main character in the play & Agrave; demain ma mort by the Congolese playwright Michael Disanka. The study aims to understand how this figure, central to the authors' dramatic action, is constructed as both a being of the crossroads and of openness, according to Sylvie Chalayes' conception. It explores how IL, from apsychological, aesthetic and moralperspective, emerges as a composite of elements from Congo, Africa, and the world. This figure serves as an archetype, reflecting historical figures such as Lumumba and contemporary ones like Julian Assange, the Australian whistle-blower and founder of WikiLeaks. The article seeks to analyse this hero as a being of the crossroads and openness, through the lens of his struggle as conceived within the dramatic action. It aims to demonstrate how this character, born from Disankas' pen, is rooted in Congolese soil through the evocation of heroic national figures, while also opening a door to the world through the exploration of the globalphenomenon of whistle-blowers. In summary, the article examines this characterfrom Disankas'play as a figure that bridges the local and the global, the past and the present.
This study aims to interpret the novelisticpractices regarding the use of space in two writings: Les Mendiants de miracles (1958) by Constantin Virgil Gheorghiu and La vie et demie (1979) by Sony Labou Tansi. Despite belonging to differentgeographical territories (Congo and Romania), the two writers mentioned above share the same era as 45 years of their existence overlap and are similar in terms of their vast culture, a prolific body of work that draws on the millennia-old traditions of their native countries and, above all, the topicality of their themes (alienation, discrimination, confrontation with a chaotic world, etc.). First, wel'l illustrate the functions of space and the forms it takes (the city, the house, the hotel, the river, etc.), highlighting their connection with the characters'pilgrimage through Africa. Secondly, we will identify the relationship between the details of the imaginary countries Katamalanasie and Icibolia (a village of cannibalistic Natives) and the uncertain, polymorphous condition of the characters. From this perspective, the two novels in our corpus seem to diminish the role of referential spatial and social models, while at the same time bringing out new spaces, new imaginary "geographies" that can reconfigure the African world. They offer the discerning reader a discourse on the chaotic organisation of this universe and the power relations that are woven within it.
The permeability of the contemporary African novel, compared with other media and various arts, is one of the factors of its hybridism and, therefore, of its uniqueness. This opening proves to be quite functional with respect to the world vision that the novelist intends to express in his/her work. The example is given in this article which shows that in Pie Tshibandas' novel Un fou noir au pays des Blancs (1999), the ingestion of the media and the arts contributes to the expression of the relationships of otherness in the contact between different cultures and peoples. In this way, African fiction can be said to be paradigmatically in line with the fashion of medialiture.
Francophone African literature is mostly received in reference to its historical context of rising as a counterpart of colonial representation of Africans in French literature. Regardless of its relevance, this reading usually obscures the cosmopolitan dimension on which some literary works base their plot. This 'call of the sea' is the framework to which Catherine Mazauric devoted a considerable body of literary criticism on contemporary Francophone fiction. Her research, such as developed in the book Mobilit & eacute;s d'Afrique en Europe, seeks to question means by which literature works to reformulate cultures and identities. This intersection between literature and social anthropology resonates with Bernard Dadi & eacute;s' literary work. In fact, after his first novel Climbi & eacute;, which is based on African space under the rule of French colonial administration, Dadi & eacute;s' three other novels concentrate on putting an African traveller in well-known Western cities such as Paris, Rome and New York. This trilogy of which the narrative is based on the way the Western world self-identifies, initiates what is currently considered as Transatlantic literature; a hermeneutic concept that takes in consideration the central role of the Atlantic in the circulation of people and exchange of cultures. This contribution aims to present Bernard Dadi & eacute;s' fiction at the forefront of this Transatlantic poetic through the representation of Europe and America as they are portrayed by an African observer.
