Papers by Kathleen Gyssels
Obituary Tzvetan Todorov, "Imposant, sans imposer"
analysis of the poem by Haitian René Depestre to pay tribute to Patrice Lumumba, as published in ... more analysis of the poem by Haitian René Depestre to pay tribute to Patrice Lumumba, as published in L G Damas' Anthology of 1966
Introduction to this special issue on Patrice Lumumba and the iconography of the "leader of the C... more Introduction to this special issue on Patrice Lumumba and the iconography of the "leader of the Congolese independence"
a special issue guest edited by K. Gyssels
articles on Lumumba, René Depestre, Jean Métellus, les... more a special issue guest edited by K. Gyssels
articles on Lumumba, René Depestre, Jean Métellus, les zoos humains, etc.
Fifty years after his Goncourt Prize-winning début, and three years after the author's death, a f... more Fifty years after his Goncourt Prize-winning début, and three years after the author's death, a first posthumous novel, L'Etoile du matin (Morning Star) was published by André Schwarz-Bart and his wife and co-author, Simone Schwarz-Bart. Their respective roles in the writing process have never been transparent, and the lack of interviews, as well as limited correspondence, keep this situation unchanged today. A new volume of their unfinished cycle, entitled L'Ancêtre en solitude (The Ancestor in solitude), came out in 2015. The new narratives continue to explore how margins can be minimized in order to make us see similarities rather than differences. Critics have marginalized an 'extrav-agant stranger' who has been misunderstood for his biracial and bicultural transracial imagery, a 'Fremdkörper' in the canon of both Caribbean and French-Jewish literature. His manifold displacements allow us not only to 'read with different eyes', but also to read one historical trauma in and through another (Mary Jacobus).
Analyse du roman de Gaston-Paul Effa sur la mort tragique de Raphaël Elizé à Buchenwald.
Article nécrologique pour Tzvetan Todorov
Dans l'oeuvre posthume d'André Schwarz-Bart, il s'agit une fois de plus de croquer la transhumanc... more Dans l'oeuvre posthume d'André Schwarz-Bart, il s'agit une fois de plus de croquer la transhumance de l'humaine famille universelle. Dans L'Etoile du main et L'Ancêtre en Solitude, les récits reviennent sur les aléas des migrations forcées, ou non, générées tantôt par des catastrophes naturelles, tantôt produites par les mains de l'homme. Simone Schwarz-Bart prend sur elle la responsabilité de sortir tantôt sous leur double nom, tantôt sous le nom seul d'André, le cycle romanesque autour de la mère originelle, l'aïeule Solitude. De La Mulâtresse Solitude à L'Ancêtre en Solitude, les déboires d'une enfant bâtarde d'une diola née en Guadeloupe, sont suivis pour tisser délicatement les errances et déshérences d'un individu au temps de l'esclavage aux Antilles. La transmigration de millions d'Africains aux Amériques est dans l'esprit de l'auteur analogue à celle de millions de juifs qui ont été forcés de quitter leur lieu d'origine, et ce depuis des siècles. L'Etoile du matin nous ramène en effet dans la Pologne d'avant la Shoah, d'une part, et la vie d'un rescapé de la Shoah, d'autre part. A chaque fois, les auteurs signent un plaidoyer pour le transhumanisme au sens de Morin : au-delà des barrières ethniques, sexuelles, linguistiques, nationales ou encore confes-sionnelles, l'être humain bientôt sera un « clone surgi d'une éprouvette », qui habiterait avec les progrès de la science, la « planète de mutants » (Prologue de L'Etoile du matin). Finalement, l'écriture transdisciplinaire tente de regarder la transhumance planétaire à travers une lentille bifocale, de près et de loin, agrandissant ou au contraire réduisant l'importance d'accidents survenus sur le chemin d'une vie, afin de surmonter le traumatisme de « la Catastrophe » (EM 18). Mots-clés Transhumance, transhumanisme, littérature antillaise; noeud de mémoire; diaspora juive; et noire, oeuvre posthume; écriture à quatre mains; lentille bifocale, L'Etoile du matin, L'Ancêtre en Solitude Abstract In their two posthumous publications, André and Simone Schwarz-Bart once more deal with forced migration across time and space, offering L'Ancêtre en Solitude as a sequel to A Woman Named Solitude. The transplantation of millions of Africans is analogous, in the mind of author, André Schwarz-Bart, to the wandering of the millions of Jews forced to leave their places of origin over the centuries. L'Etoile du matin, for example, takes us simultaneously back to Poland prior to the Holocaust and inside the life of a Holo-caust survivor. The main aim of the authors' transdisciplinary writing is the defence of transhumanism as
Fifty years after his Goncourt Prize-winning début, and three years after the author's death, a f... more Fifty years after his Goncourt Prize-winning début, and three years after the author's death, a first posthumous novel, L'Etoile du matin (Morning Star) was published by André Schwarz-Bart and his wife and co-author, Simone Schwarz-Bart. Their respective roles in the writing process have never been transparent, and the lack of interviews, as well as limited correspondence, keep this situation unchanged today. A new volume of their unfinished cycle, entitled L'Ancêtre en solitude (The Ancestor in solitude), came out in 2015. The new narratives continue to explore how margins can be minimized in order to make us see similarities rather than differences. Critics have marginalized an 'extra-vagant stranger' (to coin Caryl Phillips' title of a remarkable anthology on Black artists in Great Britan) who has been misunderstood for his biracial and bicultural transracial imagery, a 'Fremdkörper' in the canon of both Caribbean and French-Jewish literature. His manifold displacements allow us not only to 'read with different eyes', but also to read one historical trauma in and through another (Mary Jacobus).
In this article, I show that Schwarz-Bart has both influenced African American, Caribbean and Lat... more In this article, I show that Schwarz-Bart has both influenced African American, Caribbean and Latin-American authors, some of them among the giants of World Literature.
Beginnings in French Literature, 2000
La reproduction ou représentation de cet article, notamment par photocopie, n'est autorisée que d... more La reproduction ou représentation de cet article, notamment par photocopie, n'est autorisée que dans les limites des conditions générales d'utilisation du site ou, le cas échéant, des conditions générales de la licence souscrite par votre établissement. Toute autre reproduction ou représentation, en tout ou partie, sous quelque forme et de quelque manière que ce soit, est interdite sauf accord préalable et écrit de l'éditeur, en dehors des cas prévus par la législation en vigueur en France. Il est précisé que son stockage dans une base de données est également interdit. Powered by TCPDF (www.tcpdf.org) Document téléchargé depuis www.cairn.info ---81.247.143.90 -23/11/2015 19h34. © In Press Document téléchargé depuis www.cairn.info ---81.247.143.90 -23/11/2015 19h34. © In Press Pardès n°44 André Schwarz-Bart Héritage et héritiers dans la diaspora africaine Kathleen gyssels « Hope passed over their heads like a star that falls from the sky ». (Goethe, cité par Hannah Arendt dans son « Introduction » aux Illuminations de Walter Benjamin 1969 :17) D ans Le Dernier des Justes 1 , prix Goncourt 1959 attribué à André
This article examines the Childhood Memories of Emile Olliver in Mille Eaux. Questions of exile a... more This article examines the Childhood Memories of Emile Olliver in Mille Eaux. Questions of exile and displacement are treated as the narrator also dwells on other "strangers" in his native island of Haiti. dictatorship and postcolonial violence are expanded to some minor migrants whose identity is never clearly revealed (the German: perpetrator, victim?). Ollivier's childhood memories diverge from the ones Chamoiseau and Confiant offer, and are more in line with Un plat de porc (André and Simone Schwarz-Bart).
European Judaism, 2009
ABSTRACT Although The Last of the Just was awarded the Prix Goncourt in 1959, the novel and its a... more ABSTRACT Although The Last of the Just was awarded the Prix Goncourt in 1959, the novel and its author have been forgotten. The accusations of plagiarism were such a hard offence to the Polish-Francophone author that he nearly stopped writing as a Jew and a (although oblique) witness of the Shoah. He turned to another Diaspora in his subsequent novel, La Mulâtresse Solitude (1972) and published novels with his Guadeloupean wife Simone Schwarz-Bart in which the Shoah and slavery are intertwined. In this article, I revisit The Last of the Just, which is a masterpiece because, as a hybrid form, it combines lamentation and encyclopaedic narrative, Talmudic legend and Yiddish folktales, marvellous realism and Borgesian &#39;journalism&#39;. I illustrate how Schwarz-Bart&#39;s chronicle of centuries of anti-Semitism in eight European countries offers a vast chronicle &#39;preparing&#39; for Auschwitz and how his dynasty of the Lévy family, elected as being the Lamed-Vov, sheds light on the unbearable tragedy and the urgent necessity to reclaim and to remember the events of the &#39;Last of the Just Man&#39;, killed six million times.
Revue De Litterature Comparee, Apr 1, 2002
Deux voix majeures de la diaspora féminine caribéenne opposent à la métaphore de la racine (Aimé ... more Deux voix majeures de la diaspora féminine caribéenne opposent à la métaphore de la racine (Aimé Césaire) et du rhizome[1] [1] Maryse Condé choisit la mangrove, entrelac de rhizomes,... suite (Édouard Glissant) le fil et la toile d'Anancy pour signifier la nécessité de ...
Gradhiva Revue D Anthropologie Et D Histoire Des Arts, May 1, 2005
Revue De Litterature Comparee, 2002
Deux voix majeures de la diaspora féminine caribéenne opposent à la métaphore de la racine (Aimé ... more Deux voix majeures de la diaspora féminine caribéenne opposent à la métaphore de la racine (Aimé Césaire) et du rhizome[1] [1] Maryse Condé choisit la mangrove, entrelac de rhizomes,... suite (Édouard Glissant) le fil et la toile d'Anancy pour signifier la nécessité de ...
Prooftexts, 2011
Although André Schwarz-Bart's first novel, Le dernier des justes, was awarded the Prix Gonc... more Although André Schwarz-Bart's first novel, Le dernier des justes, was awarded the Prix Goncourt in 1959, the novel and author remained in the margins of "canonized" Shoah literature. Numerous readers and anthologies exclude the francophone Polish Jewish author who turned to the African diaspora as a parallel universe to write about the haunting specter of the concentration-camp universe and Auschwitz. In this article, I will demonstrate how two of the most prolific and talented young African-American novelists and critics have "borrowed" from this tour de force (without openly admitting it). John Edgar Wideman and Caryl Phillips write back, in various ways, to this neglected masterpiece. Both have recognized in this pioneering cross-racial approach the "multidimensional" memory connecting black and Jewish diasporas. Indeed, André Schwarz-Bart intertwined all of his (auto-) fictional writing with the traumas suffered by black (Caribbean) people. It is, therefore, all the more problematic that this writer in the margins has been doubly excluded: almost absent in "Holocaust Studies," he remains "silenced" in the francophone Caribbean realm by novelists and critics of the post-Négritude movement (Chamoiseau and Confiant, Glissant). This deception left the author shattered and hollow, like his main protagonists, Ernie Lévy from The Last of the Just, Mariotte in Un plat de porc (1967), or Solitude from La mulâtresse Solitude (1972), as he confesses in his posthumous "circumfession/testament" L'Etoile du matin (Morning Star, 2009).
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Papers by Kathleen Gyssels
articles on Lumumba, René Depestre, Jean Métellus, les zoos humains, etc.
articles on Lumumba, René Depestre, Jean Métellus, les zoos humains, etc.