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In this volume, African and Caribbean writers who are concerned with contemporary issues, demonstrate the vitality of Negritude as a poetic, philosophical and literary movement and as an ideological response to oppression that is still relevant in its presentation of cultures.

This collection of essays explores concepts present in literatures in French that, since the 2007 manifesto, more and more critics, suspicious of the term Francophonie, now prefer to designate as littérature-monde (world literature). The book shows how the three movements of antillanité, créolité and littérature-monde each in their own way break with the past and distance themselves from the hexagonal centre. The critics in this collection show how writers seek to represent an authentic view.

Doit-on considérer la Négritude comme un mouvement ancré dans la fin de la période coloniale et sur lequel il n’y a plus lieu de revenir ? C’est une des questions que le colloque qui s’est tenu à l’Université des West Indies à la Barbade en l’honneur du centenaire de la naissance de Senghor s’efforce d’explorer. Lylian Kesteloot nous rappelle encore récemment dans son étude Césaire et Senghor un pont sur l’Atlantique l’importance de ce mouvement qui entre les années trente et soixante a parti.

Léopold Sédar Senghor (1906–2001), Birago Diop (1906–1989) and Chinua Achebe (1931–) were among the first African intellectuals to make their fellow Africans aware of the riches of their oral literature and proud of their cultural treasures. The two francophone writers from Senegal were major figures of the Négritude movement, while the anglophone Nigerian became famous with , the best-known African novel of the last century. The aim of this essay is to show the importance of the impact of African orature in the creative writing of African authors despite the ostensible differences in their colonial linguistic backgrounds.

The aim of this essay is to show the importance of the impact of African orature in the creative writing of African authors despite the ostensible differences in their colonial linguistic backgrounds. Diop does not suggest here that the African could not manufacture tools to help him dig a grave to inter the body of the undead dead, nor that every medical effort is not made to keep the body alive until it is too late.18 Le point de vue du célèbre Nigérian exprime une reconnaissance de la mission historique qu'assume l'écrivain africain en tant que porte-parole de sa culture, interprète de sa tradition et pilier majeur de sa civilisation. The measured tone of voice implants in the reader's mind the sense of order, perspective, and harmony whose later destruction is most poignant.19 En optant pour la voix du sage africain, Achebe tente de mettre un pont entre l'acquis de sa tradition et l'enseignement de l'école coloniale, il ne se confond pas aux ethnographes ni aux chercheurs voyageurs en quête de curiosités exotiques: il expose la vie de son peuple, les troubles métaphysiques de son héros dans toute leur complexité. 37 De l'avis de Killam, \"it is the religious principles embodied in Christianity which Okonkwo sees as the force that changes the nature of village life.

Mofólo' s vision of the potential greatness of man has been reaffirmed by African writers of our time who do not share the West's sense of despair.3 Les travaux d'Albert Gérard, Daniel P. Kunene et Mazisi Kunene, relayés en France par Jean Sévry et Alain Ricard, ont énormément contribué à élucider des pans et aspects essentiels de ce mythe si complexe. 10 Albert Gérard, African Language Literatures: An introduction to the Literary History of Sub-Saharan Africa (Harlow: Longman, 1981): 191. \"[...] qui avait infligé d'indescriptibles souffrances au peuple Sotho.\" African Language Literatures: An Introduction to the Literary History of Sub-Saharan Africa (Harlow: Longman, 1981). _____. After teaching African literature at the Humboldt University in Berlin from 1999 to 2001, he has been a lecturer in French and francophone literature at the University of the West Indies (Baibados).