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All Journal Litera Poetika: Jurnal Ilmu Sastra
Ari Bagus Panuntun
Universitas Gadjah Mada
Arts Humanities Languange, Linguistic, Communication & Media

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Romantic Primitivism and Literary Neocolonialism in Camara Laye’s Novel L’Enfant Noir Panuntun, Ari Bagus; Osmani, Lysa
POETIKA Vol 11, No 2 (2023): Issue 2
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/poetika.v11i2.87730

Abstract

The article examines the depiction of romantic primitivism in Camara Laye’s novel L’Enfant noir (The Dark Child) and the phenomenon of literary neocolonialism behind its publication. L’Enfant noir is a novel published when Guinea was still under French colonization in the 1950s. It tells the story of a happy black child growing up in the middle of a beautiful Guinean countryside, that was completely untouched by the atrocities of colonialism. Upon its publication by Plon, a French publishing house, the novel received different responses from African and European readers. In Africa, it was perceived as turning a blind eye to the cruelty of colonialism. However, in Europe, it was showered with praise and it even received a prestigious literary award. To examine this phenomenon, this article analyzes the novel both intrinsically and extrinsically. Intrinsically, it uses the theory of romantic primitivism to analyze how the novel romanticizes the lives of African indigenous people constrained by colonialism. Extrinsically, it discusses the phenomenon of literary neocolonialism behind the publication of L’Enfant noir. The discussion about literary neocolonialism is divided into two parts. Firstly, it addresses the historical analysis of Plon’s publishing house, its relations with the French power, and the political interests underpinning the novel’s publication. Secondly, it highlights the strategy the publisher uses to accentuate exoticism in the novel’s peritext to market the book in Europe. The novelty of this article lies in its discovery of the elements of romantic primitivism found in the novel while it also proves that literary neocolonialism towards L’Enfant noir persists to this day.
Contesting Alinesitoué Diatta: The polyphony of prophetic discourses in Boubacar Boris Diop's Les tambours de la mémoire Panuntun, Ari Bagus; Istiqomah, Latifa Nasywa Tiara; Arthatiya, Annaya Zahra
LITERA Vol. 23 No. 3: LITERA (NOVEMBER 2024)
Publisher : Faculty of Languages, Arts, and Culture Universitas Negeri Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/ltr.v23i3.73372

Abstract

Alinesitoué Diatta is a prophetess within the Awasena religion, an indigenous religion from Casamance, Senegal. However, nowadays, her prophetic identity is less known than her image as a national hero, specifically as a Senegalese freedom fighter. This article examines the representation of Alinesitoué Diatta through the character Johanna Simentho in Boubacar Boris Diop's novel Les Tambours de la Mémoire (1987). It aims to explore whether the novel revives the prophetic narrative of Alinesitoué Diatta or merely continues her political image constructed by the Senegalese government. Moreover, this article analyzes the relation between the character's representation and the narrative contestation about her that occurred in Senegal during 1980s. This research uses Mikhaí¯l Bakhtin's polyphony theory, Stephen Greenblatt's new historicism, and Max Weber's prophetic theory to examine these topics. Employing a descriptive qualitative method, we collected primary data consisting of novel quotations about the character Johanna Simentho and compared them with Alinesitoué Diatta's historical narrative. This research found that the use of polyphonic narratives in the novel represents the narrative contestation over Alinesitoué Diatta by the Senegalese government, FCS, and Kabrousse villagers. Furthermore, the article also found that the novel has revived Alinesitoué Diatta's prophetic narrative even though this prophetic representation intertwines with a masculine narrative depicting her as "Yo jigeen ci mun goor" or "a woman who is stronger than men".
Co-Authors Arthatiya, Annaya Zahra Istiqomah, Latifa Nasywa Tiara Osmani, Lysa