Abstract
The aim of this paper is to recognize the manifestations of the cultural hybridization (metissage) among Haitian novelists who immigrated to Quebec. After some sociological characteristics of the migrant writing, the main aesthetics features will be observed on diachronic level: during the 1970s, when the place of the country of origin dominate the representation, during the 1980s when the feeling of split identity increase the effects of hybridity, and since the middle of 1980s when the Haitian writers assume their exile by entering into an intercultural, dialogic relationship with their abandoned country.
Highlights
The aim of this paper is to recognize the manifestations of the cultural hybridization among Haitian novelists who immigrated to Quebec
After some sociological characteristics of the migrant writing, the main aesthetics features will be observed on diachronic level: during the 1970s, when the place of the country of origin dominate the representation, during the 1980s when the feeling of split identity increase the effects of hybridity, and since the middle of 1980s when the Haitian writers assume their exile by entering into an intercultural, dialogic relationship with their abandoned country
283), c’est-à-dire d’une reconstruction du passé qui ne sépare pas de la scène historique haïtienne, mais qui l’installe dans l’infra-ordinaire de la petite histoire, avec son imaginaire de sensations, de filiations et de langues des tous les lieux parcourus: Alors que le monde, au début des années cinquante, vivait en pleine révolution industrielle, avec ses usines, ses sirènes, ses travailleurs à la chaîne, moi, j’étais installé à Martissant, cette cité hors du temps
Summary
Cette stratégie n’est pas la seule, mais on peut dire globalement que ce qui marque l’imaginaire des fictions offertes par les Haïtiens, c’est précisément le rapport ex-centrique à l’espace-temps représenté, extérieur à toute velléité de fixation identitaire.
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