La parole, une mine d’oralité vivante chez Maurice Bandaman
DOI:
https://doi.org/10.55595/90pne183Keywords:
Speech, Language, Liberated, Orality, EstheticsAbstract
As an essential component of language, speech is, for African authors freed from the
standardized constraints of French from France, a powerfully personalized and living tool. Indeed, it
proves to be plural and multifunctional, with an active force that barely conceals the emotions of the
communicators who speak boldly, with a persuasive aim. Through the corpus of works by Maurice
Bandaman titled Le Fils de la Femme-mâle (1993) and La Bible et le fusil (1996), this study aims to highlight
the foundations of a particular use of speech by an African deeply rooted in oral tradition. Drawing
strength from this cultural heritage, he handles it so skillfully that he manages to make it resonate
even in silent mode. Effectively addressing this theme means answering the following question: how
does the author, despite transcription, modulate his multilingual speech to meet expressive, aesthetic,
and ideological demands? In response, a classification of a variety of speech types with an aesthetic
inclination will be revealed. This approach consists in seducing through a living, rich, and passionately
rhythmic art of expression. Furthermore, the discourse is laden with implicit meanings and symbols.
Through an exercise in analysis and interpretation, normative and descriptive theories of French
linguistics will be employed. This framework, supported by descriptive theory, will allow for an
evaluation of the language as used by this writer around the following three pillars: General
considerations on speech, African speech, and their transcription; Analysis and taxonomy of
transcribed speech in selected excerpts from the two works by Maurice Bandaman; The foundations
and projections of transcribed speech in Bandaman’s novels
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