, an original play, Inter- African Theatre Contest Selection piece Catalogue des pièces de théâtre africain en langue française conservées à la Bibliothèque Gaston Baty (Paris: Presses de la Sorbonne nouvelle, coll. Cahiers Gaston Baty, 41. See the extract published in Sembura, ferment littéraire des Grands Lacs, Pour une culture de paix dans la région des Grands Lacs Africains, 1974.
, 380, on mixed relationships (European and African) On the Kasaïens/Katangais conflict: Katsh M'Bika Katende, La joue droite (Kinshasa: CEDPT, 2009), writings from Contre vents et marées (Kinshasa: Médiaspaul, 1996) ; and: Lomomba Elongo, L'instant d'un soupir (Paris: Présence africaine, coll. Écrits, 1984), 286 p. For the last decade, we may cite: Guillaume Bukasa, De la Haine naîtra l'amour, selfpublished ), and Willy Mushagalusa, Beti, la haine ou l'amour. Récit, 1984.
, Christine Chivallon writes: " The 'Trace' then becomes the expression of this diversity that has escaped from the writing of history and its monumentalism Between History and its Trace: Slavery and the Caribbean Archive, Social Anthropology, pp.24-25, 2016.
, even though other modes of production [?] are distinctively spatial, ours has been spatialized in a unique sense, such as space is for us an existential and cultural dominant [?], a structural principle standing in striking contrast to its relatively subordinate and secondary [?] role in earlier mode of production. So, even if everything is spatial, this postmodern reality here is somehow more spatial than everything else Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism 50 He writes The crisis in historicity now dictates a return, in a new way, to the question of temporal organization in general in the postmodern force field, and indeed, to the problem of the form that time, temporality, and the syntagmatic will be able to take in a culture increasingly dominated by space and spatial logic. If, indeed, the subject has lost its capacity actively to extend its pro-tensions and retensions across the temporal manifold and to organize its past and future into coherent experience, it becomes difficult enough to see how the cultural productions of such a subject could result in anything but 'heaps of fragments' and in a practice of the randomly heterogeneous and fragmentary and the aleatory, These are, however, very precisely some of the privileged terms in which postmodernist cultural production has been analyzed (and even defended, by its own apologists), " Jameson. Postmodernism, 25. 51 Ibid., 51. 52 Ibid, pp.365-418, 1991.
, espace ne doit plus être considéré comme un support de l'action mais comme un acteur à part entière Ce que la géographie fait au(x) monde(s), Tracés. Revue des sciences humaines, vol.10, pp.241-2514854, 2010.
DOI : 10.4000/traces.4854