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<p>This article offers a literary analysis of Dominique Barbéris’s novel <i>Une façon d’aimer</i> (2023) through the lens of individual and collective memory, focusing on memory objects (photographs, letters, newspaper clippings) as vectors of narration, affective transmission, and historical recollection. The study explores how these artifacts contribute to reconstructing the interiority of a female character while simultaneously reflecting the sociohistorical upheavals of Cameroon on the eve of independence. Drawing on postcolonial theory (Homi K. Bhabha, Achille Mbembe), memory philosophy (Paul Ricœur), and postmemory studies (Marianne Hirsch), the article highlights the heuristic value of these objects as <i>lieux de mémoire</i> where the personal and the political intersect. Barbéris’s novel thus emerges as a space for the reappropriation of a fragmented, impressionistic, and silence-ridden memory, offering a sensitive rereading of colonial tensions and their lingering presence within familial narratives.</p>

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Fragments d’une mémoire féminine: Objets, silences et traces coloniales dans Une façon d’aimer de Dominique Barbéris

  • 期刊论文

  • 发表日期：

    2026年2月21日

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  • Wassila Latroch,
  • Lilya Makhlouf

摘要

This article offers a literary analysis of Dominique Barbéris’s novel Une façon d’aimer (2023) through the lens of individual and collective memory, focusing on memory objects (photographs, letters, newspaper clippings) as vectors of narration, affective transmission, and historical recollection. The study explores how these artifacts contribute to reconstructing the interiority of a female character while simultaneously reflecting the sociohistorical upheavals of Cameroon on the eve of independence. Drawing on postcolonial theory (Homi K. Bhabha, Achille Mbembe), memory philosophy (Paul Ricœur), and postmemory studies (Marianne Hirsch), the article highlights the heuristic value of these objects as lieux de mémoire where the personal and the political intersect. Barbéris’s novel thus emerges as a space for the reappropriation of a fragmented, impressionistic, and silence-ridden memory, offering a sensitive rereading of colonial tensions and their lingering presence within familial narratives.