@article{38eccc7c-cbc4-4a43-9fab-2594dc440707,
author = {Honorine B. Mbala-Nkanga},
title = {A Wall Graffiti of the Blood in Justine Mintsa’s Histoire d’Awu},
journal = {Cahiers ERTA},
volume = {2018},
number = {Numéro 14 La terre, le territoire, la carte},
year = {2018},
issn = {2300-4681},
pages = {37-53},keywords = {becoming; faciality; indiscernability; procreation; chora},
abstract = {Ada is a 12 year‐old girl who has been impregnated by her teacher in a Middle School where corruption and debauchery are normalized. Mintsa’s esthetics condenses a social criticism of phallocentric discourse through Ada’s grandfather, Afane Obame, a high priest of the Ancestor’s rite called Melan, whose primary focus is to further establish his power. He normalizes Ada’s pregnancy, as tradition dictates, and serves as a receptacle through which Mintsa’s narrative displays a shocking picture of discarded and decomposing placentae along outside walls of the Maternity Ward like graffiti. An allegorical reading of Plato’s Chora, as it relates to Ada’s parturition, opens up a narrative that actualizes the fluidity of a symbiosis between traditional and modern cultural practices. The overlapping imagery of the repulsive wall of decomposing placentae and the symbiotic cultural practices end in a mirror within a mirror graphism with colorful disjunctive syntheses.},
doi = {10.4467/23538953CE.18.008.8831},
url = {https://ejournals.eu/en/journal/cahiers-erta/article/ada-un-graffiti-mural-du-sang-dans-histoire-dawu-de-justine-mintsa}
}