In the context of Franco‐Canadian literature, women writers are doubly marginalized by their status as women and by their belonging to a French‐speaking community. This status encloses them in a space of exiguity, which women try to free themselves with displacement writing. In Rues étrangères, Acadian poet Sarah Marylou Brideau describes a character‐poet who walks between two real spaces: Moncton and Fredericton. These two cities, in the Acadian popular imagination, refer to two distinct communities: francophones and anglophones. Thus, in these geographic displacements, one also observes an internal transition in the character, since she changes denomination. By appropriating the space of Other, this character‐poet reconstructs her surrounding space, which becomes "hers". This article aims to explore the role of geographical space, especially its displacements, in Rues étrangères. In this context of double minorization, it becomes necessary to define the role played by space in the construction of the feminine self.

This article aims at analyzing the territorial reconfiguration of Africa within the novel of contemporary diaspora. In fact, this diaspora hold a fictional speech that is off‐centre to the homeland. This one is thus considered on haw it opens gates to further spaces making thence an endless area or space with moving frontiers in a writing of traverse. This representation of Africa appears, in addition, in the kinds of dialectics of here and there. It reflects the living manners of these writers negotiating ways with the universal environment. The special referents portray no cases to answer and hence belong to the global world including all geographies. Fictionalizing this transnational space shows a kind of writing in the quest for the universal picture excluding but any accuracy about territorial membership in short.

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.

The paper aims at describing and interpreting works of polish‐french poet Bruno Kamiński‐Durocher demonstrating how strongly it is anchored in the author’s biography, space and the places he inhabits and tames. This analysis is structured with the notion of territory and what Deleuze and Guattari refer to as territorialisation, deterritorialisation and reterritorialisation. They are used to mark the Territory sought in vain by narrators and lyrical subjects of Durocher’s works. I follow the authors of What Is Philosophy in believing that “thinking takes place in the relationship of territory and the earth” in making this relation and how it reflects in works by Bronisław Kamiński, a focal point of my interest in this paper.

From the point of view of ecocriticism, living nature under the pen of Giono and Le Clézio reveals a profusion that integrates mineral dimensions, wildlife and plants. Living nature, in the writings of these authors, expresses a direct contact with the organic and establishes a new approach to living creatures. Moreover, this approach reveals man's responsibility in the preservation of nature.