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            <title xml:lang="fr">FAIRE MÉMOIRE COMMUNE AUTOUR DES SILENCES. FICTIONS ET MÉMOIRES DES GUERRES DE YOUGOSLAVIE CHEZ ANILDA IBRAHIMI ET MARICA BODROŽIĆ</title>
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              <p>In this paper, I propose to examine Azade Seyhanʼs theory according to which transnational literatures have the power to make heard the voices that have been silenced by national history and memory, and thus to create a different kind of community. With this in mind, I analyse the narratives of the Yugoslav wars in two fictional novels written by Anilda Ibrahimi and Marica Bodrožić in the light of the concept of “common memory”. It seems that these novels, written by women with Balkan migrant backgrounds, seek not only to undo the national and very recent memory of the wars in Yugoslavia, but also to elaborate, by opposition, alternative memories of war and exile, around which it becomes possible to build community. I begin by analyzing the ways in which this common memory is elaborated in fiction: the two novels offer scenes of community reconstruction through the recounting and, above all, dialogue of the experiences of the exiled women, while respecting the flaws in their recollection. I then explore the extent to which these fictional narratives can function as models for the experience of writing and reading. Finally, the notion of horizon of expectation leads me to question the power of transnational literatures to create a common memory around silences: indeed, how can we ensure that these narratives of extreme violence are listened to and respected in a context of Western-centric horizon of expectation? With this in mind, I look at the ethical issues involved in representing war and the women who are its victims. To this end, I situate the publication of these novels in their specific context, that of the years following the wars in former Yugoslavia, and I examine the role of what Dragana Obradović calls the international gaze in the representations of the victims – their words and their silences – as well as the modes of narrative.</p>
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              <p>Dans cet article, je me propose de mettre à l’épreuve la théorie d’Azade Seyhan selon laquelle les littératures transnationales auraient le pouvoir de faire entendre les voix passées sous silence par l’histoire et la mémoire nationales, et ainsi, de faire communauté autrement. Dans cette perspective, j’analyse les récits des guerres de Yougoslavie dans deux romans de fiction d’Anilda Ibrahimi et de Marica Bodrožić à la lumière du concept de « mémoire commune ». Il semble que ces romans, écrits par des autrices issues des migrations balkaniques, s’emploient non seulement à défaire la mémoire nationale et toute récente des guerres de Yougoslavie, mais aussi à élaborer, par opposition, des mémoires alternatives de la guerre et de l’exil, autour desquelles il devient possible de faire communauté. Dans un premier temps, j’analyse les modalités d’élaboration de cette mémoire commune dans le cadre de la fiction : les deux romans proposent en effet des scènes de reconstruction communautaire qui passent par la mise en récit et surtout en dialogue de l’expérience des femmes exilées, et ce dans le respect des failles de la remémoration. Je me demande ensuite dans quelle mesure ces récits fictionnels peuvent servir de modèles à l’expérience d’écriture et de lecture. Enfin, la notion d’horizon d’attente m’amène à remettre en question le pouvoir des littératures transnationales à faire mémoire commune autour des silences : en effet, comment assurer une écoute et un respect de ces récits de violence extrême dans un contexte d’horizon d’attente occidentalo-centré ? Dans cette perspective, je prête attention aux enjeux éthiques de représentation des guerres et des femmes qui en sont victimes. Je replace pour cela la publication de ces romans dans leur contexte spécifique, celui des années qui suivent les guerres de Yougoslavie, et j’interroge le rôle de ce que Dragana Obradović appelle international gaze dans les représentations des victimes – de leurs paroles et de leurs silences – ainsi que les modes du récit.</p>
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