L'oeuvre poétique de Léopold Sédar Senghor : esthétique de la reception, procès de la création

ABSTRACTSŒuvre poétique, published in 1990 by Le Seuil Edition gathers all the literary creation of Léopold Sédar Senghor. Poems inserted in, examined in the light of the statements made by the author, make reveal three periods of creation : the one of “lost poem”, the one of “various poems” and that of maturity poems shared among titles of collections which are : Chants d'Ombre (1945), Hosties Noires (1948), Ethiopiques (1956), Nocturnes (1961), Lettres d'hivernage (1973), Elégies majeures (1979). The “lost poems” are shown as “imperfect poems”, the “various poem” as those which, opposite to the first ones, are close to Negro-African aesthetics and the poems of maturity are shown as being the texts illustrating by the “negro template”.Existence of these three steps is justified by the fact that Senghor started to poetize before designing a poetical project. Before, on the benches of school in Dakar, he put into verse and, once in Paris, during the years 1930s, he devoted, while being a nationalist activist, to “defence and illustration of civilizing values of the black world” unjustly ignored of despised. One of the consequences of that activism was the discovery and the formulation of a project : create a new Negro French language poetry. He thinks to implement that project, confides having executed it, on the one hand, to the attention of an audience composed of “my people from France”; on the other, breaking with French traditional poetry to take up with Negro-African again. Activism in the framework of assertion of negritude therefore led Senghor to choose for himself an audience, a theme and Poetry.The fact that Senghor is the author of uppermost poetical work is unquestionable: as a Franco-Senegalese poet, he widened sources of inspiration of French Poetry and created a new Negro Poetry. However, implementation of his poetical project leads to ask two questions: was he the one who actually wrote for the audience he chose? Do his poems actually constitute an illustration of laws of Negro-African aesthetics as he presented them in many of his essays? These are two questions which the present word undertakes to answer. It will concern, at first a biography designs do enlighten meaning of poems. Then, emphasis will be put on the quest and discovery of Negro-African poetry and consequences which derived from. Finally, reflection will relate to the creating process of the implementation and aesthetics of acceptance.

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