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The paper appropriates the African Tradition combined with Ian Miller's theoretical concept of "Disgust" in order to investigate into the dissident language of Rachid Mimouni's Le fleuve détourné (1982). The novel was written at a time when restrictions and censorship were prominent and the writer could neither dare to indict directly the political officials nor could he risk a direct attack on the regime for the repressive conditions under which the population was engulfed. He could, however, imply such responsibility through the development of trickster paradigms to debunk and call into question the official oppressive authority. Subtlety, deviation, signifying, and indirection becomes his best tools. In so doing, the writer allows his characters to denounce the social and political turmoil by concerning himself with the description of the burning problems. The present paper reads Le fleuve détourné to show how the author resists political oppression by using the trickster's cunning, subversive, and deviating discourse, which serve to convey the horrors of corruption and misrule. As an "Intellectual Trickster" and by means of serious laughter, irony, and sarcasm, the novel reflects the incompetence, sluggishness, and absolute irresponsibility of the political officials which led to the doom of the independence era ever before it came into being and devalued its much-anticipated fruits. The literary strategies or 'devices' that Mimouni draws from his local culture will be combined with Miller's notion of "disgust", and then will be applied to the novel's characters.Keywords: Discursive Strategies: Transgression, Deviation, disgust, and Revision.

The paper appropriates the African Tradition combined with Ian Miller's theoretical concept of "Disgust" in order to investigate into the dissident language of Rachid Mimouni's Le fleuve détourné (1982). The novel was written at a time when restrictions and censorship were prominent and the writer could neither dare to indict directly the political officials nor could he risk a direct attack on the regime for the repressive conditions under which the population was engulfed. He could, however, imply such responsibility through the development of trickster paradigms to debunk and call into question the official oppressive authority. Subtlety, deviation, signifying, and indirection become his best tools. In so doing, the writer allows his characters to denounce the social and political turmoil by concerning himself with the description of the burning problems. The present paper reads Le fleuve détourné to show how the author resists political oppression by using the trickster's cunning, subversive, and deviating discourse, which serve to convey the horrors of corruption and misrule. As an "Intellectual Trickster" and by means of serious laughter, irony, and sarcasm, the novel reflects the incompetence, sluggishness, and absolute irresponsibility of the political officials which led to the doom of the independence era ever before it came into being and devalued its much anticipated fruits. The literary strategies or "devices" that Mimouni draws from his local culture will be combined with Miller's notion of "disgust", and then will be applied to the novel's characters.Keywords: Discursive Strategies: Transgression, Deviation, disgust, and Revision.

The term 'Hybridity' has become one of the most persistent conceptual leitmotifs in postcolonial discourse and theory. It is intended to exclude the diverse forms of purity encompassed within essentialist theories. The concept is so recurrent and has not a unified meaning because its definition differs from a context to another, from a theorist to another, and can take political, cultural, and linguistic forms. Our paper approaches the concept of cultural and linguistic hybridity in the context of a comparison between the Nigerian writer, Chinua Achebe's first novel, Things Fall Apart (1958) and the Algerian author, Feraoun's second fiction; La terre et le sang (1952). To explore this contention, we shall try to show how both authors ingested and digested the coloniser's language, selecting new ideas and reshaping them to construct their cultural identities. In so doing, they created something different, a kind of "third space", to paraphrase Homi Bhabha. But, before dealing with the content analysis, it may be useful to explain what is meant by 'linguistic and cultural hybridity'.