Can an analysis of women’s literary productions be envisaged in the aftermath of the 60s free of feminist guardianship? What (re) flexibilities of exile and· memory issues· in the French-speaking female novel? Where do the African text meet the Western text? These questions are very relevant for a work involving authors as different in style, pathway, objects and cultures as Anne Hébert, Aminata Sow Fall and Marguerite Duras in the same study, and coming from countries as distant and different as Quebec, Senegal and France. Relevant issues, but watered down by aspects common to the three authors, such as the language of writing, colonial links with France, a wave of social changes from the 60s onwards and, above all, a literary practice in a context of historical and aesthetic modernity. Based on a socio-pragmatic approach, this research shows that a number of novels of Anne Hébert, Aminata Sow Fall and Marguerite Duras, published since the 70s, question a human condition determined by the internal exile to be, and rewrite dominant social narratives of the time and.embraced in common memory. The socio-pragmatic approach, which inspires the three parts of the thesis, brings together institutional sociology and theories of speech, and establishes a dynamic interrelationship between the text and its production context. The first part shows the social trajectory of the three authors in terms of arrangements, positions and positions. It updates the main features of their homes, including the enjoyment of high social and symbolic capital, a cautious decentment with regard to the dominant poles and total aesthetic investment. Part Two analyses the narrative and narrative functioning of indoor exile in novels. The characters are first divided, internally divided and socially staggered. The signs of their exile can be seen in self-referential (or prodomic) rhetoric, incipits and internal monologists. They unveil a self-graphic writing that decomposes into an explicit polyphony, obscurates the onomastic function and defeats the bases of the novel. The Third Party examines the figures of the ‘social discourse’ as defined by Marc Angenot. Linked to remembrance, social discourse is characterised by its ‘polysemic’, ‘polemic’ and ‘dialogic’ characteristics, and employs real media and institutional relays through which it occupies the social sphere for a given time. However, the speeches of Muslim charity and immigration (Sow Fall), the Shoa (Duras) and the alienation of identity (Hebert) are written in a ‘specific way’. It shows in turn an intertextual refiguration, ironic resegtisation and narrative destructuring. In conclusion, the research proves that a comparative analysis of French-speaking literary productions is possible, provided that it transcends any gender or essence bias. In order to do so, the French-speaking romancier and her novel call for consideration to be given to what they are first: a writer and a literary text.