Pub Date : 2024-06-26DOI: 10.1080/17409292.2024.2342677
Laura Kennedy
In recent years, Patrick Chamoiseau has appeared to take a new writer, who is both continuing and renewing the Martinican literary tradition, under his wing: Michael Roch. This article explores thi...
{"title":"Continuing the Tradition? Michael Roch and the Future of Martinican Literature","authors":"Laura Kennedy","doi":"10.1080/17409292.2024.2342677","DOIUrl":"https://doi.org/10.1080/17409292.2024.2342677","url":null,"abstract":"In recent years, Patrick Chamoiseau has appeared to take a new writer, who is both continuing and renewing the Martinican literary tradition, under his wing: Michael Roch. This article explores thi...","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":"354 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141518428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-26DOI: 10.1080/17409292.2024.2350213
Published in Contemporary French and Francophone Studies (Vol. 28, No. 3, 2024)
发表于《当代法语和法语国家研究》（第 28 卷第 3 期，2024 年）
{"title":"Maryse condé tribute","authors":"","doi":"10.1080/17409292.2024.2350213","DOIUrl":"https://doi.org/10.1080/17409292.2024.2350213","url":null,"abstract":"Published in Contemporary French and Francophone Studies (Vol. 28, No. 3, 2024)","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141504381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-01DOI: 10.1080/17409292.2024.2272521
Xin Huang
Abstract The translation of Chinese literature brought Mao Zedong thought and the Chinese revolutionary spirit to France in the 1960s, giving rise to the development of French Maoism. The translation conducted by French left-wing intellectuals focused on Mao’s literary works and other left-wing revolutionary literature, which encouraged French avant-garde writers to project an image of idealized “Maoist China” onto the land of France, with an ambition to promote social and political reforms at home. Utopian fantasies about Chinese literature and politics drove the development of French Maoism, but the disintegration of spontaneous Maoist organizations and the trips to China allowed pro-Maoist intellectuals to recognize their idealized misinterpretation of China gradually.
{"title":"Translating “Maoist China”: The Development of French Maoism through Literary Translation","authors":"Xin Huang","doi":"10.1080/17409292.2024.2272521","DOIUrl":"https://doi.org/10.1080/17409292.2024.2272521","url":null,"abstract":"Abstract The translation of Chinese literature brought Mao Zedong thought and the Chinese revolutionary spirit to France in the 1960s, giving rise to the development of French Maoism. The translation conducted by French left-wing intellectuals focused on Mao’s literary works and other left-wing revolutionary literature, which encouraged French avant-garde writers to project an image of idealized “Maoist China” onto the land of France, with an ambition to promote social and political reforms at home. Utopian fantasies about Chinese literature and politics drove the development of French Maoism, but the disintegration of spontaneous Maoist organizations and the trips to China allowed pro-Maoist intellectuals to recognize their idealized misinterpretation of China gradually.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":" 14","pages":"124 - 131"},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139392691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-01DOI: 10.1080/17409292.2024.2272508
Zhenjiang Han
Abstract The publication of French translations of Mao’s canonical works in the 1950s and 1960s sparked interest among French-left intellectuals. This paper investigates Rancière’s appropriation and reinvention of Mao’s thinking as an illustration of the exchange between Maoism and contemporary French left-wing theories on literature and art. First, drawing on Mao’s “mass line,” Rancière values the autonomy of the people rather than the leadership of the Althusserian intellectual elites. Second, Rancière’s “part of those that have no part” differs from Mao’s “the people” in the concept’s scope and in how they are transformed into political subjects. Third, deeply indebted to Mao’s “the people’s literature and art” that underscores the centrality of ordinary people and their lives, Rancière’s theory of politics of literature unleashes the liberating force of art and literature for the sensible of ordinary people, and calls for overthrowing the hierarchy of class politics.
{"title":"Jacques Rancière’s Left-wing Literary Theory and Mao Zedong’s Thought on Literature and Art","authors":"Zhenjiang Han","doi":"10.1080/17409292.2024.2272508","DOIUrl":"https://doi.org/10.1080/17409292.2024.2272508","url":null,"abstract":"Abstract The publication of French translations of Mao’s canonical works in the 1950s and 1960s sparked interest among French-left intellectuals. This paper investigates Rancière’s appropriation and reinvention of Mao’s thinking as an illustration of the exchange between Maoism and contemporary French left-wing theories on literature and art. First, drawing on Mao’s “mass line,” Rancière values the autonomy of the people rather than the leadership of the Althusserian intellectual elites. Second, Rancière’s “part of those that have no part” differs from Mao’s “the people” in the concept’s scope and in how they are transformed into political subjects. Third, deeply indebted to Mao’s “the people’s literature and art” that underscores the centrality of ordinary people and their lives, Rancière’s theory of politics of literature unleashes the liberating force of art and literature for the sensible of ordinary people, and calls for overthrowing the hierarchy of class politics.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":"27 6","pages":"70 - 77"},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139394083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-01DOI: 10.1080/17409292.2024.2272503
Biwu Shang
Abstract The 1980s, an era in the wake of opening-up policy after the cultural revolution, witnessed an unprecedented passion for Chinese critics to read, embrace and import Western theories, among which French narrative theory deserves a particular mention. To a large extent, it is French narrative theory that has led to the upsurge and explosion of Chinese narrative studies, which prevails in the 21st century. This paper, first of all, connects the boom of Chinese narrative studies with French narrative theory which was translated and warmly received in Chinese academia in the 1980s. Second, it attempts to examine the travelling, the impact and the after-life of French narrative theory in China, arguing that inspired by their French predecessors, Chinese narrative theorists have cultivated their increasing interest in the narrative form of literary works and developed Chinese narratology with special reference to Chinese narrative traditions. Third, it investigates how Chinese narratologists foster theoretical dialogues with their French colleagues by challenging and revising some narratological concepts. Finally, it calls for a narratology beyond French structuralism by proposing comparative and transcultural perspectives on narrative studies with the aim to draw scholarly attention to those neglected and peripheral narratives and to subvert the hegemony of Anglo-American narrative theory.
{"title":"French Narrative Theory and the Boom of Chinese Narrative Studies","authors":"Biwu Shang","doi":"10.1080/17409292.2024.2272503","DOIUrl":"https://doi.org/10.1080/17409292.2024.2272503","url":null,"abstract":"Abstract The 1980s, an era in the wake of opening-up policy after the cultural revolution, witnessed an unprecedented passion for Chinese critics to read, embrace and import Western theories, among which French narrative theory deserves a particular mention. To a large extent, it is French narrative theory that has led to the upsurge and explosion of Chinese narrative studies, which prevails in the 21st century. This paper, first of all, connects the boom of Chinese narrative studies with French narrative theory which was translated and warmly received in Chinese academia in the 1980s. Second, it attempts to examine the travelling, the impact and the after-life of French narrative theory in China, arguing that inspired by their French predecessors, Chinese narrative theorists have cultivated their increasing interest in the narrative form of literary works and developed Chinese narratology with special reference to Chinese narrative traditions. Third, it investigates how Chinese narratologists foster theoretical dialogues with their French colleagues by challenging and revising some narratological concepts. Finally, it calls for a narratology beyond French structuralism by proposing comparative and transcultural perspectives on narrative studies with the aim to draw scholarly attention to those neglected and peripheral narratives and to subvert the hegemony of Anglo-American narrative theory.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":"97 S6","pages":"51 - 60"},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139395758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-01DOI: 10.1080/17409292.2024.2272514
Fang Yan
Abstract China and Maoism were intertwined with the fate of French Hegelianism due to Louis Althusser’s ceaseless effort of bundling them with his anti-Hegelian project. Althusser reinvented Hegelianism as a matrix of One to challenge Western metaphysical tradition, which laid the ground for the continuous involvement between China/Maoism and the core concerns of contemporary French theory, namely differences, anti-determination, anti-reductivism, anti-essentialism, and anti-teleology. Althusser harnessed the complexity of revolutionary China and Maoist difference and unevenness to remake a Marxism of difference and a non-teleological imagination of history; paradoxically, he constrained their momentum at least in the period of For Marx and Reading Capital.
{"title":"Chinoiserie and The (Un)staging of French Hegelianism","authors":"Fang Yan","doi":"10.1080/17409292.2024.2272514","DOIUrl":"https://doi.org/10.1080/17409292.2024.2272514","url":null,"abstract":"Abstract China and Maoism were intertwined with the fate of French Hegelianism due to Louis Althusser’s ceaseless effort of bundling them with his anti-Hegelian project. Althusser reinvented Hegelianism as a matrix of One to challenge Western metaphysical tradition, which laid the ground for the continuous involvement between China/Maoism and the core concerns of contemporary French theory, namely differences, anti-determination, anti-reductivism, anti-essentialism, and anti-teleology. Althusser harnessed the complexity of revolutionary China and Maoist difference and unevenness to remake a Marxism of difference and a non-teleological imagination of history; paradoxically, he constrained their momentum at least in the period of For Marx and Reading Capital.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":" 7","pages":"87 - 96"},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139391753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-01DOI: 10.1080/17409292.2024.2272505
Jiajun Wang
Abstract François Jullien believes that the pillar of Western nude art is the philosophical concepts of essence and ideal, while the benti (the Chinese counterpart of ontology) view of Chinese philosophy emphasizes change and process; therefore, it is impossible for Chinese painting to see the nude as essence. Jullien excludes works such as Chungong paintings (Chinese Spring Palace paintings) from the category of nude art because he holds that they depict nakedness, namely the process from “being dressed” to “being naked,” rather than the nude, the natural state of being naked. However, Giorgio Agamben draws on the Christian view of the nude to point out that the nude is always relative to revelation–what exists only is the state of nakedness, while the nude never exists. Nakedness is attached to “undressing,” which is endless because desire is endless. Noticeably, Agamben introduces the dimension of desire into the discussion of nude art, which has successfully created a comparative ground for Chinese and Western nude art. The sexual relationships depicted in Chungong paintings embody the Chinese view of the body and the universe, sharing a similar view in the theme of desire as in Western paintings. Thus, with the inclusion of desire, works such as Chungong paintings shall also be considered in transcultural reflections on artistic traditions between East and West.
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Pub Date : 2024-01-01DOI: 10.1080/17409292.2024.2272454
Zhirong Zhu
Abstract François Jullien advocates revealing the unique value of ancient Chinese thought based on intelligibility (intelligibilité) between Chinese and Western cultures. First, by exploring ancient Chinese poetry, literati painting, and calligraphy, he views the “blandness” of traditional Chinese art as a virtue, being both an aesthetic criterion and sage wisdom. Second, he highlights the effect of manifesting shi (propensity) through forms and unifying shi with the spirit in Chinese literature and art, where shi is presented through the tension between empty and full and infinite expressiveness can be achieved through limited forms in artworks. Finally, he affirms the dialectical relationship between presence and absence in Chinese art, which can effectively enhance artistic expression. Despite some misinterpretations, Jullien presents his creative ideas from the perspective of the “other,” or the outside (dehors). He observes Chinese artistic thought from a Western perspective, paying particular attention to the consciousness of life, and attempting to incorporate Chinese artistic ideas into a metaphysical system. These efforts are highly inspiring to Chinese scholars.
{"title":"Interpretation and Construction: François Jullien’s Views of Chinese Art","authors":"Zhirong Zhu","doi":"10.1080/17409292.2024.2272454","DOIUrl":"https://doi.org/10.1080/17409292.2024.2272454","url":null,"abstract":"Abstract François Jullien advocates revealing the unique value of ancient Chinese thought based on intelligibility (intelligibilité) between Chinese and Western cultures. First, by exploring ancient Chinese poetry, literati painting, and calligraphy, he views the “blandness” of traditional Chinese art as a virtue, being both an aesthetic criterion and sage wisdom. Second, he highlights the effect of manifesting shi (propensity) through forms and unifying shi with the spirit in Chinese literature and art, where shi is presented through the tension between empty and full and infinite expressiveness can be achieved through limited forms in artworks. Finally, he affirms the dialectical relationship between presence and absence in Chinese art, which can effectively enhance artistic expression. Despite some misinterpretations, Jullien presents his creative ideas from the perspective of the “other,” or the outside (dehors). He observes Chinese artistic thought from a Western perspective, paying particular attention to the consciousness of life, and attempting to incorporate Chinese artistic ideas into a metaphysical system. These efforts are highly inspiring to Chinese scholars.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":"116 22","pages":"30 - 40"},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139395921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-01DOI: 10.1080/17409292.2024.2272518
Haitian Zhou
Abstract Gilles Deleuze spends his whole life exploring the question of what philosophy is by unconventional approaches to establish the ontology of Becoming and he collaborates with Félix Guattari, integrating Chinese thought into his philosophical discourse directly to support the Becoming theory. Different from the tendency to associate Deleuze’s references to Tao with the philosophy of arts or body aesthetics, this paper argues Tao is introduced because of the consistency with the multiplicity of immanence raised by Deleuze who has updated the connotation of Western philosophical concepts with the help of Tao. Therefore, Tao is no longer defined as the ultimate Being claimed by some French sinologists and philosophers, but as an internal field or the Plane. Accordingly, it can be concluded that the immanence without any certainty (the multiplicity of immanence) itself is a kind of nomadic life, which is also the real meaning of Tao. In this way, Chinese philosophy’s function has far more significant than footnotes and evidence in the construction of Deleuze’s theory.
{"title":"The Multiplicity of Immanence: Gilles Deleuze’s Understanding and Application of Chinese Thought","authors":"Haitian Zhou","doi":"10.1080/17409292.2024.2272518","DOIUrl":"https://doi.org/10.1080/17409292.2024.2272518","url":null,"abstract":"Abstract Gilles Deleuze spends his whole life exploring the question of what philosophy is by unconventional approaches to establish the ontology of Becoming and he collaborates with Félix Guattari, integrating Chinese thought into his philosophical discourse directly to support the Becoming theory. Different from the tendency to associate Deleuze’s references to Tao with the philosophy of arts or body aesthetics, this paper argues Tao is introduced because of the consistency with the multiplicity of immanence raised by Deleuze who has updated the connotation of Western philosophical concepts with the help of Tao. Therefore, Tao is no longer defined as the ultimate Being claimed by some French sinologists and philosophers, but as an internal field or the Plane. Accordingly, it can be concluded that the immanence without any certainty (the multiplicity of immanence) itself is a kind of nomadic life, which is also the real meaning of Tao. In this way, Chinese philosophy’s function has far more significant than footnotes and evidence in the construction of Deleuze’s theory.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":"1 7","pages":"106 - 114"},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139394279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-01DOI: 10.1080/17409292.2024.2272458
Jun Zeng, Yuxuan Huang
Abstract Kristeva has a close relationship with China. Not only has she obtained a degree in Chinese and been active in the “China Period” of Tel Quel, but she has also focused on the Chinese language, thought, and culture in both her academic research and her literary work. Kristeva’s early concern with Chinese primarily revolved around linguistics and semiotics. Influenced by the Chinese language, she proposed theories such as “logique poétique” and “le paragramme semiology.” After the 1970s, Kristeva began to introduce psychoanalytic and feminist perspectives into her research, focusing on understanding the Chinese language from the standpoint of Chinese thought, culture, and historical traditions and considering Chinese as a “tonal language.” Since the 1990s and especially in the 21st century, Kristeva further explored the potential for dialogue between Chinese and European cultures within the context of their “encounter.” Thus, Kristeva’s fascination with the Chinese language has become a prominent case of Western practice in the mutual learning between Chinese and Western literary theories.
{"title":"From Symbol to Culture: Julia Kristeva’s Fascination with the Chinese Language","authors":"Jun Zeng, Yuxuan Huang","doi":"10.1080/17409292.2024.2272458","DOIUrl":"https://doi.org/10.1080/17409292.2024.2272458","url":null,"abstract":"Abstract Kristeva has a close relationship with China. Not only has she obtained a degree in Chinese and been active in the “China Period” of Tel Quel, but she has also focused on the Chinese language, thought, and culture in both her academic research and her literary work. Kristeva’s early concern with Chinese primarily revolved around linguistics and semiotics. Influenced by the Chinese language, she proposed theories such as “logique poétique” and “le paragramme semiology.” After the 1970s, Kristeva began to introduce psychoanalytic and feminist perspectives into her research, focusing on understanding the Chinese language from the standpoint of Chinese thought, culture, and historical traditions and considering Chinese as a “tonal language.” Since the 1990s and especially in the 21st century, Kristeva further explored the potential for dialogue between Chinese and European cultures within the context of their “encounter.” Thus, Kristeva’s fascination with the Chinese language has become a prominent case of Western practice in the mutual learning between Chinese and Western literary theories.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":"5 6","pages":"41 - 50"},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139395552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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