Pub Date : 2023-08-08DOI: 10.1080/17409292.2023.2237807
Alexis L. Chauchois, Gilles Glacet
AbstractThe waves invade the work of Michaël Ferrier. They propagate there in all their forms, whether seismic, acoustic, electromagnetic (radioactivity), mechanical (wave) or gravitational. The waves go so far as to settle at the very heart of the act of writing to establish themselves as a principle. So, Ferrier transcribes them like a seismograph would, with the avowed objective of leaving a trace of memory and fighting against oblivion. Because a seismogram requires the eye of the technician to be deciphered, the writer adapts his text and chooses a medium that is more immediately and sensibly accessible. The music, itself propagating waves, will make the transcribed vibrations perceptible to the reader. This article reveals the means used by Ferrier to construct a musical text, and shows how this new composition of the text allows the writer to anchor it even more in the memories.Keywords: Disasterwavesseismographmusicmemoryreveal Additional informationNotes on contributorsAlexis L. ChauchoisAlexis L. Chauchois is an Assistant Professor of French at Mercer University. His interests span the 20th and 21st centuries, with a specialization in French & Francophone literature. He has been a Professor in Civil Engineering in France for several years.Gilles GlacetGilles Glacet received his Ph.D. from Emory University with a specialization in twentieth-century French literature. His areas of interest include nineteenth- and twentieth-century French literature, contemporary French literature and culture, as well as Francophone literature.
摘要:波浪干扰了Michaël Ferrier的工作。它们以各种形式在那里传播，无论是地震、声波、电磁(放射性)、机械(波)还是引力。这股浪潮已经深入到写作行为的核心，并将自己确立为一种原则。因此，费瑞厄就像一台地震仪一样把它们记录下来，他公开宣称自己的目的是留下记忆的痕迹，与遗忘作斗争。因为地震图需要技术人员的眼睛才能破译，所以作者修改了他的文字，选择了一种更直接、更容易理解的媒介。音乐本身传播波，将使读者能察觉到转录的振动。本文揭示了费里尔构建音乐文本的方法，并展示了这种新的文本构成如何使作者更深入地将其固定在记忆中。关键词:灾害波地震音乐记忆揭示附加信息作者说明alexis L. Chauchois是美世大学法语助理教授。他的兴趣跨越20世纪和21世纪，专攻法语和法语文学。他在法国当土木工程教授已经好几年了。Gilles Glacet在埃默里大学获得博士学位，主修二十世纪法国文学。他感兴趣的领域包括十九世纪和二十世纪的法国文学，当代法国文学和文化，以及法语文学。
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Pub Date : 2023-08-08DOI: 10.1080/17409292.2023.2237787
Francesca Aiuti
Abstract In this article, I will analyze French rap music as a form of “neolittérature.” Rap music actualizes literature both aesthetically and politically. Through media interaction, rap music spreads literary content across different channels and audiences. Therefore, literature enters into a new semantic and pragmatic context in which it is reformulated by new postcolonial actors. As a “postcolonial product,” French rap music re-thinks literature through a decolonial approach to build new histories that are more inclusive in today’s society.
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Pub Date : 2023-08-08DOI: 10.1080/17409292.2023.2237800
Chase Cormier
AbstractLouisiana French literature, like its cuisine, is fluid, plural, and forever evolving. Language and food are two vital mediums through which Louisianans express identity, emotions, memory, and culture. Even as Louisiana’s French language faced a near erasure in the mid-twentieth century due to Americanization, cultural expression and evolution thrive at the intersection of oral literature and cuisine. Food, as a theme, lexical field, and symbol helps contemporary cooks and writers define their own identity. In the review of creative writing, Feux Follets (1991–Present), food plays a vital role in the quest for identity among its contributors. The creolization of Louisiana culture manifests itself in creative expression, be it a dish in Melissa Martin’s Mosquito Supper Club (2020), or a poem in Feux Follets. This article demonstrates how the intersection of emblematic food items and creative writing provides a space for the evolution of a literary identity that is as vibrant and creolized as Louisiana cuisine and culture in general. Despite the fluidity and plurality of identities, writers of cookbooks and poetry write Louisiana cuisine as a metaphor, image, and cultural object to amplify Franco-literary voices in the twenty-first century.Keywords: RecipespoetryLouisianacookbooksCajunmemory Notes1 “Because little north winds mean that we will surely be receiving an invitation from a neighbor for some gumbo. The delicious smell of roux browning in cast-iron pots, where soon we will find hot gumbo and chase the cold from our bodies—that delicious smell spreads to each village riding the little north winds.”2 Throughout this paper, the term Indigenous is used to describe one or a combination of Louisiana’s four federally recognized aboriginal tribes: The Chitimacha Tribe, the Coushatta Tribe, the Jena Band of Choctaw Indians and the Tunica-Biloxi Tribe and, as of 2021, its state-recognized tribes: the Adai Caddo Indians of Louisiana, the Bayou Lafourche band of BCCM (Biloxi-Chitimacha Confederation of Muskogee), Choctaw-Apache Tribe of Ebarb, Clifton Choctaw Tribe of Louisiana, Four Winds Cherokee Confederacy, Grand Caillou/Dulac Band of BCCM, Isle de Jean Charles Band of BCCM, Louisiana Band of Choctaw, Natchitoches Tribe of Louisiana, Pointe-Au-Chien Tribe, and the United Houma Nation.3 And I think that the smell must have travelled a bitBecause—all of a sudden—we were surrounded by a bunch of strangersThey asked us“What is that?”“What is ‘gumbo’?”“It’s like a soup?”This was before Popeye’s and Emeril LagasseAnd Cajun chicken and Cajun fries and allMom responded: “Euh… yes. It’s like a soup.”And she gave them some in little cupsAnd they said that it’s good, quite good.But I don’t think that they knew just how good it was.You know, I don’t remember much from my childhoodMy memory was never goodBut I remember that gumboBecause it was cold outAnd you always want gumbo when it’s cold out.4 Now you add the seafood:…the creatures form a line for
{"title":"Recipes, Poems, and Memory in Contemporary Louisiana Francophone Literature","authors":"Chase Cormier","doi":"10.1080/17409292.2023.2237800","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237800","url":null,"abstract":"AbstractLouisiana French literature, like its cuisine, is fluid, plural, and forever evolving. Language and food are two vital mediums through which Louisianans express identity, emotions, memory, and culture. Even as Louisiana’s French language faced a near erasure in the mid-twentieth century due to Americanization, cultural expression and evolution thrive at the intersection of oral literature and cuisine. Food, as a theme, lexical field, and symbol helps contemporary cooks and writers define their own identity. In the review of creative writing, Feux Follets (1991–Present), food plays a vital role in the quest for identity among its contributors. The creolization of Louisiana culture manifests itself in creative expression, be it a dish in Melissa Martin’s Mosquito Supper Club (2020), or a poem in Feux Follets. This article demonstrates how the intersection of emblematic food items and creative writing provides a space for the evolution of a literary identity that is as vibrant and creolized as Louisiana cuisine and culture in general. Despite the fluidity and plurality of identities, writers of cookbooks and poetry write Louisiana cuisine as a metaphor, image, and cultural object to amplify Franco-literary voices in the twenty-first century.Keywords: RecipespoetryLouisianacookbooksCajunmemory Notes1 “Because little north winds mean that we will surely be receiving an invitation from a neighbor for some gumbo. The delicious smell of roux browning in cast-iron pots, where soon we will find hot gumbo and chase the cold from our bodies—that delicious smell spreads to each village riding the little north winds.”2 Throughout this paper, the term Indigenous is used to describe one or a combination of Louisiana’s four federally recognized aboriginal tribes: The Chitimacha Tribe, the Coushatta Tribe, the Jena Band of Choctaw Indians and the Tunica-Biloxi Tribe and, as of 2021, its state-recognized tribes: the Adai Caddo Indians of Louisiana, the Bayou Lafourche band of BCCM (Biloxi-Chitimacha Confederation of Muskogee), Choctaw-Apache Tribe of Ebarb, Clifton Choctaw Tribe of Louisiana, Four Winds Cherokee Confederacy, Grand Caillou/Dulac Band of BCCM, Isle de Jean Charles Band of BCCM, Louisiana Band of Choctaw, Natchitoches Tribe of Louisiana, Pointe-Au-Chien Tribe, and the United Houma Nation.3 And I think that the smell must have travelled a bitBecause—all of a sudden—we were surrounded by a bunch of strangersThey asked us“What is that?”“What is ‘gumbo’?”“It’s like a soup?”This was before Popeye’s and Emeril LagasseAnd Cajun chicken and Cajun fries and allMom responded: “Euh… yes. It’s like a soup.”And she gave them some in little cupsAnd they said that it’s good, quite good.But I don’t think that they knew just how good it was.You know, I don’t remember much from my childhoodMy memory was never goodBut I remember that gumboBecause it was cold outAnd you always want gumbo when it’s cold out.4 Now you add the seafood:…the creatures form a line for ","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135841542","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 : 2023-08-08DOI: 10.1080/17409292.2023.2237783
Cajsa Zerhouni
AbstractThis article sets out to interrogate the place and implications of sound in the writing of Assia Djebar and Leïla Sebbar. By uncovering the recurring representations of the acoustic sphere and the pure auditory experience of Arabic or French voices in these writers’ autobiographical works, I contend that sound, in the bilingual, postcolonial context, operates in the construction of a hybrid subjectivity. Seemingly conveying the inclination towards an original and essential identity, symbolized by the nostalgia of the female Arabic voice, as well as indicating an ambivalence in relation to both languages, the resonance of the non-semantic voice in these texts foremost seems a strategy to move beyond conflicting linguistic identities. United in the homogenous sonorous and paralingual sphere, the two languages ultimately coexist and resonate in the Francophone literary text, which resembles, in fact, “the third place.”Keywords: Assia DjebarLeïla Sebbarécrituresonoritéhybriditélittérature francophone Notes1 Cet article constitue une adaptation de ma thèse de master de l’Université de Uppsala, Suède, “L’écriture des sons chez Assia Djebar et Leïla Sebbar : espace de la subjectivité hybride” [http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-495765].2 Djebar affirme, dans un entretien avec Laure Adler sur France Culture, que ses tout premiers souvenirs étaient des souvenirs auditifs. Née dans un pays méditerranéen, dont l’air était plein de paroles, saturé de mots, de langues diverses, de langues du dehors, et où le milieu des femmes à l’intérieur était, lui aussi, un espace rempli de bruits, de soupirs ou de cris qui explosaient, l’auteur se souvient d’une coulisse sonore qui n’était pas simplement le vacarme, mais qui impliquait une proximité, “Je dirais que ce monde sonore, tout de même, mes premières impressions, c’est de l’avoir reçu comme une chaleur” (Adler).3 Ces deux récits sont parus en 2003 et 2010 respectivement. Un troisième volet, Lettre à mon père, a été publié en juin 2021 aux éditions Bleu autour, qui a publié en un tome ces trois récits portant sur le thème de l’absence de la langue arabe.4 Cette question sera développée dans ma thèse de doctorat.Additional informationNotes on contributorsCajsa ZerhouniCajsa Zerhouni is a doctoral student at the University of Gothenburg, Sweden. This article is an adaptation of her Master’s thesis, “L’Écriture des sons chez Assia Djebar et Leïla Sebbar : espace de la subjectivité hybride” (University of Uppsala, 2022). Previously a literary translator of French and English, and a musician, her research bears on the thematization of the semiotic field, of sound, and the non-semantic voice, in the autobiographical writing of Assia Djebar and Leïla Sebbar.
摘要本文旨在探讨声音在亚西亚·杰巴尔和Leïla·西巴尔写作中的地位和意义。通过揭示这些作家自传体作品中反复出现的声音领域和阿拉伯语或法语声音的纯粹听觉体验，我认为，在双语、后殖民背景下，声音在混合主体性的构建中起作用。这些文本中非语义声音的共鸣似乎是一种超越相互冲突的语言身份的策略，似乎传达了对原始和基本身份的倾向，象征着对阿拉伯女性声音的怀旧，同时也表明了与两种语言之间的矛盾心理。这两种语言在同质的声音和副语言领域中结合在一起，最终在法语文学文本中共存并产生共鸣，这实际上类似于“第三个地方”。关键词:Assia DjebarLeila Sebbarecrituresonoritehybriditelitterature法语Notes1 Cet(中央东部东京)构建一个适应德马条主德因为学校德乌普萨拉,仿麂皮,”l 'ecriture des儿子在Assia Djebar et Leila Sebbar:埃斯佩斯de la subjectivite hybride”[http://urn.kb.se/resolve?urn=urn: nbn公司禁止:se: uu:女主角- 495765]。2杰巴肯定地说:“法国文化协会(dans unentretien avec Laure Adler sur France Culture)的会员们，一定会把所有的纪念品都拿出来。”东东在支付mediterraneen,不该l 'air是很多解脱,sature de著德语言不同,德语言du在外,等欧勒环境des l 'interieur是女同性恋者,他也,元rempli de杂音,de soupirs ou的短剑在explosaient, l一个侧面布景'auteur se souvient sonore le vacarme反应不是这般简单,但是impliquait一proximite,”我说,ce monde sonore,兜售de meme mes首映式的印象,是l获得recu像一个chaleur”(阿德勒)。32003年和2010年分别有两份报告。3 .联合国人身安全协定，于2021年6月1日生效，联合国人身安全协定，联合国公民人身安全协定，联合国公民人身安全协定，联合国公民人身安全协定，联合国公民人身安全协定，联合国公民人身安全协定，联合国公民人身安全协定这是一个简单的问题，如果你认为你是一个成功的人，那你就是一个成功的人。作者简介:本文作者是瑞典哥德堡大学的一名博士生。本文改编自她的硕士论文《L ' Écriture des sons chez Assia Djebar et Leïla Sebbar: espace de la subjectivit hybride》(乌普萨拉大学，2022)。她曾是一名法语和英语文学翻译家，也是一名音乐家，她的研究领域是符号学领域的主题化，声音和非语义的声音，在阿西亚·杰巴尔和Leïla塞巴尔的自传写作中。
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Pub Date : 2023-08-08DOI: 10.1080/17409292.2023.2237797
Sean Singh Matharoo
AbstractMarie Darrieussecq’s Notre vie dans les forêts (2017) is a science-fiction novel about cloning. Alternatively, it could be described as a notebook composed by a fugitive clone named Viviane writing before her imminent death in the tunnels constructed beneath a forest on the ghostly fringes of an unnamed city. Viviane has unplugged from this socially engineered illusion by following one of her former patients and a member of a fugitive group of scavengers and hackers who free their anesthetized clones. But, the fugitives comically struggle to prepare their clones—who just want to play—for the egalitarian, just, and liberatory future in which they hope. In this paper, I first provide a close reading of the narrative of Darrieussecq’s novel, focusing on how it teaches us to read it subjunctively and contingently. I then argue that the clones’ playfulness expresses an energy source resistant to exploitation. I conclude with a hypothesis: the book itself could be understood as an instance of artificial intelligence that resists exploitation because it teaches us to read subjunctively, contingently, and playfully.Keywords: Darrieussecqscience fictionplaycloningAIreading AcknowledgmentThis paper was written with the aid of a Carolina Postdoctoral Program for Faculty Diversity fellowship at the University of North Carolina at Chapel Hill. I would like to thank my colleagues in the Department of Romance Studies, whose energizing comments about an early version of this paper have been invaluable. I would also like to thank the conference organizers and participants of the 39th Annual 20th and 21st Century French and Francophone Studies Colloquium at the University of Pittsburgh, where I presented a later version of this paper in March 2022. The generous feedback I received at the colloquium has been equally invaluable.Additional informationNotes on contributorsSean Singh MatharooSean Singh Matharoo is Assistant Professor & Jacques Hardré Fellow of French and Francophone Studies at the University of North Carolina at Chapel Hill, where he is writing The Damned of the Anthropocene: Performatively Modeling Energy Aesthetics for a New Structuralism.
摘要marie Darrieussecq的《Notre vie dans les forêts》(2017)是一部关于克隆的科幻小说。或者，它可以被描述为一个名叫维维安(Viviane)的在逃克隆人在即将死亡之前写的笔记本，她在一个无名城市幽灵边缘的森林下建造的隧道里写作。薇薇安已经从这个社会设计的幻觉中解脱出来，她跟随她的一个前病人和一个逃犯组织的成员，这些组织的拾荒者和黑客释放了他们被麻醉的克隆体。但是，这些逃亡者滑稽地挣扎着让他们的克隆人——他们只是想玩——为他们所希望的平等、公正和解放的未来做准备。在本文中，我首先对达里乌塞克小说的叙事进行了细致的解读，重点是它如何教会我们进行主观和偶然的阅读。然后，我认为克隆动物的好玩性表达了一种抵抗剥削的能量来源。最后，我提出了一个假设:这本书本身可以被理解为一个抵制剥削的人工智能的例子，因为它教会我们下意识地、偶然地和开玩笑地阅读。本文是在北卡罗来纳大学教堂山分校(University of North Carolina at Chapel Hill)教师多样性博士后项目的帮助下完成的。我要感谢我在浪漫研究系的同事们，他们对这篇论文早期版本的积极评论是非常宝贵的。我还要感谢匹兹堡大学第39届20世纪和21世纪法语和法语国家研究年会的组织者和与会者，我于2022年3月在那里提交了本文的更新版本。我在研讨会上收到的慷慨反馈同样是无价的。作者简介:sean Singh Matharoo是北卡罗来纳大学教堂山分校法语和法语研究的助理教授兼雅克·哈德罗研究员，他正在撰写《人类世的诅咒:为新结构主义表演建模能量美学》。
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Pub Date : 2023-08-08DOI: 10.1080/17409292.2023.2237796
Corentin Lahouste
AbstractMore and more works testify to the pictorial turn which marks francophone literary production since the end of the twentieth century, “immersed in the world of the modern images and mass media,” as Magali Nachtergael pointed out. The textual and visual regimes are thus no longer inscribed in a logic of competition but arranged in a perspective of co-adjunction, of fertile crossings. From this perspective, we examine Affranchissements (2020) by Muriel Pic; this “wandering-book” is structured in six parts which deploy a nonlinear narrative, brimming with many visual materials and where everything starts from “the magical grimoire of a stamp album” and from a “debt to be paid.” This article analyzes this fundamentally hybrid book which, in a decompartmentalization of semiotic regimes, activates a poetic plurimateriality and makes of the literary space a—political—place of renewal of the real, of a redrawing of the material and symbolic space, as Jacques Rancière would say.Keywords: IconopoeticitySemiotic HybridityPoetic plurimaterialityMontageDestandardizationLiterature and politics Notes1 This contribution is originally from a paper presented in French, in relation to the issues of the research I carried out within the “HANDLING Project,” that has received funding from the European Union’s Horizon 2020 research and innovation program (grant agreement n° 804259); thanks to Alexandra L. Martin for her help in translating it into English. Excerpts quoted from Muriel Pic's work are translated to preserve fluidity. All translations are our own. The reworking and finalisation of the article was conducted, for their part, as part of the Banting postdoctoral fellowship I am carrying out at Laval University (NRF: 180035), which was funded by the Government of Canada through its federal granting agencies (CIHR/SSHRC/NSERC).2 Found in a passage in the exact middle of the book, in the third part.3 Translator’s Note: In French, “affranchissement” means both “postage,” as in conveying letters by mail, as well as “emancipation,” creating an internal wordplay in the work’s title and content.—A.L.M.4 In her notes on documentary montage that follow his text En regardant le sang des bêtes, Pic refers to it as a practice that “couples shocks, surprises, astonishments” (82).5 8 for the first, 5 for the second, fourth and fifth, 9 for the third and 6 for the sixth > PI: 2000; 1840; 1719; 1927; –225; 1965; 1911; 1949; PII: 0; 2001; 1999; 2019; 1918; PIII: 1923; 1936; 1914; 1872; 1907; 1917; 1868; 1933; 1940; PIV: 1949 bis; 1944; 1875; 1598; 2018; PV: 1592; 1953; 1721; 1877; 1969; PVI: 1989; 200; 2001 bis; 1997; 2016; 2017.6 “From a ghost, Jim became a fantasy” (199), Pic argues in the fifth part of the book.7 See back cover.8 “Now we dance looby, looby light / Now we dance looby, as yester night / Shake your right hand a little / Shake your left hand a little / Shake your head a little / And turn you round about. / À présent, nous dansons follement, folle lumière
摘要越来越多的作品见证了20世纪末以来法语文学生产的画面化转向，正如玛加利·纳赫特盖尔所指出的那样，法语文学“沉浸在现代影像和大众传媒的世界中”。因此，文本和视觉制度不再铭刻在竞争的逻辑中，而是安排在共同结合的角度，肥沃的交叉。从这个角度来看，我们考察了穆里尔·皮克(Muriel Pic)的《特许经营》(2020);这本“漫游书”由六个部分组成，采用非线性叙事，充满了许多视觉材料，一切都从“邮票册的魔法书”和“要偿还的债务”开始。这篇文章分析了这本基本混合的书，在符号学制度的去分割化中，激活了诗歌的多元物质性，并使文学空间成为现实更新的政治场所，重新绘制了物质和符号空间，正如雅克·朗西所说。这篇文章最初来自于一篇用法语发表的论文，与我在“HANDLING项目”中进行的研究问题有关，该项目已获得欧盟地平线2020研究和创新计划(资助协议号804259)的资助;感谢Alexandra L. Martin帮助将其翻译成英文。从穆里尔Pic的工作摘录翻译，以保持流动性。所有的翻译都是我们自己的。对他们来说，这篇文章的修改和定稿是作为我在拉瓦尔大学(NRF: 180035)进行的班廷博士后奖学金的一部分进行的，该奖学金由加拿大政府通过其联邦资助机构(CIHR/SSHRC/NSERC)资助在书正中的一段，在第三部分译者注:在法语中，“affranchissement”既有“邮资”的意思，比如通过邮件传递信件，也有“解放”的意思，在作品的标题和内容中形成了一种内部的文字游戏皮克在他的文本《En regardant le sang des bêtes》之后对纪录片蒙太奇的注释中，将其称为一种“将震惊、惊喜、惊讶结合在一起”的实践(82)。第一是8，第二、四、五是5，第三是9，第六是6 >圆周率:2000;1840;1719;1927;-225;1965;1911;1949;PII: 0;2001;1999;2019;1918;旧机器:1923;1936;1914;1872;1907;1917;1868;1933;1940;PIV: 1949 bis;1944;1875;1598;2018;PV: 1592;1953;1721;1877;1969;元太:1989;200;2001双;1997;2016;2017.6“吉姆从一个幽灵变成了一个幻想”(199)，皮克在书的第五部分中辩称见封底“现在我们跳舞looby, looby light /现在我们跳舞looby，就像昨天晚上/稍微摇一下你的右手/稍微摇一下你的左手/稍微摇一下你的头/然后转过身来。/ À pracemsent, nous dansons follement, folle lumi / À pracemsent, nous dansons aussi follement que la nuit d 'hier / secouesunpeu ta main gauche / secouesunpeu la tête / Et vite tourne sur toi-même。9原文:“[Cela consistent] inventer de l ' insamdit， laisser traverser par le vif de l ' samvacimement， travers l ' employei, and le samuise雇员des图像和产品文化。”10参见《教案》，25-30、69-70、78-79、88、94、102-103、109、166-167、206-209、227-228、234-235、242-243、255-256.11亦同上。此外，它的标题被描述为“对欲望和自由最简单的挑衅”，“对混乱最明显的呼唤”(17)参见同上，54-56.13参见同上，264-265.14引自marie - h l·拉冯(128)的短语短语借用自ZONADIR (21).16“[T]ravaill[er] avec les traces， [avec] les images qui sont lous， [avec] les manifeste ce qui est dissimulures, monder des possible pour engager des actions, don ' les moteurs sont les dsamsirs et les rêves”(Lahouste & Reverseau, 2022[在线])。corentin Lahouste, Banting博士后奖学金(2022-2024)获得者，拉瓦尔大学ren Audet教授团队(Laboratoire Ex situ)研究员。他的论文于2019年3月在比利时鲁汶大学(UCLouvain)进行了答辩，并出版了《Écritures du ddamchainement》一书。马塞尔·莫罗、亚尼克·海奈尔和菲利普·德·荣克赫埃(经典卡尼尔，2021年)。他的作品主要关注当代法国文学，特别关注文学与政治之间的联系，以及文学创作行为的媒介多样化。从2020年10月到2022年9月，他参与了由Anne Reverseau教授领导的HANDLING研究项目(ERC)。
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Pub Date : 2023-05-27DOI: 10.1080/17409292.2023.2225375
Perrine Gaudry
Abstract The first hermaphrodite photographs date from 1860 by Nadar. They are mostly framed by an anatomical and medical perspective according to which hermaphroditism is a pathology. However, one can read something much more ambiguous in this series. Other relationships are played at the margins of categories of gender, sex, sexuality, reality and fiction. I propose to re-read these photos according to the perspective of what I call a “reserve of imagination.” Reserve of imagination consists of dream visions from which new universes emerge. It also emphasizes the potential for heterotopic places to remain marginalized. This other interpretation of Nadar was developed in the photographic sense of the term; it developed afterwards through the work of SMITH, French contemporary artist working among other things on gender. The very idea of indeterminacy, which constitutes SMITH's queer thinking and aesthetics, was already present in Nadar's notable use of blurring and framing. SMITH's photographs of intersex people radically overturn the anatomical and medical gaze: intersex is no longer a pathology. If, the medical thought of the 19th and early 20th century would have liked to visually include hermaphrodites in the category of the degeneration, it did not succeed, thanks to this reserve of imagination.
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Pub Date : 2023-05-27DOI: 10.1080/17409292.2023.2225359
M. Dominick
Abstract As a fictional adaptation of the life of a real-life drifter (Setina Arhab), Agnès Varda’s 1985 film Sans toit ni loi presents the filmmaker with certain ethical questions. How can one ethically mediatize the poverty of others? How can one create and sell images of the poor which do not voyeuristically, hypocritically, or reductively exhibit them? Can one represent those who may refuse representation? I claim that Varda engages with these questions via a metafilmic reflection on the two means by which she might adapt Setina to the cinematic screen: documentation and aestheticization. Whereas Varda first seems to side with the plasticity of aestheticization over the strict mimesis of documentation, she then problematizes such a choice by dialogically questioning her decision not merely to document Setina but to transform her into a protean aesthetic spectacle for exhibition. This analysis reveals that Mona’s death by exposure is not random but rather concretizes Varda’s ethical concerns with the act of capturing and exhibiting—with mediatizing—life.
摘要Agnès Varda 1985年的电影《Sans toit ni loi》改编自一位现实生活中的流浪者（Setina Arhab饰）的生活，向电影制作人提出了一些道德问题。一个人如何在道德上调解他人的贫困？一个人如何创造和销售穷人的形象，而不是偷窥、虚伪或简化地展示这些形象？一个人能代表那些可能拒绝代表的人吗？我声称，瓦尔达通过元电影的方式来思考这些问题，她可以通过两种方式将塞蒂娜改编成电影屏幕：文档化和审美化。瓦尔达首先似乎站在审美化的可塑性一边，而不是严格模仿文献，然后她通过对话质疑自己不仅要记录塞蒂娜，还要将她转变为展览的多变美学奇观的决定，从而对这种选择提出了质疑。这一分析表明，莫娜因暴露而死亡并不是随机的，而是通过捕捉和展示——以及调解——生命的行为，具体化了瓦尔达的道德关切。
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Pub Date : 2023-05-27DOI: 10.1080/17409292.2023.2225371
Salvador Lopez Rivera
Increasingly diverse Western European societies have developed their own conversations around intersectionality that focus on local issues. Two artists and public intellectuals that demonstrate this increasing level of engagement with intersectionality in Western Europe are writer and actress Michaela Coel and writer Édouard Louis, from England and France, respectively. In the 2020 TV series I May Destroy You, Coel presents the story of a working-class English black writer named Arabella who has been sexually assaulted. She also gives the spotlight to Arabella’s best friend, Kwame, a black gay man who has also been assaulted but whose experience differs greatly from Arabella due to his gender and sexual orientation. I May Destroy You introduces its viewers to intersectionality by insisting on how Arabella and Kwame’s specific identities lead to different outcomes. Likewise, French writer Édouard Louis’s 2018 novel Histoire de la violence revolves around the author’s rape by a man of North African descent in order to examine the treatment of queer people and ethnic minorities by the police and French society at large. Both creators have succeeded in making their audiences aware of how intersectionality is a necessary tool to comprehend systemic inequality in their respective countries.
日益多样化的西欧社会已经形成了他们自己的关于交叉性的对话，重点关注当地问题。两位艺术家和公共知识分子分别来自英国和法国的作家兼演员Michaela Coel和作家Édouard Louis，他们证明了西欧与交叉性的接触程度越来越高。在2020年的电视剧《我可能摧毁你》(I May Destroy You)中，科尔讲述了一位名叫阿拉贝拉(Arabella)的工薪阶层英国黑人作家遭到性侵犯的故事。她还把焦点放在了阿拉贝拉最好的朋友夸梅身上，夸梅是一个黑人同性恋，他也遭到了袭击，但由于他的性别和性取向，他的经历与阿拉贝拉大不相同。《我可以摧毁你》通过强调阿拉贝拉和夸梅的特定身份如何导致不同的结果，向观众介绍了交叉性。同样，法国作家Édouard路易斯(Édouard Louis) 2018年的小说《暴力史》(Histoire de la violence)围绕作者被一名北非裔男子强奸的故事展开，以审视警察和整个法国社会对酷儿和少数民族的待遇。两位创作者都成功地让观众意识到，交叉性是理解各自国家系统性不平等的必要工具。
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Pub Date : 2023-05-27DOI: 10.1080/17409292.2023.2225364
R. Scullion
Abstract In the late summer of 1944, members of the Comité de la Libération du Cinéma Français (CLCF) seized the historical moment and captured on film the popular uprising that swept across the capital city in the week that preceded the arrival of Allied armies in Paris on 25 August, 1944. For filmmakers such as Jean Grémillon, an active member of the French Resistance and founding member of the CLCF, the scenes of ordinary Parisians battling Hitler’s occupying forces evoked memory of the Paris Commune, whose parallels with the postwar present Grémillon sought to highlight in La Commune de Paris, the feature film he began envisioning in the final months of the war. This essay considers the political climate that doomed Grémillon’s project to failure and calls attention to a second film, a 1951 documentary short, also titled La Commune de Paris, that Robert Ménégoz was able to bring to completion, but that also fell into the oblivion into which government censorship cast it. A central question the essay raises concerns why the efforts postwar filmmakers made to recall the history of the Paris Commune met with such stiff resistance in the years immediately following the Nazi Occupation of France.
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