Pub Date : 2023-05-27DOI: 10.1080/17409292.2023.2225968
Ferdulis Zita Odome Angone
Abstract The analysis focuses on the political function of cyberfeminism, taking as its subject the decolonial podcast Mäli-mäli by Selma Sardouk. From the first season of the program, the episodes under study focus on collective neuroses, in dialogue with the management of transgenerational traumas in France, among generations of children from North African immigration.
{"title":"Une analyse de Mäli-mäli de Selma Sardouk","authors":"Ferdulis Zita Odome Angone","doi":"10.1080/17409292.2023.2225968","DOIUrl":"https://doi.org/10.1080/17409292.2023.2225968","url":null,"abstract":"Abstract The analysis focuses on the political function of cyberfeminism, taking as its subject the decolonial podcast Mäli-mäli by Selma Sardouk. From the first season of the program, the episodes under study focus on collective neuroses, in dialogue with the management of transgenerational traumas in France, among generations of children from North African immigration.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48063594","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 : 2023-05-27DOI: 10.1080/17409292.2023.2225969
R. Audet
Abstract This article focuses on the study of digital literary works, whose existence no longer needs to be demonstrated. If these works have often been examined by their poetic characteristics (multimodal dimension, interactivity, etc.), the understanding of their immediate anchorage in their context (technological and sociodiscursive) remains to be perfected. It is a study of the materiality of the digital works that this article proposes, allowing to seize them in their processual nature under two angles: the upstream and the downstream of the work. The attention paid to the genetics of digital literary works leads to attesting to the difficulties posed by writing in a digital context, which is hidden behind often opaque systems. The study of the performativity of works, on the other hand, allows us to situate them in their environment and to better observe their dependence on the contexts in which they are read. The understanding of digital literary practices is thus enhanced, as the works are perceived differently than by their immanent characteristics.
{"title":"Processualités des œuvres numériques : Entre génétique et performativité composée des œuvres à travers le temps","authors":"R. Audet","doi":"10.1080/17409292.2023.2225969","DOIUrl":"https://doi.org/10.1080/17409292.2023.2225969","url":null,"abstract":"Abstract This article focuses on the study of digital literary works, whose existence no longer needs to be demonstrated. If these works have often been examined by their poetic characteristics (multimodal dimension, interactivity, etc.), the understanding of their immediate anchorage in their context (technological and sociodiscursive) remains to be perfected. It is a study of the materiality of the digital works that this article proposes, allowing to seize them in their processual nature under two angles: the upstream and the downstream of the work. The attention paid to the genetics of digital literary works leads to attesting to the difficulties posed by writing in a digital context, which is hidden behind often opaque systems. The study of the performativity of works, on the other hand, allows us to situate them in their environment and to better observe their dependence on the contexts in which they are read. The understanding of digital literary practices is thus enhanced, as the works are perceived differently than by their immanent characteristics.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46087028","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 : 2023-05-27DOI: 10.1080/17409292.2023.2225949
I-Hsin Chen
Abstract At the height of the Spanish Civil War, over 450,000 Spanish citizens fled to France in an exodus known as the Retirada. Multimediality has long marked representations of this history: among its first accounts were illustrated texts by refugees held in French detention camps, and many contemporary works about this period integrate a similar interplay of words and images. This article explores two French graphic novels about the Retirada and the intergenerational transmission of its memory: Alain Munoz’s D’ailleurs (2017) and Henri Fabuel and Jean-Marie Minguez’s Exil (2013). Drawing upon Maurice Halbwachs and Paul Ricœur’s theories of memory, I argue that these texts’ multimedia and multigenre approach—involving not only the interaction between text and image, but also letters, family photographs, and different modes of storytelling—reflects a similarly dynamic interdependence between individual and collective memory. I also consider a 1939 refugee-run review, Barraca, to trace this intersection of media and memory back to the Retirada’s very first publications.
{"title":"“We must leave traces”: Media and Memory in Two Graphic Novels","authors":"I-Hsin Chen","doi":"10.1080/17409292.2023.2225949","DOIUrl":"https://doi.org/10.1080/17409292.2023.2225949","url":null,"abstract":"Abstract At the height of the Spanish Civil War, over 450,000 Spanish citizens fled to France in an exodus known as the Retirada. Multimediality has long marked representations of this history: among its first accounts were illustrated texts by refugees held in French detention camps, and many contemporary works about this period integrate a similar interplay of words and images. This article explores two French graphic novels about the Retirada and the intergenerational transmission of its memory: Alain Munoz’s D’ailleurs (2017) and Henri Fabuel and Jean-Marie Minguez’s Exil (2013). Drawing upon Maurice Halbwachs and Paul Ricœur’s theories of memory, I argue that these texts’ multimedia and multigenre approach—involving not only the interaction between text and image, but also letters, family photographs, and different modes of storytelling—reflects a similarly dynamic interdependence between individual and collective memory. I also consider a 1939 refugee-run review, Barraca, to trace this intersection of media and memory back to the Retirada’s very first publications.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46552047","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 : 2023-05-27DOI: 10.1080/17409292.2023.2225370
Haniyeh B. Pasandi
Abstract This article gives an overview of postcolonial cinema in the Maghreb while focusing on the two Maghrebi filmmakers, Meryem Benm’Barek-Alosï and Maryam Touzani, whose films take a more daring stance on the problem of filles-mères (unmarried mothers) and childbearing out of wedlock in the Moroccan society. This article examines the development of Moudawana (family law) in Morocco, its effects on women's lives, and the concept of shame in Maghrebi culture through a detailed analysis of Sofia (2018) and Adam (2019).
{"title":"Evolution of Maghrebi Women Cinema: Filles-mères in Sofia (2018) and Adam (2019)","authors":"Haniyeh B. Pasandi","doi":"10.1080/17409292.2023.2225370","DOIUrl":"https://doi.org/10.1080/17409292.2023.2225370","url":null,"abstract":"Abstract This article gives an overview of postcolonial cinema in the Maghreb while focusing on the two Maghrebi filmmakers, Meryem Benm’Barek-Alosï and Maryam Touzani, whose films take a more daring stance on the problem of filles-mères (unmarried mothers) and childbearing out of wedlock in the Moroccan society. This article examines the development of Moudawana (family law) in Morocco, its effects on women's lives, and the concept of shame in Maghrebi culture through a detailed analysis of Sofia (2018) and Adam (2019).","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45841040","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 : 2023-05-27DOI: 10.1080/17409292.2023.2225366
Marie Kondrat
Abstract The article questions the becoming of the concept of the “male gaze” theorized by Laura Mulvey, through the study of its reception among French and Francophone thinkers. Written in close dialogue with Freudian psychoanalysis, “Visual Pleasure and Narrative Cinema” (1975) indicates that the ideological stakes of representation go beyond the content of what is shown to reveal how the unshown is inserted between the form and the unconscious. The question that arises is whether there are viable conceptual alternatives to the critique of male gaze, such as the notion of “female gaze.” My hypothesis is that, given certain resistances encountered about the male gaze in critical literature, it is important to question the conditions of the exclusion of the female gaze, both as a concept and as a phenomenon that can be identified within artistic forms. Since Mulvey’s intellectual trajectory was deeply marked by her encounter with French film critics, the article examines more broadly the reception of her theoretical proposals in the French-speaking area.
{"title":"Male gaze : le devenir absent du concept","authors":"Marie Kondrat","doi":"10.1080/17409292.2023.2225366","DOIUrl":"https://doi.org/10.1080/17409292.2023.2225366","url":null,"abstract":"Abstract The article questions the becoming of the concept of the “male gaze” theorized by Laura Mulvey, through the study of its reception among French and Francophone thinkers. Written in close dialogue with Freudian psychoanalysis, “Visual Pleasure and Narrative Cinema” (1975) indicates that the ideological stakes of representation go beyond the content of what is shown to reveal how the unshown is inserted between the form and the unconscious. The question that arises is whether there are viable conceptual alternatives to the critique of male gaze, such as the notion of “female gaze.” My hypothesis is that, given certain resistances encountered about the male gaze in critical literature, it is important to question the conditions of the exclusion of the female gaze, both as a concept and as a phenomenon that can be identified within artistic forms. Since Mulvey’s intellectual trajectory was deeply marked by her encounter with French film critics, the article examines more broadly the reception of her theoretical proposals in the French-speaking area.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46111237","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 : 2023-05-27DOI: 10.1080/17409292.2023.2225378
Sophia Khadraoui-Fortune
Abstract May 10, 2007, the city of Bagneux inaugurates a sculpture commemorating the abolition of slavery and the fights for human emancipation. Sculpted by the artist Nicolas Alquin, this tripartite monument, celebrates Solitude, legendary figure of the resistance in Guadeloupe. If the municipality hesitates on the place which should host the sculpture, it finally chooses to erect it close to the Pierre Plate neighborhood. The location is strategic for the town hall, which wants to thwart socio-political and multi-ethnic tensions between Black, Arab and Jewish communities. It is indeed this low-cost housing complex which made the front page of the national and international news in 2006. One remembers the “gang des barbares” who kidnapped and tortured Ilan Halimi, a twenty-three year old Jew. This antisemitic hate crime shocked French society who pressed for political mobilization. With this monument and this location, I argue that a despecification effect occurs. Through borrowed memories and prosthetic associations, the memory of Ilan joins that of Solitude, both united and defined as laïc martyrs. Renewed, the sculpture became, by transgression of the temporal equilibrium, a substitute medium for different contemporary ethnic communities who are also victims of violence.
{"title":"Solitude, monument prothétique","authors":"Sophia Khadraoui-Fortune","doi":"10.1080/17409292.2023.2225378","DOIUrl":"https://doi.org/10.1080/17409292.2023.2225378","url":null,"abstract":"Abstract May 10, 2007, the city of Bagneux inaugurates a sculpture commemorating the abolition of slavery and the fights for human emancipation. Sculpted by the artist Nicolas Alquin, this tripartite monument, celebrates Solitude, legendary figure of the resistance in Guadeloupe. If the municipality hesitates on the place which should host the sculpture, it finally chooses to erect it close to the Pierre Plate neighborhood. The location is strategic for the town hall, which wants to thwart socio-political and multi-ethnic tensions between Black, Arab and Jewish communities. It is indeed this low-cost housing complex which made the front page of the national and international news in 2006. One remembers the “gang des barbares” who kidnapped and tortured Ilan Halimi, a twenty-three year old Jew. This antisemitic hate crime shocked French society who pressed for political mobilization. With this monument and this location, I argue that a despecification effect occurs. Through borrowed memories and prosthetic associations, the memory of Ilan joins that of Solitude, both united and defined as laïc martyrs. Renewed, the sculpture became, by transgression of the temporal equilibrium, a substitute medium for different contemporary ethnic communities who are also victims of violence.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45486383","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 : 2023-05-27DOI: 10.1080/17409292.2023.2225948
Cristina Álvares
Abstract This paper examines two French graphic novels which reconstruct the Transpyrenean memory of the Spanish civil war: Le Convoi by D. Lapière and E. Torrents (2013), Dolorès by B. Loth (2016). Both works reshape the narrative model of war testimony created by A. Spiegelman in Maus, where the memory of a traumatic past is transmitted between generations within the family circle (postmemory), combining both personal life story and collective History. Focusing on the narratological device of the voice, three major changes are highlighted: the non-actorialization of the author-narrator (unmaking of the autobiographical identity), the feminization of the recipient of the testimony (not a son but a daughter who listens on behalf of a silent mother), and the extension of the family circle beyond a particular family through condensation or displacement. The paper discusses these points studying the stories as well as the paratexts and argues that the specific combination of the three major changes in each graphic novel produces different ways of disjunction between the subjective and the political dimensions of trauma, in other words, between the intimate and the collective sides of History.
{"title":"Au nom de la mère. Reconfigurations du modèle spiegelmanien du témoignage dans deux récits graphiques sur la guerre civile espagnole","authors":"Cristina Álvares","doi":"10.1080/17409292.2023.2225948","DOIUrl":"https://doi.org/10.1080/17409292.2023.2225948","url":null,"abstract":"Abstract This paper examines two French graphic novels which reconstruct the Transpyrenean memory of the Spanish civil war: Le Convoi by D. Lapière and E. Torrents (2013), Dolorès by B. Loth (2016). Both works reshape the narrative model of war testimony created by A. Spiegelman in Maus, where the memory of a traumatic past is transmitted between generations within the family circle (postmemory), combining both personal life story and collective History. Focusing on the narratological device of the voice, three major changes are highlighted: the non-actorialization of the author-narrator (unmaking of the autobiographical identity), the feminization of the recipient of the testimony (not a son but a daughter who listens on behalf of a silent mother), and the extension of the family circle beyond a particular family through condensation or displacement. The paper discusses these points studying the stories as well as the paratexts and argues that the specific combination of the three major changes in each graphic novel produces different ways of disjunction between the subjective and the political dimensions of trauma, in other words, between the intimate and the collective sides of History.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47437645","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 : 2023-05-27DOI: 10.1080/17409292.2023.2225368
Emily Wieder
Abstract With sensuality and innovation, French cinéaste Germaine Dulac illuminated the flaws in bourgeoise relationships. Her earliest extant film La Cigarette (1919) exposes the self-contempt that marriage breeds as it follows a husband’s suicidal mission. Fixated on living an “ideal,” patriarchal marriage, the husband falls into despair when his wife refuses to stay at home. His obsession reflects Sara Ahmed’s notion of happiness as a social obligation rather than a sincere feeling (The Promise of Happiness 2010). Beyond the diegesis, Dulac’s creative process and Marshall McLuhan’s analysis of the socio-technical climate’s influence on the psyche dovetail. Dulac aimed to transform the “unique ratios of sense perception” that McLuhan analyzes in The Medium is the Massage (41), and she succeeded by deploying all the technology at her disposal. In La Cigarette, color filters, iris lenses, and typographical variations collapse the happy marriage and wife-as-object norms. This disruption occurs most notably as the female body engages with music. Aurality along with visual-verbal texts exemplify what I am calling “media affects,” or the affective responses that emerge from Dulac optimizing her medium. This reading of La Cigarette synthesizes a media theory of perception (McLuhan), the affective object (Ahmed), and existing research on Dulac’s cinematography.
法国青年杰梅纳·杜拉克以感性和创新，揭示了资产阶级关系的缺陷。她现存最早的电影《香烟》(1919)揭示了丈夫自杀后婚姻所滋生的自卑。执着于“理想”的父权婚姻，当妻子拒绝呆在家里时，丈夫陷入绝望。他的痴迷反映了萨拉·艾哈迈德的观点，即幸福是一种社会义务，而不是一种真诚的感觉(《幸福的承诺》，2010)。在叙事之外，杜拉克的创作过程与马歇尔·麦克卢汉对社会技术气候对心理影响的分析是相吻合的。杜拉克的目标是改变麦克卢汉在《媒介是按摩》(the Medium is the Massage, 41)中分析的“独特的感官知觉比例”，她利用了所有可用的技术，取得了成功。在《La Cigarette》中，彩色滤光片、虹膜镜头和排版的变化打破了幸福婚姻和妻子作为客体的规范。这种干扰在女性身体与音乐接触时最为明显。听觉与视觉语言文本一起体现了我所说的“媒体影响”，或者是Dulac优化她的媒体所产生的情感反应。这种对《香烟》的解读综合了感知媒介理论(麦克卢汉)、情感客体(艾哈迈德)以及对杜拉克电影摄影的现有研究。
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Pub Date : 2023-05-27DOI: 10.1080/17409292.2023.2225965
Elke Defever
Abstract Representations of the Other, particularly the racialized and gendered Other remains problematic for many artists, particularly in the context of representing aspects of French colonialism. This is notably the case for French pied-noir artists who set out to retrospectively tell the history of colonial Algeria. Jacques Ferrandez, a francophone pied-noir graphic novelist, published his series Carnets d’Orient between 1987 and 2009. In the second cycle, there is one single, recurring female Algerian character named Samia who will be the focus of this article. A close analysis of Samia’s representation illustrates the degrees to which the artist exploits the medium’s specificities in order to influence the message received by their readers. The reader is required to be an active co-creator and becomes implicated from an ethical point of view in that they are asked to reflect critically on their own subjectivity and biases. In the case of Carnets d’Orient, while a reading in which the Algerian woman’s agency is foregrounded is possible, we will see that instead of giving a voice to the female Algerian character, the white male pied-noir author uses her to voice a plaintive nostalgia for an Algeria which according to some “could have been.”
{"title":"Demarginalizing the Margins: Gender, Agency, and Nostalgia for French Algeria in Carnets d’Orient (Jacques Ferrandez, 2011)","authors":"Elke Defever","doi":"10.1080/17409292.2023.2225965","DOIUrl":"https://doi.org/10.1080/17409292.2023.2225965","url":null,"abstract":"Abstract Representations of the Other, particularly the racialized and gendered Other remains problematic for many artists, particularly in the context of representing aspects of French colonialism. This is notably the case for French pied-noir artists who set out to retrospectively tell the history of colonial Algeria. Jacques Ferrandez, a francophone pied-noir graphic novelist, published his series Carnets d’Orient between 1987 and 2009. In the second cycle, there is one single, recurring female Algerian character named Samia who will be the focus of this article. A close analysis of Samia’s representation illustrates the degrees to which the artist exploits the medium’s specificities in order to influence the message received by their readers. The reader is required to be an active co-creator and becomes implicated from an ethical point of view in that they are asked to reflect critically on their own subjectivity and biases. In the case of Carnets d’Orient, while a reading in which the Algerian woman’s agency is foregrounded is possible, we will see that instead of giving a voice to the female Algerian character, the white male pied-noir author uses her to voice a plaintive nostalgia for an Algeria which according to some “could have been.”","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49501440","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 : 2023-05-27DOI: 10.1080/17409292.2023.2225361
C. Webster
Abstract In 1985, Agnes Varda laid bare the realities of homeless and vagrant women on screen. With its quasi-documentary style, Sans toi ni loi recounts a vagabond woman’s sad, if not tragic, demise. More recently, the films Les Invisibles (2018) and Sous les étoiles de Paris (2020) have explored the experiences of homeless women. They take center stage in these films and force the viewer to confront their plights, one in a fairytale-like fiction, the other in a dramedy. This paper first outlines Varda’s itinerant main character and then introduces the more recent films as reflections of current social realities. Finally, the resonance of all three films with the recent Oscar winner Nomadland, in which members of the itinerant American subculture play themselves or versions of themselves, will be addressed. The impact of these performances and the presence of those with lived experience within the narrative merit further exploration.
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