Pub Date : 2022-01-13DOI: 10.1177/09571558211068238
Frédéric Barthet
In spite of having an empire that was second only to Britain's by 1914, the French people remained mostly unconvinced by and mistrustful of the colonial idea. There is no better proof of this than the French colonial films between 1918 and 1945 which depicted the empire in a particularly unattractive way while seemingly advocating the colonial cause. The paradox is all the more surprising given that the negative image that emerges from the films made in France around the colonial theme was not the manifestation of an anti-colonialism subtly disguised to avoid governmental censorship, but the mere expression of the general feeling of the French about their colonies. The lack of Gallic enthusiasm for the empire translated on screen into an intrinsic mistrust for what was regarded as the epitome of danger and despair.
{"title":"The representation of colonials and natives in French colonial cinema from 1918 to 1945","authors":"Frédéric Barthet","doi":"10.1177/09571558211068238","DOIUrl":"https://doi.org/10.1177/09571558211068238","url":null,"abstract":"In spite of having an empire that was second only to Britain's by 1914, the French people remained mostly unconvinced by and mistrustful of the colonial idea. There is no better proof of this than the French colonial films between 1918 and 1945 which depicted the empire in a particularly unattractive way while seemingly advocating the colonial cause. The paradox is all the more surprising given that the negative image that emerges from the films made in France around the colonial theme was not the manifestation of an anti-colonialism subtly disguised to avoid governmental censorship, but the mere expression of the general feeling of the French about their colonies. The lack of Gallic enthusiasm for the empire translated on screen into an intrinsic mistrust for what was regarded as the epitome of danger and despair.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"33 1","pages":"257 - 278"},"PeriodicalIF":0.4,"publicationDate":"2022-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47789903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-20DOI: 10.1177/09571558211063334
Anna Isabell Wörsdörfer
The article examines the formal and thematic manifestations of seriality in the Netflix series La Révolution, which justifies the revolutionary outbreak in a counterfactual plot with a viral outbreak that turns the nobles into zombie-like monsters. While, on a macrostructural level, the generic frame of alternate history promotes the serial character through the varying repetition of the historical event, the microstructural level of the narration evokes seriality by exponential contagion and spread of the disease as well as an increasing spiral of violence. First, the focus is on the representation of the aristocrat as a monster in pamphlets and caricatures of the revolutionary era. Subsequent to a contextualization of seriality in the age of streaming platforms, the analysis then discusses the medium-specific implementation of the epidemic discourse based on selected sequences of the series. Finally, it gives a hypothetical outlook on the implied motivations regarding the fictional development of the revolutionary event: through its contrasting exaggeration, the alternate-historical narrative can shed new light on the real historical events.
{"title":"What if? Epidemic discourse and serial narration in the alternate history series La Révolution (2020)","authors":"Anna Isabell Wörsdörfer","doi":"10.1177/09571558211063334","DOIUrl":"https://doi.org/10.1177/09571558211063334","url":null,"abstract":"The article examines the formal and thematic manifestations of seriality in the Netflix series La Révolution, which justifies the revolutionary outbreak in a counterfactual plot with a viral outbreak that turns the nobles into zombie-like monsters. While, on a macrostructural level, the generic frame of alternate history promotes the serial character through the varying repetition of the historical event, the microstructural level of the narration evokes seriality by exponential contagion and spread of the disease as well as an increasing spiral of violence. First, the focus is on the representation of the aristocrat as a monster in pamphlets and caricatures of the revolutionary era. Subsequent to a contextualization of seriality in the age of streaming platforms, the analysis then discusses the medium-specific implementation of the epidemic discourse based on selected sequences of the series. Finally, it gives a hypothetical outlook on the implied motivations regarding the fictional development of the revolutionary event: through its contrasting exaggeration, the alternate-historical narrative can shed new light on the real historical events.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"33 1","pages":"179 - 195"},"PeriodicalIF":0.4,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42288421","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-16DOI: 10.1177/09571558211043233
Wafa Bedjaoui
The main objective of this article is to make the female voice heard in an area of the world where women are discriminated against and prejudiced, despite the progress made regarding their status in status in society. The aim is to demonstrate that the translation of the male discourse produced undergoes fundamental transformations that are the result of choices studied by the translator. She intervenes She intervenes and rewrites the text in her own way, even in the way that allows her to represent herself as a full human being in her own right, not relegated to the background. Through the analysis of samples taken from the work of the Algerian thinker Malek Bennabi “Les conditions de la renaissance” as well as the questioning of the first translation by the Egyptian thinker Abdel Sabbour Chahine, considered reductive and ‘religiously oriented’, we are in line with the feminist approach to translation feminist approach to translation, which advocates taking a stand on the dominant discourse. By invoking some of the methodological tools of Giles' IDRC Model and by referring to the notion of subjectivity developed in the framework of feminism of colour, we proceeded to the analysis of the source and target texts. We found that the doubly masculine discourse (the author and her (the author and his translator) was reproduced differently in the target language by taking into consideration elements that are absent from the source text. The invisibility of the woman in the process since she is considered an object, she passes to the status of visibility through the translational choices, the positions taken, and thus the decisions made.
这篇文章的主要目的是让女性的声音在世界上的一个地区被听到，在这个地区，尽管妇女在社会地位方面取得了进步，但妇女仍然受到歧视和偏见。目的是证明男性话语的翻译经历了根本性的转变，这是译者研究选择的结果。她以自己的方式介入并改写了文本，甚至在这种方式下，她可以把自己表现为一个完整的人，而不是沦落为背景。通过对阿尔及利亚思想家Malek Bennabi的《文艺复兴的条件》(Les conditions de la renaissance)作品样本的分析，以及埃及思想家Abdel Sabbour Chahine对第一译本的质疑，认为这是还原和“宗教导向”的，我们与女权主义翻译观是一致的，女权主义翻译观主张站在主导话语的立场上。通过引用贾尔斯的IDRC模型的一些方法论工具，并参考在有色女性主义框架中发展起来的主体性概念，我们开始对源文本和目标文本进行分析。我们发现，双重男性话语(作者和她(作者和译者))在目的语中通过考虑源语中不存在的因素而得到了不同的再现。女性的不可见性在这个过程中，因为她被认为是一个对象，她通过翻译的选择，所采取的立场，从而做出的决定，进入了可见的状态。
{"title":"La traduction au prisme du genre et de la pensée islamique","authors":"Wafa Bedjaoui","doi":"10.1177/09571558211043233","DOIUrl":"https://doi.org/10.1177/09571558211043233","url":null,"abstract":"The main objective of this article is to make the female voice heard in an area of the world where women are discriminated against and prejudiced, despite the progress made regarding their status in status in society. The aim is to demonstrate that the translation of the male discourse produced undergoes fundamental transformations that are the result of choices studied by the translator. She intervenes She intervenes and rewrites the text in her own way, even in the way that allows her to represent herself as a full human being in her own right, not relegated to the background. Through the analysis of samples taken from the work of the Algerian thinker Malek Bennabi “Les conditions de la renaissance” as well as the questioning of the first translation by the Egyptian thinker Abdel Sabbour Chahine, considered reductive and ‘religiously oriented’, we are in line with the feminist approach to translation feminist approach to translation, which advocates taking a stand on the dominant discourse. By invoking some of the methodological tools of Giles' IDRC Model and by referring to the notion of subjectivity developed in the framework of feminism of colour, we proceeded to the analysis of the source and target texts. We found that the doubly masculine discourse (the author and her (the author and his translator) was reproduced differently in the target language by taking into consideration elements that are absent from the source text. The invisibility of the woman in the process since she is considered an object, she passes to the status of visibility through the translational choices, the positions taken, and thus the decisions made.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"33 1","pages":"91 - 102"},"PeriodicalIF":0.4,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41975358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-08DOI: 10.1177/09571558211042865
Terry J Bradford
This article is the result of research and reflection undertaken in the process of translating Vercoquin et le plancton. Focusing on music-related references in Boris Vian's first published novel, this article will discuss different layers of meaning and a variety of techniques that can be discerned in Vian's punning and wordplay. The complexity and compactness of his writing make for an exceptional case study. Whilst much of the wordplay may justifiably be classed as ‘juvenile’, its many facets also reflect life in Occupied France, document the Zazou movement, voice a manifesto for jazz, and stage playfulness that can be viewed as ranging from the very silly to a form of resistance. Such sophistication – largely overlooked, hitherto – justifies re-evaluation of Vian's early work. Analysis of a number of challenges to translation gives rise to discussion of possible solutions, based on different considerations – genre, function and audience – and using different ‘tools’. This article seeks not to justify my own choices in translation. Rather, it should illustrate the point that research is essential, and that interpretation and creativity are necessary if one's strategy in literary translation is to try to provide a new audience with similar opportunities for their own readings as a Francophone audience might have.
{"title":"Translating Boris Vian's Vercoquin et le plancton: Does it mean a thing if it ain’t got that swing?","authors":"Terry J Bradford","doi":"10.1177/09571558211042865","DOIUrl":"https://doi.org/10.1177/09571558211042865","url":null,"abstract":"This article is the result of research and reflection undertaken in the process of translating Vercoquin et le plancton. Focusing on music-related references in Boris Vian's first published novel, this article will discuss different layers of meaning and a variety of techniques that can be discerned in Vian's punning and wordplay. The complexity and compactness of his writing make for an exceptional case study. Whilst much of the wordplay may justifiably be classed as ‘juvenile’, its many facets also reflect life in Occupied France, document the Zazou movement, voice a manifesto for jazz, and stage playfulness that can be viewed as ranging from the very silly to a form of resistance. Such sophistication – largely overlooked, hitherto – justifies re-evaluation of Vian's early work. Analysis of a number of challenges to translation gives rise to discussion of possible solutions, based on different considerations – genre, function and audience – and using different ‘tools’. This article seeks not to justify my own choices in translation. Rather, it should illustrate the point that research is essential, and that interpretation and creativity are necessary if one's strategy in literary translation is to try to provide a new audience with similar opportunities for their own readings as a Francophone audience might have.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"33 1","pages":"74 - 90"},"PeriodicalIF":0.4,"publicationDate":"2021-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42275377","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-03DOI: 10.1177/09571558211063336
J. Marks
This article considers Alain Ehrenberg's extensive analysis of individualism in contemporary France. It shows how he has traced the emergence of autonomy as a key social value, and it goes on to analyse the distinctive features of Ehrenberg's sociological approach. Unlike many of his contemporaries, Ehrenberg does not regard the growth of individualism in France as a tragic process of anomie and isolation. In fact, he is critical of what he sees as a pervasive French discourse of ‘declinology’, and he has expressed his growing frustration with this perspective more recently in explicitly political terms. Although he acknowledges that autonomy can be burdensome for individuals, he feels that the state should respond to the sociological fact of autonomy by supporting and empowering citizens as autonomous agents. The article concludes by drawing attention to the limitations of this political position.
{"title":"Alain Ehrenberg: Autonomy and empowerment","authors":"J. Marks","doi":"10.1177/09571558211063336","DOIUrl":"https://doi.org/10.1177/09571558211063336","url":null,"abstract":"This article considers Alain Ehrenberg's extensive analysis of individualism in contemporary France. It shows how he has traced the emergence of autonomy as a key social value, and it goes on to analyse the distinctive features of Ehrenberg's sociological approach. Unlike many of his contemporaries, Ehrenberg does not regard the growth of individualism in France as a tragic process of anomie and isolation. In fact, he is critical of what he sees as a pervasive French discourse of ‘declinology’, and he has expressed his growing frustration with this perspective more recently in explicitly political terms. Although he acknowledges that autonomy can be burdensome for individuals, he feels that the state should respond to the sociological fact of autonomy by supporting and empowering citizens as autonomous agents. The article concludes by drawing attention to the limitations of this political position.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"33 1","pages":"105 - 117"},"PeriodicalIF":0.4,"publicationDate":"2021-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41937110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-11DOI: 10.1177/09571558211058848
Silvia Hueso
This article focuses on the novel Les villes assassines ( 2011) by the Martinican writer Alfred Alexandre that shows his decolonial and critical vision of the politics indirectly established from France on overseas territories. The author paints a topography of misery where mafia, drugs and prostitution reign, showing the mechanisms of control and subjection of popular minorities, belonging to the «urban mangrove», whose only way out is, according to the author, a violent position to subvert an order inherited from the slavery regime.
{"title":"Le regard décolonial d’Alfred Alexandre: Les villes assassines ()","authors":"Silvia Hueso","doi":"10.1177/09571558211058848","DOIUrl":"https://doi.org/10.1177/09571558211058848","url":null,"abstract":"This article focuses on the novel Les villes assassines ( 2011) by the Martinican writer Alfred Alexandre that shows his decolonial and critical vision of the politics indirectly established from France on overseas territories. The author paints a topography of misery where mafia, drugs and prostitution reign, showing the mechanisms of control and subjection of popular minorities, belonging to the «urban mangrove», whose only way out is, according to the author, a violent position to subvert an order inherited from the slavery regime.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"33 1","pages":"118 - 134"},"PeriodicalIF":0.4,"publicationDate":"2021-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41350271","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-03DOI: 10.1177/09571558211045052
Irina Rabinovich
This paper aims at unpacking the cultural, historical and political significance behind the representations (including pictures, caricatures, journalistic articles, etc.) and self-representations of Rachel Félix (1821–1858), the first prominent Jewish performer on the French and British and American stage, as a prism which may afford a broader discussion about the literary formations of the figure the Jewish female artist Félix, renowned for her exquisite beauty and daring sensuality, serves as an excellent paradigm of how Jewish artists used and, at times, manipulated their “biblical"/"oriental"/ “sensual” beauty with the aim of promoting their artistic career. My discussion, adopting a New Historicist outlook, also aims at explaining the correlation between such literary formations and their political implications with regards to the representation of Jewish artists. Since the identity of an actress is so obviously “constructed,” and because of the intricate relationship between the Jewishness, artistic vocation and femininity, the figure of Félix provides a direct engagement with a particular set of cultural and political assumptions about Jewish female artists. Looking at Félix's literary and artistic representations by her contemporaries and at her own self-representation as reflected on the stage and in her letters leads us to a better understanding of the relationship between the cultural, political and artistic constructs of Jewish female artists.
{"title":"Unpacking Rachel Félix's “constructed” and “self-constructed” Jewishness","authors":"Irina Rabinovich","doi":"10.1177/09571558211045052","DOIUrl":"https://doi.org/10.1177/09571558211045052","url":null,"abstract":"This paper aims at unpacking the cultural, historical and political significance behind the representations (including pictures, caricatures, journalistic articles, etc.) and self-representations of Rachel Félix (1821–1858), the first prominent Jewish performer on the French and British and American stage, as a prism which may afford a broader discussion about the literary formations of the figure the Jewish female artist Félix, renowned for her exquisite beauty and daring sensuality, serves as an excellent paradigm of how Jewish artists used and, at times, manipulated their “biblical\"/\"oriental\"/ “sensual” beauty with the aim of promoting their artistic career. My discussion, adopting a New Historicist outlook, also aims at explaining the correlation between such literary formations and their political implications with regards to the representation of Jewish artists. Since the identity of an actress is so obviously “constructed,” and because of the intricate relationship between the Jewishness, artistic vocation and femininity, the figure of Félix provides a direct engagement with a particular set of cultural and political assumptions about Jewish female artists. Looking at Félix's literary and artistic representations by her contemporaries and at her own self-representation as reflected on the stage and in her letters leads us to a better understanding of the relationship between the cultural, political and artistic constructs of Jewish female artists.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"33 1","pages":"19 - 39"},"PeriodicalIF":0.4,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42439925","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.1177/09571558211022008
Loukia Efthymiou
Le « professeur femme » est inventé en 1881 par la toute jeune IIIe République dans le cadre d’une entreprise de large envergure visant à la laïcisation du système scolaire français. Soucieux de ne point nuire au succès d’une oeuvre si importante pour la stabilité du régime même, les républicains s’emploient à faire intégrer cet être « hermaphrodite » tenant autant du masculin que du féminin à la norme. Ainsi est façonnée une nouvelle identité féminine aussi paradoxale que complexe dans la mesure où elle concilie deux extrêmes : celui de la nonne laïque entièrement vouée à ses élèves et, par ailleurs, celui de la savante, usurpatrice d’une profession définie au masculin, indépendante certes, mais au prix du sacrifice de sa féminité.
{"title":"Entre « nonne » et « monstre » : images « du professeur femme » dans la France de la Belle Époque","authors":"Loukia Efthymiou","doi":"10.1177/09571558211022008","DOIUrl":"https://doi.org/10.1177/09571558211022008","url":null,"abstract":"Le « professeur femme » est inventé en 1881 par la toute jeune IIIe République dans le cadre d’une entreprise de large envergure visant à la laïcisation du système scolaire français. Soucieux de ne point nuire au succès d’une oeuvre si importante pour la stabilité du régime même, les républicains s’emploient à faire intégrer cet être « hermaphrodite » tenant autant du masculin que du féminin à la norme. Ainsi est façonnée une nouvelle identité féminine aussi paradoxale que complexe dans la mesure où elle concilie deux extrêmes : celui de la nonne laïque entièrement vouée à ses élèves et, par ailleurs, celui de la savante, usurpatrice d’une profession définie au masculin, indépendante certes, mais au prix du sacrifice de sa féminité.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"32 1","pages":"403 - 416"},"PeriodicalIF":0.4,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/09571558211022008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46118755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.1177/09571558211026871
M. Philippe
Cet article propose une réévaluation critique de la notion de corps sans organes dans l’oeuvre d’Antonin Artaud à la lumière des cahiers d’Ivry publiés fin 2011 et dans lesquels Artaud mentionne un nouveau « corps de gloire ». L’auteur commence par préciser la relation entre « le corps sans organes » et la tradition catholique de façon à montrer comment Artaud détourne cette dernière de façon hérétique. Le corps sans organes d’Artaud est ensuite distingué de sa conceptualisation par Gilles Deleuze et Félix Guattari en prenant appui sur des commentaires de Paule Thévenin, qui a édité les Œuvres complètes d’Artaud, ainsi que sur des textes d’Artaud contemporains à l’émission radiophonique qui contredisent la lecture deleuzo-guattarienne. En effet, le corps sans organes d’Artaud est défini de façon explicite en réaction à la psychanalyse freudienne et sa définition hérétique en tant que « corps de gloire » est destinée à s’opposer dans un même geste à la religion ainsi qu’à la psychanalyse.
{"title":"« Corps de gloire » et « corps sans organes » : Artaud médecin de lui-même","authors":"M. Philippe","doi":"10.1177/09571558211026871","DOIUrl":"https://doi.org/10.1177/09571558211026871","url":null,"abstract":"Cet article propose une réévaluation critique de la notion de corps sans organes dans l’oeuvre d’Antonin Artaud à la lumière des cahiers d’Ivry publiés fin 2011 et dans lesquels Artaud mentionne un nouveau « corps de gloire ». L’auteur commence par préciser la relation entre « le corps sans organes » et la tradition catholique de façon à montrer comment Artaud détourne cette dernière de façon hérétique. Le corps sans organes d’Artaud est ensuite distingué de sa conceptualisation par Gilles Deleuze et Félix Guattari en prenant appui sur des commentaires de Paule Thévenin, qui a édité les Œuvres complètes d’Artaud, ainsi que sur des textes d’Artaud contemporains à l’émission radiophonique qui contredisent la lecture deleuzo-guattarienne. En effet, le corps sans organes d’Artaud est défini de façon explicite en réaction à la psychanalyse freudienne et sa définition hérétique en tant que « corps de gloire » est destinée à s’opposer dans un même geste à la religion ainsi qu’à la psychanalyse.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"32 1","pages":"375 - 387"},"PeriodicalIF":0.4,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/09571558211026871","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41425905","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.1177/09571558211021697
Mary Ellen Aronoff, N. Ba
Résumé Des pièces comme Incendies permettent de libérer des voix silencieuses afin qu’elles puissent raconter des histoires de peine et de souffrance, et le théâtre donne un espace sûr pour présenter ces histoires. L’analyse suivante explore le comportement énigmatique de la protagoniste Nawal et cherche à expliquer pourquoi elle a choisi de s’éloigner de son monde et de vivre en silence. Il y a deux côtés à Nawal. Dans son pays natal, elle est une combattante qui ne recule devant rien. Au Canada, toutefois, Nawal est le contraire. Elle apparaît comme timide et effacée. Le silence dans la pièce revêt de nombreuses formes qui méritent une attention particulière et une analyse poussée. En outre, on peut trouver dans ce silence des dichotomies qui cherchent la réconciliation. La lentille à travers laquelle l’analyse est présentée souligne l’importance que les récits de difficultés et de souffrance soient racontés par ceux qui ont un lien direct avec leur propre histoire.
{"title":"Incendies, les sons du silence","authors":"Mary Ellen Aronoff, N. Ba","doi":"10.1177/09571558211021697","DOIUrl":"https://doi.org/10.1177/09571558211021697","url":null,"abstract":"Résumé Des pièces comme Incendies permettent de libérer des voix silencieuses afin qu’elles puissent raconter des histoires de peine et de souffrance, et le théâtre donne un espace sûr pour présenter ces histoires. L’analyse suivante explore le comportement énigmatique de la protagoniste Nawal et cherche à expliquer pourquoi elle a choisi de s’éloigner de son monde et de vivre en silence. Il y a deux côtés à Nawal. Dans son pays natal, elle est une combattante qui ne recule devant rien. Au Canada, toutefois, Nawal est le contraire. Elle apparaît comme timide et effacée. Le silence dans la pièce revêt de nombreuses formes qui méritent une attention particulière et une analyse poussée. En outre, on peut trouver dans ce silence des dichotomies qui cherchent la réconciliation. La lentille à travers laquelle l’analyse est présentée souligne l’importance que les récits de difficultés et de souffrance soient racontés par ceux qui ont un lien direct avec leur propre histoire.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"32 1","pages":"364 - 374"},"PeriodicalIF":0.4,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/09571558211021697","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44055988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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