Pub Date : 2024-08-16DOI: 10.1177/09571558241270409
Daniel N. Maroun
This article unveils how the French political ideology of universalism benefits from the perpetual racialization of others. Drawing from various definitions and understandings of racial capitalism, I demonstrate how the success of universalism relies on the racialization of French society to strengthen its homogenizing cultural hegemony. Cedric Robinson notes that European civilization has historically demonstrated a tendency to differentiate social, cultural, and linguistic differences along racial lines and therefore becomes a distinctive subject of how racism and capitalism intersect in the form of a political ideology. I understand racial capitalism as a process where one derives social or economic value from the racial identity of another person. In this manner, I propose that universalism gains social and economic value by maintaining a racialized and differentiated social and working consciousness. To reinforce these observations, this article will examine various cultural events of the early 21st century where individuals of color and their labor are positioned as profitable entities for the Republic. These examples will highlight how certain French political agents employ universalism to assign socially tangible value to non-White bodies who adopt Republican values. The essay unfolds over three sections: firstly, an overview of the French universalist model and its contemporary crisis in light of a postimperial, pluralistic society; secondly, a theoretical reading of how racial capitalism and universalism intersect to produce and reproduce systemic inequalities that universalism purports to erase; and lastly, an analysis of various cultural examples that showcase how the institution of universalism, a cultural superstructure, depends on the infrastructure of non-White bodies to maintain its hegemony.
{"title":"French universalist disparities: A racial capitalist reading of French universalism","authors":"Daniel N. Maroun","doi":"10.1177/09571558241270409","DOIUrl":"https://doi.org/10.1177/09571558241270409","url":null,"abstract":"This article unveils how the French political ideology of universalism benefits from the perpetual racialization of others. Drawing from various definitions and understandings of racial capitalism, I demonstrate how the success of universalism relies on the racialization of French society to strengthen its homogenizing cultural hegemony. Cedric Robinson notes that European civilization has historically demonstrated a tendency to differentiate social, cultural, and linguistic differences along racial lines and therefore becomes a distinctive subject of how racism and capitalism intersect in the form of a political ideology. I understand racial capitalism as a process where one derives social or economic value from the racial identity of another person. In this manner, I propose that universalism gains social and economic value by maintaining a racialized and differentiated social and working consciousness. To reinforce these observations, this article will examine various cultural events of the early 21st century where individuals of color and their labor are positioned as profitable entities for the Republic. These examples will highlight how certain French political agents employ universalism to assign socially tangible value to non-White bodies who adopt Republican values. The essay unfolds over three sections: firstly, an overview of the French universalist model and its contemporary crisis in light of a postimperial, pluralistic society; secondly, a theoretical reading of how racial capitalism and universalism intersect to produce and reproduce systemic inequalities that universalism purports to erase; and lastly, an analysis of various cultural examples that showcase how the institution of universalism, a cultural superstructure, depends on the infrastructure of non-White bodies to maintain its hegemony.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"143 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-08-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141994514","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 : 2024-07-23DOI: 10.1177/09571558241262682
Omotayo Ajileye Jemiluyi
Revered as one of the principal figures of contemporary African literature and one of the greatest francophone writers, the celebrated Ivorian author; Ahmadou Kourouma, is renowned for his criticism of colonial machination, Africa's political and social structure, and satirical writings. In his selected works for this study—“Allah n’est pas obligé” and “Soleils des indépendances,” he profoundly explores and examines the arduous journey of the boy-child and manhood and how they grapple with societal pressures, expectations, challenges, exploitations, and conflicts. More so, he expounds the complexities of masculinity and the challenges of being a “man” in an African society. Thus, this study comprehensively explores the narratives of Kourouma and punctiliously investigates how they illume the intricacies of masculinity and the course of the boy-child. By adopting literary analysis, this study anatomizes the plotlines and characters within the selected works of the Ivorian prodigy and elucidates how the tribulations of the boy-child and the man are vividly depicted. It probes the societal expectations, identity crises, and emotional turmoil linked to these characters who struggle to navigate the turbulent pathway to manhood. Additionally, it spills the allegorical significance of “original sufferhead,” a musical piece from the legendary Fela Anikulapo Kuti, serving as a puissant metaphor that captures the struggles of the boy and the man in a failing society.
{"title":"“Original sufferhead”: The boy-child and masculine sufferings in Ahmadou Kourouma’s Allah n’est pas obligé and Les Soleils des Indépendances","authors":"Omotayo Ajileye Jemiluyi","doi":"10.1177/09571558241262682","DOIUrl":"https://doi.org/10.1177/09571558241262682","url":null,"abstract":"Revered as one of the principal figures of contemporary African literature and one of the greatest francophone writers, the celebrated Ivorian author; Ahmadou Kourouma, is renowned for his criticism of colonial machination, Africa's political and social structure, and satirical writings. In his selected works for this study—“Allah n’est pas obligé” and “Soleils des indépendances,” he profoundly explores and examines the arduous journey of the boy-child and manhood and how they grapple with societal pressures, expectations, challenges, exploitations, and conflicts. More so, he expounds the complexities of masculinity and the challenges of being a “man” in an African society. Thus, this study comprehensively explores the narratives of Kourouma and punctiliously investigates how they illume the intricacies of masculinity and the course of the boy-child. By adopting literary analysis, this study anatomizes the plotlines and characters within the selected works of the Ivorian prodigy and elucidates how the tribulations of the boy-child and the man are vividly depicted. It probes the societal expectations, identity crises, and emotional turmoil linked to these characters who struggle to navigate the turbulent pathway to manhood. Additionally, it spills the allegorical significance of “original sufferhead,” a musical piece from the legendary Fela Anikulapo Kuti, serving as a puissant metaphor that captures the struggles of the boy and the man in a failing society.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"65 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141755362","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 : 2024-07-21DOI: 10.1177/09571558241264974
Ian Williams Curtis
This article offers a critical analysis of “the Fabrègues Affair” (2022), a case of youth violence in which two twelve-year-old girls carried out a series of stabbings, resulting in the death of one of their fathers. What was initially viewed as a simple “family tragedy [ drame intrafamilial]” ballooned into a national conversation when the girls claimed, after their arrest, that their violent act had been inspired by “creepypasta,” crowdsourced online horror fictions and videos. While the crime, in its purported relation to digital forms of storytelling, appears eminently specific to the present moment, and while news coverage consistently emphasized the girls’ femininity and sexual orientation in an apparent attempt to further sensationalize their act, the conventional wisdom, as it appears in media coverage of the case, exposes a striking reliance among commentators on outdated psychoanalytic models that do not attend to the specificities of the moment, or to questions of gender and sexuality. This article explores how theories of the relationship between imitation and aggression have been applied in “the Fabrègues Affair” before proposing alternative feminist approaches to understanding the social phenomenon of violent behaviors among girls who appear to draw inspiration from imaginary monsters. In doing so, it aims to contribute new perspectives, drawn from feminist theory and horror studies, to girlhood and childhood studies in the contemporary French context.
{"title":"Creepypasta and “the Fabrègues Affair”: Imitation and aggression in a recent case of youth violence","authors":"Ian Williams Curtis","doi":"10.1177/09571558241264974","DOIUrl":"https://doi.org/10.1177/09571558241264974","url":null,"abstract":"This article offers a critical analysis of “the Fabrègues Affair” (2022), a case of youth violence in which two twelve-year-old girls carried out a series of stabbings, resulting in the death of one of their fathers. What was initially viewed as a simple “family tragedy [ drame intrafamilial]” ballooned into a national conversation when the girls claimed, after their arrest, that their violent act had been inspired by “creepypasta,” crowdsourced online horror fictions and videos. While the crime, in its purported relation to digital forms of storytelling, appears eminently specific to the present moment, and while news coverage consistently emphasized the girls’ femininity and sexual orientation in an apparent attempt to further sensationalize their act, the conventional wisdom, as it appears in media coverage of the case, exposes a striking reliance among commentators on outdated psychoanalytic models that do not attend to the specificities of the moment, or to questions of gender and sexuality. This article explores how theories of the relationship between imitation and aggression have been applied in “the Fabrègues Affair” before proposing alternative feminist approaches to understanding the social phenomenon of violent behaviors among girls who appear to draw inspiration from imaginary monsters. In doing so, it aims to contribute new perspectives, drawn from feminist theory and horror studies, to girlhood and childhood studies in the contemporary French context.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"44 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141736857","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 : 2024-06-05DOI: 10.1177/09571558241258203
Chan-Kyu Lee, Yoon-Jung Cho
This paper investigates the diplomatic ties between Chosŏn and France during the Kaehwagi period, an enlightenment era in the Chosŏn Dynasty, through a comparative study of historical novels by Korean writers Kim T’akhwan and Sin Kyŏngsuk. Both authors feature Li Tsin, the first woman of her time to travel to Europe, who undergoes a transformative journey from a conservative Chosŏn lady to a modern, independent figure under the influence of French culture. The paper examines how Li's story reflects the complexities of a society caught between imperial powers and the role of modern Western culture in Korea. By analyzing the perspectives of major contemporary Korean writers on the notion of “the Other,” which represents the West and French modern culture, the study explores the significance of Li Tsin's life experiences and their impact on Korea's perception of the West. The paper aims to uncover the post-Eurocentric perspectives that have persisted from the Kaehwagi period to the present, and how the contemporary culture of France allowed for independent reflection, breaking romantic conventions and enabling an autonomous reception of French culture in Korea.
{"title":"Cultural encounters between Kaehwagi Chosŏn and modern France represented in the works of Kim T’akhwan and Sin Kyŏngsuk","authors":"Chan-Kyu Lee, Yoon-Jung Cho","doi":"10.1177/09571558241258203","DOIUrl":"https://doi.org/10.1177/09571558241258203","url":null,"abstract":"This paper investigates the diplomatic ties between Chosŏn and France during the Kaehwagi period, an enlightenment era in the Chosŏn Dynasty, through a comparative study of historical novels by Korean writers Kim T’akhwan and Sin Kyŏngsuk. Both authors feature Li Tsin, the first woman of her time to travel to Europe, who undergoes a transformative journey from a conservative Chosŏn lady to a modern, independent figure under the influence of French culture. The paper examines how Li's story reflects the complexities of a society caught between imperial powers and the role of modern Western culture in Korea. By analyzing the perspectives of major contemporary Korean writers on the notion of “the Other,” which represents the West and French modern culture, the study explores the significance of Li Tsin's life experiences and their impact on Korea's perception of the West. The paper aims to uncover the post-Eurocentric perspectives that have persisted from the Kaehwagi period to the present, and how the contemporary culture of France allowed for independent reflection, breaking romantic conventions and enabling an autonomous reception of French culture in Korea.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"30 12","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141385135","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 : 2024-06-05DOI: 10.1177/09571558241246957
Isaac Ekobo, George S. MacLeod
This article examines the portrayal of race in two iconic French television series, H and Platane, exploring how they negotiate racial stereotypes within the context of France's purportedly colorblind society. Through a comparative analysis, we analyze the comedic strategies employed by these shows, drawing on humor theory to elucidate the dynamics of superiority and relief in laughter. While H often reinforces racial stereotypes under the guise of criticizing racist speech, Platane adopts a more nuanced approach, inviting viewers to engage with the complexities of racial discourse. By contextualizing these representations within France's sociopolitical landscape, we demonstrate the evolving nature of race talk in French television and its implications for broader societal attitudes. This study underscores the significance of television comedy as a space for both reflecting and potentially challenging cultural norms surrounding race and identity.
{"title":"Laughing about race in “colorblind” France: Racial stereotypes in French television comedy","authors":"Isaac Ekobo, George S. MacLeod","doi":"10.1177/09571558241246957","DOIUrl":"https://doi.org/10.1177/09571558241246957","url":null,"abstract":"This article examines the portrayal of race in two iconic French television series, H and Platane, exploring how they negotiate racial stereotypes within the context of France's purportedly colorblind society. Through a comparative analysis, we analyze the comedic strategies employed by these shows, drawing on humor theory to elucidate the dynamics of superiority and relief in laughter. While H often reinforces racial stereotypes under the guise of criticizing racist speech, Platane adopts a more nuanced approach, inviting viewers to engage with the complexities of racial discourse. By contextualizing these representations within France's sociopolitical landscape, we demonstrate the evolving nature of race talk in French television and its implications for broader societal attitudes. This study underscores the significance of television comedy as a space for both reflecting and potentially challenging cultural norms surrounding race and identity.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"314 12","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141386176","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 : 2024-04-05DOI: 10.1177/09571558241243013
Sam Ridout
French electroacoustic music in the post-war decades has typically been associated with a high modernism that spurned popular or mass culture. This article situates electroacoustic music in the late 1960s and 1970s in relation to the transformation of the cultural field in this period, which unsettled clear divisions between high and low cultures. Attending in particular to the question of subjectivity as it appears in the theoretical writings of the composers Pierre Schaeffer and François Bayle, the article aligns Bayle's thinking with that of contemporary writers including Julia Kristeva and Roland Barthes, who launched a critique of the Enlightenment subject. This theoretical nexus suggests that Bayle's L’Expérience acoustique (1969–1972) posits a form of subjectivity closer to the psychedelic counterculture than to the sober listening of Schaeffer's writings. In unsettling the Schaefferian listening subject, the piece opens itself to a heterogeneous listening, the social consequences of which remain significant today.
{"title":"Freak out! At the acousmonium: François Bayle and the dynamics of the subject","authors":"Sam Ridout","doi":"10.1177/09571558241243013","DOIUrl":"https://doi.org/10.1177/09571558241243013","url":null,"abstract":"French electroacoustic music in the post-war decades has typically been associated with a high modernism that spurned popular or mass culture. This article situates electroacoustic music in the late 1960s and 1970s in relation to the transformation of the cultural field in this period, which unsettled clear divisions between high and low cultures. Attending in particular to the question of subjectivity as it appears in the theoretical writings of the composers Pierre Schaeffer and François Bayle, the article aligns Bayle's thinking with that of contemporary writers including Julia Kristeva and Roland Barthes, who launched a critique of the Enlightenment subject. This theoretical nexus suggests that Bayle's L’Expérience acoustique (1969–1972) posits a form of subjectivity closer to the psychedelic counterculture than to the sober listening of Schaeffer's writings. In unsettling the Schaefferian listening subject, the piece opens itself to a heterogeneous listening, the social consequences of which remain significant today.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"55 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140534141","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 : 2024-04-02DOI: 10.1177/09571558241240716
Mohamed Chamekh
This article makes use of James Scott's theory of ‘hidden transcripts’ to study cultural works and relevant writings that document the history of the carceral in Tunisia. It contends that prisoners found in songs and writings hidden transcripts to resist authoritarianism, to denounce the miscarriage of justice and to communicate with the outside world. Prisoner cultural works and writings show that the prisoner agency changed the carceral site into a secure social space to resist oppression and authoritarianism. Using Gaston Bachelard's conception of the house, we found that the prison cell had the value of a ‘house’ for memories, thoughts, imaginations and dreams. This paper concludes that prisoner songs and writings served as a counternarrative that helped in developing a different version of Tunisian modern history.
{"title":"The carceral in Tunisian popular culture","authors":"Mohamed Chamekh","doi":"10.1177/09571558241240716","DOIUrl":"https://doi.org/10.1177/09571558241240716","url":null,"abstract":"This article makes use of James Scott's theory of ‘hidden transcripts’ to study cultural works and relevant writings that document the history of the carceral in Tunisia. It contends that prisoners found in songs and writings hidden transcripts to resist authoritarianism, to denounce the miscarriage of justice and to communicate with the outside world. Prisoner cultural works and writings show that the prisoner agency changed the carceral site into a secure social space to resist oppression and authoritarianism. Using Gaston Bachelard's conception of the house, we found that the prison cell had the value of a ‘house’ for memories, thoughts, imaginations and dreams. This paper concludes that prisoner songs and writings served as a counternarrative that helped in developing a different version of Tunisian modern history.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"260 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140533250","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 : 2024-03-18DOI: 10.1177/09571558241236914
Eva-Maria Aigner
How to speak of wounding, of survival? Regarding a new “recently adopted apocalyptic tone in philosophy” and the multiple crises of the twenty-first century this question, which has shaped Occidental philosophy after Auschwitz, seems to have gained increased urgency. In her book “The New Wounded” (orig. 2007) Malabou addresses this question of the (im)possibility of the symbolization of traumatic injuries. The paper develops Malabou's understanding of survival as dis-continuity and the problem of the speechlessness of the survivor implicit to it: What can, in fact, be said, when the “in-dividual” is suspended from the chronological order of time and its mode of survival consists precisely in this suspension? By also considering the work of Dufourmantelle and Derrida on this matter, I intend to open up a yet underexplored perspective on deconstruction's contribution to a thinking of survival.
{"title":"Survival and speechlessness in Malabou: Oedipus or Eurydice?*","authors":"Eva-Maria Aigner","doi":"10.1177/09571558241236914","DOIUrl":"https://doi.org/10.1177/09571558241236914","url":null,"abstract":"How to speak of wounding, of survival? Regarding a new “recently adopted apocalyptic tone in philosophy” and the multiple crises of the twenty-first century this question, which has shaped Occidental philosophy after Auschwitz, seems to have gained increased urgency. In her book “The New Wounded” (orig. 2007) Malabou addresses this question of the (im)possibility of the symbolization of traumatic injuries. The paper develops Malabou's understanding of survival as dis-continuity and the problem of the speechlessness of the survivor implicit to it: What can, in fact, be said, when the “in-dividual” is suspended from the chronological order of time and its mode of survival consists precisely in this suspension? By also considering the work of Dufourmantelle and Derrida on this matter, I intend to open up a yet underexplored perspective on deconstruction's contribution to a thinking of survival.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"3 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140162171","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 : 2024-03-07DOI: 10.1177/09571558241231735
Ève Morisi
‘Annie Ernaux: Politics lived and written’ starts by outlining the aim and key terms of this special issue of French Cultural Studies dedicated to ‘Annie Ernaux: Writing, Politics’. It then provides an overview of her life, highlighting some of the ways in which the writer, who was born in 1940, experienced or witnessed first-hand the historical events, legal pressures, and socio-political realities of her era. There follows a reminder of the two prevalent concerns that have structured her work, namely ‘le mépris social’ and ‘la domination masculine’, both of which pertain to ‘ le politique’. ‘ La politique’ being also subject to examination in the articles in this issue, the politics of Ernaux – the citizen and the writer – is subsequently surveyed and consideration is given to the author's will to distinguish it from the ‘political action of literary writing’. Finally, this introduction examines the processes of representation and self-positioning that shape the political in Ernaux's prose. A concluding section provides an overview of the nine contributions brought together here.
{"title":"Annie Ernaux: politics lived and written","authors":"Ève Morisi","doi":"10.1177/09571558241231735","DOIUrl":"https://doi.org/10.1177/09571558241231735","url":null,"abstract":"‘Annie Ernaux: Politics lived and written’ starts by outlining the aim and key terms of this special issue of French Cultural Studies dedicated to ‘Annie Ernaux: Writing, Politics’. It then provides an overview of her life, highlighting some of the ways in which the writer, who was born in 1940, experienced or witnessed first-hand the historical events, legal pressures, and socio-political realities of her era. There follows a reminder of the two prevalent concerns that have structured her work, namely ‘le mépris social’ and ‘la domination masculine’, both of which pertain to ‘ le politique’. ‘ La politique’ being also subject to examination in the articles in this issue, the politics of Ernaux – the citizen and the writer – is subsequently surveyed and consideration is given to the author's will to distinguish it from the ‘political action of literary writing’. Finally, this introduction examines the processes of representation and self-positioning that shape the political in Ernaux's prose. A concluding section provides an overview of the nine contributions brought together here.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"91 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140064351","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 : 2024-02-21DOI: 10.1177/09571558231214821
Aurélie Adler
RésuméLauréate du Prix Nobel, Annie Ernaux est une écrivaine consacrée mais elle est en outre considérée comme une représentante des dominé.e.s, avec toutes les ambiguïtés que ce terme de « représentante » recouvre. Si la réception de l’œuvre demeure clivée en France, force est de constater que le programme qui a en partie guidé l’œuvre d’Ernaux – « venger ma race et venger mon sexe » – participe d’une conception politique de la littérature qui peut prendre une valeur prescriptive ou incitative pour des écrivain.e.s transfuges de classe et/ou féministes. Par leurs commentaires critiques, ces écrivain.e.s infléchissent la lecture de l’œuvre – par l’autrice mais aussi par les lecteurs ordinaires – qui confère une utilité sociale à la « transgression » esthétique prêtée à la prose d’Ernaux.
{"title":"Ernaux vue par les écrivain.e.s transfuges et/ou féministes : littérature et insoumission","authors":"Aurélie Adler","doi":"10.1177/09571558231214821","DOIUrl":"https://doi.org/10.1177/09571558231214821","url":null,"abstract":"RésuméLauréate du Prix Nobel, Annie Ernaux est une écrivaine consacrée mais elle est en outre considérée comme une représentante des dominé.e.s, avec toutes les ambiguïtés que ce terme de « représentante » recouvre. Si la réception de l’œuvre demeure clivée en France, force est de constater que le programme qui a en partie guidé l’œuvre d’Ernaux – « venger ma race et venger mon sexe » – participe d’une conception politique de la littérature qui peut prendre une valeur prescriptive ou incitative pour des écrivain.e.s transfuges de classe et/ou féministes. Par leurs commentaires critiques, ces écrivain.e.s infléchissent la lecture de l’œuvre – par l’autrice mais aussi par les lecteurs ordinaires – qui confère une utilité sociale à la « transgression » esthétique prêtée à la prose d’Ernaux.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"53 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139994769","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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