Pub Date : 2025-12-10DOI: 10.1177/09571558251406512
David Philip Platten
Although Camus's La Chute (1956) is not a popular choice, even among some Camus specialists, Margaret Atack considered it to be one of the finest works of modern French literature. This complex novella is the story of a man purporting to evaluate his own life. As such, it privileges modes of cognition, yet readers are often frustrated as they wrestle with a text in which the usual modalities through which a human life is given substance are undermined. Recent developments in neuroscience allow for a more precise understanding of how individuals make sense of the past and of what determines their choices and actions. This article will draw on Gazzaniga's notion of ‘the interpreter of experience’ (2018) and Smith Churchland's work on altruism genes (2011) to shed new light on the presentation of self, and on the legacy of trauma, in La Chute .
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Pub Date : 2025-10-17DOI: 10.1177/09571558251381551
John Edward Marks
This article considers Sophie Bruneau's documentary Rêver sous le capitalisme (2017) as a significant and distinctive contribution to the field of social dreaming. It shows how Bruneau was inspired by Charlotte Beradt's foundational work The Third Reich of Dreams (1985) to collect and present a series of dreams about the contemporary experience of the neoliberal workplace. These dreams have a manifestly social content and exhibit recurrent themes, which means that they can be interpreted as a collective matrix that provides insight into the effect of work on the psyche. The dreams also have a latent content that provides access to a social unconscious. They register otherwise unarticulated and invisible dynamics, and in doing so they suggest new ways of thinking and resisting in what Hannah Arendt calls ‘dark times’. The article will also explore the ways in which Bruneau's striking use of cinematic composition adds an important aesthetic dimension to the field of social dreaming, constructing an allusive and resonant dreamscape within which affects of exhaustion, trauma and ultimately resistance can circulate.
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Pub Date : 2025-10-15DOI: 10.1177/09571558251379328
Mohamed Semlali
In his trilogy of novels, Abderrahim Kamal revisits the final years of King Hassan II's reign – a period marked by the revelation of the Tazmamart prison, a clandestine facility that became a symbol of state violence, swallowing dozens of lives in anonymity and oblivion. While most of the detainees perished under inhumane conditions, a handful of miraculous survivors emerged after two decades of torture and deprivation, their broken bodies serving as living archives of barbarity. The protagonists of Kamal's trilogy – mostly committed visual artists, painters or sculptors – strive to give form to the unspeakable and to sublimate horror. Through their artistic creations, they probe wounded flesh, recover a scarred memory inscribed on the body itself, and work to rehabilitate the victims by restoring to them a name, a dignity, a story. The artist, depicted as a quasi-Christ-like figure, appears to bear the burden of collective redemption, but this mission comes at the cost of devastating personal sacrifice, leading him to the edge of madness or into the depths of despair. Yet, like other Moroccan prison narratives that confront evil by giving it shape and voice, Kamal's trilogy contributes to a slow but necessary process of reconciliation between Moroccans and their history. It opens a space for memory, recognition, and healing.
{"title":"Skins and rags in Kamal Abderrahim’s fictional trilogy: The body as a parchment of history","authors":"Mohamed Semlali","doi":"10.1177/09571558251379328","DOIUrl":"https://doi.org/10.1177/09571558251379328","url":null,"abstract":"In his trilogy of novels, Abderrahim Kamal revisits the final years of King Hassan II's reign – a period marked by the revelation of the Tazmamart prison, a clandestine facility that became a symbol of state violence, swallowing dozens of lives in anonymity and oblivion. While most of the detainees perished under inhumane conditions, a handful of miraculous survivors emerged after two decades of torture and deprivation, their broken bodies serving as living archives of barbarity. The protagonists of Kamal's trilogy – mostly committed visual artists, painters or sculptors – strive to give form to the unspeakable and to sublimate horror. Through their artistic creations, they probe wounded flesh, recover a scarred memory inscribed on the body itself, and work to rehabilitate the victims by restoring to them a name, a dignity, a story. The artist, depicted as a quasi-Christ-like figure, appears to bear the burden of collective redemption, but this mission comes at the cost of devastating personal sacrifice, leading him to the edge of madness or into the depths of despair. Yet, like other Moroccan prison narratives that confront evil by giving it shape and voice, Kamal's trilogy contributes to a slow but necessary process of reconciliation between Moroccans and their history. It opens a space for memory, recognition, and healing.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"159 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2025-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145295578","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 : 2025-07-14DOI: 10.1177/09571558251358691
Thomas Sutherland
Examining the work of French writer, philosopher, and ‘technocritic’ Éric Sadin, with a particular focus on his fears regarding artificial intelligence systems’ infiltration into numerous facets of human affairs, their imposition of a ‘universal technical principle’ upon all aspects of our lives, and their anthropomorphic and alētheic characteristics, this article argues that whilst Sadin's polemical writings provide a useful corrective to more celebratory accounts of such technological developments, his reliance on an uncritical and largely unexamined humanism detracts from their efficacy. Extolling the virtues of a European tradition of thought centred on an ideal of human agency, mastery, and finitude – in short, self-determination – Sadin posits a benchmark against which any manifestation of the technical ( la technique ) can only appear as an impediment to the full flourishing of our autonomy.
{"title":"Technocritique and its limits: Éric Sadin on human dignity in the face of artificial intelligence","authors":"Thomas Sutherland","doi":"10.1177/09571558251358691","DOIUrl":"https://doi.org/10.1177/09571558251358691","url":null,"abstract":"Examining the work of French writer, philosopher, and ‘technocritic’ Éric Sadin, with a particular focus on his fears regarding artificial intelligence systems’ infiltration into numerous facets of human affairs, their imposition of a ‘universal technical principle’ upon all aspects of our lives, and their anthropomorphic and <jats:italic>alētheic</jats:italic> characteristics, this article argues that whilst Sadin's polemical writings provide a useful corrective to more celebratory accounts of such technological developments, his reliance on an uncritical and largely unexamined humanism detracts from their efficacy. Extolling the virtues of a European tradition of thought centred on an ideal of human agency, mastery, and finitude – in short, self-determination – Sadin posits a benchmark against which any manifestation of the technical ( <jats:italic>la technique</jats:italic> ) can only appear as an impediment to the full flourishing of our autonomy.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"52 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2025-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144622387","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 : 2025-06-23DOI: 10.1177/09571558251338011
Lucy Whelan
In 1934, the painter Balthus (Balthasar Klossowski, 1908–2001) opened his first one-man show in Paris, comprising five erotic and sexually violent scenes involving adolescents and younger children. Over the following decades, he continued to depict girls in ways that art historians and critics have widely discussed as morally problematic. There is no shortage of art historical writing on Balthus, but his work raises a relatively overlooked question for the cultural history of twentieth-century France: how to explain the extraordinary success of an artist whose works depict, in a stylized realism, sexualised scenes involving children? To respond to this question, this article first sketches the limits of interwar French society's toleration when it comes to sexual innocence and adolescence, with a focus on Balthus’s Surrealist milieu. It then interrogates how in 1934 and after, Balthus's work pushed up against those limits and yet largely avoided condemnation. It does so by setting his earlier work against the popularity of the genre of news known as faits divers, and then by examining, in relation to his later work, how his painterly style and approach to depicting adolescents continued to discourage moral questioning. As such, it seeks to approach Balthus anew in an era that demands a more direct scrutiny of any idealisation of sexual exploitation.
{"title":"Nobody's daughters: Balthus and the sexualization of adolescents in interwar France","authors":"Lucy Whelan","doi":"10.1177/09571558251338011","DOIUrl":"https://doi.org/10.1177/09571558251338011","url":null,"abstract":"In 1934, the painter Balthus (Balthasar Klossowski, 1908–2001) opened his first one-man show in Paris, comprising five erotic and sexually violent scenes involving adolescents and younger children. Over the following decades, he continued to depict girls in ways that art historians and critics have widely discussed as morally problematic. There is no shortage of art historical writing on Balthus, but his work raises a relatively overlooked question for the cultural history of twentieth-century France: how to explain the extraordinary success of an artist whose works depict, in a stylized realism, sexualised scenes involving children? To respond to this question, this article first sketches the limits of interwar French society's toleration when it comes to sexual innocence and adolescence, with a focus on Balthus’s Surrealist milieu. It then interrogates how in 1934 and after, Balthus's work pushed up against those limits and yet largely avoided condemnation. It does so by setting his earlier work against the popularity of the genre of news known as faits divers, and then by examining, in relation to his later work, how his painterly style and approach to depicting adolescents continued to discourage moral questioning. As such, it seeks to approach Balthus anew in an era that demands a more direct scrutiny of any idealisation of sexual exploitation.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"7 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2025-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144341018","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 : 2025-06-06DOI: 10.1177/09571558251347038
Murielle El Hajj
This study explores the concept of literary voyeurism as a complex phenomenon, involving the dynamics of observation, power, and ethical responsibility within literary narratives. Drawing on psychoanalytic frameworks from Sigmund Freud, Jacques Lacan, Julia Kristeva, and Jean Bellemin-Noël, this study examines voyeurism not only as an act of observing but as a legitimate and illegitimate mechanism. This article distinguishes the ethical boundaries between the voyeurism of characters—marked by transgression and power imbalance—and that of the reader, positioned as legitimate observer who actively engages in the cocreation of the text. To illustrate these complexities, the study analyzes Marguerite Duras's The Ravishing of Lol V. Stein , a novel where voyeurism functions as both a narrative and thematic centerpiece. Through Lol's compulsive gaze at others and Jack Hold's controlling, voyeuristic narration, the text reveals layered interactions of observation, desire, and identity. Lol's voyeurism, driven by trauma, is contrasted with Jack Hold's manipulative gaze, which objectifies and redefines her within his narrative. Simultaneously, the reader is implicated in a layered voyeuristic act, observing not only the characters but also their acts of voyeurism. The discussion highlights the dual role of voyeurism in literature: as a means of exploring human desire and as a narrative tool that challenges the reader to reflect on his/her ethical engagement with fictional texts. By addressing these dynamics, the article provides insights into the broader implications of voyeurism in literature and its resonance with psychoanalytic and ethical discourse.
本研究探讨文学偷窥作为一种复杂现象的概念，涉及文学叙事中观察、权力和伦理责任的动态。借鉴西格蒙德·弗洛伊德、雅克·拉康、朱莉娅·克里斯蒂娃和让·Bellemin-Noël的精神分析框架，本研究不仅将窥阴癖视为一种观察行为，还将其视为一种合法和非法的机制。本文区分了以越轨和权力不平衡为标志的人物偷窥和作为积极参与文本共同创造的合法观察者的读者偷窥的道德界限。为了说明这些复杂性，该研究分析了玛格丽特·杜拉斯（Marguerite Duras）的《迷人的Lol V. Stein》（the Ravishing of Lol V. Stein），在这部小说中，窥淫癖既是叙事的中心，也是主题的中心。通过《英雄联盟》对他人的强迫性凝视和Jack Hold的控制、偷窥性叙述，文本揭示了观察、欲望和身份的多层次互动。在创伤的驱使下，Lol的偷窥癖与Jack Hold的操纵性凝视形成对比，后者在他的叙述中物化并重新定义了她。与此同时，读者被卷入一种分层的窥阴行为，不仅观察人物，而且观察他们的窥阴行为。讨论强调了偷窥在文学中的双重作用：作为一种探索人类欲望的手段，作为一种叙事工具，挑战读者反思他/她对虚构文本的道德参与。通过解决这些动态，文章提供了对文学中窥阴癖的更广泛含义及其与精神分析和伦理话语的共鸣的见解。
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Pub Date : 2025-05-26DOI: 10.1177/09571558251339443
Minho Kim
From the 1980s onwards, Derrida began writing numerous experimental and playful texts, particularly in the form of prefaces. This article first explores why Derrida uses the preface as a textual laboratory, then shows that, after ‘the end of the book’, the preface is both an impossible mode of writing and the only permitted mode of writing. Derrida takes Hegel as both a precursor and an adversary: Hegel sought to sublate the preface for different reasons than Derrida but had to write even more prefaces to do so. By analyzing Derrida's reading of this performative contradiction in Hegel, the article clarifies why Derrida is obsessed with the desire to incessantly preface. Finally, the article situates Derrida's ‘incessant preface’ within the broader context of the development of deconstruction, often referred to as a ‘turn’.
{"title":"La fin du livre et la « préface incessante » de Derrida","authors":"Minho Kim","doi":"10.1177/09571558251339443","DOIUrl":"https://doi.org/10.1177/09571558251339443","url":null,"abstract":"From the 1980s onwards, Derrida began writing numerous experimental and playful texts, particularly in the form of prefaces. This article first explores why Derrida uses the preface as a textual laboratory, then shows that, after ‘the end of the book’, the preface is both an impossible mode of writing and the only permitted mode of writing. Derrida takes Hegel as both a precursor and an adversary: Hegel sought to sublate the preface for different reasons than Derrida but had to write even more prefaces to do so. By analyzing Derrida's reading of this performative contradiction in Hegel, the article clarifies why Derrida is obsessed with the desire to incessantly preface. Finally, the article situates Derrida's ‘incessant preface’ within the broader context of the development of deconstruction, often referred to as a ‘turn’.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"158 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2025-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144145562","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 : 2025-03-14DOI: 10.1177/09571558241305526
Taryn Marcelino
In this article, I build off the critical work that has engaged with the history of Nantes and the larger question of memorialization in Europe. I analyze the Memorial to the Abolition of Slavery, celebrated as Nantes’ recognition of their colonial past and France's journey to abolition. In my analysis of the Memorial, I consider what is being communicated through the memorial, and the stakes it holds for municipal and local actors in the memory scene. Utilizing a textual and visual analysis of the memorial, I analyze the choices made for the memorial, who is interpellated within its narratives, and how ultimately, the monument is a tool of disavowal for the city of Nantes even as they take steps to reckon with the role in the transatlantic slave trade. I argue that Nantes, through the Memorial to the Abolition of Slavery, utilizes a humanitarian narrative to avoid guilt for its pivotal role in the slave trade and to link itself to larger Europe as a cosmopolitan, artistic city that has cleansed itself from its sins.
{"title":"Memorial to the Abolition of Slavery: Nantes’ journey to reckoning with their colonial past","authors":"Taryn Marcelino","doi":"10.1177/09571558241305526","DOIUrl":"https://doi.org/10.1177/09571558241305526","url":null,"abstract":"In this article, I build off the critical work that has engaged with the history of Nantes and the larger question of memorialization in Europe. I analyze the Memorial to the Abolition of Slavery, celebrated as Nantes’ recognition of their colonial past and France's journey to abolition. In my analysis of the Memorial, I consider what is being communicated through the memorial, and the stakes it holds for municipal and local actors in the memory scene. Utilizing a textual and visual analysis of the memorial, I analyze the choices made for the memorial, who is interpellated within its narratives, and how ultimately, the monument is a tool of disavowal for the city of Nantes even as they take steps to reckon with the role in the transatlantic slave trade. I argue that Nantes, through the Memorial to the Abolition of Slavery, utilizes a humanitarian narrative to avoid guilt for its pivotal role in the slave trade and to link itself to larger Europe as a cosmopolitan, artistic city that has cleansed itself from its sins.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"92 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2025-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143627385","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 : 2025-02-26DOI: 10.1177/09571558241270430
Gustaf Marcus
This article discusses literary texts and other cultural practices that resemble, refer to, or make use of material from Google Earth. The aim is to elucidate experiences of glocalization (globalization and localization), an emerging form of spatiality that is related to the interactive ‘Web 2.0.’ The initial analysis of the browser game GeoGuessr and the interactive music video ‘The Wilderness Downtown’ explores this spatiality from two opposing starting points: while the game fosters a sense of place within locales that are essentially unknown to the player, the music video integrates images from places that are related to the viewer's personal memories into an otherwise impersonal work of art. This glocalized experience of place, which is both eroded by global systems of communication and recreated within these systems, is then traced in Marie Darrieussecq's novel La mer à l’envers and in several works, including novels, poems, and photographs, by Michel Houellebecq.
本文讨论了与谷歌地球相似、参考或利用谷歌地球资料的文学文本和其他文化实践。其目的是阐释与交互式 "Web 2.0 "相关的新兴空间性形式--"全球化与本地化"（glocalization）的经验。对浏览器游戏《GeoGuessr》和互动音乐视频《The Wilderness Downtown》的初步分析从两个截然相反的出发点探讨了这种空间性：游戏在玩家基本上不了解的地方培养了一种地方感，而音乐视频则将与观众个人记忆有关的地方的图像融入了原本不具个性的艺术作品中。玛丽-达里厄塞克（Marie Darrieussecq）的小说《La mer à l'envers》以及米歇尔-乌尔勒贝克（Michel Houellebecq）的多部作品，包括小说、诗歌和摄影作品，都追溯了这种既被全球通信系统侵蚀又在这些系统中得以重现的地域化体验。
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Pub Date : 2025-02-19DOI: 10.1177/09571558241264983
Hicham Belhaj
Cet article examine la représentation de la mort dans sept romans de Mahi Binebine, Le sommeil de l’esclave (1992), Les funérailles du lait (1994), L’ombre du poète (1997), Cannibales, (1999), Pollens (1999), Terre d’ombre brûlée (2004), et Les étoiles de Sidi Moumen (2010). En s’appuyant sur une approche phénoménologique, l'étude se concentre sur les perceptions et les réactions des personnages face à la mort, explorant ainsi les implications philosophiques et existentielles. Le cheminement méthodologique en six étapes guide l'analyse, mettant en lumière la complexité du thème de la mort et sa relation avec la réalité contemporaine du Maroc. L'auteur émerge comme un visionnaire, capturant les nuances de la condition humaine à travers une écriture qui transcende la simple narration, offrant une réflexion profonde sur la vie, la mort et la société marocaine.
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