Pub Date : 2024-02-13DOI: 10.1177/09571558231214678
Lyn Thomas
The documents added to the new edition of Ernaux's Retour à Yvetot (2013, 2022), written during her student years, represent the process and affects of class transition, without the benefits of hindsight, experience, and the readings in sociology, particularly of Bourdieu, that inform her literary texts. I analyse them here both in relation to Ernaux's published works, particularly La Honte and Mémoire de fille and to the letters I wrote at a similar period and phase of my life, as a first-generation student at St Hugh's College, Oxford in the early 70s. At the time, like Annie Duchesne, 1 I had no political or sociological understanding of my experience; reading Ernaux 20 years later in the early 90s was a literary epiphany, illuminating my trajectory from a working-class culture of origin to a middle-class life and career. My engagement with Ernaux over 30 years has also involved a continuous correspondence with the writer, which I draw on here, illustrating the blurred boundaries between intimacy and research discussed by Fraser and Puwar (2008) . This mise en scène of my reading self is placed within the context of the wider communities of class migrant readers of Ernaux: the lay readers studied by myself and Isabelle Charpentier, Ernaux specialists in academe, and the younger writers discussed by Aurélie Adler in this special issue.
新版埃尔诺《伊维托的回望》（Retour à Yvetot，2013 年，2022 年）中添加的文件是她在学生时代写下的，代表了阶级转变的过程和影响，没有事后诸葛亮、经验和社会学阅读，特别是布尔迪厄的阅读，这些都为她的文学文本提供了参考。在此，我将结合埃尔诺已出版的作品，尤其是《La Honte》和《Mémoire de fille》，以及我在 70 年代初作为牛津大学圣休学院的第一代学生，在人生的类似时期和阶段所写的信件，对它们进行分析。当时，我和安妮-杜塞恩（Annie Duchesne）1 一样，对自己的经历没有任何政治或社会学方面的理解；20 年后的 90 年代初读埃尔诺，让我在文学上顿悟，照亮了我从工人阶级文化背景到中产阶级生活和事业的轨迹。30 多年来，我与埃尔诺的交往还包括与作家持续不断的通信，我在此借鉴了这些通信，说明了弗雷泽和普瓦尔（Fraser and Puwar，2008 年）所讨论的亲密关系与研究之间的模糊界限。我阅读自我的这一场景被置于更广泛的厄尔诺阶级移民读者群体的背景之下：我和伊莎贝尔-夏彭蒂耶研究的非专业读者、学术界的厄尔诺专家，以及奥雷利-阿德勒在本特刊中讨论的年轻作家。
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Pub Date : 2024-02-13DOI: 10.1177/09571558231214394
Maryline Heck
Résumé La volonté de faire une littérature qui soit, en quelque manière, politique est constamment réaffirmée tout au long du parcours d’écrivaine d’Annie Ernaux. En puisant surtout dans ses écrits réflexifs et déclarations lors d’entretiens, on s’attache à proposer un essai de « situation théorique » des discours méta-poétiques de l’autrice touchant à cette question du politique, afin de voir quelles théorisations de l’engagement ils sous-tendent, ou auxquelles ils puisent, et d’en dégager les éventuelles ambivalences ou apories. L’autrice, comme la critique universitaire, a mis l’accent à raison sur l’influence de ses lectures sociologiques et particulièrement bourdieusiennes. On voudrait montrer ici dans quelle mesure « l’engagement » de la littérature tel qu’Ernaux le conçoit semble devoir aussi aux théorisations sartriennes, dont Ernaux ne se revendique pas, mais dont elle paraît retrouver certains des gestes et des conceptions. Il s’agirait ainsi de compliquer un peu l’approche du politique chez Ernaux en interrogeant certains de ses soubassements et impensés.
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Pub Date : 2024-02-13DOI: 10.1177/09571558241231180
M. Ramakrishnan
Mariette Monpierre's and Michel Reinette’s 2022 documentary, Les Derniers Blancs Matignon de Guadeloupe, and Estelle-Sarah Bulle’s 2018 novel, Là, où les chien aboient par la queue emblematize the complexities involved in reimagining postcolonial identities in Guadeloupe, especially that of the Blancs-Matignon. They are a mostly White, endogamous, and isolated group who have had a discreet existence in the thickly forested inland region of Grands-Fonds du Moule since the late 1600s. Through an analysis of the documentary and parts of the novel, the article explores historical, cultural, and linguistic convergences between the Blancs-Matignon and the majority Black and mixed-race population of Guadeloupe. The identity politics of weaving the narratives of the Blancs-Matignon into the matrix of Guadeloupe's contemporary society will also be examined.
玛丽埃特-蒙皮耶尔（Mariette Monpierre）和米歇尔-莱内特（Michel Reinette）于 2022 年拍摄的纪录片《瓜德罗普岛的白种马蒂尼翁》（Les Derniers Blancs Matignon de Guadeloupe）以及埃斯特尔-萨拉-布尔（Estelle-Sarah Bulle）于 2018 年创作的小说《Là, où les chien aboient par la queue》象征着重新想象瓜德罗普岛后殖民身份所涉及的复杂性，尤其是白种马蒂尼翁人的身份。自 1600 年代末以来，他们一直生活在森林茂密的内陆地区 Grands-Fonds du Moule，他们大多是白人，与世隔绝。通过对纪录片和小说部分内容的分析，文章探讨了白马提翁人与瓜德罗普岛上大多数黑人和混血人口之间在历史、文化和语言上的趋同性。文章还将探讨将布朗斯-马蒂尼翁人的叙事编织到瓜德罗普岛当代社会矩阵中的身份政治。
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Pub Date : 2024-01-05DOI: 10.1177/09571558231224663
Maddison Sumner
In 2014, philosopher Chantal Jaquet coined the term transclasse to describe a person who is in the process of changing their social class. In opposition to the perhaps more widely-known expression ‘transfuge de classe’ – popularised by writers such as Annie Ernaux and Édouard Louis – transclasse allows for a comprehension of the necessarily transient nature of social migration, encapsulating a vital element of flux. Importantly, Jaquet's term allows for an understanding that the transclasse is not a rigidly definable identity category, and instead reflects individual experiences of liminality. In this article, I demonstrate the continuing relevance of Jaquet's theorisations by analysing the ways in which Kaoutar Harchi's memoir Comme nous existons explores the unique position of double absence that she occupies as a transclasse who must also navigate her identity as the child of postcolonial immigrants in France, using Abdelmalek Sayad's work La double absence in dialogue with Jaquet and Harchi.
2014年，哲学家尚塔尔-雅克（Chantal Jaquet）创造了 "跨阶层"（transclasse）一词，用来描述正在改变其社会阶层的人。与安妮-埃尔诺（Annie Ernaux）和爱德华-路易斯（Édouard Louis）等作家广为流传的 "阶级转变"（transuge de classe）一词相比，"跨阶级"（transclasse）一词让人理解了社会迁移的必然短暂性，包含了一个重要的变动因素。重要的是，通过 Jaquet 的术语，我们可以理解 "跨世代 "并不是一个可严格定义的身份类别，而是反映了个人的边缘性经历。在这篇文章中，我通过分析考塔尔-哈奇（Kaoutar Harchi）的回忆录《我们的存在》（Comme nous existons），探讨了她作为跨文化者所处的双重缺失的独特地位，她必须同时把握自己作为法国后殖民移民子女的身份，并利用阿卜杜勒-马利克-萨亚德（Abdelmalek Sayad）的作品《双重缺失》（La double absence）与雅克和哈奇进行对话，从而证明雅克的理论仍然具有现实意义。
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Pub Date : 2023-12-18DOI: 10.1177/09571558231220034
Terry J. Bradford
This article is part of a wider project investigating the theory and practice of song translation and performance. It derives – specifically – from my own desire to attempt to translate Ne me quitte pas into English. (See: Appendix.) It is designed as an investigation into the tenacious misconception that certain English-language versions of Brel's songs are translations thereof. Using Peter Low's typology, many of these versions can more accurately be described as adaptations or as replacement texts. One objective of this comparative study is to draw attention to the need – in theory – to distinguish between translation and adaptation. This work also calls for more precision in attributing authorship to the lyrics or texts sung by different performers. Examination of eight English-language versions of Ne me quitte pas – an exceptional corpus made up of texts sung by Rod McKuen, Scott Walker, Marc Almond (×2), Momus, Arnold Johnston, Des de Moor and The Black Veils – seeks to illustrate and discuss the history of approaches to rendering this song in English. That is one sense in which this article aims to put the record straight. This aim might also hint at the idea of respecting (high) ‘fidelity’ to the original. However, whether translation, adaptation or replacement text, any Target Text – even if assessed by criteria provided by Song Translation Theory – can only ever be interpreted subjectively. Thus, imagining a single way of putting a record straight is futile. Comparison of versions of Ne me quitte pas can, however, illustrate how different strategies and priorities can ‘succeed’ differently. Understanding the potential for ‘queering’ Ne me quitte pas was a by-product of research and close reading of the texts themselves. As this appears to pertain significantly in a handful of versions in the Anglophone world – but not, seemingly, in Turkish versions – this article seeks also to open up the ‘queering’ (or not) of Brel, in particular, as an avenue of future inquiry.
本文是研究歌曲翻译和表演的理论与实践的更广泛项目的一部分。具体而言，它源于我自己尝试将 Ne me quitte pas 翻译成英语的愿望（见：附录）。(见：附录。）本文旨在调查一种顽固的误解，即某些英语版本的布雷尔歌曲是对布雷尔歌曲的翻译。根据彼得-洛的类型学，这些版本中的许多可以更准确地描述为改编本或替代文本。这项比较研究的目的之一是提请人们注意--在理论上--区分翻译和改编的必要性。这项工作还要求对不同表演者演唱的歌词或文本的作者归属进行更精确的划分。对《Ne me quitte pas》的八个英文版本（由罗德-麦库恩（Rod McKuen）、斯科特-沃克（Scott Walker）、马克-阿尔蒙德（Marc Almond）(×2)、莫默斯（Momus）、阿诺德-约翰斯顿（Arnold Johnston）、德斯-德-莫尔（Des de Moor）和黑面纱乐队（The Black Veils）演唱的文本组成的特殊语料库）进行研究，旨在说明和讨论用英文演绎这首歌曲的方法的历史。从某种意义上说，这篇文章旨在澄清事实。这一目的可能也暗示了尊重（高度）"忠实 "原作的理念。然而，无论是翻译、改编还是替换文本，任何目标文本--即使按照歌曲翻译理论提供的标准进行评估--都只能被主观地解读。因此，想象用一种单一的方式来纠正记录是徒劳的。不过，对《Ne me quitte pas》各版本的比较可以说明不同的策略和重点如何取得不同的 "成功"。了解 "Ne me quitte pas "的 "同性恋化 "潜力是研究和细读文本本身的副产品。在英语世界的少数版本中，这一点似乎很重要--但在土耳其语版本中似乎没有--因此本文还试图将布雷尔的 "同性恋化"（或不 "同性恋化"）作为未来研究的一个途径。
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Pub Date : 2023-11-21DOI: 10.1177/09571558231209918
Carrie Noland
My essay focuses on the figure of the phantom in the work of phenomenologist Maurice Merleau-Ponty and the ethnographer Michel Leiris. I study their evocation of gestures as a site of communication and argue that within the colonial situation all communication—including the gestural—is ghosted by histories and cultural understandings that remain opaque.
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Pub Date : 2023-08-22DOI: 10.1177/09571558231192387
Orlane Messey
Résumé Le roller derby est une discipline sportive américaine, apparue en France en 2009 sous une forme carnavalesque. L’anti-conformisme alors affiché participait à attribuer à ce sport un caractère permissif : tout semblait y être permis. Dix ans plus tard, mon enquête sociologique menée auprès d’équipes s’est confrontée à l’euphémisation des marqueurs subversifs et à l’adoption des codes du milieu sportif fédéral. Afin de comprendre cette normalisation sportive, la mobilisation du concept de « scène » de Erving Goffman m’a permis de dissocier ce qui appartient à l’espace public, le front stage, dans lequel les équipes défendent la valeur sportive du derby, des coulisses, le back stage, où la défense de l’inclusif encourage la préservation de l’ancrage permissif disparu de la scène sportive.
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Pub Date : 2023-07-21DOI: 10.1177/09571558231175399
Caroline Ibos, E. Fassin
In France, successive Ministers of the Interior systematically come to the defense of the police. By contrast, their colleagues in Higher Education and Research don't hesitate to join in attacks on academics. This is how Frédérique Vidal ended up in 2021 echoing the polemics launched the year before by the President of the Republic, Emmanuel Macron, and then by the Minister of National Education, Jean-Michel Blanquer. However, the campaign against “Islamo-leftism” was preceded by other offensives against higher education and research: university autonomy was thus challenged … in the name of autonomy. As the reforms have progressed, higher education and research have been subjected to an authoritarian neoliberal regime, under the leadership of managers rather than colleagues, in a logic of competition that is supposed to guarantee excellence at the service of the economy. Just like a company, isn't the CNRS run by a CEO? Today, the takeover of ESR is inseparably ideological and economic. Thus, the increase in university fees for non-Europeans has used xenophobia to promote a neoliberal conception of studies. The threats to the academic world cannot be understood without articulating these distinct but intertwined logics. How can we tell the story of the attacks we are suffering, without erasing the struggles we are waging? For there is a great risk, in taking power as the object, of underestimating the role of counterpower that academics can still play in a country that is heir to a tradition of the “intellectual” as a figure of commitment. On the one hand, the multiple offensives of successive governments, whether directed at university policy or academics, have met with considerable resistance. Far from being reduced to inaction, the academic world is mobilizing strongly. But it's not just a question of reaction. On the other hand, the governmental campaigns themselves must be understood as forms of reaction against the politicization of academics: far from being passive victims, they play an active role. This is precisely the reason why ministers try to bring them into line: in France, the university is not isolated from society, as a campus can be. Critical knowledge circulates with social movements. In other words, campaigns targeting the academic world are proof that it is not without political importance. It's a form of recognition of the role it plays and can play. Anti-university politics today can be understood as a game of action and dreaction.
{"title":"Ce que nous faisons, et ce que l'on nous fait. Les luttes politiques universitaires","authors":"Caroline Ibos, E. Fassin","doi":"10.1177/09571558231175399","DOIUrl":"https://doi.org/10.1177/09571558231175399","url":null,"abstract":"In France, successive Ministers of the Interior systematically come to the defense of the police. By contrast, their colleagues in Higher Education and Research don't hesitate to join in attacks on academics. This is how Frédérique Vidal ended up in 2021 echoing the polemics launched the year before by the President of the Republic, Emmanuel Macron, and then by the Minister of National Education, Jean-Michel Blanquer. However, the campaign against “Islamo-leftism” was preceded by other offensives against higher education and research: university autonomy was thus challenged … in the name of autonomy. As the reforms have progressed, higher education and research have been subjected to an authoritarian neoliberal regime, under the leadership of managers rather than colleagues, in a logic of competition that is supposed to guarantee excellence at the service of the economy. Just like a company, isn't the CNRS run by a CEO? Today, the takeover of ESR is inseparably ideological and economic. Thus, the increase in university fees for non-Europeans has used xenophobia to promote a neoliberal conception of studies. The threats to the academic world cannot be understood without articulating these distinct but intertwined logics. How can we tell the story of the attacks we are suffering, without erasing the struggles we are waging? For there is a great risk, in taking power as the object, of underestimating the role of counterpower that academics can still play in a country that is heir to a tradition of the “intellectual” as a figure of commitment. On the one hand, the multiple offensives of successive governments, whether directed at university policy or academics, have met with considerable resistance. Far from being reduced to inaction, the academic world is mobilizing strongly. But it's not just a question of reaction. On the other hand, the governmental campaigns themselves must be understood as forms of reaction against the politicization of academics: far from being passive victims, they play an active role. This is precisely the reason why ministers try to bring them into line: in France, the university is not isolated from society, as a campus can be. Critical knowledge circulates with social movements. In other words, campaigns targeting the academic world are proof that it is not without political importance. It's a form of recognition of the role it plays and can play. Anti-university politics today can be understood as a game of action and dreaction.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"34 1","pages":"284 - 300"},"PeriodicalIF":0.4,"publicationDate":"2023-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42444974","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 : 2023-07-10DOI: 10.1177/09571558231184165
P. Lyons
Robert Linhart's L’Établi recounts the author's experience of ‘établissement’ as a young Maoist militant in the months immediately following May ‘68. Ten years after leaving the École normale supérieure to work and politically organize at the Citroën automobile factory in Choisy, Linhart reflects on his experiences on the assembly line, and his attempts to organize an ultimately unsuccessful wildcat strike from within the factory. This article revisits L'Établi alongside Linhart's littlestudied critical writings on racism, imperialism, and capitalist production in order to foreground two interwoven, yet under-appreciated facets of the work, and Linhart's corpus more broadly: first, Linhart's critique of a dense racial and colonial logic which undergirded the division of labor and maintenance of orderly production in the factory despite the purported demise of the French Empire. And second, the his innovation as not just a political memoirist, but as an inventive literary strategist. To this end, this article focuses on the surprising movements of poetic effervescence which appear throughout L'Établi, which reveal themselves to be thoroughly interwoven with Linhart's anti-imperial, anti-capitalist project.
{"title":"'C’est comme ça qu’on fabrique des automobiles': Race, work, and colonial afterlives in Robert Linhart's L’Établi","authors":"P. Lyons","doi":"10.1177/09571558231184165","DOIUrl":"https://doi.org/10.1177/09571558231184165","url":null,"abstract":"Robert Linhart's L’Établi recounts the author's experience of ‘établissement’ as a young Maoist militant in the months immediately following May ‘68. Ten years after leaving the École normale supérieure to work and politically organize at the Citroën automobile factory in Choisy, Linhart reflects on his experiences on the assembly line, and his attempts to organize an ultimately unsuccessful wildcat strike from within the factory. This article revisits L'Établi alongside Linhart's littlestudied critical writings on racism, imperialism, and capitalist production in order to foreground two interwoven, yet under-appreciated facets of the work, and Linhart's corpus more broadly: first, Linhart's critique of a dense racial and colonial logic which undergirded the division of labor and maintenance of orderly production in the factory despite the purported demise of the French Empire. And second, the his innovation as not just a political memoirist, but as an inventive literary strategist. To this end, this article focuses on the surprising movements of poetic effervescence which appear throughout L'Établi, which reveal themselves to be thoroughly interwoven with Linhart's anti-imperial, anti-capitalist project.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42701023","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 : 2023-07-06DOI: 10.1177/09571558221135023
Jing Chen, D. Ducard
Résumé Comment et pourquoi le philosophe Henri Maldiney a puisé dans les textes de la tradition esthétique chinoise issue de la philosophie du Daoïsme et du Chan dans son approche phénoménologique de l’art. En quoi les ouvrages de l’écrivain et essayiste François Cheng, traducteur et médiateur, de par sa double culture, ont constitué pour lui une ressource textuelle et une source de réflexion. Notre article place ainsi le premier dans les pas du second pour montrer d’une part la mise en œuvre, par des opérations de citation, paraphrase, reformulation et corrélation, d’une lecture active et interprétative, d’autre part pour mettre en évidence le rapprochement effectué entre les deux conceptions théoriques. Au final il en ressort un éclairage mutuel des catégories de la pensée chinoise et des concepts phénoménologiques, qui renouvelle la compréhension des unes comme des autres.
{"title":"Henri Maldiney dans les pas de François Cheng. La tradition de l’esthétique chinois et la phénoménologie de l’art","authors":"Jing Chen, D. Ducard","doi":"10.1177/09571558221135023","DOIUrl":"https://doi.org/10.1177/09571558221135023","url":null,"abstract":"Résumé Comment et pourquoi le philosophe Henri Maldiney a puisé dans les textes de la tradition esthétique chinoise issue de la philosophie du Daoïsme et du Chan dans son approche phénoménologique de l’art. En quoi les ouvrages de l’écrivain et essayiste François Cheng, traducteur et médiateur, de par sa double culture, ont constitué pour lui une ressource textuelle et une source de réflexion. Notre article place ainsi le premier dans les pas du second pour montrer d’une part la mise en œuvre, par des opérations de citation, paraphrase, reformulation et corrélation, d’une lecture active et interprétative, d’autre part pour mettre en évidence le rapprochement effectué entre les deux conceptions théoriques. Au final il en ressort un éclairage mutuel des catégories de la pensée chinoise et des concepts phénoménologiques, qui renouvelle la compréhension des unes comme des autres.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41839864","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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