Pub Date : 2022-04-18DOI: 10.1177/09571558221092963
G. Austin, Gemma McKinnie
This article takes as its starting point the use of fire as a political metaphor by Algerians who participated in the Screening Violence research project; it emerged in these discussions as a trope of struggle and conflict in Algeria. In part, this political imaginary has been influenced by France, where fire has historically represented freedom and resistance to unjust powers. However, this inheritance has not been received passively in Algeria, and its irony in a colonial context contributes to a complex relationship with tropes of resistance in Algerian cultural and social discourse. We therefore trace a genealogy of the trope of fire which acknowledges the inevitable and significant contribution of the French political imaginary to the Algerian, but which also recognises the distinct cultural modes of resistance taken up by Algerian artists and political activists themselves, from the Algerian Revolution of 1954 to the Hirak protests of 2019.
{"title":"Fires of resistance in Algerian discourse: A genealogy of a trope","authors":"G. Austin, Gemma McKinnie","doi":"10.1177/09571558221092963","DOIUrl":"https://doi.org/10.1177/09571558221092963","url":null,"abstract":"This article takes as its starting point the use of fire as a political metaphor by Algerians who participated in the Screening Violence research project; it emerged in these discussions as a trope of struggle and conflict in Algeria. In part, this political imaginary has been influenced by France, where fire has historically represented freedom and resistance to unjust powers. However, this inheritance has not been received passively in Algeria, and its irony in a colonial context contributes to a complex relationship with tropes of resistance in Algerian cultural and social discourse. We therefore trace a genealogy of the trope of fire which acknowledges the inevitable and significant contribution of the French political imaginary to the Algerian, but which also recognises the distinct cultural modes of resistance taken up by Algerian artists and political activists themselves, from the Algerian Revolution of 1954 to the Hirak protests of 2019.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"33 1","pages":"315 - 327"},"PeriodicalIF":0.4,"publicationDate":"2022-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45045793","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 : 2022-04-18DOI: 10.1177/09571558221078449
B. Guenther
Leroyer’s documentary, #387 disparu en Méditerranée (2019), tracks the attempt to reconstruct the identity of migrants lost off the coast of Libya whereas Allouache’s metatextual Normal! (2011) captures elliptically the effects of the Arab Spring in Alger. Through the lens of both films, the relevance of adopting a transregional approach in order to analyze communities in motion becomes apparent: Leroyer’s documentary shifts both in its geographical coordinates around the Mediterranean and in its inclusion of individuals working together across different languages whereas Allouache’s film explores the “connected differences” (Audre Lorde) of individuals associated with Algeria, sub-Saharan Africa and France and caught in the thrall of the Arab spring. Allouache’s and Leroyer’s films, screened at Montpellier’s annual Cinémed, clearly do contribute to the transregional network of Mediterranean cinema. The juxtaposition of the two films, which track migration at different points along the spectrum, brings to light the potential for community solidarity and resistance beyond a national scale without glossing over the shadow sides of transregionalism. Drawing on recent geo-political assessments of transregionalism (for instance, James W. Scott and Hans-Joachim Bürkner), this article investigates how the potential and the limits of transregional solidarity are imagined in Leroyer’s documentary, #387 disparu en Méditerranée, and Allouache’s docudrama, Normal!.
Leroyer的纪录片#387 disparu en Méditerranée（2019）追踪了重建利比亚海岸失踪移民身份的尝试，而Allouache的元文本《正常！（2011）椭圆地捕捉到了阿尔杰阿拉伯之春的影响。通过两种膜的透镜，采用跨地区的方法来分析运动中的社区的相关性变得显而易见：勒罗耶的纪录片在地中海周围的地理坐标和不同语言的个人合作方面都发生了变化，而阿洛瓦切的电影则探讨了与阿尔及利亚、撒哈拉以南非洲和法国陷入了阿拉伯之春的束缚。Allouache和Leroyer的电影在蒙彼利埃的年度Cinémed放映，显然为地中海电影的跨地区网络做出了贡献。这两部电影在不同的地点追踪移民，将其并置，揭示了社区团结和抵抗的潜力，而不会掩盖跨地区主义的阴影。根据最近对跨地区主义的地缘政治评估（例如，James W.Scott和Hans Joachim Bürkner），本文调查了Leroyer的纪录片《#387 disparu en Méditerranée》和Allouache的纪录片《Normal！》中如何想象跨地区团结的潜力和局限性！。
{"title":"Framing community in motion in the transregional Mediterranean: Madeleine Leroyer’s #387 disparu en Méditerranée and Merzak Allouache’s Normal!","authors":"B. Guenther","doi":"10.1177/09571558221078449","DOIUrl":"https://doi.org/10.1177/09571558221078449","url":null,"abstract":"Leroyer’s documentary, #387 disparu en Méditerranée (2019), tracks the attempt to reconstruct the identity of migrants lost off the coast of Libya whereas Allouache’s metatextual Normal! (2011) captures elliptically the effects of the Arab Spring in Alger. Through the lens of both films, the relevance of adopting a transregional approach in order to analyze communities in motion becomes apparent: Leroyer’s documentary shifts both in its geographical coordinates around the Mediterranean and in its inclusion of individuals working together across different languages whereas Allouache’s film explores the “connected differences” (Audre Lorde) of individuals associated with Algeria, sub-Saharan Africa and France and caught in the thrall of the Arab spring. Allouache’s and Leroyer’s films, screened at Montpellier’s annual Cinémed, clearly do contribute to the transregional network of Mediterranean cinema. The juxtaposition of the two films, which track migration at different points along the spectrum, brings to light the potential for community solidarity and resistance beyond a national scale without glossing over the shadow sides of transregionalism. Drawing on recent geo-political assessments of transregionalism (for instance, James W. Scott and Hans-Joachim Bürkner), this article investigates how the potential and the limits of transregional solidarity are imagined in Leroyer’s documentary, #387 disparu en Méditerranée, and Allouache’s docudrama, Normal!.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"33 1","pages":"210 - 226"},"PeriodicalIF":0.4,"publicationDate":"2022-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45633284","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 : 2022-04-04DOI: 10.1177/09571558221085425
A. Vincent
The French pavilion at the 2004 Venice Biennale of Architecture took up the theme of sustainable design through a “prospective game” that challenged participating architects to imagine an urban neighborhood's transformation in response to economic, social, and environmental constraints over the following 30 years. The exhibition paradoxically appeared to proclaim French sustainable know-how at a time when French architects viewed the profession as lagging behind their European neighbors in terms of ecological approaches. By framing sustainability as avant-garde, experimental design, the pavilion reconciled “French” and “sustainable” architecture. Examining this exhibit and its impact contributes to an understanding of French self-fashioning of national identity around culture. Moreover, this case demonstrates how cultural elements of identity influence responses to global challenges such as climate change.
{"title":"Defining a sustainable French architecture: France's national pavilion at the 2004 Venice Biennale","authors":"A. Vincent","doi":"10.1177/09571558221085425","DOIUrl":"https://doi.org/10.1177/09571558221085425","url":null,"abstract":"The French pavilion at the 2004 Venice Biennale of Architecture took up the theme of sustainable design through a “prospective game” that challenged participating architects to imagine an urban neighborhood's transformation in response to economic, social, and environmental constraints over the following 30 years. The exhibition paradoxically appeared to proclaim French sustainable know-how at a time when French architects viewed the profession as lagging behind their European neighbors in terms of ecological approaches. By framing sustainability as avant-garde, experimental design, the pavilion reconciled “French” and “sustainable” architecture. Examining this exhibit and its impact contributes to an understanding of French self-fashioning of national identity around culture. Moreover, this case demonstrates how cultural elements of identity influence responses to global challenges such as climate change.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"33 1","pages":"345 - 360"},"PeriodicalIF":0.4,"publicationDate":"2022-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46731460","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 : 2022-03-29DOI: 10.1177/09571558221089515
Pierre-Elliot Caswell
While France claims to be the nation of universal human rights, its historical intimacy with imperialism would suggest otherwise. The discourse of Republicanism is therefore what allows France to erase and smooth out rhetorical and material incongruities, allowing it to retain its national integrity. This article thus examines the discursive continuities between two constitutive realms of French power: colonialism and nuclearism. I argue that, rather than being separate, these two matrices must be understood as one continuum traversed by the same questions. I analyze their conjoined structure through two historical speeches which both rely on universal Republicanism as justification: Jules Ferry’s 1885 intervention at the National Assembly defending his imperial legacy; and Charles de Gaulle's speeches in Papeete, in 1966, promising a radiant future to Tahiti in the postcolonial era. Republican universalism as a discursive tool, however, is not impervious to porousness: it is always haunted by the violence it inflicts and the peoples it affects. An attention to the ghosts that live inside the social fabric produced by this discourse, thus, helps us critically engage Republican universalism and reorganize the hidden, paradoxical aspects of French (post)colonial memory. Haunting, in other words, becomes a decolonial praxis for recovering what has been negated and interrupting the appearance of narrative cohesion that France relies upon.
{"title":"“A ghost in the system”: French nuclear colonialism and the haunting of republicanism","authors":"Pierre-Elliot Caswell","doi":"10.1177/09571558221089515","DOIUrl":"https://doi.org/10.1177/09571558221089515","url":null,"abstract":"While France claims to be the nation of universal human rights, its historical intimacy with imperialism would suggest otherwise. The discourse of Republicanism is therefore what allows France to erase and smooth out rhetorical and material incongruities, allowing it to retain its national integrity. This article thus examines the discursive continuities between two constitutive realms of French power: colonialism and nuclearism. I argue that, rather than being separate, these two matrices must be understood as one continuum traversed by the same questions. I analyze their conjoined structure through two historical speeches which both rely on universal Republicanism as justification: Jules Ferry’s 1885 intervention at the National Assembly defending his imperial legacy; and Charles de Gaulle's speeches in Papeete, in 1966, promising a radiant future to Tahiti in the postcolonial era. Republican universalism as a discursive tool, however, is not impervious to porousness: it is always haunted by the violence it inflicts and the peoples it affects. An attention to the ghosts that live inside the social fabric produced by this discourse, thus, helps us critically engage Republican universalism and reorganize the hidden, paradoxical aspects of French (post)colonial memory. Haunting, in other words, becomes a decolonial praxis for recovering what has been negated and interrupting the appearance of narrative cohesion that France relies upon.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"33 1","pages":"301 - 314"},"PeriodicalIF":0.4,"publicationDate":"2022-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41685222","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 : 2022-03-29DOI: 10.1177/09571558221078450
Donald Reid
The importance to Jorge Semprún of confronting Holocaust denial in Vichy Syndrome France is not central to analyses that have been done of La Montagne blanche. To detect it, we must do what Semprún never stops asking readers to do: visit the external worlds to which his text directs us and reread his corpus so as to return with new insights and questions to pose to the text at hand. This essay examines La Montagne blanche in light of Semprún's presentation of Jewish characters in Le grand voyage; his adaptation of Rolf Hochhuth's Le Vicaire; his critique of the Communist party's belated acknowledgment of the gulag; his relationships to the Holocaust denier and severe critic of the Communists at Buchenwald, Paul Rassinier, and to Nadine Fresco, the most penetrating analyst of Rassinier; and his attention to Holocaust denial when he wrote fiction rooted in historical situations. Holocaust denial is an erasure. La Montagne blanche draws our attention to that erasure in a novel in which the subject is hardly mentioned.
{"title":"Holocaust denial, Le Vicaire, and the absent presence of Nadine Fresco and Paul Rassinier in Jorge Semprún's La Montagne blanche","authors":"Donald Reid","doi":"10.1177/09571558221078450","DOIUrl":"https://doi.org/10.1177/09571558221078450","url":null,"abstract":"The importance to Jorge Semprún of confronting Holocaust denial in Vichy Syndrome France is not central to analyses that have been done of La Montagne blanche. To detect it, we must do what Semprún never stops asking readers to do: visit the external worlds to which his text directs us and reread his corpus so as to return with new insights and questions to pose to the text at hand. This essay examines La Montagne blanche in light of Semprún's presentation of Jewish characters in Le grand voyage; his adaptation of Rolf Hochhuth's Le Vicaire; his critique of the Communist party's belated acknowledgment of the gulag; his relationships to the Holocaust denier and severe critic of the Communists at Buchenwald, Paul Rassinier, and to Nadine Fresco, the most penetrating analyst of Rassinier; and his attention to Holocaust denial when he wrote fiction rooted in historical situations. Holocaust denial is an erasure. La Montagne blanche draws our attention to that erasure in a novel in which the subject is hardly mentioned.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"33 1","pages":"227 - 241"},"PeriodicalIF":0.4,"publicationDate":"2022-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43318141","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 : 2022-03-24DOI: 10.1177/09571558211049731
Hadi Dolatabadi
Relationships with others raise issues of identity and characterize individuals in their behavior with others. These identity issues, which are specific to each society, are sources of the discourse of otherness. In the French-speaking space which, by its essence and in the light of historical facts, reflects otherness, this discourse is reflected in the terms and lexies of topolectal varieties of French. Based on an onomasiological approach, going from definition to words to discover how otherness is presented, this research aims to identify and present the lexical aspect of the discourse of others in a lexicographical corpus from all over the French-speaking world. In other words, this article studies the topolectal speaking of French to find terms used to evoke otherness. Terms such as “French”, “European”, “foreign”, “white” were the object of a first observation given that they constitute the reverses of a discourse of domination in the dichotomy colonizer-colonized against with “aboriginal” “negro” and “black”. Through illustrated examples, we demonstrate that different aspects such as physical, geographic, and identity traits are vehicles of this discourse which, axiologically, mainly present the pejorative values attributed to the other. Also, it would seem that colonial memory helps to nourish this vision of the other who stands out from the speakers, whose speech is studied, by his foreign origin.
{"title":"Altérité lexicale dans les parlers francophones : figure de l’étranger","authors":"Hadi Dolatabadi","doi":"10.1177/09571558211049731","DOIUrl":"https://doi.org/10.1177/09571558211049731","url":null,"abstract":"Relationships with others raise issues of identity and characterize individuals in their behavior with others. These identity issues, which are specific to each society, are sources of the discourse of otherness. In the French-speaking space which, by its essence and in the light of historical facts, reflects otherness, this discourse is reflected in the terms and lexies of topolectal varieties of French. Based on an onomasiological approach, going from definition to words to discover how otherness is presented, this research aims to identify and present the lexical aspect of the discourse of others in a lexicographical corpus from all over the French-speaking world. In other words, this article studies the topolectal speaking of French to find terms used to evoke otherness. Terms such as “French”, “European”, “foreign”, “white” were the object of a first observation given that they constitute the reverses of a discourse of domination in the dichotomy colonizer-colonized against with “aboriginal” “negro” and “black”. Through illustrated examples, we demonstrate that different aspects such as physical, geographic, and identity traits are vehicles of this discourse which, axiologically, mainly present the pejorative values attributed to the other. Also, it would seem that colonial memory helps to nourish this vision of the other who stands out from the speakers, whose speech is studied, by his foreign origin.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"33 1","pages":"147 - 167"},"PeriodicalIF":0.4,"publicationDate":"2022-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42469421","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 : 2022-03-07DOI: 10.1177/09571558221079757
Oana Sabo
In recent years, French authors have called for the mobilization of literature in favor of migrants’ rights and recognition. Writers, publishers, and booksellers have donated all revenue to humanitarian agencies such as La Cimade, Amnesty International, and UNHCR. At the same time, humanitarian NGOs have mobilized literary works to rally audiences around migrant issues. This essay examines how contemporary French literature and humanitarian organizations work in tandem to respond to the international migrant “crisis.” Drawing on George Yúdice's notion of “culture as resource,” I analyze two literary works—Matéi Visniec's play Migraaaants and Émilie de Turckheim's autofictional text Le Prince à la petite tasse—to argue that literary works’ ability to raise awareness about current migrations is enhanced when they sit alongside the actions of humanitarian NGOs.
{"title":"The expediency of literature: French humanitarian narratives between politics and the market","authors":"Oana Sabo","doi":"10.1177/09571558221079757","DOIUrl":"https://doi.org/10.1177/09571558221079757","url":null,"abstract":"In recent years, French authors have called for the mobilization of literature in favor of migrants’ rights and recognition. Writers, publishers, and booksellers have donated all revenue to humanitarian agencies such as La Cimade, Amnesty International, and UNHCR. At the same time, humanitarian NGOs have mobilized literary works to rally audiences around migrant issues. This essay examines how contemporary French literature and humanitarian organizations work in tandem to respond to the international migrant “crisis.” Drawing on George Yúdice's notion of “culture as resource,” I analyze two literary works—Matéi Visniec's play Migraaaants and Émilie de Turckheim's autofictional text Le Prince à la petite tasse—to argue that literary works’ ability to raise awareness about current migrations is enhanced when they sit alongside the actions of humanitarian NGOs.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"33 1","pages":"361 - 375"},"PeriodicalIF":0.4,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41509305","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 : 2022-02-28DOI: 10.1177/09571558221078454
Jason C Grant
At the end of an industrial era in which Nantes was the busiest shipping and slave-trading port in France, a giant, mechanical elephant became an animating force in the city's reanimation of the neighborhood left behind. In this paper, I consider the Grand Éléphant de Nantes as a case study of urban enchantment. The elephant occupies the boundary between artwork, machine, and animal, allowing it to captivate spectators and encourage the communal creation of a place in a public urban space. It simultaneously turns away from, rather than grappling with, the site's historical role in the transatlantic slave trade. Following Jane Bennett's conception of enchantment as a method of commodity fetishism, this paper shows that enchantment is a force of placemaking that draws spectators from urban stupor and in doing so, raises the potential for ethical engagement with space.
{"title":"Animating a neighborhood: The enchanting placemaking of Le Grand Éléphant de Nantes","authors":"Jason C Grant","doi":"10.1177/09571558221078454","DOIUrl":"https://doi.org/10.1177/09571558221078454","url":null,"abstract":"At the end of an industrial era in which Nantes was the busiest shipping and slave-trading port in France, a giant, mechanical elephant became an animating force in the city's reanimation of the neighborhood left behind. In this paper, I consider the Grand Éléphant de Nantes as a case study of urban enchantment. The elephant occupies the boundary between artwork, machine, and animal, allowing it to captivate spectators and encourage the communal creation of a place in a public urban space. It simultaneously turns away from, rather than grappling with, the site's historical role in the transatlantic slave trade. Following Jane Bennett's conception of enchantment as a method of commodity fetishism, this paper shows that enchantment is a force of placemaking that draws spectators from urban stupor and in doing so, raises the potential for ethical engagement with space.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"33 1","pages":"199 - 209"},"PeriodicalIF":0.4,"publicationDate":"2022-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49150389","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 : 2022-02-07DOI: 10.1177/09571558211069515
Rike Bolte
Partant d’un concept qui a émergé dans le contexte latino-américain, l’esthétique décoloniale, cet article vise à étudier le terrain d’expression(s) du Québec, aussi révélateur sur le plan esthétique qu’urgent en termes sociaux: l’art dit autochtone et notamment la littérature des Premières Nations. Les œuvres les plus récentes produites au Québec dans ce domaine ont fait l’objet d’un nombre considérable de recherches universitaires et ont retenu l’attention des médias. Nous essaierons de répondre à la question quant à la façon dont des catégories comme l’invisible et l’inaudible se manifestent (et sont mises en action poétique) dans deux œuvres appartenant à deux générations différentes, celle de l’artiste Rebecca Belmore et celle de l’auteure Naomi Fontaine. De plus, nous envisagerons l’entrée de références telles que l’espace territorialisé dans les interventions et les fictions (géo) poétiques en question, en supposant que celles-ci offrent de nouvelles perspectives et des postures médiatiques très pertinentes. Tout en sachant qu’un nombre considérable de recherches québecoises a déjà abordé plusieurs des aspects examinés dans notre texte, nous nous proposerons de mobiliser certaines lignes de recherche transculturelles provenant, justement, des études latino-américaines, et de donner quelques indices supplémentaires qui tournent autour des notions de tiers espace ou de « littérature réservée ». Ici, il devient particulièrement clair que la notion de territoire dans le contexte évoqué est fortement institutionnalisée et sémantisée. Au vu de ce fait, les perspectives émergentes qui sont sujet de nos réflexions, sont, pour leur part, particulières – voire intimes – et pourtant elles dialoguent avec l'officialité et la violence historique du terme mentionné. Sur un plan plus micro, nous parlerons d’une poétique du chuchotement dans le cas de Fontaine et d’une évocation mégaphonique dans celui de Belmore. Sur un plan macro, notre article mettra en dialogue les arts plastiques et visuels et la littérature. Enfin, il convient de préciser que la référence que nous faisons à l'Amérique latine ne se légitime pas seulement en termes théoriques: au Québec, les points de vue et même les visions (artistiques) d'une nouvelle forme de représentation et d’une nouvelle sensibilité de la perception dans ce sens se sont croisés il y a bien longtemps.
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Pub Date : 2022-02-01DOI: 10.1177/09571558211044965
Sonja Spadijer
That childhood should be everywhere at home whatever the circumstances, has been implored by poets. Their powerful voices call on the international community to mobilize to protect the rights of the child. However, there are unfair practices; child domestic work is one of them. These children are called ‘domestic children’, ‘service children’ and les ‘restavèk’. Denounced by humanitarian institutions, child domestic work unfortunately still exists today. This issue has been taken up by writers, thus becoming one of the key themes of literature in French and Creole languages. Our aim is to recall the major role that this literature has played, for more than a century, in raising the awareness of a very large readership on the harmful effects of this practice on children and adolescents. This study will focus on two authors and their works talking about this phenomenon in the context of Haiti, Justin Lhérisson (late 19th and early 20th centuries) with his lodyans Zoune chez sa ninnaine (1906) and Maryse Condé (20th and 21st centuries) with her novel Rêves amers (1987), both closely tied to Haitian culture. While using different literary frameworks, either Creolity in Maryse Condé or Social Realism in Justin Lhérisson, they chose in their fictions to tell about the condition of a child placed in domestic service. Dealing with this phenomenon is also talking about the quest for identity in Haitian literature, which at the beginning a literature of imitation. The expression of J. Lhérisson proves that this literature has become autonomous and that it represents its culture and its society. Because of the originality and the impact exerted, his work deserves to be remembered as part of the universal cultural heritage. M. Condé pleads for freedom of expression, literary cosmopolitanism, universal values, refusing any classification within the borders of a single country or a single language. Thus, the Haitian social realism represented in the expression of these two authors of the Caribbean space brings Creole literature closer to word literature.
诗人们一直在恳求，无论在什么情况下，童年都应该无处不在。他们强有力的声音呼吁国际社会动员起来保护儿童权利。然而，也存在不公平的做法；儿童家务劳动就是其中之一。这些儿童被称为“家庭儿童”、“服务儿童”和“餐厅儿童”。不幸的是，在人道主义机构的谴责下，儿童家务劳动至今仍然存在。这个问题已经被作家们所关注，从而成为法语和克里奥尔语文学的主要主题之一。我们的目的是回顾一个多世纪以来，这些文献在提高广大读者对这种做法对儿童和青少年有害影响的认识方面发挥的重要作用。本研究将聚焦于两位在海地背景下谈论这一现象的作者及其作品，Justin Lhérisson（19世纪末和20世纪初）和他的lodyans Zoune chez sa ninnaine（1906），以及Maryse Condé（20世纪和21世纪）和她的小说Rêves amers（1987），这两位作家都与海地文化密切相关。在使用不同的文学框架时，无论是玛丽斯·孔戴（Maryse Condé）的《克里奥尔蒂》（Creolity）还是贾斯汀·莱里森（Justin Lhérisson）的《社会现实主义》（Social Realism），他们都选择在小说中讲述一个被安置在家庭服务中的孩子的状况。处理这一现象也是在谈论海地文学对身份的追求，这在一开始是一种模仿文学。勒里森的表达证明了这种文学已经成为自主的，它代表了它的文化和社会。由于其独创性和影响力，他的作品值得作为世界文化遗产的一部分而被铭记。孔戴主张言论自由、文学世界主义、普世价值观，拒绝在单一国家或单一语言的边界内进行任何分类。因此，这两位加勒比空间作家所表达的海地社会现实主义使克里奥尔文学更接近于文字文学。
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