Pub Date : 2023-01-11DOI: 10.1177/09571558221150699
E. Welch
In his accounts of Montmartre and Marseille, Nicholas Hewitt shows how places on margins and frontiers channel flows of different sorts running across city, nation and world. In doing so, they open up suggestive perspectives on the nature of French territory, how it is conceived, and how it can be imagined. In particular, they foreground the productive tension of the marginal place as edge and opening, and interrogate the bounded and regulated space implied by the geometrical trope of the French ‘hexagon’. What emerges instead is a curiously liquid sense of French space-in-time as shifting, shimmering and mercurial, caught up in and contributing to the ebb and flow of global circulation. This article explores how movement, flow and liquidity have featured in recent explorations of French territory and topography, drawing on work by Jean Rolin, Agnès Varda and the photography project France(s) territoire liquide, whose title spells out its assumption about the nature of contemporary French space. At the same time, the article situates those accounts in relation to conceptions of French territory which informed the work of post-war spatial planners, whose substantial material and infrastructural legacies reflected their own sense of territory as flux, flow and liquid force.
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Pub Date : 2022-12-22DOI: 10.1177/09571558221144374
M. O'shaughnessy
Sylvain George is one of the most interesting French filmmakers working today. He has made a series of poetic, experimental documentaries about migrants and refugees around Calais and has brought together migrant figures and Occupy movements in his two ‘city symphonies’, Vers Madrid (The Burning Bright) (2012) and Paris est une fête (2018). The principal theoretical influence on George's cinema is the work of Walter Benjamin. This article shows how certain essential Benjaminian concepts can help us understand George's films as they seek productive alignments and collisions between contemporary mobilisations and the history embedded in urban spaces. But it also argues that, even as they point towards a renewal of fundamental European political traditions, they show that a politics no longer limited by national belonging remains to be found.
Sylvain George是当今最有趣的法国电影人之一。他制作了一系列关于加莱周围移民和难民的诗意、实验性纪录片，并在他的两部“城市交响曲”中汇集了移民人物和占领运动，《燃烧的光明》(2012)和《巴黎est une fête》(2018)。对乔治电影产生主要理论影响的是沃尔特·本雅明的作品。本文展示了某些本雅明的基本概念如何帮助我们理解乔治的电影，因为他们寻求当代动员与嵌入城市空间的历史之间的生产性对齐和碰撞。但它也认为，即使它们指向欧洲基本政治传统的复兴，它们也表明，一种不再受国家归属限制的政治仍有待发现。
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Pub Date : 2022-12-21DOI: 10.1177/09571558221144372
Michael Kelly
This is the introductory editorial to a special issue in honour of former editor of French Cultural Studies, Nicholas Hewitt (NH). It includes some reflections on the author's collaboration with NH and on the process of founding the journal in the late 1980s. It outlines the themes discussed in the nine substantive articles especially around the guiding theme of the sense of place, which NH did much to inspire.
{"title":"A sense of place: Special number in honour of Nicholas Hewitt","authors":"Michael Kelly","doi":"10.1177/09571558221144372","DOIUrl":"https://doi.org/10.1177/09571558221144372","url":null,"abstract":"This is the introductory editorial to a special issue in honour of former editor of French Cultural Studies, Nicholas Hewitt (NH). It includes some reflections on the author's collaboration with NH and on the process of founding the journal in the late 1980s. It outlines the themes discussed in the nine substantive articles especially around the guiding theme of the sense of place, which NH did much to inspire.","PeriodicalId":12398,"journal":{"name":"French Cultural Studies","volume":"34 1","pages":"3 - 8"},"PeriodicalIF":0.4,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46570412","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 : 2022-12-15DOI: 10.1177/09571558221144369
J. Lane
This article begins with the 2009 documentary, La Dépossession, by filmmaker Jean-Robert Viallet, suggesting that La Défense is depicted as an anti-city. It seeks to anatomise this trope and chronotope, examining the manner in which a range of recent novels and feature films similarly lament the destructive effects of globalised finance on French society, polity and nation. They figure spatiotemporal relationships between France's present and its historical past, between the anonymity of La Défense and certain unmistakably French locations, between a supposedly ‘Anglo-Saxon’ mode of capital accumulation and the French nation this is held to threaten. Having identified the characteristic features of this trope and chronotope, the article then turns to consider some of their inherent paradoxes, ironies and contradictions. It points out that the historic centre of Haussmann's Paris is itself the product of an earlier process of violent restructuring and dispossession driven by powerful financial forces and undertaken at the behest of a highly conservative political regime. It is ironic that Haussmann's cityscape should now be presented as a symbol of stable, traditional, if now embattled, French national identity. Perhaps, La Défense should be imagined less as an anti-city than as a location deeply embedded in the complexities, contradictions and conflicts of French history.
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Pub Date : 2022-12-08DOI: 10.1177/09571558221144373
E. Wilson
This article takes the novelist Colette, who bought a house outside Saint-Tropez in 1925, and examines moments and feelings from her time in that place. Inspired by Hewitt's approach, and by his example of ‘the unique hold exerted by Marseille on the nation's imagination’, it traces, through Colette, imaginative modes of inhabiting a space, seeing it as a psychic as much as material location, a repository of feelings. Colette's work invests a place with meaning through writing, so that it becomes an imaginary space, intimate, sensory, and consciously feminine. Since Colette's feminism resides most surely in her pursuit of pleasure, this place can be a house of feelings, about love, about present pleasures shaded by past experience, a space accessed through the senses. In this way, her house in Saint-Tropez appears as a space of speculation and exploratory relations, in which to think too about the lived and dreamed realities of other female lives.
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Pub Date : 2022-12-08DOI: 10.1177/09571558221143492
Orsolya Katalin Petocz
In her 2021 book La Familia grande, Camille Kouchner testifies to the event of sexual violence more precisely that of incestuous hebephiliac rape within her family. In extensive discussions that followed the publication of the book, the media has focused on the allegations of incestuous rape against Olivier Duhamel upon his stepson, twin-brother of Kouchner, nicknamed ‘Victor’ in La Familia grande. Kouchner's nuclear and extended family is part of a French politico-cultural elite that has been shaken by Kouchner's unveiling of violence. Acknowledging this context, this article looks closely at the text itself, and also situates it in relation to works by other woman members of Kouchner's family, with a sharp focus on the work of Évelyne Pisier, Kouchner's mother. This article teases out questions of love, grief and violence as related to Kouchner's testimony, presenting a case for close attention to the literary work alongside its paratexts. I argue that shifting away from the violence of Duhamel's acts, the book turns towards the ways in which the heteropatriarchal structures of the family allow for the perpetration of such an act and the perpetuation of its violence through silencing. This reading argues for the necessary unveiling of a filiation of women, to form a possible resistance to normative narratives of the family. This article further connects Judith Butler's thoughts about incest prohibition and Évelyne Pisier's queer-inclusive feminism.
卡米尔·库什内尔（Camille Kouchner）在2021年出版的《大家庭》（La Familia grande）一书中，更准确地证明了她的家庭中发生的性暴力事件，即乱伦性强奸。在这本书出版后的广泛讨论中，媒体关注的是奥利维尔·杜哈梅尔对其继子、库什内尔的双胞胎兄弟的乱伦强奸指控，库什内尔在《大家庭》中被昵称为“维克多”。库什内尔的核心大家庭是法国政治文化精英的一部分，他们因库什内尔揭露暴力事件而受到动摇。承认这一背景，本文密切关注文本本身，并将其与库什内尔家族其他女性成员的作品联系起来，重点关注库什内尔的母亲Évelyne Pisier的作品。这篇文章调侃了与库什内尔的证词有关的爱、悲伤和暴力问题，为密切关注这部文学作品及其副文本提供了一个理由。我认为，这本书从杜哈梅尔行为的暴力转向了家庭的异父权结构允许实施这种行为并通过沉默使暴力永久化的方式。这篇文章认为，有必要揭开女性亲属关系的面纱，以形成对家庭规范叙事的可能抵制。本文进一步将朱迪斯·巴特勒关于乱伦禁令的思想与埃维琳·皮西耶的酷儿包容性女权主义联系起来。
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Pub Date : 2022-12-06DOI: 10.1177/09571558221109703
C. Neal
A veritable world citizen, Nanyang painter Georgette Chen (1906–1993) melded artistic influences from both the East and West, bringing French modernism to Singapore. Much has been written about her contribution to the art of Singapore, her role in the establishment of the Nanyang Style, the lasting influence that she exerted on younger artists, and her considerable artistic achievements. Never before examined is the development of her oeuvre that reflects this mixture. The works selected for this investigation reveal her artistic development from student to teacher, the range of her thematic interests, and the stimuli that she absorbed from a life ensconced in eastern and western cultures.
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Pub Date : 2022-11-09DOI: 10.1177/09571558221133253
Farid Hafez
This article discusses the emergence of a discourse on ‘political Islam’ in the policy circles of European elites. It interprets this discourse on one hand as a manifestation of the further criminalization of Muslimness emanating from programs of countering ‘extremism’ and deradicalizing Muslim youth in the wake of the global war on terror. More specifically, the discourse on ‘political Islam’ is seen as an extension of countering violent extremism projects to counter an alleged non-violent ‘extremism.’ The article discusses three cases: Austria, Germany, and France to analyze what the fight against ‘political Islam’ (in Austria), ‘legalistic Islamism’ (in Germany), and ‘Islamist separatism’ (in France) respectively mean. These terminologies are analyzed as ‘empty signifiers’ and (Foucauldian) dispositifs that are used deliberately to legitimize state interventions to shape their respective societies. It is argued that the main shared idea is not that Muslims break the law or commit violence. Rather, the argument is that Muslims use the law to subvert their European nation-states. This aims at excluding Muslims from political life and not allowing them to shape the future of these countries. A simultaneous effort is the nurturing of an unpolitical, submissive Muslim that does not question hegemonial power structures, a project which is pursued by creating a domesticated or ‘national Islam.’ The article discusses these three terminologies' similarities and differences in the respective countries. In sum, the apparatus of ‘political Islam’ is interpreted as a means to 1) push back or exclude Muslims from the public sphere; 2) crackdown on organized Muslims; and 3) silence critical voices to these policies.
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Pub Date : 2022-11-01DOI: 10.1177/09571558221085428
Marie-Dominique Duval
Cet article porte sur la représentation des personnages noirs dans la bande dessinée française Astérix. Écrite par René Goscinny et illustrée par Albert Uderzo, la série est parue pour la première fois en 1959 au moment des guerres de décolonisation de l’Empire français. Bien que destiné à divertir, Astérix reste néanmoins un produit de son époque dans sa représentation de personnages d’origine africaine. La série est peuplée de pygmées, de cannibales ou d’hommes noirs aux caractéristiques simiesques. Presque tous ont de petits crânes déformés, d’énormes lèvres rouges et parlent avec des accents grotesques. Bien que l’imagerie coloniale et raciste de la jeune bande dessinée franco-belge ait fait l’objet d’un examen minutieux, les caricatures racistes d’Astérix ont été étonnamment peu étudiées. Cet article aborde les origines de ces influences coloniales, fournit des exemples de stéréotypes raciaux et discute de la persistance de telles représentations dans les albums contemporains.
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Pub Date : 2022-10-23DOI: 10.1177/09571558221120881
Daniel Morgan
Résumé Au royaume des cieux (Julien Duvivier, 1949) et La Cage aux filles (Maurice Cloche, 1950), deux fictions situées dans des centres de rééducation pour jeunes femmes, ont une histoire liée. Fondées sur le même fait divers, produites en même temps, elles font l'objet de tractations complexes lorsqu'elles sont soumises à la censure. Le film de Duvivier, dont le rapport au réel est ambigu, finit par échapper à une réécriture, alors que Maurice Cloche accepte de travailler de près avec le ministère de la Justice et finit par réaliser un film réaliste reproduisant le discours officiel des autorités. Pourtant, les deux œuvres présentent la rééducation en internat d'une manière trompeuse et contraire aux reportages sur lesquels elles sont fondés. En examinant la genèse parallèle des deux films, cet article réexamine le rôle des négociations et de la propagande dans la construction du cinéma « consensuel » français de l'après-guerre.
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