This article aims to uncover the colonial character of the statement ‘on est tous métis’ (‘we’re all mixed-race’) in Kanaky/New Caledonia, a racially and politically polarized space where there is an ongoing struggle for independence led by Indigenous Kanak people. It uses data gathered in semi-structured interviews with self-identified ‘mixed-raced’ people during a six-month stay in Kanaky/New Caledonia before and after the November 2018 referendum for independence. It also uses ethnographic material and, more specifically, encounters with the figure of the ‘mixed-race’ person in political debates, campaigns as well as art and media that signal an investment in the idea that, in Kanaky/New Caledonia, ‘we are all mixed-race’. The article exposes the political discourse of multiracialism as exclusionary and as a mechanism of Indigenous disappearance in the settler colonial context. It also sheds light on the way in which settler anxiety feeds the multiracial discourse. In challenging and deconstructing the orientations towards a multiracial or métis.se future, that individuals and institutions imagine, wish or advocate for, the article aims to call for a desolidarization from modes of thinking and being that support the French colonial project, even when it masks itself as inclusive.
{"title":"Unsettling ‘we’re all mixed-race’: Métis.se/colonial futurity, settler colonialism and the countering of Kanak sovereignty","authors":"Anaïs Duong-Pedica","doi":"10.1386/ijfs_00051_1","DOIUrl":"https://doi.org/10.1386/ijfs_00051_1","url":null,"abstract":"This article aims to uncover the colonial character of the statement ‘on est tous métis’ (‘we’re all mixed-race’) in Kanaky/New Caledonia, a racially and politically polarized space where there is an ongoing struggle for independence led by Indigenous Kanak people. It uses data gathered in semi-structured interviews with self-identified ‘mixed-raced’ people during a six-month stay in Kanaky/New Caledonia before and after the November 2018 referendum for independence. It also uses ethnographic material and, more specifically, encounters with the figure of the ‘mixed-race’ person in political debates, campaigns as well as art and media that signal an investment in the idea that, in Kanaky/New Caledonia, ‘we are all mixed-race’. The article exposes the political discourse of multiracialism as exclusionary and as a mechanism of Indigenous disappearance in the settler colonial context. It also sheds light on the way in which settler anxiety feeds the multiracial discourse. In challenging and deconstructing the orientations towards a multiracial or métis.se future, that individuals and institutions imagine, wish or advocate for, the article aims to call for a desolidarization from modes of thinking and being that support the French colonial project, even when it masks itself as inclusive.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43465321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Douce France is a 1995 banlieue film that touches on issues of interracial friendship, exclusion versus integration, gender identity and the relationship that the second generation of immigrants have with France as their homeland. The work, written and directed by Malik Chibane, focuses on a Blanc-Beur friendship, Moussa (Hakim Sarahoui) and his friend Jean-Luc (Frédéric Diefenthal). The film also focuses heavily on French-Algerian sisters Souad (Seloua Hamse) and Farida (Fadila Belkebla) and the character of Myssad (Nadia Kaci). In this review article, the film is examined and discussed regarding integration into a socio-spatial environment presented as significantly different from other banlieue films. Of particular interest are the difficulties, contradictions and dynamics of social integration, all of which are evident in the evolution of the relationships of the four main characters. These differences are present between them, with their families, but also with the whole social fabric. In addition, this article outlines the historical context of La marche des beurs in 1983 in Marseille and its perception by the public. It then attempts to explore the issues of integration, territory and the relationship between father and children.
《Douce France》是一部1995年的郊区电影，涉及跨种族友谊、排斥与融合、性别认同以及第二代移民与法国的关系等问题。这部作品由马利克·奇班恩编剧和导演，聚焦于布兰科-比尔的友谊，穆萨（哈基姆·萨拉胡伊饰）和他的朋友让-吕克（弗雷德里克·迪芬塔尔饰）。这部电影还重点关注法裔阿尔及利亚姐妹Souad（Seloua Hamse饰）和Farida（Fadila Belkebla饰）以及Myssad（Nadia Kaci饰）一角。在这篇评论文章中，我们对这部电影进行了审查和讨论，认为它融入了一个与其他郊区电影截然不同的社会空间环境。特别令人感兴趣的是社会融合的困难、矛盾和动态，所有这些都在四个主要人物关系的演变中表现得很明显。这些差异存在于他们之间，存在于他们的家庭中，也存在于整个社会结构中。此外，本文还概述了1983年在马赛举行的La marche des beurs运动的历史背景及其公众的认知。然后，它试图探讨融合、领土和父子关系等问题。
{"title":"‘C’est Madame La France que tu préfères?’: The representation of gender inequality in Douce France","authors":"Stéphane Narcis","doi":"10.1386/ijfs_00049_1","DOIUrl":"https://doi.org/10.1386/ijfs_00049_1","url":null,"abstract":"\u0000 Douce France is a 1995 banlieue film that touches on issues of interracial friendship, exclusion versus integration, gender identity and the relationship that the second generation of immigrants have with France as their homeland. The work, written and directed by Malik Chibane, focuses on a Blanc-Beur friendship, Moussa (Hakim Sarahoui) and his friend Jean-Luc (Frédéric Diefenthal). The film also focuses heavily on French-Algerian sisters Souad (Seloua Hamse) and Farida (Fadila Belkebla) and the character of Myssad (Nadia Kaci). In this review article, the film is examined and discussed regarding integration into a socio-spatial environment presented as significantly different from other banlieue films. Of particular interest are the difficulties, contradictions and dynamics of social integration, all of which are evident in the evolution of the relationships of the four main characters. These differences are present between them, with their families, but also with the whole social fabric. In addition, this article outlines the historical context of La marche des beurs in 1983 in Marseille and its perception by the public. It then attempts to explore the issues of integration, territory and the relationship between father and children.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47995686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research questions Mahi Binebine’s novel Pollens as one of the few representations of the effects of cannabis intoxication in Maghrebian literature. The rational mind is opposed to the madness of cannabis that invades the mind. But beyond this aspect, it is above all a question of denouncing a rout, the degeneration of the quest for bucolic utopia into a hellish descent. Worthy of the best love stories, Pollens is also a reflection on despotic power, which does not hesitate to use very archaic methods to dominate the population and shatter hopes. The protagonists fight against the ugliness and monstrosity embodied by the hideous lord of Ketama to defend the human values of love, friendship and moral integrity. In this struggle, storytelling and writing, as in most of Binebine’s novels, are the best weapons to defend against amnesia and complicit silence.
{"title":"Pollens de Mahi Binebine, l’amour entre l’ivresse cannabique et l’ivresse du pouvoir","authors":"Mohamed Semlali","doi":"10.1386/ijfs_00048_1","DOIUrl":"https://doi.org/10.1386/ijfs_00048_1","url":null,"abstract":"This research questions Mahi Binebine’s novel Pollens as one of the few representations of the effects of cannabis intoxication in Maghrebian literature. The rational mind is opposed to the madness of cannabis that invades the mind. But beyond this aspect, it is above all a question of denouncing a rout, the degeneration of the quest for bucolic utopia into a hellish descent. Worthy of the best love stories, Pollens is also a reflection on despotic power, which does not hesitate to use very archaic methods to dominate the population and shatter hopes. The protagonists fight against the ugliness and monstrosity embodied by the hideous lord of Ketama to defend the human values of love, friendship and moral integrity. In this struggle, storytelling and writing, as in most of Binebine’s novels, are the best weapons to defend against amnesia and complicit silence.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46566158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article aims to study the vision of Tahar Ben Jelloun towards the body through which the social and cultural situation of the Maghreb countries is clarified. The Moroccan author charges the body with the Arab-Muslim tradition, with male domination and culture, with the erasure of women in society. Hadj Ahmed Souleïmane, in a country that favours men, after having had seven daughters, he feels dishonoured, castrated, finally to repair this evil and rehabilitate his honour, he makes his daughter a boy, from birth, who will be the man of the family, his heir, not only of material goods but essentially of the values of masculinity and patriarchy. He manipulates both his daughter’s body and her way of thinking, teaching her how to become a man according to tradition, also inspecting her body, her reactions and her actions. The body is thus polysemous, through which we understand Ben Jelloun’s vision of gender, culture, family education, society, the male/female relationship and religion. Ben Jelloun uses the body for subversive reasons in order to deconstruct society’s vision of the body, of the values and culture that determine society. In his work, the body thus consists in condemning and denouncing.
本文旨在研究塔哈尔·本·耶伦对阐明马格里布国家社会和文化状况的机构的愿景。摩洛哥提交人指控该机构具有阿拉伯穆斯林传统、男性统治和文化，并抹杀了社会中的女性。哈吉·艾哈迈德·苏莱曼尼（Hadj Ahmed Souleïmane），在一个重男轻女的国家，在生了七个女儿后，他感到被羞辱、被阉割，最终为了修复这种邪恶并恢复名誉，他让女儿从出生起就是一个男孩，他将成为家庭的男人，他的继承人，不仅拥有物质财富，而且基本上拥有男子气概和父权制的价值观。他操纵女儿的身体和思维方式，教她如何按照传统成为一个男人，还检查她的身体、反应和行动。因此，身体是多义性的，通过它我们可以理解本·耶伦对性别、文化、家庭教育、社会、男女关系和宗教的看法。Ben Jelloun出于颠覆性的原因使用身体，以解构社会对身体、价值观和决定社会的文化的看法。因此，在他的作品中，主体包括谴责和谴责。
{"title":"Corps, culture et société: une lecture de L’enfant de sable et La nuit sacrée de Tahar Ben Jelloun","authors":"Idris Hamdani","doi":"10.1386/ijfs_00050_4","DOIUrl":"https://doi.org/10.1386/ijfs_00050_4","url":null,"abstract":"This article aims to study the vision of Tahar Ben Jelloun towards the body through which the social and cultural situation of the Maghreb countries is clarified. The Moroccan author charges the body with the Arab-Muslim tradition, with male domination and culture, with the erasure of women in society. Hadj Ahmed Souleïmane, in a country that favours men, after having had seven daughters, he feels dishonoured, castrated, finally to repair this evil and rehabilitate his honour, he makes his daughter a boy, from birth, who will be the man of the family, his heir, not only of material goods but essentially of the values of masculinity and patriarchy. He manipulates both his daughter’s body and her way of thinking, teaching her how to become a man according to tradition, also inspecting her body, her reactions and her actions. The body is thus polysemous, through which we understand Ben Jelloun’s vision of gender, culture, family education, society, the male/female relationship and religion. Ben Jelloun uses the body for subversive reasons in order to deconstruct society’s vision of the body, of the values and culture that determine society. In his work, the body thus consists in condemning and denouncing.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44922055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The former French India has held a distinctive place in metropolitan French discourses and sentiments of colonial nostalgia which have been subject to sustained analysis. French India is thus part of a larger body of research exploring colonial nostalgia both as a general phenomenon and in a specific regional context. However, the corresponding imaginaries in what after its decolonization became the Indian Union Territory of Puducherry have remained marginalized in research. Yet regardless of the frequently naturalized expectation that the colonial metropoles should be its natural habitat, colonial nostalgia is not something that only occurs among the former colonial powers, and colonial nostalgia is in fact expressed in many ways in present-day Puducherry. This ethnographic study shows that if we are to understand the production and roles of colonial nostalgia we need to analyse it not merely from the perspective of the former colonial powers, but also as it occurs in the former colonies. Indeed, we should question how separate such discourses, imaginaries and sentiments of colonial nostalgia are, and redirect our attention to interrogating how they interact and may be coproduced in a broader, often ambiguous post/colonial field where postcolonial interests in the former colony are equally at stake.
{"title":"‘Out through the door and in through the window?’: Positioning colonial nostalgia for French India in Puducherry","authors":"Helle Jørgensen","doi":"10.1386/ijfs_00045_1","DOIUrl":"https://doi.org/10.1386/ijfs_00045_1","url":null,"abstract":"The former French India has held a distinctive place in metropolitan French discourses and sentiments of colonial nostalgia which have been subject to sustained analysis. French India is thus part of a larger body of research exploring colonial nostalgia both as a general phenomenon and in a specific regional context. However, the corresponding imaginaries in what after its decolonization became the Indian Union Territory of Puducherry have remained marginalized in research. Yet regardless of the frequently naturalized expectation that the colonial metropoles should be its natural habitat, colonial nostalgia is not something that only occurs among the former colonial powers, and colonial nostalgia is in fact expressed in many ways in present-day Puducherry. This ethnographic study shows that if we are to understand the production and roles of colonial nostalgia we need to analyse it not merely from the perspective of the former colonial powers, but also as it occurs in the former colonies. Indeed, we should question how separate such discourses, imaginaries and sentiments of colonial nostalgia are, and redirect our attention to interrogating how they interact and may be coproduced in a broader, often ambiguous post/colonial field where postcolonial interests in the former colony are equally at stake.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44635082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ngozi Kris Ogbodo, Marinus Samoh Yong, Paul Egbuna Modum
Hamidou Kane’s first novel, The Ambiguous Adventure, has been subjected to a plethora of criticism since its publication in 1960 thanks to the historical-political situation during the creation of this masterpiece. The judgements of some critics such as Albert Gérard are erroneous because they believe, wrongly, that the novelist’s sympathy lies on the side of the western system. It is worth denouncing the excess of snobbery of a critic who claims to dictate to the novelist how he should have written his novel. It should be noted that Kane’s work is not a celebration of the benefits of colonialism. Rather, it is a profound analysis of the anguish caused by the harmful effects of a foreign system on the traditional life of Africa. More than sixty years after the publication of this masterpiece, the feelings evoked and the themes addressed are still very relevant. This article criticizes Gerald’s point of view while proposing another in relation to the author’s intention. To achieve this goal, the analysis will be based not only on our own conviction, but also on the views of other critics.
{"title":"L’Aventure ambiguë: La folie spirituelle, la réalité philosophique et l’interprétation erronée","authors":"Ngozi Kris Ogbodo, Marinus Samoh Yong, Paul Egbuna Modum","doi":"10.1386/ijfs_00044_1","DOIUrl":"https://doi.org/10.1386/ijfs_00044_1","url":null,"abstract":"Hamidou Kane’s first novel, The Ambiguous Adventure, has been subjected to a plethora of criticism since its publication in 1960 thanks to the historical-political situation during the creation of this masterpiece. The judgements of some critics such as Albert Gérard are erroneous because they believe, wrongly, that the novelist’s sympathy lies on the side of the western system. It is worth denouncing the excess of snobbery of a critic who claims to dictate to the novelist how he should have written his novel. It should be noted that Kane’s work is not a celebration of the benefits of colonialism. Rather, it is a profound analysis of the anguish caused by the harmful effects of a foreign system on the traditional life of Africa. More than sixty years after the publication of this masterpiece, the feelings evoked and the themes addressed are still very relevant. This article criticizes Gerald’s point of view while proposing another in relation to the author’s intention. To achieve this goal, the analysis will be based not only on our own conviction, but also on the views of other critics.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45295971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Through a critical reading of Gisèle Pineau’s La Grande Drive des esprits (1993) and Raphaël Confiant’s Adèle et la pacotilleuse (2005), this article examines the practice of ‘writing back’ to the canon as a privileged mode of Caribbean literary and critical discourse. The study demonstrates that evoking the riotous spirit of carnival performance, Confiant’s novel cannibalizes a historical drama, whose title character crumbles under the cultural, social and real weight of paternal legacy. The film’s protagonist ‐ Victor Hugo’s daughter ‐ famous for her mental health struggles, reappears in Confiant’s novel as a means of encouraging reflection on the paradoxical play of absence and silence, as well as on the limitation and power of language. Confiant further makes deliberately strategic references to Hugo’s first novel ‐ set in the Caribbean ‐ in a bid to appraise the corporeal and cultural exploitation of Caribbean peoples through (neo)-colonial designs. While less straightforward in its ‘writing back’ strategies, Pineau’s novel references Victor Hugo to make a commentary on the intersections of colonialist and masculinist underpinnings of Caribbean cultures, and women’s dislocation within them. The metaphor of madness as a marker of otherness in Pineau’s novel draws attention to the implications of language as a site of conflict.
通过对Gisèle Pineau的《La Grande Drive des esprits》（1993年）和Raphaël Confiant的《Adèle et La pacotilleuse》（2005年）的批判性阅读，本文探讨了“写回”正典作为加勒比文学和批评话语的特权模式的实践。研究表明，Confiant的小说唤起了狂欢节表演的狂欢精神，蚕食了一部历史剧，其主人公在父亲遗产的文化、社会和现实重量下崩溃了。这部电影的主人公维克多·雨果的女儿以其心理健康问题而闻名，她在Confiant的小说中再次出现，以此鼓励人们反思缺席和沉默的矛盾游戏，以及语言的局限性和力量。Confiant进一步有意战略性地引用了雨果的第一部小说——以加勒比海为背景——试图通过（新）殖民设计来评估加勒比海人民的物质和文化剥削。虽然皮诺的“回写”策略不那么直截了当，但他的小说引用了维克多·雨果，对加勒比文化的殖民主义和男子主义基础的交叉点，以及女性在其中的错位进行了评论。在皮诺的小说中，疯狂作为另类标志的隐喻引起了人们对语言作为冲突场所的含义的关注。
{"title":"Writing back to Hugo: Intertextuality in the works of Raphaël Confiant and Gisèle Pineau","authors":"Njeri Githire","doi":"10.1386/ijfs_00043_1","DOIUrl":"https://doi.org/10.1386/ijfs_00043_1","url":null,"abstract":"Through a critical reading of Gisèle Pineau’s La Grande Drive des esprits (1993) and Raphaël Confiant’s Adèle et la pacotilleuse (2005), this article examines the practice of ‘writing back’ to the canon as a privileged mode of\u0000 Caribbean literary and critical discourse. The study demonstrates that evoking the riotous spirit of carnival performance, Confiant’s novel cannibalizes a historical drama, whose title character crumbles under the cultural, social and real weight of paternal legacy. The film’s\u0000 protagonist ‐ Victor Hugo’s daughter ‐ famous for her mental health struggles, reappears in Confiant’s novel as a means of encouraging reflection on the paradoxical play of absence and silence, as well as on the limitation and power of language. Confiant further makes\u0000 deliberately strategic references to Hugo’s first novel ‐ set in the Caribbean ‐ in a bid to appraise the corporeal and cultural exploitation of Caribbean peoples through (neo)-colonial designs. While less straightforward in its ‘writing back’ strategies, Pineau’s\u0000 novel references Victor Hugo to make a commentary on the intersections of colonialist and masculinist underpinnings of Caribbean cultures, and women’s dislocation within them. The metaphor of madness as a marker of otherness in Pineau’s novel draws attention to the implications\u0000 of language as a site of conflict.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47260006","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores how the installation Le grand couvert by Malagasy artist Amalia Ramanankirahina intersects colonial plantations and a French Parisian orchard to decolonize contemporary French ecological thinking. As this article explores how French rural ecologies are embedded within a wider variety of environments and their violent plantationocenic histories, it argues that Le grand couvert performs ‘aesthetic marronage’, a form of fugitivity that breaks through ‘traditional’ plantation visual cultures – ones that freeze plantations into a space of leisure and exoticism, albeit a violent one. Tracing the contours of the material, economic and ecological, ‘legacies’ of the plantationocene in and across contemporary France and its overseas territories, this article ultimately demonstrates how Le grand couvert helps interrogate what Stephanie Posthumus has called ‘ecological dwelling’, the evolving processes of bodies in and with space. While Posthumus understands ecological dwelling primarily along urban/rural paradigms, Ramanankirahina’s decolonial work injects new perspectives on this concept. In Le grand couvert, the plantation bleeds into the colonial space of a former rural space now known as a banlieue. At the intersection of the plantation and the banlieue, aesthetic marronage reveals the tensions of dwelling ecologically in sites that racially and economically restrict one’s subjective formation.
本文探讨了马达加斯加艺术家Amalia Ramanankirahina的装置作品Le grand couvert如何将殖民种植园和法国巴黎果园相结合，从而使当代法国生态思想去殖民化。这篇文章探讨了法国农村生态是如何被嵌入到更广泛的环境和他们的暴力种植园历史中的，它认为Le grand couvert表演了“美学婚姻”，一种突破“传统”种植园视觉文化的逃亡形式——尽管是暴力的，但将种植园冻结为休闲和异国情调的空间。这篇文章追溯了在当代法国及其海外领土上的种植园新世的物质、经济和生态“遗产”的轮廓，最终展示了Le grand couvert如何帮助询问Stephanie Posthumus所说的“生态住宅”，以及身体在空间中的进化过程。虽然Posthumus主要根据城市/农村范例理解生态住宅，但Ramanankirahina的非殖民化作品为这一概念注入了新的视角。在Le grand couvert，种植园渗透到殖民时期的乡村空间，现在被称为郊区。在种植园和郊区的交汇处，审美婚姻揭示了在种族和经济上限制一个人主观形成的地方生态居住的紧张关系。
{"title":"‘C’est à ce prix que vous mangez du sucre en Europe’: Decolonizing plantationocene visualities in Amalia Ramanankirahina’s Le grand couvert","authors":"A. Matheron","doi":"10.1386/ijfs_00046_1","DOIUrl":"https://doi.org/10.1386/ijfs_00046_1","url":null,"abstract":"This article explores how the installation Le grand couvert by Malagasy artist Amalia Ramanankirahina intersects colonial plantations and a French Parisian orchard to decolonize contemporary French ecological thinking. As this article explores how French rural ecologies are embedded within a wider variety of environments and their violent plantationocenic histories, it argues that Le grand couvert performs ‘aesthetic marronage’, a form of fugitivity that breaks through ‘traditional’ plantation visual cultures – ones that freeze plantations into a space of leisure and exoticism, albeit a violent one. Tracing the contours of the material, economic and ecological, ‘legacies’ of the plantationocene in and across contemporary France and its overseas territories, this article ultimately demonstrates how Le grand couvert helps interrogate what Stephanie Posthumus has called ‘ecological dwelling’, the evolving processes of bodies in and with space. While Posthumus understands ecological dwelling primarily along urban/rural paradigms, Ramanankirahina’s decolonial work injects new perspectives on this concept. In Le grand couvert, the plantation bleeds into the colonial space of a former rural space now known as a banlieue. At the intersection of the plantation and the banlieue, aesthetic marronage reveals the tensions of dwelling ecologically in sites that racially and economically restrict one’s subjective formation.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46282037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article aims to designate the notion of ‘Griot’ – the oral transmitter of history in West African cultures to the eclectic filmmakers from the post-independence period of Francophone Senegal who utilized film as an instrument to reassemble their nation’s lost image and carve an independent national identity that seeks liberation from the remnants of French imperial rule. Figuratively performing as Griots in the postcolonial film corpus, directors Ousmane Sembéne, Djibril Diop Mambéty and Mati Diop fabricated an original filmic language that represents the cultural milieu of Senegal after the French colonialism. In these directorial endeavours, the incorporation of narration elements plays a pivotal role in simultaneously manufacturing the agencies of Senegalese people and accelerating the continuum of decolonization in the country’s visual domain. Including the historical framework of Senegal’s cinema and illustrating the analogy between Griots and these filmmakers, this research will take a closer look at the corresponding postcolonial narratives of Ousmane Sembéne’s La Noire de… (1966), Djibril Diop Mambéty’s Touki Bouki (1973) and Mati Diop’s Atlantics (2019) in an effort to unravel their tumultuous identity politics, critiques of (neo)colonialism and filmmakers’ role as national raconteurs.
{"title":"Reconfiguring Senegalese filmmakers as Griots: Identity, migration and authorship practice","authors":"Oğuz Kayır","doi":"10.1386/ijfs_00047_1","DOIUrl":"https://doi.org/10.1386/ijfs_00047_1","url":null,"abstract":"This article aims to designate the notion of ‘Griot’ – the oral transmitter of history in West African cultures to the eclectic filmmakers from the post-independence period of Francophone Senegal who utilized film as an instrument to reassemble their nation’s lost image and carve an independent national identity that seeks liberation from the remnants of French imperial rule. Figuratively performing as Griots in the postcolonial film corpus, directors Ousmane Sembéne, Djibril Diop Mambéty and Mati Diop fabricated an original filmic language that represents the cultural milieu of Senegal after the French colonialism. In these directorial endeavours, the incorporation of narration elements plays a pivotal role in simultaneously manufacturing the agencies of Senegalese people and accelerating the continuum of decolonization in the country’s visual domain. Including the historical framework of Senegal’s cinema and illustrating the analogy between Griots and these filmmakers, this research will take a closer look at the corresponding postcolonial narratives of Ousmane Sembéne’s La Noire de… (1966), Djibril Diop Mambéty’s Touki Bouki (1973) and Mati Diop’s Atlantics (2019) in an effort to unravel their tumultuous identity politics, critiques of (neo)colonialism and filmmakers’ role as national raconteurs.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43193827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article aims to study the condition of African women in Une vie hypothéquée by Anne-Marie Adiaffi. In a predominantly patriarchal Ivorian society, this Francophone African novelist highlights certain alienating practices that subjugate African women, especially forced marriage and widowhood in Ivorian and African society. Given the above, the researcher wonders why the condition of African women is in a state of exploitation, oppression and overwhelming violence. What are the solutions to stop these problems? To effectively carry out the study, the researcher adopts the African womanism theory. The study recommends that the sensitization and formal education of African women is the key to their development and emancipation in society.
本文旨在研究安妮-玛丽·阿迪菲在《Une vie hypothacimac》中的非洲妇女状况。在一个以父权为主的科特迪瓦社会，这位讲法语的非洲小说家强调了某些使非洲妇女处于劣势的异化做法，特别是科特迪瓦和非洲社会中的强迫婚姻和寡妇。鉴于上述情况，研究人员想知道为什么非洲妇女的状况处于剥削，压迫和压倒性的暴力状态。解决这些问题的方法是什么?为了有效地进行研究，研究者采用了非洲女性主义理论。研究报告建议，非洲妇女的觉悟和正规教育是她们在社会上发展和解放的关键。
{"title":"La condition féminine dans Une vie hypothéquée d’Anne-Marie Adiaffi","authors":"Catherine Achetu Ameh","doi":"10.1386/ijfs_00041_4","DOIUrl":"https://doi.org/10.1386/ijfs_00041_4","url":null,"abstract":"This article aims to study the condition of African women in Une vie hypothéquée by Anne-Marie Adiaffi. In a predominantly patriarchal Ivorian society, this Francophone African novelist highlights certain alienating practices that subjugate African women, especially\u0000 forced marriage and widowhood in Ivorian and African society. Given the above, the researcher wonders why the condition of African women is in a state of exploitation, oppression and overwhelming violence. What are the solutions to stop these problems? To effectively carry out the study, the\u0000 researcher adopts the African womanism theory. The study recommends that the sensitization and formal education of African women is the key to their development and emancipation in society.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42257283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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