French banlieue literature written by immigrant and ‘post-migration’ writers often involves a paradoxical mix of both ‘high’ and ‘low’ language varieties – use of slang alternating with poetic utterances –, as well as references to popular culture alternating with ‘high culture’, which may range from mentions of American movies to intertextual references to canonized authors. What is the extratextual message of this intriguing mix, what do the predominantly young writers aim at, and what audience do they address in this way? By distinguishing four different strategies this article will argue that this hybrid blend is intended to act as a signal to the French reader, and thus indirectly to publishers and critics, that the writers conform to national standards and values, show full integration into French society, and therefore are entitled to claim a legitimate place in the French literary field.
{"title":"‘Because we’re worth it’: Young banlieue writers in France striving for inclusion","authors":"Stella Linn","doi":"10.1386/IJFS_00011_1","DOIUrl":"https://doi.org/10.1386/IJFS_00011_1","url":null,"abstract":"French banlieue literature written by immigrant and ‘post-migration’ writers often involves a paradoxical mix of both ‘high’ and ‘low’ language varieties – use of slang alternating with poetic utterances –, as well as references to popular culture alternating with ‘high culture’, which may range from mentions of American movies to intertextual references to canonized authors. What is the extratextual message of this intriguing mix, what do the predominantly young writers aim at, and what audience do they address in this way? By distinguishing four different strategies this article will argue that this hybrid blend is intended to act as a signal to the French reader, and thus indirectly to publishers and critics, that the writers conform to national standards and values, show full integration into French society, and therefore are entitled to claim a legitimate place in the French literary field.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":"23 1","pages":"73-97"},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45467230","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}
‘Integration’ expects immigrants to conform to a certain idea of Frenchness. While ‘integration’ has been and continues to be the watchword in French politics, recent directors contend that new and decolonized French identities are formed through different mechanisms. This article argues that Lucien Jean-Baptiste and Philippe Larue in 30° Couleur present a protagonist of Martinican descent who comes to terms with his previously compartmentalized Frenchness through a process that this research conceives as a process of dis-integration, challenging the perceived notion that ‘integration’ is the only valid path to being French. The process of dis-integration has three fundamental steps: (1) the physical dissociation of the protagonist from his space of integration, (2) the rediscovery and reconnection with a deep part of his identity that he had (un)consciously repressed and subsequently erased and (3) the acceptance of his double or plural identity and the creation of a space where these identities can co-exist without dominating or annihilating one another.
{"title":"French Dis-integration: New identity formation processes in 30° Couleur","authors":"Caroline Fache, Linsey Sainte-Claire","doi":"10.1386/IJFS_00010_1","DOIUrl":"https://doi.org/10.1386/IJFS_00010_1","url":null,"abstract":"‘Integration’ expects immigrants to conform to a certain idea of Frenchness. While ‘integration’ has been and continues to be the watchword in French politics, recent directors contend that new and decolonized French identities are formed through different mechanisms. This article argues that Lucien Jean-Baptiste and Philippe Larue in 30° Couleur present a protagonist of Martinican descent who comes to terms with his previously compartmentalized Frenchness through a process that this research conceives as a process of dis-integration, challenging the perceived notion that ‘integration’ is the only valid path to being French. The process of dis-integration has three fundamental steps: (1) the physical dissociation of the protagonist from his space of integration, (2) the rediscovery and reconnection with a deep part of his identity that he had (un)consciously repressed and subsequently erased and (3) the acceptance of his double or plural identity and the creation of a space where these identities can co-exist without dominating or annihilating one another.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":"23 1","pages":"49-72"},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41370543","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 representations of fasting and feasting in Le Voile de Draupadi (1993) and Manger l’autre (2018) by contemporary Francophone Mauritian author, Ananda Devi, teasing out the resistant strategies of (not) eating to the power dynamics entrenched within her global, postcolonial settings in which the politics of gender, neo-colonialism and advanced capitalist consumer culture compete in the regulatory domination of the individual body. Reading these two novels together offers space for reflection on the different meanings – psychical, familial, religious, cultural, political, historical – that converge on the bodies of her protagonists, and the ways that these meanings may exceed singular or conventional interpretations of both fasting and feasting. Written 25 years apart, and set in different locations, one in Mauritius, the second in an unnamed although recognizably western nation, Devi’s novels speak to one another across these spaces, tracing the global flows of attitudes towards the body and practices of consumption. In so doing, Devi’s writing illuminates the embedded, crisscrossing power dynamics and layered drives exhibited by these fasting, feasting bodies, and their divergent – but resonant – strategies of resistance in the practices of (not)eating across the contemporary, globalized world.
{"title":"Fasting, feasting: The resistant strategies of (not) eating in Ananda Devi's Le Voile de Draupadi and Manger l'autre","authors":"A. Damlé","doi":"10.1386/ijfs_00001_1","DOIUrl":"https://doi.org/10.1386/ijfs_00001_1","url":null,"abstract":"This article explores representations of fasting and feasting in Le Voile de Draupadi (1993) \u0000and Manger l’autre (2018) by contemporary Francophone Mauritian author, Ananda Devi, \u0000teasing out the resistant strategies of (not) eating to the power dynamics entrenched within \u0000her global, postcolonial settings in which the politics of gender, neo-colonialism and \u0000advanced capitalist consumer culture compete in the regulatory domination of the individual \u0000body. Reading these two novels together offers space for reflection on the different meanings \u0000– psychical, familial, religious, cultural, political, historical – that converge on the bodies of \u0000her protagonists, and the ways that these meanings may exceed singular or conventional \u0000interpretations of both fasting and feasting. Written 25 years apart, and set in different \u0000locations, one in Mauritius, the second in an unnamed although recognizably western nation, \u0000Devi’s novels speak to one another across these spaces, tracing the global flows of attitudes \u0000towards the body and practices of consumption. In so doing, Devi’s writing illuminates the \u0000embedded, crisscrossing power dynamics and layered drives exhibited by these fasting, \u0000feasting bodies, and their divergent – but resonant – strategies of resistance in the practices of \u0000(not)eating across the contemporary, globalized world.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":"22 1","pages":"179-211"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49574637","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}
Abstract This article argues that Emile Ollivier's 1991 novel, Passages, offers a representation of the migrant's body as a contact zone, as a space of entanglement of several processes of encounter and cultural productivity. The migrant's body will become the space where senses, cultural movements, memories, encounter each other, and the space of intersection of various forces. The body builds itself up at the intersection of the processes at stake, which each part of this article will focus on: movement, memory and solidarity between female migrants. In light of these processes, the migrant characters present in Ollivier's novel will be able to reclaim parts of their agency, previously lost in the wake of their displacements.
{"title":"Embodied explorations and migrants' agency: Movements, memory and solidarity in Passages by Émile Ollivier","authors":"M. Paillard","doi":"10.1386/ijfs_00007_1","DOIUrl":"https://doi.org/10.1386/ijfs_00007_1","url":null,"abstract":"Abstract This article argues that Emile Ollivier's 1991 novel, Passages, offers a representation of the migrant's body as a contact zone, as a space of entanglement of several processes of encounter and cultural productivity. The migrant's body will become the space\u0000 where senses, cultural movements, memories, encounter each other, and the space of intersection of various forces. The body builds itself up at the intersection of the processes at stake, which each part of this article will focus on: movement, memory and solidarity between female migrants.\u0000 In light of these processes, the migrant characters present in Ollivier's novel will be able to reclaim parts of their agency, previously lost in the wake of their displacements.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":"22 1","pages":"311-330"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44260530","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}
Evaristus Nkemdilim Ugwu, Vincent Nnaemeka Obidiegwu
Abstract From the Stockholm conference in Sweden in 1972 to the Chile conference that will take place from 2 to 14 December 2019, the environmental debate provoked by environmental challenges such as climate change continues to be in full swing in all these international meetings. It is obvious that it is an attempt to meet the millennial demands represented by the consequences of climate change such as drought, flood and hurricane among others that ravage not just the West Indian world but humanity in general. It is also true that for some time now, environmental affairs are no longer those of just environmentalists or geographers, writers and literary critics have also stepped up to the scene in protection of the environment. Therefore, this article aims to analyse through ecocritical theory the place of the environment in Jacques Roumain's Gouverneurs de la rosée, Maryse Condé's Moi, Tituba sorciere... noire de Salem and Gisèle Pineau's L'Exil selon Julia. To what extent these writers care for the well-being of the environment? In what way? What are the perspectives of the future advocated by these writers?
摘要从1972年在瑞典举行的斯德哥尔摩会议到将于2019年12月2日至14日举行的智利会议，气候变化等环境挑战引发的环境辩论在所有这些国际会议上继续如火如荼。很明显，这是为了满足以干旱、洪水和飓风等气候变化后果为代表的千禧一代需求，这些气候变化不仅肆虐西印度世界，也肆虐全人类。诚然，一段时间以来，环境事务不再只是环保主义者或地理学家的事务，作家和文学评论家也纷纷站出来保护环境。因此，本文旨在通过生态批评理论来分析环境在雅克·鲁曼的《玫瑰园》、玛丽斯·孔戴的《莫伊》、《蒂图巴·索里耶》和《大地》中的地位。。。黑色的塞勒姆和Gisèle Pineau的L‘Exil selon Julia。这些作家在多大程度上关心环境的福祉？以什么方式？这些作家对未来的看法是什么？
{"title":"Repenser sur l'environnement: Une étude écocritique dans Gouverneurs de la rosée de Jacques Roumain, Moi, Tituba sorcière… noire de Salem de Maryse Condé et L'Exil selon Julia de Gisèle Pineau","authors":"Evaristus Nkemdilim Ugwu, Vincent Nnaemeka Obidiegwu","doi":"10.1386/ijfs_00006_1","DOIUrl":"https://doi.org/10.1386/ijfs_00006_1","url":null,"abstract":"Abstract From the Stockholm conference in Sweden in 1972 to the Chile conference that will take place from 2 to 14 December 2019, the environmental debate provoked by environmental challenges such as climate change continues to be in full swing in all these international\u0000 meetings. It is obvious that it is an attempt to meet the millennial demands represented by the consequences of climate change such as drought, flood and hurricane among others that ravage not just the West Indian world but humanity in general. It is also true that for some time now, environmental\u0000 affairs are no longer those of just environmentalists or geographers, writers and literary critics have also stepped up to the scene in protection of the environment. Therefore, this article aims to analyse through ecocritical theory the place of the environment in Jacques Roumain's Gouverneurs\u0000 de la rosée, Maryse Condé's Moi, Tituba sorciere... noire de Salem and Gisèle Pineau's L'Exil selon Julia. To what extent these writers care for the well-being of the environment? In what way? What are the perspectives of the future advocated by these\u0000 writers?","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":"22 1","pages":"299-310"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45252430","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}
Abstract Based on historical research, and in situ observations, this article examines the history of the Maison des Esclaves as an example of Moyn's argument that interest in human rights arose as a response to the failures of previous idealistic movements, especially nationalism and socialism, and, by the 1970s, the feeling that decolonization had failed. Originating as an expression of Negritude idealism and cultural nationalism, with the Senegalese state's loss of interest in the Maison, the state's larger failure to promote the interests of its inhabitants and ongoing American ties with Senegal's universities and cultural institutions, the Maison shifted its perspective on the slave trade to a human rights approach. This change linked the museum to a supportive international network. But, today, as the Maison's new, human rights-oriented exhibits are still in preparation, they are already being overshadowed by the new Musée des Civilisations Noires, a monumental expression of Negritude and nationalism, supported by the Chinese government. This latest development points to challenges that human rights regimes and museums worldwide may be facing in the coming years.
{"title":"Negritude, Americanization and human rights in Gorée, Senegal: The Maison de Esclaves 1966‐2019","authors":"Robin Ostow","doi":"10.1386/ijfs_00005_1","DOIUrl":"https://doi.org/10.1386/ijfs_00005_1","url":null,"abstract":"Abstract Based on historical research, and in situ observations, this article examines the history of the Maison des Esclaves as an example of Moyn's argument that interest in human rights arose as a response to the failures of previous idealistic movements, especially\u0000 nationalism and socialism, and, by the 1970s, the feeling that decolonization had failed. Originating as an expression of Negritude idealism and cultural nationalism, with the Senegalese state's loss of interest in the Maison, the state's larger failure to promote the interests of its inhabitants\u0000 and ongoing American ties with Senegal's universities and cultural institutions, the Maison shifted its perspective on the slave trade to a human rights approach. This change linked the museum to a supportive international network. But, today, as the Maison's new, human rights-oriented exhibits\u0000 are still in preparation, they are already being overshadowed by the new Musée des Civilisations Noires, a monumental expression of Negritude and nationalism, supported by the Chinese government. This latest development points to challenges that human rights regimes and museums worldwide\u0000 may be facing in the coming years.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":"22 1","pages":"271-297"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/ijfs_00005_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42647161","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}
Abstract Michel Leiris's treatment of clothing in L'Afrique fantôme, his diary account of his journey through Africa as part of an ethnographic expedition, demonstrates how dress habits constitute a value-laden system. Clothing belongs to a category of objects, which includes talismans and masks, that Leiris calls 'choses d'apparat' because of their tendency to acquire a ceremonial significance. As such, they mark indelibly the travellers' first impressions of the men and women they encounter. Leiris's substantial body of autobiographical writing shows that his interest in clothing is not limited to his travels but goes back to his most distant childhood memories, in which items of dress acquire a distinct theatrical significance. The present study examines the descriptions of dress in L'Afrique fantôme in terms of what they reveal about the respective attitudes of the European travellers and local populations they meet. It explains also how dress habits function as a bearer of cultural values and as a mediator in situations of intercultural contact. It shows finally how dress plays a key part in Leiris's critique of exoticism and colonial stereotypes, by means of which he engages in a different kind of human exchange than that practiced by his scientifically trained colleagues.
{"title":"Choses d'apparat: The poetics of dress in Michel Leiris's L'Afrique fantôme","authors":"Peter Poiana","doi":"10.1386/ijfs_00002_1","DOIUrl":"https://doi.org/10.1386/ijfs_00002_1","url":null,"abstract":"Abstract Michel Leiris's treatment of clothing in L'Afrique fantôme, his diary account of his journey through Africa as part of an ethnographic expedition, demonstrates how dress habits constitute a value-laden system. Clothing belongs to a category of objects, which\u0000 includes talismans and masks, that Leiris calls 'choses d'apparat' because of their tendency to acquire a ceremonial significance. As such, they mark indelibly the travellers' first impressions of the men and women they encounter. Leiris's substantial body of autobiographical writing shows\u0000 that his interest in clothing is not limited to his travels but goes back to his most distant childhood memories, in which items of dress acquire a distinct theatrical significance. The present study examines the descriptions of dress in L'Afrique fantôme in terms of what they reveal\u0000 about the respective attitudes of the European travellers and local populations they meet. It explains also how dress habits function as a bearer of cultural values and as a mediator in situations of intercultural contact. It shows finally how dress plays a key part in Leiris's critique of\u0000 exoticism and colonial stereotypes, by means of which he engages in a different kind of human exchange than that practiced by his scientifically trained colleagues.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":"22 1","pages":"213-231"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47527085","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}
Abstract Focusing on the representation of the masculinity of dictator figures in Cheik Aliou Ndao's Mbaam dictateur (1997) and Baba Galleh Jallow's Angry Laughter (2004), this article explores the imbrication of social realities, power structures and literary expression that characterizes these texts as dictator-novels. It considers the writers' reappropriation of the border between animal and human as a means by which to level an allegorical political critique in the guise of a fable. In so doing, it emphasizes their representation of the hypermasculine body of the dictator and its centrality to emerging nation states that are defined by class and ethnic relations. Finally, its focus turns to the importance of voice to examine the aesthetic of these two dictator-novels, which is of equal importance to our understanding of these texts as their thematic representation. The article thus takes these two literary works as case studies for the dictator-novel at the turn of the twenty-first century to examine the ways in which African writers use the dictator-novel to express the disenchantment of citizens with the long and faltering process of decolonization that, in many countries across Africa, had seen the emergence not of an ideal postcolonial democracy, but instead of a de-humanizing neo-colonial autocracy.
{"title":"Angry laughter: Postcolonial representations of dictatorial masculinities","authors":"Charlotte Baker","doi":"10.1386/ijfs_00003_1","DOIUrl":"https://doi.org/10.1386/ijfs_00003_1","url":null,"abstract":"Abstract Focusing on the representation of the masculinity of dictator figures in Cheik Aliou Ndao's Mbaam dictateur (1997) and Baba Galleh Jallow's Angry Laughter (2004), this article explores the imbrication of social realities, power structures and literary\u0000 expression that characterizes these texts as dictator-novels. It considers the writers' reappropriation of the border between animal and human as a means by which to level an allegorical political critique in the guise of a fable. In so doing, it emphasizes their representation of the hypermasculine\u0000 body of the dictator and its centrality to emerging nation states that are defined by class and ethnic relations. Finally, its focus turns to the importance of voice to examine the aesthetic of these two dictator-novels, which is of equal importance to our understanding of these texts as their\u0000 thematic representation. The article thus takes these two literary works as case studies for the dictator-novel at the turn of the twenty-first century to examine the ways in which African writers use the dictator-novel to express the disenchantment of citizens with the long and faltering\u0000 process of decolonization that, in many countries across Africa, had seen the emergence not of an ideal postcolonial democracy, but instead of a de-humanizing neo-colonial autocracy.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/ijfs_00003_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49068344","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}
Abstract This article offers a critical reading of Chemin de fer, a play written by Congolese author Julian Mabiala Bissila and directed by Haitian director Miracson Saint-Val as part of the Quatre Chemins Theatre Festival in Haiti in 2017. It discusses the uses and meanings of the absurd in both the text and the performance, showing its links to the theme of violence as this relates to the Congolese Civil War, the immediate context of the play. The article also shows how Haitian director and actor Miracson Saint-Val grounds his performance in Vodou, using the theory of "ethnodrama" developed by the ethno-psychiatrist Louis Mars. This approach enables us to see how the play lends itself to the juxtaposition of several historical realities, and the possible resonances between the Congolese Civil War and Haitian history and contemporary reality. All of this raises an important question which this paper tries to answer: can we speak of a 'theatre of the absurd' in the context of colonialism, one in which the absurd, the tragic and ritual performance are necessarily intertwined?
摘要本文对刚果作家Julian Mabiala Bissila创作、海地导演Miracson Saint Val执导的戏剧《Chemin de fer》进行了批判性解读，该剧是2017年海地Quatre Chemins戏剧节的一部分。它讨论了荒诞在文本和表演中的用途和意义，展示了它与暴力主题的联系，因为这与该剧的直接背景刚果内战有关。这篇文章还展示了海地导演兼演员Miracson Saint Val如何利用民族精神病学家Louis Mars提出的“民族戏剧”理论，为他在《Vodou》中的表演奠定基础。这种方法使我们能够看到该剧如何将几个历史现实并置，以及刚果内战和海地历史与当代现实之间可能产生的共鸣。所有这些都提出了一个重要的问题，本文试图回答这个问题：我们能否在殖民主义的背景下谈论一个“荒诞剧院”，一个荒诞、悲剧和仪式表演必然交织在一起的剧院？
{"title":"Penser et jouer l'absurde dans le théâtre haïtien: Corps, mémoire, possession","authors":"J. Allen-Paisant","doi":"10.1386/ijfs_00004_1","DOIUrl":"https://doi.org/10.1386/ijfs_00004_1","url":null,"abstract":"Abstract This article offers a critical reading of Chemin de fer, a play written by Congolese author Julian Mabiala Bissila and directed by Haitian director Miracson Saint-Val as part of the Quatre Chemins Theatre Festival in Haiti in 2017. It discusses the uses and\u0000 meanings of the absurd in both the text and the performance, showing its links to the theme of violence as this relates to the Congolese Civil War, the immediate context of the play. The article also shows how Haitian director and actor Miracson Saint-Val grounds his performance in Vodou,\u0000 using the theory of \"ethnodrama\" developed by the ethno-psychiatrist Louis Mars. This approach enables us to see how the play lends itself to the juxtaposition of several historical realities, and the possible resonances between the Congolese Civil War and Haitian history and contemporary\u0000 reality. All of this raises an important question which this paper tries to answer: can we speak of a 'theatre of the absurd' in the context of colonialism, one in which the absurd, the tragic and ritual performance are necessarily intertwined?","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41894217","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}
Pub Date : 2019-08-01DOI: 10.1386/IJFS.22.1-2.87_1
P. Brown
This article considers the referendum on self-determination held in New Caledonia on 4 November 2018. It sets this vote in context by reviewing previous referenda in this French overseas collectivity, beginning in 1958. The vote in the recent referendum was closer than many, Kanak included, expected (43.33 per cent in favour, 56.67 per cent against). The article analyses this result and takes into account aspects of social change in New Caledonia. It examines different approaches, by Kanak and Europeans resident in New Caledonia, to the question of events and processes, leading to a discussion of underlying attitudes to decolonization and historicity. It concludes by presenting some of the factors and forces in play in the Provincial elections in New Caledonia in May 2019. These elections will determine the composition of the local parliament (Congres), and through it the New Caledonian government, for the period 2019–24. It is this new government that will be in place for the remainder of the Noumea Accord that includes potentially two further referenda on independence, and in the case of a NO vote prevailing, for the post-2022 process of further negotiations with France over arrangements for the future of New Caledonia.
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