Cet article examine le quatrième livre illustré de Lamia Ziadé, Mon port de Beyrouth (2021) dans lequel l’auteure-dessinatrice raconte l’explosion du 4 août 2020 qui a fait 215 victimes, plus de 6,000 blessés, détruit 20 pour cent de la capitale libanaise et laissé 300,000 personnes sans domicile. Créé sous le choc de la catastrophe et dans l’urgence de témoigner, ce récit graphique raconte les premiers moments de la tragédie et les semaines qui suivent. En m’appuyant sur le modèle conceptuel d’Avril Maddrell (2016), je propose de cartographier l’expérience de la perte, du deuil et du souvenir dans trois types d’espaces: les espaces physiques, les espaces incarnés psychologiques du corps et de l’esprit et les espaces virtuels. Dans chacun de ces espaces, je montrerai comment s’entrecroisent des cartographies individuelles et collectives; l’œuvre elle-même devenant à la fois l’incarnation et la sublimation d’un travail de deuil individuel et un site de commémoration (collective) des victimes, soit un lieu de mémoire dans lequel s’ancrent le désir de justice et le refus d’oublier.
这篇文章探讨了拉米亚-齐亚代（Lamia Ziadé）的第四部绘本《贝鲁特港》（Mon port de Beyrouth，2021 年），这位女作家兼女画家在书中讲述了 2020 年 8 月 4 日发生的爆炸事件，这次爆炸造成 215 人死亡，6000 多人受伤，黎巴嫩首都 20%的土地被毁，30 万人无家可归。这个图文并茂的故事是在灾难带来的震撼和急需见证的情况下创作的，它再现了悲剧发生的最初时刻和随后的几个星期。借鉴艾薇儿-马德雷尔（Avril Maddrell，2016 年）的概念模型，我建议将失去、哀悼和缅怀的体验绘制在三种空间中：物理空间、身体和心灵的体现性心理空间以及虚拟空间。在每一种空间中，我都将展示个人和集体的图谱是如何交织在一起的；作品本身既是个人哀悼过程的体现和升华，也是纪念受害者的（集体）场所，换句话说，它是一个记忆之地，其中蕴含着对正义的渴望和对遗忘的拒绝。
{"title":"Cartographies du deuil dans\u0000 Mon port de Beyrouth\u0000 de Lamia Ziadé","authors":"C. Calargé","doi":"10.3828/cfc.2024.2","DOIUrl":"https://doi.org/10.3828/cfc.2024.2","url":null,"abstract":"\u0000 Cet article examine le quatrième livre illustré de Lamia Ziadé,\u0000 Mon port de Beyrouth\u0000 (2021) dans lequel l’auteure-dessinatrice raconte l’explosion du 4 août 2020 qui a fait 215 victimes, plus de 6,000 blessés, détruit 20 pour cent de la capitale libanaise et laissé 300,000 personnes sans domicile. Créé sous le choc de la catastrophe et dans l’urgence de témoigner, ce récit graphique raconte les premiers moments de la tragédie et les semaines qui suivent. En m’appuyant sur le modèle conceptuel d’Avril Maddrell (2016), je propose de cartographier l’expérience de la perte, du deuil et du souvenir dans trois types d’espaces: les espaces physiques, les espaces incarnés psychologiques du corps et de l’esprit et les espaces virtuels. Dans chacun de ces espaces, je montrerai comment s’entrecroisent des cartographies individuelles et collectives; l’œuvre elle-même devenant à la fois l’incarnation et la sublimation d’un travail de deuil individuel et un site de commémoration (collective) des victimes, soit un lieu de mémoire dans lequel s’ancrent le désir de justice et le refus d’oublier.\u0000","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"8 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140353760","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 reads 2016 as a breakthrough year for Christine and the Queens in the United Kingdom, particularly England. Through analyzing a select corpus of interviews and performances, I argue that the artist’s personal breakthroughs occur in a context of changing UK–European relations, and indeed of the ever-changing persona of Christine, who changes constantly and yet stays the same in crucial regards. I read such evolving identities and relations with reference to the thought of the Martinican theorist Édouard Glissant.
{"title":"Christine and the Queens at the BBC: hybridity, relation, tilting","authors":"Martin Munro","doi":"10.3828/cfc.2023.22","DOIUrl":"https://doi.org/10.3828/cfc.2023.22","url":null,"abstract":"This article reads 2016 as a breakthrough year for Christine and the Queens in the United Kingdom, particularly England. Through analyzing a select corpus of interviews and performances, I argue that the artist’s personal breakthroughs occur in a context of changing UK–European relations, and indeed of the ever-changing persona of Christine, who changes constantly and yet stays the same in crucial regards. I read such evolving identities and relations with reference to the thought of the Martinican theorist Édouard Glissant.","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138967209","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}
It’s complicated. For me, the experience is that the more you explore, the less you’re sure, in a way. And the more you explore, the more it changes. I say I’m a woman, but I’m exploring desire as a force of chaos that surprises me. And through desire, I get to explore many different identities. I don’t feel like I’m trapped in my woman’s body. I’m loving that woman’s body, actually. I love also the versatility of it – how easily I can look like a young boy, if I want. And my eroticism is made of hesitations and doubts and being uncomfortable in lust. I keep on exploring. I think I present a broken mirror instead of something reassuring, probably. (Heaney)
{"title":"Introduction to the broken mirror: Christine and the Queens, identities, queerness, Frenchness","authors":"Martin Munro, Chris Tinker, D. Provencher","doi":"10.3828/cfc.2023.18","DOIUrl":"https://doi.org/10.3828/cfc.2023.18","url":null,"abstract":"It’s complicated. For me, the experience is that the more you explore, the less you’re sure, in a way. And the more you explore, the more it changes. I say I’m a woman, but I’m exploring desire as a force of chaos that surprises me. And through desire, I get to explore many different identities. I don’t feel like I’m trapped in my woman’s body. I’m loving that woman’s body, actually. I love also the versatility of it – how easily I can look like a young boy, if I want. And my eroticism is made of hesitations and doubts and being uncomfortable in lust. I keep on exploring. I think I present a broken mirror instead of something reassuring, probably. (Heaney)","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"51 43","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138995595","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}
Gender identity expression continues to be the subject of public discourse. In the past few decades, scholars and members of the general public have questioned the idea of a stable and binary gender identity, which has caused debates in both the anglophone and francophone worlds. Redcar, also known as Christine and the Queens, as well as Chris, is a particularly interesting public figure concerning gender identity and expression because his relationship has evolved throughout his career. The artist has been remarkably open about his relationship with gender throughout the last decade, which has been in the public eye. Redcar is also someone who has found himself between the anglophone and francophone worlds – he expresses a cultural identity that is neither altogether French nor anglophone, but hybrid. As a musician whose journey with gender has been more or less public, it raises the question: How does Redcar use his music, videos, and persona to navigate and express his evolving relationship with gender? Through the use of gender and queer theories, this article demonstrates how Redcar has used these elements to examine and redefine his own gender. This essay will look specifically at the construction of his celebrity persona, followed by a lyrical analysis of the song “iT” from his first album Chaleur humaine (2014) and a scenic analysis from the music video for “5 dols/5 dollars” from his second album Chris (2018) to demonstrate how Redcar’s public experience of gender exploration works to deconstruct the idea of a static gender and instead demonstrates how gender is always in a process of renegotiation.
性别认同表达仍然是公众讨论的主题。在过去的几十年里，学者和公众对稳定和二元性别身份的观念提出了质疑，这在英语和法语世界都引起了争论。雷德卡（Christine and the Queens），又名克里斯汀和皇后（Christine and the Queens）以及克里斯（Chris），是一位在性别认同和性别表达方面特别有趣的公众人物，因为他的性别关系在他的职业生涯中不断演变。在过去的十年中，这位艺术家对自己与性别的关系一直保持着非常开放的态度，这也是他一直处于公众视野中的原因。雷德卡还是一个游走于英语世界和法语世界之间的人--他所表达的文化身份既不完全是法语，也不完全是英语，而是一种混合身份。 作为一名音乐家，他的性别之旅或多或少都是公开的，这就提出了一个问题：雷德卡如何利用他的音乐、视频和个人形象来引导和表达他与性别之间不断演变的关系？通过使用性别和同性恋理论，本文将展示雷德卡如何利用这些元素来审视和重新定义自己的性别。本文将具体探讨其名人角色的构建，随后对其第一张专辑《Chaleur humaine》（2014 年）中的歌曲《iT》进行歌词分析，并对其第二张专辑《Chris》（2018 年）中的音乐视频《5 dols/5 dollars》进行场景分析，以展示 Redcar 在性别探索方面的公开经历如何解构了静态性别的概念，转而展示了性别如何始终处于重新谈判的过程中。
{"title":"Christine and the Queens, Chris, Redcar, and navigating gender identity","authors":"Timothy Lomeli","doi":"10.3828/cfc.2023.20","DOIUrl":"https://doi.org/10.3828/cfc.2023.20","url":null,"abstract":"Gender identity expression continues to be the subject of public discourse. In the past few decades, scholars and members of the general public have questioned the idea of a stable and binary gender identity, which has caused debates in both the anglophone and francophone worlds. Redcar, also known as Christine and the Queens, as well as Chris, is a particularly interesting public figure concerning gender identity and expression because his relationship has evolved throughout his career. The artist has been remarkably open about his relationship with gender throughout the last decade, which has been in the public eye. Redcar is also someone who has found himself between the anglophone and francophone worlds – he expresses a cultural identity that is neither altogether French nor anglophone, but hybrid.\u0000 \u0000 As a musician whose journey with gender has been more or less public, it raises the question: How does Redcar use his music, videos, and persona to navigate and express his evolving relationship with gender? Through the use of gender and queer theories, this article demonstrates how Redcar has used these elements to examine and redefine his own gender. This essay will look specifically at the construction of his celebrity persona, followed by a lyrical analysis of the song “iT” from his first album\u0000 Chaleur humaine\u0000 (2014) and a scenic analysis from the music video for “5 dols/5 dollars” from his second album\u0000 Chris\u0000 (2018) to demonstrate how Redcar’s public experience of gender exploration works to deconstruct the idea of a static gender and instead demonstrates how gender is always in a process of renegotiation.\u0000","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"20 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138967742","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}
{"title":"Important Notice: Distribution of\u0000 Contemporary French Civilization","authors":"","doi":"10.3828/cfc.2023.27","DOIUrl":"https://doi.org/10.3828/cfc.2023.27","url":null,"abstract":"","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"39 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138967098","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, informed by concerns of queer theory, features of celebrity journalism, and ethical developments in journalism, discusses how British and French generalist press coverage of the popular music artist Héloïse Letissier and his associated public media personas, conceives of the term queer. Coverage relating to the term emphasizes (auto)biographical and career developments, gender and sexual identities, non-normativity, a lack of commercial motivation, mainstreaming (although not unproblematically so), and creativity informed by negative personal experiences and the development of “transfilial” (Provencher) bonds. Moreover, coverage of queerness is, for the most part, sympathetic and respectful.
{"title":"Defining queer in UK and French press coverage of Christine and the Queens","authors":"Chris Tinker","doi":"10.3828/cfc.2023.23","DOIUrl":"https://doi.org/10.3828/cfc.2023.23","url":null,"abstract":"This article, informed by concerns of queer theory, features of celebrity journalism, and ethical developments in journalism, discusses how British and French generalist press coverage of the popular music artist Héloïse Letissier and his associated public media personas, conceives of the term queer. Coverage relating to the term emphasizes (auto)biographical and career developments, gender and sexual identities, non-normativity, a lack of commercial motivation, mainstreaming (although not unproblematically so), and creativity informed by negative personal experiences and the development of “transfilial” (Provencher) bonds. Moreover, coverage of queerness is, for the most part, sympathetic and respectful.","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"16 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138968067","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}
Cet article part du postulat que la sortie du premier album de Christine and the Queens, Chaleur humaine , en 2014 a marqué l’émergence d’une nouvelle génération d’auteur.e.s-compositeur.ice.s-interprètes dont les influences musicales variées, l’hybridité des sons et l’intérêt porté à des thématiques tels que l’homosexualité ou l’identité de genre participent d’un renouvellement profond des codes de la “chanson française.” En nous basant sur les travaux de Barbara Lebrun, et plus particulièrement ses écrits concernant la génération 2005–2012, nous montrerons qu’il est alors possible de parler de “génération 2014–2022” pour désigner ces artistes qui, tout en s’inscrivant dans la lignée de la génération précédente, s’en démarquent également en ce qu’ils complexifient la question du rapport aux influences étrangères dans leurs textes comme dans leur musique, abordent des sujets sociétaux virtuellement absents auparavant, et donnent au corps une place inédite dans leur processus de création. Nous verrons plus en détails comment le travail de Letissier occupe une place à part au sein de ce groupe, en ce qu’il nous apparaît comme le seul artiste ayant fait du questionnement sur l’identité de genre la pierre angulaire de son œuvre, donnant au corps et à sa mise en scène une place centrale en tant que vecteur de ses questionnements intimes. Une étude de certains textes et de certaines prestations scéniques ainsi que de clips vidéo nous permettra de mettre en lumière la manière dont Letissier a su communiquer son évolution personnelle à son public, tant par le biais des mots que du corporel. Cela nous mènera au constat que tout ce qui pourrait passer pour artifice – recours à l’anglais dans les textes, influence musicales nombreuses et variées, adoption de diverses persona au fil de sa carrière – sont autant d’éléments qui permettent à l’artiste de traduire la vérité d’une identité mouvante et contestataire qui vient remettre en question les stéréotypes de genre.
{"title":"Christine and the Queens: “Faire corps” avec les mots","authors":"R. Chareyron","doi":"10.3828/cfc.2023.19","DOIUrl":"https://doi.org/10.3828/cfc.2023.19","url":null,"abstract":"\u0000 Cet article part du postulat que la sortie du premier album de Christine and the Queens,\u0000 Chaleur humaine\u0000 , en 2014 a marqué l’émergence d’une nouvelle génération d’auteur.e.s-compositeur.ice.s-interprètes dont les influences musicales variées, l’hybridité des sons et l’intérêt porté à des thématiques tels que l’homosexualité ou l’identité de genre participent d’un renouvellement profond des codes de la “chanson française.” En nous basant sur les travaux de Barbara Lebrun, et plus particulièrement ses écrits concernant la génération 2005–2012, nous montrerons qu’il est alors possible de parler de “génération 2014–2022” pour désigner ces artistes qui, tout en s’inscrivant dans la lignée de la génération précédente, s’en démarquent également en ce qu’ils complexifient la question du rapport aux influences étrangères dans leurs textes comme dans leur musique, abordent des sujets sociétaux virtuellement absents auparavant, et donnent au corps une place inédite dans leur processus de création. Nous verrons plus en détails comment le travail de Letissier occupe une place à part au sein de ce groupe, en ce qu’il nous apparaît comme le seul artiste ayant fait du questionnement sur l’identité de genre la pierre angulaire de son œuvre, donnant au corps et à sa mise en scène une place centrale en tant que vecteur de ses questionnements intimes. Une étude de certains textes et de certaines prestations scéniques ainsi que de clips vidéo nous permettra de mettre en lumière la manière dont Letissier a su communiquer son évolution personnelle à son public, tant par le biais des mots que du corporel. Cela nous mènera au constat que tout ce qui pourrait passer pour artifice – recours à l’anglais dans les textes, influence musicales nombreuses et variées, adoption de diverses persona au fil de sa carrière – sont autant d’éléments qui permettent à l’artiste de traduire la vérité d’une identité mouvante et contestataire qui vient remettre en question les stéréotypes de genre.\u0000","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"54 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138995426","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}
More than many pop artists, Christine and the Queens performs cover versions of familiar songs, often on live TV or radio shows. His selections frequently are interpretations of hits from the 1980s and 1990s. However they are more than the chance to share a nostalgic trip with the audience. In France, he often chooses familiar songs by much-loved singers from the French tradition, thus reassuring them of his Frenchness, despite his growing position on the world stage. On platforms overseas, he often selects huge hits by global anglophone stars, so claiming his place amongst the most successful international British and American performers, albeit that he is French. Using interviews, reviews, and music videos, my research looks in detail at two examples of cover versions by Christine and the Queens, one in French and one in English, exploring why these songs were selected for these particular moments. First, I examine his performance of Mylène Farmer’s “California” on Taratata Live in September 2018. In choosing this song, Chris aligns himself not only with one of the most provocative and daring French singers, but also one deeply supportive of the LGBTQ+ community. The track, with its topics of escape and reinvention in Los Angeles, has resonance for Chris’s own experience, and the original video shares themes of transactional sex and power with Christine and the Queens’s own video for “5 Dollars.” Next, I consider his performance of George Michael’s “Freedom! ’90” at the Global Citizen in September 2021. Chris sets himself alongside a very high-profile, gay artist who battled to reclaim his musical and personal identity after an early career in a worldfamous, highly commercial pop duo. In doing so, he lays out his desire to break from the shackles of the success of his first album, Chaleur humaine , and to have the freedom to evolve, as an artist and in his place as a trans man.
与许多流行歌手相比，Christine and the Queens 经常在电视或电台现场表演中翻唱人们耳熟能详的歌曲。他的选曲经常是对上世纪八九十年代热门歌曲的演绎。然而，这不仅仅是一次与观众分享怀旧之旅的机会。在法国，尽管他在世界舞台上的地位与日俱增，但他经常选择深受喜爱的法国传统歌手演唱的耳熟能详的歌曲，从而让观众确信他是法国人。在海外平台上，他经常选择全球英语明星的热门歌曲，因此，尽管他是法国人，但他已跻身最成功的英美国际表演者之列。 通过访谈、评论和音乐视频，我的研究详细考察了克里斯蒂娜和皇后乐队的两个翻唱版本，一个是法语版，一个是英语版，并探讨了这些歌曲被选中用于特定时刻的原因。首先，我考察了他 2018 年 9 月在 Taratata Live 上演唱 Mylène Farmer 的《California》。克里斯选择这首歌，不仅是与法国最挑衅、最大胆的歌手之一结盟，也是与一位深深支持 LGBTQ+ 群体的歌手结盟。这首歌的主题是在洛杉矶的逃离和重塑，与克里斯自身的经历产生了共鸣，原版视频与克里斯汀和皇后乐队自己的《5 美元》视频一样，都是关于性交易和权力的主题。接下来，我考虑了他在 "全球公民 "音乐节上演唱乔治-迈克尔的 "Freedom！90"。克里斯将自己与一位备受瞩目的同性恋艺术家相提并论，这位艺术家早年曾在一个世界闻名、高度商业化的二人流行乐队中工作，之后他努力找回自己的音乐和个人身份。在此过程中，他表达了自己的愿望：摆脱第一张专辑《Chaleur humaine》的成功束缚，作为一名艺术家和变性人，自由地发展自己。
{"title":"Christine and the Queens and the art of the cover version: interpretations, audience, place","authors":"Deborah Hooper","doi":"10.3828/cfc.2023.21","DOIUrl":"https://doi.org/10.3828/cfc.2023.21","url":null,"abstract":"More than many pop artists, Christine and the Queens performs cover versions of familiar songs, often on live TV or radio shows. His selections frequently are interpretations of hits from the 1980s and 1990s. However they are more than the chance to share a nostalgic trip with the audience. In France, he often chooses familiar songs by much-loved singers from the French tradition, thus reassuring them of his Frenchness, despite his growing position on the world stage. On platforms overseas, he often selects huge hits by global anglophone stars, so claiming his place amongst the most successful international British and American performers, albeit that he is French.\u0000 \u0000 Using interviews, reviews, and music videos, my research looks in detail at two examples of cover versions by Christine and the Queens, one in French and one in English, exploring why these songs were selected for these particular moments. First, I examine his performance of Mylène Farmer’s “California” on Taratata Live in September 2018. In choosing this song, Chris aligns himself not only with one of the most provocative and daring French singers, but also one deeply supportive of the LGBTQ+ community. The track, with its topics of escape and reinvention in Los Angeles, has resonance for Chris’s own experience, and the original video shares themes of transactional sex and power with Christine and the Queens’s own video for “5 Dollars.” Next, I consider his performance of George Michael’s “Freedom! ’90” at the Global Citizen in September 2021. Chris sets himself alongside a very high-profile, gay artist who battled to reclaim his musical and personal identity after an early career in a worldfamous, highly commercial pop duo. In doing so, he lays out his desire to break from the shackles of the success of his first album,\u0000 Chaleur humaine\u0000 , and to have the freedom to evolve, as an artist and in his place as a trans man.\u0000","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"60 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138967205","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}
{"title":"Index of Articles and Reviews in Volume 48","authors":"","doi":"10.3828/cfc.2023.26","DOIUrl":"https://doi.org/10.3828/cfc.2023.26","url":null,"abstract":"","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"15 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138967542","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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