Through an analysis of French mediated celebrity discourse this article examines how pop musicians negotiate same-sex desire and self-disclosure in contemporary France. Coverage of Eddy de Pretto and Emmanuel Moire in popular online magazine and newspaper articles is analyzed in terms of a framework that takes into account the context of dominant and normalizing discourses. Coverage exhibits a substantial range of shared and individual approaches, effectively combining normative and queer representations, French values of republicanism, filiation, and existential authenticity, as well as Anglo-American narratives of the closet and coming out.
通过对法国名人话语的分析，本文探讨了当代法国流行音乐人如何协商同性欲望和自我揭露。流行的在线杂志和报纸文章对Eddy de Pretto和Emmanuel Moire的报道是根据一个框架进行分析的，该框架考虑了主流话语和规范话语的背景。报道展示了大量的共同和个人方法，有效地结合了规范和酷儿的表现，法国的共和主义价值观、亲子关系和存在主义真实性，以及英美对隐秘和出柜的叙事。
{"title":"Coming out and beyond: press coverage of popular music artists Emmanuel Moire and Eddy de Pretto","authors":"Chris Tinker","doi":"10.3828/CFC.2021.4","DOIUrl":"https://doi.org/10.3828/CFC.2021.4","url":null,"abstract":"\u0000Through an analysis of French mediated celebrity discourse this article examines how pop musicians negotiate same-sex desire and self-disclosure in contemporary France. Coverage of Eddy de Pretto and Emmanuel Moire in popular online magazine and newspaper articles is analyzed in terms of a framework that takes into account the context of dominant and normalizing discourses. Coverage exhibits a substantial range of shared and individual approaches, effectively combining normative and queer representations, French values of republicanism, filiation, and existential authenticity, as well as Anglo-American narratives of the closet and coming out.","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"46 1","pages":"75-102"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48046299","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 the Orientalist dynamics of North/South sexual tourism in Laurent Cantet’s Vers le sud/Heading South (2005). The narrative of the film is structured around the self-interested motivations of three white middle-aged bourgeois Western women who travel from North America to Haiti in the late 1970s in order to explore their sexuality in what they perceive as an island paradise, effectively exiling themselves from the codified social behaviour expected of them in their homeland. The women avail themselves of the pleasures offered by young black Haitian men, often in exchange for money or goods, and fuel one-sided fantasies of romantic love with their local hosts, seemingly oblivious to the Orientalist nature of such an imbalance of social and economic power. The article explores the historical context of the political repression and violence of late-1970s Haiti under the Duvalier regime, as well as the manifestations of spatial politics represented in the film. In its Haitian setting, Vers le sud sheds light on a relatively unfamiliar cultural and social milieu for the Western/Northern audience, with the director keenly aware of the exoticism of the subject matter and the impossibility of the film to maintain its neutrality in a problematic engagement with the Orient/South. The article argues that the privileged position of the film’s protagonists is matched not only by Cantet’s directorial gaze, but also by the intellectual detachment of postcolonial scholars such as the article’s authors, who acknowledge that their engagement with the subject matter risks re-enacting the Orientalist dynamics they seek to expose.
本文探讨了洛朗·坎泰(Laurent Cantet)的《南方之旅》(Vers le sud/Heading South)(2005)中南北性旅游的东方主义动态。影片的叙事围绕着三个中产阶级中年白人西方女性的自我利益动机展开，她们在20世纪70年代末从北美前往海地，在她们认为是岛屿天堂的地方探索她们的性取向，有效地将自己从祖国对她们的刻板社会行为中解脱出来。这些女人利用年轻的海地黑人男人提供的快乐，通常是为了换取金钱或物品，并点燃了与当地主人浪漫爱情的片面幻想，似乎无视这种社会和经济力量不平衡的东方主义本质。本文探讨1970年代末海地在杜瓦利埃政权统治下的政治镇压和暴力的历史背景，以及影片中所表现的空间政治。影片以海地为背景，为西方/北方观众展现了一个相对陌生的文化和社会环境，导演敏锐地意识到主题的异国情调，以及影片不可能在与东方/南方有问题的接触中保持中立。这篇文章认为，电影主角的特权地位不仅与坎泰的导演眼光相匹配，而且与文章作者等后殖民学者的智力超然相匹配，他们承认，他们对主题的参与可能会重演他们试图揭露的东方主义动态。
{"title":"O is for Orientalism: the dynamics of the sexual tourist gaze in Laurent Cantet’s Vers le sud/Heading South (2005)","authors":"C. Hammond, Andrew McGregor","doi":"10.3828/CFC.2021.2","DOIUrl":"https://doi.org/10.3828/CFC.2021.2","url":null,"abstract":"This article explores the Orientalist dynamics of North/South sexual tourism in Laurent Cantet’s Vers le sud/Heading South (2005). The narrative of the film is structured around the self-interested motivations of three white middle-aged bourgeois Western women who travel from North America to Haiti in the late 1970s in order to explore their sexuality in what they perceive as an island paradise, effectively exiling themselves from the codified social behaviour expected of them in their homeland. The women avail themselves of the pleasures offered by young black Haitian men, often in exchange for money or goods, and fuel one-sided fantasies of romantic love with their local hosts, seemingly oblivious to the Orientalist nature of such an imbalance of social and economic power. The article explores the historical context of the political repression and violence of late-1970s Haiti under the Duvalier regime, as well as the manifestations of spatial politics represented in the film. In its Haitian setting, Vers le sud sheds light on a relatively unfamiliar cultural and social milieu for the Western/Northern audience, with the director keenly aware of the exoticism of the subject matter and the impossibility of the film to maintain its neutrality in a problematic engagement with the Orient/South. The article argues that the privileged position of the film’s protagonists is matched not only by Cantet’s directorial gaze, but also by the intellectual detachment of postcolonial scholars such as the article’s authors, who acknowledge that their engagement with the subject matter risks re-enacting the Orientalist dynamics they seek to expose.","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"46 1","pages":"27-47"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42398904","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}
Popular music abounds in Afropean literature, yet to date scholars have primarily read novels’ musical elements through author biography. In this article, I focus narrowly on the rich musical peritexts and musico-literary intermediality of two novels by Insa Sané: Du plomb dans le crâne (2008) and Daddy est mort…: Retour à Sarcelles (2010). In addition to the abundant diegetic musical references, both novels also feature two structural musical layers. I argue that these three musical elements constitute critical sites through which the novels’ narratives, which center around young, black, male protagonists who seek to escape vicious circles of violence through recognition, emerge. Ultimately, these novels’ musical elements situate the narratives’ discussions of black masculinity within much broader conversations transpiring between French and African American communities, thereby providing a much larger cultural genealogy to supplement the characters’ fraught literal ones.
流行音乐在非洲文学中比比皆是，但迄今为止，学者们主要是通过作者传记来解读小说中的音乐元素。在这篇文章中，我将重点关注Insa san的两部小说:《Du plomb dans le crne》(2008)和《Daddy est mort…:reour ssarcelles》(2010)中丰富的音乐语境和音乐文学中介性。除了丰富的叙事音乐参考，这两部小说也有两个结构音乐层次。我认为这三种音乐元素构成了小说叙事的关键场所，小说叙事以年轻的黑人男性主人公为中心，他们试图通过承认来逃离暴力的恶性循环。最终，这些小说的音乐元素将叙事中对黑人男子气概的讨论置于法国和非裔美国人社区之间更广泛的对话中，从而提供了一个更大的文化谱系，以补充人物令人担忧的文字特征。
{"title":"The 7th Lawrence R. Schehr Memorial Award Winning Essay","authors":"Kate Knox","doi":"10.3828/CFC.2021.1","DOIUrl":"https://doi.org/10.3828/CFC.2021.1","url":null,"abstract":"\u0000Popular music abounds in Afropean literature, yet to date scholars have primarily read novels’ musical elements through author biography. In this article, I focus narrowly on the rich musical peritexts and musico-literary intermediality of two novels by Insa Sané: Du plomb dans le crâne (2008) and Daddy est mort…: Retour à Sarcelles (2010). In addition to the abundant diegetic musical references, both novels also feature two structural musical layers. I argue that these three musical elements constitute critical sites through which the novels’ narratives, which center around young, black, male protagonists who seek to escape vicious circles of violence through recognition, emerge. Ultimately, these novels’ musical elements situate the narratives’ discussions of black masculinity within much broader conversations transpiring between French and African American communities, thereby providing a much larger cultural genealogy to supplement the characters’ fraught literal ones.","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"46 1","pages":"1-25"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45591695","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}
In order to rectify important gaps in scholarship, this article examines how Virginie Despentes’s documentary Mutantes: Féminisme Porno Punk (2009), her autobiographical essay King Kong Théorie (2006), and its theatrical adaptation play off one another to advance the argument that Despentes’s transnational feminism has its roots in the sex-positive movement that began in the United States in the early 1980s.1 At the heart of her work, this feminism influences King Kong Théorie and much of her fiction.2 Despentes, inspired by the sex-positive movement that began in the United States in the early 1980s, interviewed its American pioneers in 2005 for her documentary, Mutantes. These interviews articulate a sex-positive feminism that strives to destigmatize sex work by promoting it as a legitimate, lucrative, and often enjoyable way to earn a living. It resoundingly refutes the notion of the sex worker as victim. Mutantes also focuses on the performances by European postporn collectives trying to find non-binary ways to express sexuality and desire. This “pro-sexe” stance would shape both Despentes’s feminist manifesto King Kong Théorie one year later and her fiction, for she evokes it in brief references to sex workers in her Vernon Subutex trilogy. In a nod to the campy personalities and performers in Mutantes, Vanessa Larré’s production of King Kong Théorie (2018), that she adapted to the theater with Valérie de Dietrich, also aims to educate and challenge. With provocative and jocular scenes and shots, Mutantes and Larré’s play knock viewers and theatergoers off kilter to make them reflect on the ways gender-based and heteronormative binaries stifle both men and women in patriarchal societies. While some of the performances, images, and non-binary sex toys in Mutantes may be upsetting to viewers, that is exactly the point: to defy gender and sexual norms to open up new possibilities for individuals shut out by the binary. Both the documentary and the play tackle taboo subjects with ludic humor in a way that stimulates reflection on the part of the audience in a disarming, unthreatening manner. This paper uncovers the way the camp sensibilities in Mutantes rub off on the play’s adaptation since both capture the humor, joviality, playfulness, and oftentimes self-deprecation of the sex-positive American feminists that worked their way into Despentes’s writing. Mutantes and the play also concretely underscore the ways Despentes’s works are shaping contemporary feminist writers such as Chloé Delaume and Gabrielle Deydier and artists and actors such as Larré and Dietrich.
为了弥补学术界的重要空白，本文考察了维吉尼·德斯彭特斯的纪录片《变种人：神奇朋克》（2009）、她的自传体散文《金刚》（2006），和它的戏剧改编互相推波助澜，提出了一个论点，即Despentes的跨国女权主义植根于20世纪80年代初在美国开始的性积极运动。1在她的作品的核心，这种女权主义影响了金刚和她的大部分小说。2 Despentes，受20世纪80年代初开始于美国的性积极运动的启发，她在2005年为纪录片《Mutantes》采访了美国的先驱。这些采访阐明了一种积极的性女权主义，通过将性工作宣传为一种合法、有利可图且经常令人愉快的谋生方式，努力消除对性工作的污名化。它有力地驳斥了性工作者是受害者的概念。Mutantes还关注欧洲后色情集体的表演，他们试图找到非二元的方式来表达性和欲望。这种“亲性”的立场将塑造一年后Despentes的女权主义宣言King Kong Théorie和她的小说，因为她在Vernon Subutex三部曲中简短地提到了性工作者。瓦妮莎·拉雷（Vanessa Larré）与瓦莱丽·德·迪特里希（Valérie de Dietrich）合作改编的《金刚》（King Kong Théorie，2018）也旨在教育和挑战穆坦特斯（Mutantes）中活泼的个性和表演者。穆坦特斯和拉雷的戏剧有着挑衅性和诙谐的场景和镜头，让观众和观众感到不安，让他们反思基于性别和非规范的二元对立在父权社会中扼杀男性和女性的方式。虽然《变种人》中的一些表演、图像和非二元性玩具可能会让观众感到不安，但这正是重点：挑战性别和性规范，为被二元性拒之门外的个人开辟新的可能性。这部纪录片和这部剧都以滑稽的幽默处理禁忌话题，以一种令人缴械、不具威胁性的方式激发观众的反思。本文揭示了《穆坦特斯》中的阵营情感如何影响该剧的改编，因为两者都捕捉到了美国性积极女权主义者的幽默、愉悦、嬉戏，以及经常自我贬低，这些都融入了德斯彭特斯的写作中。Mutantes和该剧还具体强调了Despentes的作品塑造当代女权主义作家（如ChloéDelaume和加布里埃尔·迪迪尔）以及艺术家和演员（如Larré和Dietrich）的方式。
{"title":"From screen to stage: Mutantes’s sex-positive influence on King Kong Théorie","authors":"Courtney Sullivan","doi":"10.3828/CFC.2021.3","DOIUrl":"https://doi.org/10.3828/CFC.2021.3","url":null,"abstract":"\u0000In order to rectify important gaps in scholarship, this article examines how Virginie Despentes’s documentary Mutantes: Féminisme Porno Punk (2009), her autobiographical essay King Kong Théorie (2006), and its theatrical adaptation play off one another to advance the argument that Despentes’s transnational feminism has its roots in the sex-positive movement that began in the United States in the early 1980s.1 At the heart of her work, this feminism influences King Kong Théorie and much of her fiction.2 Despentes, inspired by the sex-positive movement that began in the United States in the early 1980s, interviewed its American pioneers in 2005 for her documentary, Mutantes. These interviews articulate a sex-positive feminism that strives to destigmatize sex work by promoting it as a legitimate, lucrative, and often enjoyable way to earn a living. It resoundingly refutes the notion of the sex worker as victim. Mutantes also focuses on the performances by European postporn collectives trying to find non-binary ways to express sexuality and desire. This “pro-sexe” stance would shape both Despentes’s feminist manifesto King Kong Théorie one year later and her fiction, for she evokes it in brief references to sex workers in her Vernon Subutex trilogy. In a nod to the campy personalities and performers in Mutantes, Vanessa Larré’s production of King Kong Théorie (2018), that she adapted to the theater with Valérie de Dietrich, also aims to educate and challenge. With provocative and jocular scenes and shots, Mutantes and Larré’s play knock viewers and theatergoers off kilter to make them reflect on the ways gender-based and heteronormative binaries stifle both men and women in patriarchal societies. While some of the performances, images, and non-binary sex toys in Mutantes may be upsetting to viewers, that is exactly the point: to defy gender and sexual norms to open up new possibilities for individuals shut out by the binary. Both the documentary and the play tackle taboo subjects with ludic humor in a way that stimulates reflection on the part of the audience in a disarming, unthreatening manner. This paper uncovers the way the camp sensibilities in Mutantes rub off on the play’s adaptation since both capture the humor, joviality, playfulness, and oftentimes self-deprecation of the sex-positive American feminists that worked their way into Despentes’s writing. Mutantes and the play also concretely underscore the ways Despentes’s works are shaping contemporary feminist writers such as Chloé Delaume and Gabrielle Deydier and artists and actors such as Larré and Dietrich.","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"46 1","pages":"49-74"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46555993","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}
What do the visual arts tell us about historical events happening in our societies? In this article, we will examine the case of the French riots of 2005. While anthropology, media, and cultural studies have investigated visual forms such as video games, YouTube videos, and graffiti that address the riots, there has been a blind spot in the study of the representation of the riots in the fine arts, such as painting and sculpture. This study will thereby identify and analyze the art works of three contemporary francophone, and transnationally recognized artists who visually represented the riots of 2005. Indeed, the art pieces by Alexis Peskine (La France “des” Français), Guillaume Bresson (Untitled), and Adel Abdessemed (Practice Zero Tolerance) could not be more different esthetically speaking. Peskine’s colorful painting offers a postcolonial reading of the riot, deconstructing stereotypes associated with race that the riot reinforced. Bresson’s imposing neoclassical painting stages the choreography of agitated rioters. Abdessemed comments on the violence provoked by the governmental management of the riots with a sculpture installation showing three burnt cars. Despite these differences, the three artists’ approaches indubitably converge insofar as they first react to the constant play between images of power and the power of images. In addition, this observation involves an intervention into the discourse and imaginative processes that are currently shaping the narrative and interpretation of the riots. In this sense, Peskine, Bresson, and Abdessemed operate as sculptors of history.
视觉艺术告诉我们社会中发生的历史事件是什么？在这篇文章中，我们将考察2005年法国暴乱的案例。虽然人类学、媒体和文化研究已经调查了视频游戏、YouTube视频和涂鸦等针对骚乱的视觉形式，但在绘画和雕塑等美术作品中对骚乱表现的研究却存在盲点。因此，本研究将识别和分析三位当代法语和跨国公认的艺术家的艺术作品，他们在视觉上代表了2005年的骚乱。事实上，Alexis Peskine（La France“des”Français）、Guillaume Bresson（Untitled）和Adel Abdessemed（Practice Zero Tolerance）的艺术作品在美学上截然不同。佩斯金的彩色绘画提供了对暴乱的后殖民解读，解构了暴乱强化的与种族相关的刻板印象。布列松气势恢宏的新古典主义绘画上演了骚乱者的舞蹈。通过一个展示三辆被烧毁汽车的雕塑装置，对政府管理暴乱所引发的暴力事件发表了愤怒的评论。尽管存在这些差异，但这三位艺术家的方法无疑是一致的，因为他们首先对权力图像和图像力量之间的不断发挥做出了反应。此外，这一观察涉及对话语和想象过程的干预，这些话语和想象进程目前正在塑造骚乱的叙事和解释。从这个意义上说，佩斯金、布列松和阿卜德塞梅德都是历史雕塑家。
{"title":"Alexis Peskine, Guillaume Bresson, and Adel Abdessemed as sculptors of history: a study of visual arts inspired by the riots of 2005 in France","authors":"Elise Bouhet","doi":"10.3828/cfc.2020.17","DOIUrl":"https://doi.org/10.3828/cfc.2020.17","url":null,"abstract":"\u0000What do the visual arts tell us about historical events happening in our societies? In this article, we will examine the case of the French riots of 2005. While anthropology, media, and cultural studies have investigated visual forms such as video games, YouTube videos, and graffiti that address the riots, there has been a blind spot in the study of the representation of the riots in the fine arts, such as painting and sculpture. This study will thereby identify and analyze the art works of three contemporary francophone, and transnationally recognized artists who visually represented the riots of 2005. Indeed, the art pieces by Alexis Peskine (La France “des” Français), Guillaume Bresson (Untitled), and Adel Abdessemed (Practice Zero Tolerance) could not be more different esthetically speaking. Peskine’s colorful painting offers a postcolonial reading of the riot, deconstructing stereotypes associated with race that the riot reinforced. Bresson’s imposing neoclassical painting stages the choreography of agitated rioters. Abdessemed comments on the violence provoked by the governmental management of the riots with a sculpture installation showing three burnt cars. Despite these differences, the three artists’ approaches indubitably converge insofar as they first react to the constant play between images of power and the power of images. In addition, this observation involves an intervention into the discourse and imaginative processes that are currently shaping the narrative and interpretation of the riots. In this sense, Peskine, Bresson, and Abdessemed operate as sculptors of history.","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"45 1","pages":"285-303"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42552403","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}
Nicoleta Bazgan, Alain-Philippe Durand, D. Provencher
{"title":"Contemporary French Civilizations: an introduction","authors":"Nicoleta Bazgan, Alain-Philippe Durand, D. Provencher","doi":"10.3828/cfc.2020.15","DOIUrl":"https://doi.org/10.3828/cfc.2020.15","url":null,"abstract":"","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"45 1","pages":"263-269"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46788411","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}
From 2012 to 2016, three French women published autobiographies about surviving bombings as children during the Algerian War (1954-1962). Danielle Michel-Chich who survived the Milk Bar bombing in Algiers in 1956 published an open letter to Zohra Drif, the woman who placed the bomb in the restaurant (Lettre à Zohra D., 2012), and Pied-Noir artist Nicole Guiraud who survived the same event published her diary Algérie 1962: Journal de l’Apocalypse in 2013. Nicole Simon who survived a bombing at a concert in Mostaganem, Algeria published her autobiography, La Bombe: Mostaganem, j’avais quinze ans, in 2016. In these works, the women relate in different ways how they negotiated their injured bodies at home in Algeria as well as in a tense political climate in France during and after the war. In this article I analyze survivor autobiographies to elucidate how transformed bodies impact the individual who survived the trauma but also how and why these women alternately hide their wounds to accommodate the people around them or accept and respond to the stares upon their bodies. By engaging with disability studies, I examine how the discomfort of the transformed body, for both the victims and the people who see them, exemplifies the much larger tensions surrounding the painful memory of the Algerian War.
{"title":"Discomforting bodies: French survivor testimony from the Algerian War","authors":"A. Hubbell","doi":"10.3828/cfc.2020.21","DOIUrl":"https://doi.org/10.3828/cfc.2020.21","url":null,"abstract":"\u0000From 2012 to 2016, three French women published autobiographies about surviving bombings as children during the Algerian War (1954-1962). Danielle Michel-Chich who survived the Milk Bar bombing in Algiers in 1956 published an open letter to Zohra Drif, the woman who placed the bomb in the restaurant (Lettre à Zohra D., 2012), and Pied-Noir artist Nicole Guiraud who survived the same event published her diary Algérie 1962: Journal de l’Apocalypse in 2013. Nicole Simon who survived a bombing at a concert in Mostaganem, Algeria published her autobiography, La Bombe: Mostaganem, j’avais quinze ans, in 2016. In these works, the women relate in different ways how they negotiated their injured bodies at home in Algeria as well as in a tense political climate in France during and after the war. In this article I analyze survivor autobiographies to elucidate how transformed bodies impact the individual who survived the trauma but also how and why these women alternately hide their wounds to accommodate the people around them or accept and respond to the stares upon their bodies. By engaging with disability studies, I examine how the discomfort of the transformed body, for both the victims and the people who see them, exemplifies the much larger tensions surrounding the painful memory of the Algerian War.","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"45 1","pages":"351-363"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45062211","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}
En 2013, Xavier Dolan, cinéaste, acteur et metteur en scène québécois prolifique, réalise le vidéoclip College Boy, chanson du groupe de musique français Indochine qui s’articule autour d’un jeune garçon queer qui est victime d’homophobie dans un internat. Cet article propose une analyse de ce vidéoclip en se focalisant sur la mise en scène de la violence et des affects négatifs. Nous étudions d’abord le débat provoqué par la diffusion et la censure du clip en France. Ensuite, à partir de la théorie du “backward feeling” développée par Heather Love dans Feeling Backward: Loss and the Politics of Queer History (2007), nous analysons la manière dont la représentation de la violence dans l’œuvre de Dolan remet en question l’ordre hétéronormatif. Nous défendons la thèse qu’en s’attaquant de front aux institutions qui sont les véritables agents de la violence homophobe, College Boy contribue à la conservation archivistique de l’expérience queer et crée ainsi une possibilité d’émancipation face à l’hétéronormativité.
{"title":"College Boy (2013) de Xavier Dolan: pérenniser “le backward feeling”","authors":"Hasheem Hakeem","doi":"10.3828/cfc.2020.20","DOIUrl":"https://doi.org/10.3828/cfc.2020.20","url":null,"abstract":"\u0000En 2013, Xavier Dolan, cinéaste, acteur et metteur en scène québécois prolifique, réalise le vidéoclip College Boy, chanson du groupe de musique français Indochine qui s’articule autour d’un jeune garçon queer qui est victime d’homophobie dans un internat. Cet article propose une analyse de ce vidéoclip en se focalisant sur la mise en scène de la violence et des affects négatifs. Nous étudions d’abord le débat provoqué par la diffusion et la censure du clip en France. Ensuite, à partir de la théorie du “backward feeling” développée par Heather Love dans Feeling Backward: Loss and the Politics of Queer History (2007), nous analysons la manière dont la représentation de la violence dans l’œuvre de Dolan remet en question l’ordre hétéronormatif. Nous défendons la thèse qu’en s’attaquant de front aux institutions qui sont les véritables agents de la violence homophobe, College Boy contribue à la conservation archivistique de l’expérience queer et crée ainsi une possibilité d’émancipation face à l’hétéronormativité.","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"45 1","pages":"337-350"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48347433","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 examines contemporary cultural production in Morocco and focuses in particular on how poet-artist Abdellatif Laâbi, founder of the journal Souffles, and writer-artist Mahi Binebine display ties of filiation. Bringing to light the artistic and social collaborations that these two cultural actors nurture in Morocco, the article traces a filial genealogy between Laâbi and Binebine and examines the post-independence years to reveal the spirit of combat that lies at the origin of the current artistic scene in Morocco. Questioning the link between art and the public, the article concludes by acknowledging the tension between art and market-driven concerns inherent in an increasingly competitive art business.
{"title":"Traces of Souffles: on cultural production in contemporary Morocco","authors":"Claudia Esposito","doi":"10.3828/cfc.2020.18","DOIUrl":"https://doi.org/10.3828/cfc.2020.18","url":null,"abstract":"\u0000This article examines contemporary cultural production in Morocco and focuses in particular on how poet-artist Abdellatif Laâbi, founder of the journal Souffles, and writer-artist Mahi Binebine display ties of filiation. Bringing to light the artistic and social collaborations that these two cultural actors nurture in Morocco, the article traces a filial genealogy between Laâbi and Binebine and examines the post-independence years to reveal the spirit of combat that lies at the origin of the current artistic scene in Morocco. Questioning the link between art and the public, the article concludes by acknowledging the tension between art and market-driven concerns inherent in an increasingly competitive art business.","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":"45 1","pages":"305-315"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41652561","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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