Transcultural Studies最新文献

{"title":"Between Censorship and Amnesia: The End of The Penal Colony in French Guiana","authors":"Charles Forsdick","doi":"10.4000/transtexts.1503","DOIUrl":"https://doi.org/10.4000/transtexts.1503","url":null,"abstract":"The article focuses on the censorship of Leon-Gontran Damas’s 1937 Retour de Guyane, a searing critique of French administration of this South American colony. The colonial authorities sought to ban Damas’s book, allegedly purchasing and burning 1,000 copies of it (of a print-run, at the author’s own expense, of only 1,500). In this book, Damas targets in particular the failure of the penal colony in the territory and suggests that the institution has impeded the development of the colony. The aim of the article is to read Damas’ work in a wider corpus of texts devoted to the penal colony, most notably Frederic Bouyer’s travel narrative La Guyane francaise: notes et souvenirs d’un voyage execute en 1862-1863 (1867) and Albert Londres’ Au bagne (1923). It suggests, however, that Retour de Guyane was a particularly incendiary text, mixing ethnographic report with anti-colonial essay, unpopular with the authorities in that it linked the collapse of the penal colony to the inevitable end of empire.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74653985","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":"Doris Lessing: The “Prohibited” Writer Railing against Hegemonic Discourse","authors":"Hajer Elarem","doi":"10.4000/transtexts.1496","DOIUrl":"https://doi.org/10.4000/transtexts.1496","url":null,"abstract":"A ground-breaking and intellectually uncompromising essayist and novelist, Doris Lessing, who died in 2013 at age 94, was one of the most influential women writers of the second half of the twentieth century. A prolific writer of more than fifty novels, a pioneering individualist and a non-conformist thinker, she always refused allegiance to formal ideologies and vehemently objected to dogmas and rigid institutions. Even though she spent twenty-four years of her life in Southern Rhodesia (now Zimbabwe) as the daughter of settlers who travelled to that colony through the British Empire scheme, she was one of the fiercest voices railing against injustice and, the apartheid system, and tried through her writings to resist an era tainted by colonialism. Subsequently, her books were banned in South Africa and she was barred from entering Southern Rhodesia in 1956, a ban that would last for almost thirty years. This article deals therefore with the aspects of censorship in Doris Lessing’s first novel The Grass Is Singing and the way the writer was censored after writing it.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"42 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80877392","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":"Censure et autocensure : les artistes de rue dans la « révolution » égyptienne de janvier 2011","authors":"Jacqueline Jondot","doi":"10.4000/transtexts.1427","DOIUrl":"https://doi.org/10.4000/transtexts.1427","url":null,"abstract":"On a dit que la « Revolution du 25 janvier 2011 » en Egypte avait permis une reconquete de la liberte d’expression. Si l’on a effectivement vu les murs se couvrir de graffiti et peintures murales, si de nombreux musiciens ont exprime leur soutien a la « revolution » et si les ecrivains ont rendu compte de cette periode d’euphorie et d’espoirs, il n’en reste pas moins que la censure, la peur de la censure et, par consequent, l’autocensure ont continue leur œuvre. Nous verrons comment cela s’est exprime dans les peintures murales au Caire, depuis le debut de la « Revolution » jusqu’a aujourd’hui.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78436785","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":"Auto-censure et dé-censure dans Nègre de personne de Roland Brival et The Pain Tree d'Olive Senior","authors":"Patricia Donatien","doi":"10.4000/transtexts.1402","DOIUrl":"https://doi.org/10.4000/transtexts.1402","url":null,"abstract":"Roland Brival et Olive Senior sont tous les deux des auteurs caribeens contemporains issus de societes coloniales hautement dirigistes et conformistes et cependant, ils pratiquent la de-censure. Leurs œuvres sont en effet des outils et des espaces dans lesquels l’indicible et l’inaudible vont pouvoir etre exprimes, au travers d’un certain nombre de strategies d’ecriture clairement identifiables comme relevant d’une esthetique caribeenne. Les deux romans presentes dans cet article sont tous deux recents ; il s’agit, d’une part, de Negre de personne que Brival publie en 2016 et qui est tres singulier en ce sens qu’il met en scene une partie de la vie du poete guyanais Leon Gontran Damas sous la forme d’un recit autobiographique. Dans ce roman le poete raconte son voyage a New York en 1939, et, c’est en ce sens qu’il est singulier, Brival y substitue son ecriture et sa voix a celles de Damas. Le deuxieme roman publie en 2015 par Olive Senior est une evocation de plusieurs recits de vie, tous mis en relation par deux axes recurrents et incontournables dans chaque evocation, une femme, la mere de l’auteur, et un arbre dont le roman porte d’ailleurs le nom The Pain Tree. Dans ces deux œuvres, la censure qui touche aussi bien l’affect que la langue et l’ecriture, n’est pas celle que subissent leurs auteurs ; elle est celle qu’ont subie d’une part Leon Gontran Damas et d’autre part les personnages d’Olive Senior. Tous sont victimes d’un empechement, d’une impossibilite, d’une censure de leur parole et de leur ecriture due aux restrictions des droits des sujets coloniaux, a la rigidite d’une institution et de societes marquees par le non-humanisme esclavagiste et qui impose « l’amnesie comme methode » (Cesaire Discours sur le colonialisme, p.91). L’article est egalement fonde sur le concept d’imposition culturelle avance par le medecin-psychiatre et ecrivain Frantz Fanon qui demontre dans son ouvrage Les Damnes de la terre comment le monde colonial repose sur la violence, y compris culturelle. Ainsi, cette etude a aussi pour ambition d’etudier la censure comme forme de violence coloniale qui previent autant qu’elle reprime toute production qui n’obeit pas a cette imposition culturelle. L’objet principal de ce travail est donc de demontrer comment les œuvres de Roland Brival et Olive Senior participe d’une de-censure des voix et des œuvres litteraires caribeennes de la premiere moitie du XXe siecle.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76801813","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":"Littératures, langues et cultures de Louisiane : faire face aux censures","authors":"G. Lavorel","doi":"10.4000/transtexts.1433","DOIUrl":"https://doi.org/10.4000/transtexts.1433","url":null,"abstract":"La Louisiane est un pays marque par son histoire, une suite de conquetes et pouvoirs qui ont marque les populations. Celles-ci ont differentes origines, du Nord avec l’Acadie, de France, d’Angleterre, d’Espagne ou d’Amerique et des iles, et bien d’autres, notamment les Indiens presents avant les colonisations. Or cette histoire expose de multiples violences et contraintes qui ont censure la vie quotidienne sur le plan politique, social et culturel. La litterature et les langues sont le reflet de ces obligations, mais aussi le temoignage des resistances trouvees pour ne pas perdre son identite. Sans discontinuer les ecrivains ont montre cette ardeur a maintenir, face aux diverses censures, leurs valeurs fondamentales et l’heritage de leur passe. Education, relations sociales, religion, tout se prete a des interdits, contre lesquels plusieurs expressions sont nees : litterature d’abord et musique, notamment du jazz, mais aussi peinture et art ; on retient egalement des particularismes de langue pour fuir le monolinguisme et la culture unique, particulierement pour la francophonie, grâce au creole et au cadien. Aujourd’hui s’epanouit un folklore pour celebrer une forme d’anticonformisme, tout en cherchant un respect mutuel dans la diversite. Car la-bas on refuse de “lâcher la patate” !","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"69 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83985258","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":"Introduction (English version)","authors":"Florence Labaune-Demeule","doi":"10.4000/transtexts.1492","DOIUrl":"https://doi.org/10.4000/transtexts.1492","url":null,"abstract":"In the “Censorship” entry published in the Encyclopedie Universalis, Julien Duval explains how complex the term is, since it refers to “the act of condemning a text or an opinion, of banning the possibility of publishing or publicizing it, just as it may refer to the institution pronouncing such a ban.” In the days of the Roman Republic, he says, the two censors were magistrates in charge of people’s census, i.e. they assessed the numbers of citizens, their wealth, etc., and they were to excl...","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88760871","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":"La Voix, la radio et le sermon. Censure et résistance dans The Dew Breaker d’Edwidge Danticat","authors":"Florence Labaune-Demeule","doi":"10.4000/TRANSTEXTS.1401","DOIUrl":"https://doi.org/10.4000/TRANSTEXTS.1401","url":null,"abstract":"Dans son roman The Dew Breaker (2004), Edwidge Danticat decrit la dictature Duvalier ayant sevi a Haiti entre 1957 et 1986. A travers une etude du discours, cet article se propose d’explorer les difficultes rencontrees lorsqu’il s’agit de denoncer la censure, de resister au pouvoir, ou simplement de dire l’horreur d’une realite insupportable et du trauma dans une autocensure inconsciente. Dans un premier temps, on y questionne le lien entre la voix et la censure, ce qui conduit, dans un second temps a montrer comment le trauma lie a la censure et a la violence dictatoriales rend la parole impossible, condamnant victimes et bourreau a une autocensure et a des formes indirectes de discours. Enfin, cet article s’interroge sur la narration comme discours de revelation reposant paradoxalement sur des strategies de discours implicite.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80713733","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":"(In)soumise à la censure : l’activisme littéraire et politique de Suzanne Roussi-Césaire","authors":"V-Bond Lee","doi":"10.4000/transtexts.1518","DOIUrl":"https://doi.org/10.4000/transtexts.1518","url":null,"abstract":"Cet article se penche sur les ecrits et l’activisme de Suzanne Cesaire pendant la periode de Tropiques et sur sa relation avec la censure politique, litteraire et sociale. Aime Cesaire fut l’un des ecrivains majeurs du vingtieme siecle. Ecrivain, homme politique, theoricien, il fut l’un des chantres de la Negritude, mouvement litteraire et theorique de l’identite et l’art noirs. Suzanne Cesaire nee Roussi, epouse d’Aime de 1937 a 1963, decedee prematurement a l’âge de 50 ans, fut l’une des pionnieres de l’ecriture feminine (et feministe) caribeenne. Avec son mari et d’autres intellectuels martiniquais, elle fonda Tropiques, revue culturelle publiee de 1941 et 1945 dans la Martinique de Vichy. Elle y contribua en publiant sept articles sur la psychanalyse, le Surrealisme, l’exotisme et l’identite antillaise. Elle fut aussi l’interlocutrice entre les services d’information du gouvernement petainiste et le comite editorial de Tropiques.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75771477","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":"Nabile Farès et la censure: du silence des mots aux échos des images","authors":"K. Chevalier","doi":"10.4000/transtexts.1412","DOIUrl":"https://doi.org/10.4000/transtexts.1412","url":null,"abstract":"Cet article analyse comment Nabile Fares s’oppose aux censures ideologiques, historiques, politiques, linguistiques, politiques, editoriales en consequence de la guerre d’Algerie. Avec une ecriture volontairement opaque, aux mots reprimes, dans laquelle le symbolisme visuel domine, il cherche a illustrer tout en combattant les silences de la censure. Ses dernieres bandes dessinees (en collaboration avec l’illustrateur Kamel Khelif), peuvent se lire comme un espace intermedial polyphonique/ polygraphique offrant un dialogue ethique et phenomenologique qui temoigne du silence des mots tout en revelant les echos des images.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"85 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81052854","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":"Transculturality in Algiers: The Cinema of Merzak Allouache","authors":"Joseph McGonagle","doi":"10.17885/HEIUP.JTS.2020.1.24119","DOIUrl":"https://doi.org/10.17885/HEIUP.JTS.2020.1.24119","url":null,"abstract":"Thanks to its rich and diverse history, the city of Algiers is undoubtedly a privileged site of transculturality. This was certainly the case in the French colonial period when, as Zeynep Çelik argues, colonial Algeria was the most important but most problematic of the French overseas territories and constituted “the colonial city par excellence, the terrain of many battles— cultural, political, military, urban, architectural.”1 Furthermore, as Martin Evans and John Phillips point out: “French rule in Algeria lasted for 132 years, as opposed to 75 years in Tunisia and 44 in Morocco, a depth and duration of colonial experience unique within the Arab world.”2 As a consequence, France “remains an omnipresent feature of Algeria,” and the complexity of its historical legacy helps ensure that Algeria is “the most francophone of France’s former territories.”3 Crucially, the Bay of Algiers forms a major economic maritime hub. As Tom Trevor has asserted regarding port cities more broadly, such spaces provide “symbolic sites of cultural exchange. They are the points of entry and departure, the mouth of an imagined body of the nation-state, where the foreign gets muddled up with the familiar and land-locked certainty is blurred by maritime exchange.”4 Given that Algiers is bordered by the Mediterranean Sea, Trevor’s argument pertains all the more, as the profound cultural and linguistic diversity of this geographical space “encourages a reshuffling of the usual cards of national belonging and unilateral framing.”5 As the capital city and seat of state power, Algiers has played a pivotal role in the formation of Algeria as a nation and the development of Algerian cultural identity. Accordingly, it has functioned as an important site in both Maghrebi and French visual culture: the city inspired many painters throughout the nineteenth and twentieth centuries and has drawn the attention of filmmakers","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45366827","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}