Contemporary French Civilization最新文献

{"title":"Contemporary French Civilization: Volume 46, Issue 2","authors":"","doi":"10.3828/cfc.2021.46.issue-2","DOIUrl":"https://doi.org/10.3828/cfc.2021.46.issue-2","url":null,"abstract":"","PeriodicalId":53563,"journal":{"name":"Contemporary French Civilization","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43054934","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":"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}