Banlieue叙事:为法国城市边缘发声

IF 0.1 3区 文学 0 LITERATURE, ROMANCE
Christina Horvath
{"title":"Banlieue叙事:为法国城市边缘发声","authors":"Christina Horvath","doi":"10.1080/02639904.2018.1457820","DOIUrl":null,"url":null,"abstract":"In the wake of the severe urban unrest that hit France in the 2000s, the banlieues have become the centre of sustained public attention as well as a narrative effervescence. Discourses produced by politicians, journalists, urban planners, social scientists, novelists, film-makers, hip-hop artists and stand-up comedians have since addressed urban marginality from a variety of angles. In mainstream media and political discourse, multi-ethnic suburban housing estates have mainly been depicted as menacing spaces that erode the cohesion of the nation and threaten both French national identity and Republican integrity. In 2005, Nicolas Sarkozy called banlieue youth ‘scum’ and ‘riff-raff’. He attributed rioting to the presence of organized gangs and promised to clean the suburbs with a ‘high-pressure cleaner’. Ten years later, in the aftermath of the 2015 terrorist attacks, Manuel Valls spoke about ‘ghettos’ and ‘territorial, social and ethnic apartheid’ in the French suburbs. The abrasive tone of these political discourses has contributed to the deteriorating image of banlieues in the collective imagination. Other discourses, on the contrary, have attempted to destigmatize working-class suburbs by establishing a different perspective on identity, communities, local and national belonging and urban renovation. In a context of enduring turmoil and debate it was not surprising to see the emergence of new narratives which undertook to explore the French urban periphery from within, focusing on the experience of those living on the margins and investigating their cultural practices, memory, access to political representation and affective appropriation of the urban space. These narratives, which appeared simultaneously in literature, film, music and other cultural forms, were distinctively original in their tone, aesthetics and aims. Critics acknowledged their novelty by using labels such as ‘urban’ or ‘banlieue’ in order to differentiate them from the works of previous generations. These designations simultaneously referred to the production’s geographic setting, main theme and place of enunciation, which coincided in the case of most authors. However, the labels ‘banlieue literature’ or ‘banlieue film’ have never been explicitly claimed by the creators themselves. Targeting universal rather than exclusively local audiences, they have been cautious about being assigned to a peripheral position owing to their social origins, place of residence or marginal status within what Bourdieu termed the field of cultural production in France (1993). Nevertheless, the banlieue narrative has attracted considerable scholarly attention, in particular over the last decade. It has been discussed at an array of interdisciplinary conferences focusing on French banlieues, such as Communities at the Periphery held in 2013 at the Institut Français in London or The Banlieue Far from the Clichés, organized in Oxford in 2014. It was also the","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"36 1","pages":"1 - 4"},"PeriodicalIF":0.1000,"publicationDate":"2018-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/02639904.2018.1457820","citationCount":"3","resultStr":"{\"title\":\"Banlieue narratives: voicing the French urban periphery\",\"authors\":\"Christina Horvath\",\"doi\":\"10.1080/02639904.2018.1457820\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In the wake of the severe urban unrest that hit France in the 2000s, the banlieues have become the centre of sustained public attention as well as a narrative effervescence. Discourses produced by politicians, journalists, urban planners, social scientists, novelists, film-makers, hip-hop artists and stand-up comedians have since addressed urban marginality from a variety of angles. In mainstream media and political discourse, multi-ethnic suburban housing estates have mainly been depicted as menacing spaces that erode the cohesion of the nation and threaten both French national identity and Republican integrity. In 2005, Nicolas Sarkozy called banlieue youth ‘scum’ and ‘riff-raff’. He attributed rioting to the presence of organized gangs and promised to clean the suburbs with a ‘high-pressure cleaner’. Ten years later, in the aftermath of the 2015 terrorist attacks, Manuel Valls spoke about ‘ghettos’ and ‘territorial, social and ethnic apartheid’ in the French suburbs. The abrasive tone of these political discourses has contributed to the deteriorating image of banlieues in the collective imagination. Other discourses, on the contrary, have attempted to destigmatize working-class suburbs by establishing a different perspective on identity, communities, local and national belonging and urban renovation. In a context of enduring turmoil and debate it was not surprising to see the emergence of new narratives which undertook to explore the French urban periphery from within, focusing on the experience of those living on the margins and investigating their cultural practices, memory, access to political representation and affective appropriation of the urban space. These narratives, which appeared simultaneously in literature, film, music and other cultural forms, were distinctively original in their tone, aesthetics and aims. Critics acknowledged their novelty by using labels such as ‘urban’ or ‘banlieue’ in order to differentiate them from the works of previous generations. These designations simultaneously referred to the production’s geographic setting, main theme and place of enunciation, which coincided in the case of most authors. However, the labels ‘banlieue literature’ or ‘banlieue film’ have never been explicitly claimed by the creators themselves. Targeting universal rather than exclusively local audiences, they have been cautious about being assigned to a peripheral position owing to their social origins, place of residence or marginal status within what Bourdieu termed the field of cultural production in France (1993). Nevertheless, the banlieue narrative has attracted considerable scholarly attention, in particular over the last decade. It has been discussed at an array of interdisciplinary conferences focusing on French banlieues, such as Communities at the Periphery held in 2013 at the Institut Français in London or The Banlieue Far from the Clichés, organized in Oxford in 2014. It was also the\",\"PeriodicalId\":41864,\"journal\":{\"name\":\"Romance Studies\",\"volume\":\"36 1\",\"pages\":\"1 - 4\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2018-04-03\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/02639904.2018.1457820\",\"citationCount\":\"3\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Romance Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/02639904.2018.1457820\",\"RegionNum\":3,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERATURE, ROMANCE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Romance Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/02639904.2018.1457820","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE, ROMANCE","Score":null,"Total":0}
引用次数: 3

摘要

21世纪初,法国发生了严重的城市骚乱,郊区成为了公众持续关注的中心,也成为了叙事的热点。此后,政治家、记者、城市规划者、社会科学家、小说家、电影制作人、嘻哈艺术家和单口喜剧演员制作的话语从各种角度解决了城市边缘化问题。在主流媒体和政治话语中,多民族的郊区住宅区主要被描述为威胁性空间,削弱了国家的凝聚力,威胁到法国的民族认同和共和党的完整性。2005年,尼古拉·萨科齐称郊区青年为“渣滓”和“痞子”。他将骚乱归因于有组织的帮派,并承诺用“高压清洁剂”清洁郊区。十年后,在2015年恐怖袭击之后,曼努埃尔·瓦尔斯谈到了法国郊区的“贫民区”和“领土、社会和种族隔离”。这些政治话语的粗糙基调导致了郊区在集体想象中的形象不断恶化。相反,其他话语试图通过对身份、社区、地方和国家归属以及城市改造建立不同的视角来消除工人阶级郊区的污名化。在持续动荡和辩论的背景下,看到新叙事的出现并不奇怪,这些叙事从内部探索法国城市边缘,关注那些生活在边缘的人的经历,并调查他们的文化实践、记忆、获得政治代表的机会和对城市空间的情感占有。这些叙事同时出现在文学、电影、音乐和其他文化形式中,在基调、美学和目的上都具有独特的独创性。评论家们承认它们的新颖性,他们使用了“城市”或“郊区”等标签,以将它们与前几代的作品区分开来。这些名称同时提到了作品的地理背景、主题和表达地点,这与大多数作者的情况一致。然而,“郊区文学”或“郊区电影”的标签从未由创作者自己明确声称。他们的目标是全世界的观众,而不仅仅是当地观众,由于他们的社会出身、居住地或布迪厄所说的法国文化生产领域的边缘地位,他们一直谨慎地避免被分配到边缘地位(1993年)。尽管如此,郊区叙事吸引了相当多的学术关注,尤其是在过去十年里。一系列以法国郊区为重点的跨学科会议都对其进行了讨论,如2013年在伦敦法兰西学院举行的郊区社区会议或2014年在牛津组织的远离克利赫的郊区会议。它也是
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Banlieue narratives: voicing the French urban periphery
In the wake of the severe urban unrest that hit France in the 2000s, the banlieues have become the centre of sustained public attention as well as a narrative effervescence. Discourses produced by politicians, journalists, urban planners, social scientists, novelists, film-makers, hip-hop artists and stand-up comedians have since addressed urban marginality from a variety of angles. In mainstream media and political discourse, multi-ethnic suburban housing estates have mainly been depicted as menacing spaces that erode the cohesion of the nation and threaten both French national identity and Republican integrity. In 2005, Nicolas Sarkozy called banlieue youth ‘scum’ and ‘riff-raff’. He attributed rioting to the presence of organized gangs and promised to clean the suburbs with a ‘high-pressure cleaner’. Ten years later, in the aftermath of the 2015 terrorist attacks, Manuel Valls spoke about ‘ghettos’ and ‘territorial, social and ethnic apartheid’ in the French suburbs. The abrasive tone of these political discourses has contributed to the deteriorating image of banlieues in the collective imagination. Other discourses, on the contrary, have attempted to destigmatize working-class suburbs by establishing a different perspective on identity, communities, local and national belonging and urban renovation. In a context of enduring turmoil and debate it was not surprising to see the emergence of new narratives which undertook to explore the French urban periphery from within, focusing on the experience of those living on the margins and investigating their cultural practices, memory, access to political representation and affective appropriation of the urban space. These narratives, which appeared simultaneously in literature, film, music and other cultural forms, were distinctively original in their tone, aesthetics and aims. Critics acknowledged their novelty by using labels such as ‘urban’ or ‘banlieue’ in order to differentiate them from the works of previous generations. These designations simultaneously referred to the production’s geographic setting, main theme and place of enunciation, which coincided in the case of most authors. However, the labels ‘banlieue literature’ or ‘banlieue film’ have never been explicitly claimed by the creators themselves. Targeting universal rather than exclusively local audiences, they have been cautious about being assigned to a peripheral position owing to their social origins, place of residence or marginal status within what Bourdieu termed the field of cultural production in France (1993). Nevertheless, the banlieue narrative has attracted considerable scholarly attention, in particular over the last decade. It has been discussed at an array of interdisciplinary conferences focusing on French banlieues, such as Communities at the Periphery held in 2013 at the Institut Français in London or The Banlieue Far from the Clichés, organized in Oxford in 2014. It was also the
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
Romance Studies
Romance Studies LITERATURE, ROMANCE-
CiteScore
0.20
自引率
0.00%
发文量
7
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:604180095
Book学术官方微信