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Faïza Guène, Saphia Azzeddine, and Nadia Bouzid, or the birth of a new Maghrebi-French women’s literature

2 Breaking the chains of ethnic identity: Faïza Guène, Saphia Azzeddine, and Nadia Bouzid, or the birth of a new Maghrebi-French women’s literature Patrick Saveau Some labels are hard to get rid of. They provide a helpful taxonomy to classify, sort out, or separate. They enable us to distinguish what can be included or excluded from the epistemological field we are exploring, and ultimately they give us a sense of order and clarity in a world that is becoming ever more complicated to understand, let alone to explain. This is particularly true in the humanities

in Reimagining North African Immigration
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We confused France with her literature. And true literature was that magic, a word, a verse, a chapter of which transported us into a changeless moment of beauty. (Andreï Makine, Le Testament français ) 1 As a conclusion to this volume, we shall just look briefly at some of the ‘pathways’ within, and to, a fairly recent prizewinning novel, published in 1995 and written by a Russian, Andreï Makine

in Odoevsky’s four pathways into modern fiction
October 17, 1961, a case in point

representations, has become a significant trend in the academic research of recent years. The present chapter hopes to contribute to an ongoing interest in the area, as an introduction to a longer project that examines the place occupied by history when it is present as traces and fragments in the literature of immigration produced in France since the early beur novels of the 1980s. My project approaches this question through the case study of a single significant date of the Algerian War in metropolitan France, known as October 17, 1961. This specific event has been the object

in Reimagining North African Immigration
Popular imperialism in France

. Yet evaluating popular imperialism in inter-war France is none the less problematic. The most interesting and frequently used evidence is representational. It ranges from analyses of colonial exhibitions, museums and the proliferation of colonial or colonial-inspired art and literature to the proliferation of colonial themes in popular cinema and French advertising. 2 The beginnings

in The French empire between the wars
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interpellate the dominant group and inflect the discussion of a contemporary event (the issue of the marriage for all) through the citation of a foreclosed political or historical narrative (colonization, colonial resistance, and decolonization), embedded in literature. At the same time, Taubira was enlisting the power of literature2 to redress present and past injustices, refresh repressed memories, denounce the hierarchy between the postcolonial margin and the hegemonic metropolis, and undermine the hegemonic narrative of French politics and history. Taubira’s faith in the

in Reimagining North African Immigration
The popular novel in France

-Monde manifesto (‘For a World-Literature in French’) published in Le Monde in March 2007, and signed by forty-four writers from across the francophone world, focused mainly on the need to consider French-language writing as a world phenomenon rather than as metropolitan French with its largely ex-colonial ‘others’ tacked on, but it also called for the return of ‘the world’, of ‘le sujet, le sens, l’histoire, le “réferent”’ (subject, meaning, story/history, the ‘signified’) to a French novel that (the manifesto claimed) had become preoccupied only with itself. Unexpectedly, one

in Imagining the popular in contemporary French culture
French fiction and Djuna Barnes’s Nightwood

Gothic writing might seem somewhat anomalous. However, in this chapter I shall argue that Djuna Barnes’s most famous work, Nightwood, which was written in Europe and published in 1936, engages with French literature in a number of ways in order to develop its own transatlantic Gothic agenda. I shall therefore try to retrieve Djuna Barnes’s Nightwood as a Gothic text and, in so doing, trace its

in European Gothic
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Coline Serreau and politics (1972–96)

-political film and was also strongly influenced by May ‘68. This is a major aspect of Serreau’s work as shown later in this chapter. Utopia Etymologically, the word ‘utopia’ derives from the Greek ‘ou’ (not) ‘topos’ (place), and thus means ‘what has no place’. Since Thomas More’s 1561 book entitled Utopia, the word has come to mean an imagined society that has (at least as yet) no place in reality. In France, the Utopian tradition in literature is particularly marked in the period preceding and following the 1789 Revolution. It

in Coline Serreau

‘pillours of Eternity’ but that are, in that early poem, merely those of an arrogant Rome as it starts to crumble deep into the image. This reversal could of course be a coincidence, but it remains pleasant to consider how Virgil’s ‘wheel’ brought England’s first major epic poet back to his earliest and pre-pastoral verse, verse that he owed to the poet who hoped to do for French poetry what one could argue that Virgil had done for Latin. For both Spenser and Donne, then, the history and literature of the Continent – always mere miles across

in Spenser and Donne

thematic. Beur literature only began to enjoy commercial success in the early s, when a substantial number of the children of North African immigrants first reached adulthood. The designation beur is considered an example of verlan – a form of French slang involving the inversion of syllables – stemming from the term ‘Arabe’. The term itself has become problematic in that its common currency in France and appropriation by the French media have endowed it with many of the pejorative, Occidental associations of its precursor. Alternative modes of designation refer to

in Women’s writing in contemporary France