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     Conclusion One of the major features of this book is its focus on various aspects of the subject and identity as they are conceived and represented in contemporary women’s writing in France. The contributors to this volume have overwhelmingly read the works of our chosen writers as tales of, quests for, explorations of, and crises in the self. It should be noted that this self is actually plural and that the selves in question are not necessarily those of the writers (either within or outside the text). Rather, as fictions, they

in Women’s writing in contemporary France
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women as users of state and voluntary sector services in France and Britain, but also on their involvement in political and civic action and activism and as agents of change. Therefore, it does three things. First, it contributes to the literature on the reception and settlement of refugee women in destination societies in the West. It examines asylum-seeking and refugee women’s interactions within and with processes and structures related to asylum and immigration (including detention) and those to do with housing, health, education and training and employment

in Refugee women in Britain and France
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Writing for the stage in Restoration Dublin

, the Theatre Royal at Smock Alley, provided for the full staging of plays. The literature of Restoration Dublin was Renaissance in character – heavily influenced by the humanistic values of continental Europe with its keen interest in the civilisation of ancient Rome. A strong cultural connection with the Continent, particularly France, was ensured through the inclinations and interests of prominent figures in Ireland at the time such as Roger Boyle, first earl of Orrery, and James Butler, first duke of Ormond. As a young man, Boyle had toured France and Italy under

in Dublin
Guinean nationalism in the 1950s

, but on the very day when foreign powers extorted from African populations the right to the total exercise of their own sovereignty. (Touré 1958b: 164)1 Its decision to opt for immediate independence in 1958 made Guinea an anomaly in French West Africa. With varying degrees of enthusiasm, voters in neighbouring territories in the former Afrique Occidentale Française (AOF) chose, instead, to trust that France’s new Fifth Republic would eventually deliver an acceptable path to state sovereignty through the ill-defined mechanism of De Gaulle’s proposed new French

in Francophone Africa at fifty
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Omnibus literature and popular culture in nineteenth-century Paris

. Taken as a whole, nineteenth-century omnibus literature mirrors the way the vehicle encompassed the dizzying diversity of urban experiences. Omnibus literature thus serves as a lens through which to analyse the emergence of Paris as a modern city, probe its constitutive parts and give form to the complexities of French society in post-Revolutionary France. The omnibus didn’t simply offer urban writers a fruitful topic: it helped shape the literature of the time. Akin to the public-transit experience itself, omnibus literature offered snapshots of everyday life

in Engine of modernity
Literature and/or reality?

   Christine Angot’s autofictions: literature and/or reality? From her very first novel,Vu du ciel,which was published in ,Christine Angot has established herself firmly as a writer who has made it her mission to explore and expose relentlessly the thin line between reality and fiction.1 The last quarter of the twentieth century, in French literature, will probably be remembered, among other things, as the period in which a new genre – that of autofiction – emerged and flourished. It has become a privileged mode of writing for many writers who have

in Women’s writing in contemporary France
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Settling in

, theatre and literature, all of whom immigrated to France as small children or who were born in France to Turkish parents. Many aspire to professional careers in the arts and have achieved some recognition, but they are not generally well known outside their own communities. Through analysis of their artistic work and their comments in interviews, this book examines the techniques, metaphors and images they use in their art to talk about themselves, their families, their communities and their place in French society. Contrary to many media accounts of second

in Turkish immigration, art and narratives of home in France

). The ‘foulard’ is a scarf twisted into a headdress; the ‘madras’ a checked cotton dress. The ‘graine d’or’ and the ‘collier chou’ are highly prized (and highly expensive) pieces of gold jewellery. The story behind the song is obviously not uncommon in the literatures of Empire; to restrict discussion to the French sphere of influence, what has been called the paradigm of ‘landing–loving–leaving’ also appears, for instance, in fictions about Indochina (Cooper 2001: 167). It is the story of the unfortunate heroine of Abdoulay Sadji’s novel, Nini: mulâtresse du Sénégal

in Frantz Fanon’s 'Black Skin, White Masks
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‘What’s she like?’

in Paris of the nineteenth century, resulting in increased visibility and mobility in the modern city: ‘The newly revitalized city gave rise to a new culture. Life became more public’ (Mancoff 8). According to Nancy Rose Marshall, it was in ‘the new urban spaces in which the concept of the Parisienne was formed’  (154). In a cultural sense, la Parisienne is a figure of French modernity in that she was a feature of the visual arts, literature, physiognomies and popular culture of nineteenth-century France. She appears in the novels of Balzac, Flaubert and Zola; in

in La Parisienne in cinema

. Also on the French Gothic margins lurks the Marquis de Sade, who, perhaps not surprisingly, included a baroque farrago of Gothic elements in his works, while ‘sadism’, in the modern sense of the word (and it has been observed that sado-masochism emerged simultaneously with Gothic literature), is a phenomenon widely to be found in Gothic fiction – if seldom employed on quite the elaborate scale favoured

in European Gothic