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Susan Ireland

10 Representations of the harkis in contemporary French-language films Susan Ireland After the signing of the Evian Accords on March 19, 1962, which officially ended the Algerian War of Independence, thousands of harkis, the Algerians who had worked for the French Army during the conflict, were killed by angry compatriots who viewed them as traitors. Many of those who managed to flee to France found themselves isolated in temporary housing camps, felt abandoned by the French, and were often rejected by Algerian immigrants who had supported the Front de

in Reimagining North African Immigration
Abstract only

The book aims to provide a balanced appraisal of Eric Rohmer's oeuvre in historical context. Although interpretation of individual films will not be its main objective, representative examples from the director's twenty-five features and fiction shorts will be presented throughout. The focus is on production history and reception in the mainstream French press. This key stylistic editing trait cannot be appreciated without reference to André Bazin's concept of ontological realism, of which Rohmer was a major exponent at Cahiers du cinéma. To establish the intertexts and artistic principles his films put into play, the book reviews the abundant critical writings Rohmer published in France from the late 1940s to the early 1960s. It explores how sound and image are configured, and to what effect. The book then broaches issues central to the director's finest work for the screen. 'Seriality and theme', devoted to the Contes moraux, Comédies et proverbes, and Contes des quatre saisons, looks at how Rohmer's decision to work by thematic series forces the viewer to intuit relations of complementarity, identity, and opposition that lend each cycle a complex, musical texture. It pays close attention to four of the director's costume films. The book concludes with a brief excursus on le rohmérien, that inimitable, instantly recognisable variant of the French language that spectators come to love or to hate.

Gemma King

3 Decentred perspectives: case studies It is, then, often on the periphery rather than at the centre that the more significant negotiations of identity take place. (Cooke and Vassallo 2009:  21) T he multilingual cinema of contemporary France operates both within the national centre and on its peripheries, both in dominant French spaces and beyond the borders of the Hexagon. In multilingual films, tensions and politics concerning France as a nation and Frenchness as an identity come to the fore, as do the shifting role and importance of the French language

in Decentring France
Untimely Segalen
Christopher Bush

than 1918 and later by Duhamel, Jacob and Supervielle, among others. 29 The book was also praised by the leader of the French haiku movement of the 1910s and 1920s, Paul-Louis Couchoud, who corresponded with Paulhan and played an important role in the 1920 special issue of the Nouvelle Revue Française on haiku, which included original haiku by Paulhan, Pierre-Albert Birot and Paul Éluard, among others. A whole corpus of French-language modernist literary production thus risks falling between the cracks because it is neither ‘French’, nor Francophone, nor does it

in 1913: The year of French modernism
Milton Osborne

fought remains little known or understood. Disappointment awaits readers of English who would augment through fiction their knowledge of the histories, cultures and peoples of Indo-China. The number of French-language novels and short stories dealing with Indo-China is large, but most of these works are obscure and, outside of France, to be found only in specialised or research libraries. Towards the end

in Asia in Western fiction
Dheepan and Les Frères Sisters
Gemma King

migrants from Sri Lanka, but about migrants in France. More specifically, the film’s ultimate focus is exposing French myths: myths about France as a nation, about the French language, about Frenchness. An important myth about contemporary France that Dheepan undermines is that of the nation (or the European continent) as fortress. For rather than a sealed nation state that

in Jacques Audiard
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Towards a theory of talecraft
Willem de Blécourt

. Together, the eighteenth-century published French stories, including the Oriental and pseudo-Oriental stories translated into French or written directly in French, constitute the genre of fairy tales. Their reception elsewhere in Europe, first in the French language and in the course of the eighteenth-century also in translations, made the genre international, the more so when other authors started to write

in Tales of magic, tales in print
Robert Lepage’s Coriolan
Robert Ormsby

literary authority. 4 The plays in the French-language Cycle were based on ‘tradaptations’ by the Québec poet Michel Garneau, who ostensibly rendered each of the three dramas in a different register of Québécois. 5 Although Garneau began tradapting Shakespeare in the 1970s to help establish a distinct national Québécois culture, Lepage’s Cycle had a markedly global

in Coriolanus
French psalmody, the Sidneys, and George Herbert
Helen Wilcox

philosophical treatise by Philippe Duplessis-Mornay, counselor of France’s Protestant King Henri IV, as well as some of the poems of the French biblical poet Guillaume Du Bartas. 33 Philip was also clearly an admirer of the qualities of the French, noting of Michel de l’Hôpital that he, an emblem of his nation, represented “judgment … firmly builded on virtue.” 34 Mary Sidney was equally familiar with the French language and its literary tradition (if not with the country itself); in 1592 she published her English

in Edward and George Herbert in the European Republic of Letters
Subversive practices from écriture féminine to soft art
Rakhee Balaram

This chapter presents the way in which women and some men challenged contemporary practices through the body, experimental writing such as écriture féminine, and the employment of ‘soft’ materials such as embroidery, knitting, weaving and so on, in an effort to place women within a larger tradition of anonymous, artisan works. While the practice of écriture féminine was embedded in the French language, the use of soft materials in art shared a wider international heritage. It is argued that women’s soft art also shares a relationship with avant-garde French male groups of the period such as Supports-Surfaces and their dismantling of the canvas via Marxist theory into their component ‘soft’ parts. The result is a major reassessment of the way in which women were believed to be working independently of their male counterparts during this period, as evidenced by radical practice.

in Counterpractice