French and Francophone Studies

The French novel's "return to the story" in the last decades of the twentieth century and the beginning of the twenty-first is has been widely acknowledged in literary scholarship. But is this assessment accurate? With French Fiction in the Twenty-First Century, Simon Kemp looks at the work of five contemporary writers-Annie Ernaux, Pascal Quignard, Marie Darrieussecq, Jean Echenoz, and Patrick Modiano-in the context of the current French literary scene, and examines how far they pursue the innovations of their predecessors and just how far they have turned their backs on the era of experiment.

Travel writing, migrant writing, exile writing, expatriate writing, and even the fictional travelling protagonists that emerge in literary works from around the globe, have historically tended to depict mobility as a masculine phenomenon. The presence of such genres in women's writing, however, poses a rich and unique body of work. This volume examines the texts of Francophone women who have experienced or reflected upon the experience of transnational movement. Due to the particularity of their relationship to home, and the consequent impact of this on their experience of displacement, the study of women's mobility opens up new questions in our understanding of the movement from place to place, and in our broader understanding of colonial and postcolonial worlds. Addressing the proximities and overlaps that exist between the experiences of women exiles, migrants, expatriates and travellers, the collected essays in this book seek to challenge the usefulness, relevance or validity of such terms for conceptualising today's complex patterns of transnational mobility and the gendered identities produced therein.

In examining a number of francophone Montréal novels from 1960 to 2005, this interdisciplinary study considers the ways in which these connect with material landscapes to produce a city of neighbourhoods. In so doing, it reflects on how Montréal has been seen as both home and not home for francophone Quebecers. Morgan offers an overview of the fiction; examines micro and macro geographies of Montréal, and identifies some key literary trends. In so doing, it reflects on the importance of the imaginary in our experiencing and understanding of the urban.

In an era of commemoration, France's Colonial Legacies contributes to the debates taking place in France about the place of empire in the contemporary life of the nation, debates that have been underway since the 1990s and that now reach across public life and society with manifestations in the French parliament, media and universities. France's empire and the gradual process of its loss is one of the defining narratives of the contemporary nation, contributing to the construction of its image both on the international stage and at home. While certain intellectuals present the imperial period as an historical irrelevance that ended in the years following the Second World War, the contested legacies of France's colonies continue to influence the development of French society in the view of scholars of the postcolonial. This volume surveys the memorial practices and discourses that are played out in a range of arenas, drawing on the expertise of researchers working in the fields of politics, media, cultural studies, literature and film to offer a wide-ranging picture of remembrance in contemporary France.

Adapting Nineteenth-Century France uses the output of six canonical novelists and their recreations in a variety of media to push for a re-conceptualisation of our approach to the study of adaptation. The works of Balzac, Hugo, Flaubert, Zola, Maupassant and Verne reveal themselves not as originals to be defended from adapting hands, but fashioned from the adapted voices of a host of earlier artists, moments and media. The text analyses re-workings of key nineteenth-century texts across time and media in order to underline the way in which such re-workings cast new light on many of their source texts and reveal the probing analysis nineteenth-century novelists undertake in relation to notions of originality and authorial borrowing. Moreover, Adapting Nineteenth-Century France traces their subsequent recreations in a comparable range of genres, encompassing key modern media of the twentieth-and twenty-first-centuries: radio, silent film, fiction, musical theatre, sound film and television.

Women's Writing in Twenty-First Century France is a collection of critical essays on recent women-authored literature in France. It takes stock of the themes, issues and trends in women's writing of the first decade of the twenty-first century, and it engages critically with the work of individual authors through close textual readings. Authors covered include major prizewinners, best-selling authors, established and new writers whose work attracts scholarly attention, including those whose texts have been translated into English such as Christine Angot, Nina Bouraoui, Marie Darrieussecq as Chloé Delaume, Claudie Gallay and Anna Gavalda. Themes include translation, popular fiction, society, history, war, family relations, violence, trauma, the body, racial identity, sexual identity, feminism, life-writing and textual/aesthetic experiments.

This book provides a detailed analysis of the political arguments about the place of Muslims in contemporary France, and also discusses the ideas put forward by a range of Muslim thinkers. France has become the setting for one of the most important conflicts in the modern world. On the one hand, it possesses a rigidly organized, centralized state, whose bureaucrats and civil servants are animated by a code of secular activism. On the other hand, France is also the home for Europe's largest Muslim minority, variously estimated at numbering between four and six million people. This means that in terms of simple numbers, France can be counted as the world's fifteenth Islamic power. Previous conflicts with religion have left a deep impression on French political culture: from the sixteenth and seventeenth-century conflicts between Catholics and Protestants played to the formation of the collaborationist Vichy government in 1940. In recent decades, Muslims have been stigmatized as an irreconcilable minority unable to adapt to the secular culture of the majority of French citizens. This work draws out the political implications of the current conflict. It is based on events and publications produced in a single five year period, beginning with the shock of the 2002 Presidential elections, in which Le Pen was the second most successful candidate, ranging through the legislation of March 2004 which banned the Islamic headscarf from French state schools, and which sparked off a series of bad-tempered exchanges between left and right-wing French nationalists, anti-racism campaigners, secularists, anti-clericals and a variety of Muslim authors.

Gangsters, aviators, hard-boiled detectives, gunslingers, jazz and images of the American metropolis were all an inextricable part of the cultural landscape of interwar France. While the French 1930s have long been understood as profoundly anti-American, this book shows how a young, up-and-coming generation of 1930s French writers and filmmakers approached American culture with admiration as well as criticism. For some, the imaginary America that circulated through Hollywood films, newspaper reports, radio programming and translated fiction represented the society of the future, while for others it embodied a dire threat to French identity. This book brings an innovative transatlantic perspective to 1930s French culture, focusing on several of the most famous figures from the 1930s—including Marcel Carné, Louis-Fernand Céline, Pierre Drieu la Rochelle, Julien Duvivier, André Malraux, Jean Renoir and Jean-Paul Sartre—to track the ways in which they sought to reinterpret the political and social dimensions of modernism for mass audiences via an imaginary America.

For over forty years now, the French events of 1968 have been the focus of much attention both within France and beyond. While mai 68 is certainly seen as a watershed in the development of French society, a common narrative that portrays it in an increasingly reductive light has become prevalent. In fact it is less and less portrayed as the very serious nationwide crisis and largest strike in French history but more as a bon-enfant tantrum led principally by a spoilt generation of Parisian students intent on wreaking havoc during a period of much required—and today much longed for—political and economic stability. 2008 saw a continuation in the decennial commemorations that have been fundamental in shaping the doxa and thus furnished an excellent opportunity to assess any developments in how these events are represented, perceived and remembered. How and why has the common narrative come to dominate representations? What has been the impact on how the events are perceived by today's youth? To what extent does this interpretation fall short of painting the entire picture? This study answers such questions by arguing that the memory of 1968 has been shaped and cultivated in such a way that undermines its true magnitude. Why this is the case, who benefits from the dominance of this consensus and to what extent the history of 1968 is retrievable are the questions that underpin Memories of mai 68: France's Convenient Consensus.

This book provides a new interpretation of the relationship between consumption, drinking culture, memory and cultural identity in an age of rapid political and economic change. Using France as a case-study it explores the construction of a national drinking culture-the myths, symbols and practices surrounding it-and then through a multisited ethnography of wine consumption demonstrates how that culture is in the process of being transformed. Wine drinking culture in France has traditionally been a source of pride for the French and in an age of concerns about the dangers of 'binge-drinking', a major cause of jealousy for the British. Wine drinking and the culture associated with it are, for many, an essential part of what it means to be French, but they are also part of a national construction. Described by some as a national product, or as a 'totem drink', wine and its attendant cultures supposedly characterise Frenchness in much the same way as being born in France, fighting for liberty or speaking French. Yet this traditional picture is now being challenged by economic, social and political forces that have transformed consumption patterns and led to the fragmentation of wine drinking culture. The aim of this book is to provide an original account of the various causes of the long-term decline in alcohol consumption and of the emergence of a new wine drinking culture since the 1970s and to analyse its relationship to national and regional identity.

This book analyses contemporary French films by focusing closely on cinematic representations of immigrants and residents of suburban housing estates known as banlieues. It begins by examining how these groups are conceived of within France's Republican political model before analysing films that focus on four key issues. Firstly, it will assess representations of undocumented migrants known as sans-papiers before then analysing depictions of deportations made possible by the controversial double peine law. Next, it will examine films about relations between young people and the police in suburban France before exploring films that challenge clichés about these areas. The conclusion assesses what these films show about contemporary French political cinema.