Suchergebnisse

Cover -- Half Title -- Series Page -- Title Page -- Copyright Page -- Contents -- Acknowledgments -- Introduction -- 1 Lydie Salvayre: Translanguaging, Testimony and History -- 2 French-Vietnamese Translanguaging in the Work of Kim Thúy -- 3 "En Australie, je parle une langue minoritaire": Catherine Rey's Franco-Australian Life Writing -- 4 Gisèle Pineau's Evolving Translanguaging: From Un papillon dans la cité to L'Exil selon Julia to Mes quatre femmes -- 5 Staging Resistance to the Language of the Colonizer: Chantal Spitz's Translanguaging -- 6 Hélène Cixous's Franco-German Translanguaging in Une autobiographie allemande -- Conclusion -- Index.

Introduction: voicing voluntary childlessness : narratives of non-mothering in contemporary France -- Perspectives on non-mothering -- Theorising non-mothering -- Psychoanalyzing non-mothering -- Expressions of non-mothering -- Linda lês epistolary innovation : à lenfant que je naurai pas -- Jane Sautière's autofictional explorations : nullipare -- The struggle of personal criticism : Lucie Joubert's l'envers du landau -- The ageing voluntarily childless woman : Madeleine Chapsal's la femme sans -- Conclusion -- Bibliography

This book looks at first-person accounts of voluntary childlessness by women writing in French. It brings together authors who stake out a new terrain, creating a textual space in which to take ownership of their childlessness and call for new understandings of female identity beyond maternity.

Linguist Ofelia Garcia proposes the term 'translanguaging' to refer to a 'dynamic bilingualism' that 'is centred, not on languages as has often been the case, but on the practices of bilinguals that are readily observable in order to make sense of their multilingual worlds'. In this article, I examine Kim Thúy's practice of translanguaging in her 2013 text Mãn. In this text, Francophone Vietnamese writer Thúy blends French and Vietnamese to create a dynamic, plurilingual idiom. I focus on three narrative strategies that Thúy develops: her bilingual inscriptions in the margins of each page, her frequent citations of Vietnamese with no accompanying translation and her creation of words and expressions that meld the two languages to create plurilingual neologisms. Taken together, these strategies move her text beyond the blending of two discreet languages to the invention of a new form of communicating subjectivity in transit.

La linguiste Ofelia Garcia propose le terme 'translanguaging' pour représenter un 'bilinguisme dynamique' qui est 'basé non sur les langues, ce qui est souvent le cas pour les théories du bilinguisme, mais sur les pratiques observés chez les individus bilingues pour donner du sens à leur monde multilingue'. Dans cet article, nous analysons la pratique de 'translanguaging' de Kim Thúy dans son texte Mãn (2013). Dans ce texte, Thúy, écrivain vietnamien d'expression française, mélange le français et le vietnamien pour créer un langage dynamique et plurilingue. Nous nous concentrons sur trois de ses stratégies littéraires: les inscriptions bilingues dans les marges de chaque page, les citations fréquentes du vietnamien sans traduction, et la création de nouveaux mots et expressions qui mélangent les deux langues pour inventer des néologismes plurilingues. Ensemble, ces stratégies forment un texte littéraire qui n'est pas fondé sur la combinaison de deux langues discrètes mais qui invente une nouvelle forme de subjectivité en mouvement.

The mobility of people and objects is a central motif in the work of contemporary artist Sophie Calle. In this article, I compare two of Calle's exhibitions that take a particularly unusual approach to mobility. In Fantômes and Prenez soin de vous, the objects are an email and works of art and their mobility arises from their displacement. In both exhibitions, Calle obliges the spectator to look at other people looking at the artefacts, which I refer to as the 'double look'. In this article, I analyse how this technique serves to question the notion of a unitary, individual artist behind each work of art, how it questions the parameters of spectatorship, and how it challenges understandings of intimacy in contemporary culture.

The Contemporary Francophone African Intellectual examines the issues with which the contemporary African intellectual engages, the fields s/he occupies, her/his residence and perspective, and her/his relations with the State and the people. In an increasingly economically deprived Africa, in which some states are ruled by dictators, what chances do people have of becoming intellectuals, using their critical faculties to challenge hegemony, enacting the transformative power of ideas in a publ...

In this article, we argue that Maxine Beneba Clarke's tale 'The Stilt Fishermen of Kathaluwa,' in Foreign Soil (2014), is a provocative representation of migration in contemporary Australia. At a time in which the world is facing its largest migration since the Second World War and in which Australian border policy is making headlines around the world, Clarke's tale is a powerful intervention in discourses of contemporary Australian identity and nationhood. We demonstrate that the tale is a subtle manipulation of what McCullough terms the 'refugee narrative structure' since it carefully undercuts the myth of a nation as a coherent narrative across time and space. By juxtaposing the tales of an illegal migrant and a volunteer case worker, and by setting the tale largely in a functioning detention centre, Clarke gives voice to the voiceless and draws parallels between individuals on different sides of the insider/outsider binary. The encounter that finally takes place between them implicates the reader very directly in discourses of contemporary migration and border policy.

Throughout this book, the concept of framing is used to look at art, photography, scientific drawings and cinema as visually constituted, spatially bounded productions. The way these genres relate to that which exists beyond the frame, by means of plastic, chemically transposed, pencil-sketched or moving images allows us to decipher the particular language of the visual and at the same time circumscribe the dialectic between presence and absence that is proper to all visual media. Yet, these kinds of re-framing owe their existence to the ruptures and upheavals that marked the demise of certain discursive systems in the past, announcing the emergence of others that were in turn overturned.

This introduces the special issue on mobility across media in various areas of the Francophone world. Articles treat the notion of mobility as understood in film, literature, visual art and advertising and explore how genres as well as national traditions intersect. They explore a range of representations of mobility, such as the mobility between people, between genres, between languages, between artistic forms and between texts across historical periods. We show that the terminology regarding movement is constantly mobile itself, having undergone significant slippage in recent decades. Overall, this volume does not seek to arrest, but to add to, the understanding of the diverse modes of mobility present in the contemporary world.