International audience ; Exile and colonialism play an essential part in Jamaica Kincaid's novels. This antagonism is best expressed in Kincaid's early fiction through conflictual mother-daughter relationships. My paper aims to show that such aspects are connected facets of the identity nexus which informs the body politics of contemporary female Caribbean writers. ; L'exil et le colonialisme jouent un rôle essentiel dans les romans de Jamaica Kincaid. Cet antagonisme trouve sa meilleure expression dans les premiers écrits fictionnels de Kincaid à travers des relations conflictuelle entre mère et fille. La présente étude vise à montrer que de tels aspects représentent des facettes interdépendantes du problème identitaire qui marque de son empreinte la questionnement sur le corps chez les écrivains féminins contemporains de la Caraïbe.
International audience ; Exile and colonialism play an essential part in Jamaica Kincaid's novels. This antagonism is best expressed in Kincaid's early fiction through conflictual mother-daughter relationships. My paper aims to show that such aspects are connected facets of the identity nexus which informs the body politics of contemporary female Caribbean writers. ; L'exil et le colonialisme jouent un rôle essentiel dans les romans de Jamaica Kincaid. Cet antagonisme trouve sa meilleure expression dans les premiers écrits fictionnels de Kincaid à travers des relations conflictuelle entre mère et fille. La présente étude vise à montrer que de tels aspects représentent des facettes interdépendantes du problème identitaire qui marque de son empreinte la questionnement sur le corps chez les écrivains féminins contemporains de la Caraïbe.
The aim of this article is to examine the similarities and differences between the use of force after 1990 and colonial police operations of the 19th and 20th Centuries. Our goal is to analyze and compare three aspects of these armed operations: the underlying ideologies, the aims and goals, and the means and methods. The article tends to demonstrate that today we assist to "the return of history", the pre-Cold War history, rather than to the "end of history". Despite some obvious differences between the two types of interventions, the article states that there are more similarities than divergences between these operations and that we are witnessing the emergence of a form of neocolonialism based on the liberal ideology.
In the seventeenth century, France established plantation colonies in the islands of the Caribbean and Indian Ocean. Within fifty years these had become important sites of commerce that supplied valuable raw materials and agricultural commodities. But despite their economic and strategic importance the colonial world was sparsely represented in public discourses and debates. Sustained representation of the colonies would have entailed depiction of the regime of slavery and meant taking a position for or against an institution that was considered economically advantageous but which was also morally suspect. Only the closing decades of the eighteenth century when an abolitionist discourse supported by economic arguments gained momentum, did the colonies and slavery became subjects of representation in domains such as literature, philosophy and material culture. The silence that enveloped the colonial world had several dimensions. Besides silence in the strict sense of the term we can identify processes of shifting toward subjects related to colonialism yet far more visible, notably oriental exoticism and the theme of the 'noble savage'. These transfers took place, not only in literature and political debates but also in visual and material culture. They occurred, for example, in the sphere of furniture. In the seventeenth and eighteenth centuries French furniture underwent radical transformations as a result of the import of precious hardwoods and other tropical commodities from the Caribbean and the Indian Ocean. But these transformations did not give rise to a tropical or colonial brand of exoticism. Rather, it is possible to trace patterns of substitution by which colonial raw materials – mahogany and ebony, tortoiseshell and rosewood – were transformed into merchandise that appealed to the orientalist tastes of the period: sofas and ottomans, chests decorated with Asian lacquer, chairs with Egyptian motifs. In the eighteenth century, as today, consumers' attention was drawn to the cultural origins of merchandise rather than to the geography of production or the conditions of labor in "offshore" centers of production.
International audience ; Exil et colonialisme transaméricains chez Jamaica Kincaid « To be a colonial is to be an exile » George Lamming La romancière caribéenne Jamaica Kincaïd est aujourd'hui réputée pour ses nombreuses critiques de l'impérialisme britannique, et sa détermination à combattre les multiples formes d'hégémonie culturelle qui peuvent en découler. Si ses oeuvres ont rencontré le succès qu'elles méritent, c'est sans doute parce que l'auteur a su faire preuve de militantisme culturel et politique, mais aussi parce qu'elle réinvente sans cesse son identité de femme antillaise exilée, à travers une écriture où se tissent des liens complexes entre l'histoire, l'autobiographie et la ction. Cette ré exion sur le sens de sa propre identité trouve sans doute sa source dans la relation antagoniste entre l'histoire de sa famille et l'histoire coloniale des Antilles. Ce con it débute d'ailleurs dès sa naissance, le 25 mai 1949, à Antigua, où elle a été baptisée du nom d'Elaine Potter Richardson. Consciente de son héritage pluriethnique (sa grand-mère maternelle était d'origine amérindienne, et son grand-père d'origine africaine), la jeune femme ne gardera pas bien longtemps ce nom aux consonances un peu trop européennes à son goût, et choisira de s'appeler Jamaica Kincaid , un nom d'auteur la rapprochant davantage de ses origines caraïbes, et lui permettant d'a rmer sa vocation d'écrivain, malgré l'opposition de ses parents. En quittant son île natale à l'âge dix-sept ans, la future romancière pensait pouvoir laisser derrière elle sa famille et ses amis
