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From Francophonie to World Literature in French. Ethics, Poetics, and Politics. Thérèse Migraine-George. pages. Hardcover. December From Francophonie to World Literature in French: Ethics, Poetics, and Politics . where his activism against political oppression contributed to the departure of.
Link network. Whereas the area in the Anglophone world has emerged primarily in literature and cultural studies departments, postcolonialism in France with notable exceptions, such as in the work of Dominique Combe and Jean-Marc Moura has been situated initially in the social sciences and history. It is significant, for instance, that the invasions of Afghanistan and Iraq triggered talk of dislocation between theory and praxis and of a crisis in postcolonial studies in North America.
It is also to reflect on the context from which, as has been suggested already, these new critical tendencies did not appear ex nihilo in What is perhaps a more pragmatic starting point is the possibility of recognizing a non-hierarchical interdependency that remains difficult to unravel, that is of a Francosphere or complex French-speaking space whose geography has moved beyond that of centres and peripheries. Dorothy Blair, in her pioneering early study African Literature in French , already pointed to a genealogy that belied any ex nihilo emergence of a discrete new literature. In identifying and building these new communities and networks, and in asserting the rationale by which they are underpinned, comparatism seems to play an increasingly prominent role.
This may be seen to imply a wholesale integration of the study of national literature into openly comparative and interdisciplinary programmes, both of which would allow the creation of connections across Francophone spaces. However, it is comparatism as an investigative and ultimately disruptive process and method, rather than as an institutional product or publishing phenomenon, that is at stake. Like Orientalism , this text has been absorbed into the narrative of the emergence of postcolonialism and granted pre-eminence in its critical canon.
It is therefore the activity of comparison that has become revitalized in the world today and it is here that the contribution of Said will ultimately prove most valuable. His contrapuntal reading — this ongoing attempt to present comparatism with an unrestricted field of enquiry and without any implicit hierarchies — remains largely undeveloped both by Said himself and by his subsequent interpreters.
From a polarized, imbalanced, even falsely dichotomized view of the relationship between France and its former colonies or current dependencies , we move to a more flexible approach to intersections and interdependencies. He encouraged instead a multi-directional comparative practice, drawing in particular on the cultural production of Hispanophone cultures, of which much of his own work is an exemplary illustration. It is an essential element of the dialogues and conflicts that have already occurred or, perhaps more importantly, might yet develop. Comparative approaches allow expansion of the postcolonial canon beyond the relatively narrow range of authors to which it sometimes appears to have been reduced.
They encourage recognition of the ways in which literature and other cultural production often reflects the processes of transnational co-colonialism that often characterize geopolitical asymmetries of power in an increasingly globalized world. And David Scott, in a series of key interventions, has explored the mismatch of the anti-colonial romanticism underlying much postcolonial criticism with what he sees as the tragedy of contemporary postcoloniality.
These examples all signal and constitute creative interventions from within the field. Yet a growing sense of external animosity towards postcolonial criticism has persisted. This tendency is particularly evident in the indebtedness of the postcolonial project, from the outset, to comparative methodologies. It is equally apparent in the rapid re-assertion of comparatism as a means, on the one hand, of redefining postcolonialism in the twenty-first century and, on the other, of repositioning it in relation to emergent disciplines such as transnational cultural studies, World Literature, diaspora studies or globalization studies.
An awareness of monolingual tendencies, as well as of the admittedly often exaggerated risks of an Anglophone imperium in the field, underpins recent evidence of a shifting centre of gravity. Nowhere has this perhaps been clearer than in study of the Caribbean, the complex histories of whose islands reveal to such an extent the interconnectedness of imperial histories and of their contemporary aftermaths that they have been posited as the geographical basis for a new postcolonial paradigm.
Tourism is about creating a destination for consumption and then incorporating these places within the global capital system. It exposes the fact that the sexual imagery used in the marketing of certain postcolonial destinations perpetuates Orientalist representations of a sensual, sexually available, and subservient female oriental other. However it must be noted that hegemony and resistance as binary categories in postcolonial theorization may not always be relevant. A postcolonial critique has to consider that both local and global processes of accommodation and collaboration inform these categories.
In a project that involves the interrogation of tourism development, sustainability, and postcolonial writing, the author explores the humanizing potential of tourism. He adds that the ethical imperatives of fiction have relevance for world policy debates and should be taken as seriously as empirical research. This premise can only be transformative if such representations are considered to offer ways to negotiate tourist practices from within the neoliberal capitalist paradigm of the global industry. Through a reading of literary works by several Caribbean and Pacific Ocean island writers, Carrigan interrogates the concept of sustainability and the development agenda by highlighting that destinations contain multiple and competing ideologies that reveal the complex workings of internal colonialism and environmental racism.
This, particularly, in the case of islands is crucial to dislodging tourism development from binary relations between native poverty and dependency versus tourist privilege. As Boehmer and Morton as well as Ashcroft point out, postcolonial texts play a mediating role between imaginative and real-world concerns.
By drawing individuals into a process of self-reflexivity, these texts help them perform the transition between fiction and real life that is vital to effect social change. The bringing together of postcolonial theory and cultural productions in other languages is a recent phenomenon. How then are meanings managed when theory and cultural production traverse linguistic frontiers?
Today for the most part, postcolonial writing is perceived as reflecting a hybrid, magic-realist world. Like postcolonial theory, postcolonial writing—enmeshed in the transnational processes of marketing and publishing—is seen to be complicit with the market-driven neo-capitalist economy.
Arguably the seamlessly connected global economies have undermined the centrality of national structures. Ideologically the manifesto seems to be offering a belated postcolonial resistance. However, the controversies it has raised show the complex inter-meshing of academic benefits, commercial ambitions, and ideological interests.
Leadership for good starts here. Responsable : Ralph Heyndels. If you think you should have access to this title, please contact your librarian. Several of his subjects are among the best-known poets of the past twenty-five years; a few are better known as writers of prose than of poetry. Indeed, as pointed out earlier, French literature has always explored issues of intercultural encounters and alterity in relation to other European cultures as well as some non-western traditions. In the context of multicultural cosmopolitanism, there is a felicitous encounter or relation between center and periphery, between general and local and, in translation terms, between the foreign-source and target-host cultures. The seven-poster display offers visitors an intimate peek into his life and work through a series of QR codes linked to copyrighted material.
As Thomas Spear affirms in his essay, by ignoring the presence of smaller French publishers whose policies have been more inclusive, and places like Lebanon, Algeria, and Quebec where a substantial number of French language books are published especially Quebec where more books per capita are published than in France , the manifesto reaffirms metropolitan hegemony instead of subverting it It shows how the celebratory tone of the manifesto actually masks the pitfalls that a banalizing globalization provokes.