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The contributors to Transnational French Studies situate this
disciplinary subfield of Modern Languages in actively transnational
frameworks. The key objective of the volume is to define the core
set of skills and methodologies that constitute the study of French
culture as a transnational, transcultural and translingual
phenomenon. Written by leading scholars within the field, chapters
demonstrate the type of inquiry that can be pursued into the
transnational realities – both material and non-material – that
are integral to what is referred to as French culture. The book
considers the transnational dimensions of being human in the world
by focussing on four key practices which constitute the object of
study for students of French: language and multilingualism; the
construction of transcultural places and the corresponding sense of
space; the experience of time; and transnational subjectivities.
The underlying premise of the volume is that the transnational is
present (and has long been present) throughout what we define as
French history and culture. Chapters address instances and
phenomena associated with the transnational, from prehistory to the
present, opening up the geopolitical map of French studies beyond
France and including sites where communities identified as French
have formed.
This collection of essays on Trans-Mediterranean Francospheres
offers an original examination of cultural production and the flows
between urban capitals and "capital" in and of a selection of
Mediterranean cities and sites. In three parts, the book covers
both familiar and overlooked terrain, in chapters which examine
writing the city, the transit between different poles, film and EU
designated cultural capitals. The collection therefore brings
together texts and their critical readings in new comparative ways.
Following Jacques Derrida's peregrinations in L'Autre Cap (1991),
the volume interrogates the what of Europe; the when or where of
Paris; the who of the Mediterranean. Or might the Mediterranean
fall under the rubric of paleonomy, that is, as Michael Naas
recalls Derrida's words in Positions: "the 'strategic' necessity
that requires the occasional maintenance of an old name in order to
launch a new concept." Taking this forward, we understand the
Mediterranean as an old name to launch a new concept and the essays
in the book each reflect on this in different ways. Issues
concerning identity are challenged, since a Metropolitan, European,
Arab or African identity may be preferred over a Mediterranean one.
As borders become reinforced in the region, trans-Mediterranean
bridging narratives may be thwarted, especially by those who write
across Europe, Africa and the Middle East, in the face of the
contemporary refugee crisis. Finally, chapters explore what it
means to define a Mediterranean city-such as Marseille as European
Capital of Culture-and interrogate how this feeds into the cultural
production of a city whose multi-ethnic identities are as
outward-looking towards North Africa as they are inward towards the
French capital. Contributors: Silvia Baage, Marzia Caporale, Angela
Giovanangeli, Mark Ingram, Christa Jones, Gemma King, Claire
Launchbury, Megan C. MacDonald, Agnes Peysson-Zeiss, Ipek Celik
Rappas, Alison Rice, Rania Said
The contributors to Transnational French Studies situate this
disciplinary subfield of Modern Languages in actively transnational
frameworks. The key objective of the volume is to define the core
set of skills and methodologies that constitute the study of French
culture as a transnational, transcultural and translingual
phenomenon. Written by leading scholars within the field, chapters
demonstrate the type of inquiry that can be pursued into the
transnational realities – both material and non-material – that
are integral to what is referred to as French culture. The book
considers the transnational dimensions of being human in the world
by focussing on four key practices which constitute the object of
study for students of French: language and multilingualism; the
construction of transcultural places and the corresponding sense of
space; the experience of time; and transnational subjectivities.
The underlying premise of the volume is that the transnational is
present (and has long been present) throughout what we define as
French history and culture. Chapters address instances and
phenomena associated with the transnational, from prehistory to the
present, opening up the geopolitical map of French studies beyond
France and including sites where communities identified as French
have formed.
This collection of essays on Trans-Mediterranean Francospheres
offers an original examination of cultural production and the flows
between urban capitals and “capital” in and of a selection of
Mediterranean cities and sites. In three parts, the book covers
both familiar and overlooked terrain, in chapters which examine
writing the city, the transit between different poles, film and EU
designated cultural capitals. The collection therefore brings
together texts and their critical readings in new comparative ways.
Following Jacques Derrida’s peregrinations in L’Autre Cap
(1991), the volume interrogates the what of Europe; the when or
where of Paris; the who of the Mediterranean. Or might the
Mediterranean fall under the rubric of paleonomy, that is, as
Michael Naas recalls Derrida’s words in Positions: “the
‘strategic’ necessity that requires the occasional maintenance
of an old name in order to launch a new concept.” Taking this
forward, we understand the Mediterranean as an old name to launch a
new concept and the essays in the book each reflect on this in
different ways. Issues concerning identity are challenged, since a
Metropolitan, European, Arab or African identity may be preferred
over a Mediterranean one. As borders become reinforced in the
region, trans-Mediterranean bridging narratives may be thwarted,
especially by those who write across Europe, Africa and the Middle
East, in the face of the contemporary refugee crisis. Finally,
chapters explore what it means to define a Mediterranean
city—such as Marseille as European Capital of Culture—and
interrogate how this feeds into the cultural production of a city
whose multi-ethnic identities are as outward-looking towards North
Africa as they are inward towards the French capital. Contributors:
Silvia Baage, Marzia Caporale, Angela Giovanangeli, Mark Ingram,
Christa Jones, Gemma King, Claire Launchbury, Megan C. MacDonald,
Agnès Peysson-Zeiss, Ipek Çelik Rappas, Alison Rice, Rania Said
Offering new perspectives on the role of broadcasting in the
construction of cultural memory, this book analyses selected
instances in relation to questions of French identity at the BBC
during the Second World War. The influence of policy and ideology
on the musical and the poetic is addressed by drawing on
theoretical frameworks of the archive, memory, trauma and
testimony. Case studies investigate cultural memories constructed
through three contrasting soundscapes. The first focuses on the
translation of 'Frenchness' to the BBC's domestic audiences; the
second examines the use of slogans on the margins of propaganda
broadcasts. In the third, the implications of the marriage of
poetry and music in the BBC's 1945 premier of Francis Poulenc's
cantata setting of resistance poems by the surrealist poet Paul
Eluard in Figure humaine are assessed. Concentrating on the role of
the archive as both narrative source and theoretical frame, this
study offers a new approach to the understanding of soundscapes and
demonstrates the processes involved in the creation of sonic
cultural memory in the context of global conflict.
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