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Writerly Identities in Beur Fiction and Beyond explores the
Beur/banlieue literary and cultural field from its beginnings in
the 1980s to the present. It examines a set of postcolonial
Bildungsroman novels by Azouz Begag, Farida Belghoul, Leila Sebbar,
Said Mohamed, Rachid Djaidani, and Mohamed Razane. In these novels,
the central characters are authors who struggle to find
self-identity and a place in the world through writing and
authorship. The book thus explores the different ways all these
novels relate the process of "becoming" to the process of writing.
Neither is straightforward as the author-characters struggle to put
their lives into words, settle upon a genre of writing, and adopt
an authorial persona. Each chapter of Writerly Identities in Beur
Fiction and Beyond focuses on a given author's own relationship to
writing before assessing his or her use of the author-character as
a proxy. In so doing, the study as a whole explores a set of
literary questions (genre, textual authority, reception) and
engages them against the backdrop of socio-cultural challenges
facing contemporary French society. These include debates on
education, cultural literacy, diversity and equal opportunity, and
the "banlieue" environment. Finally, it argues in relation to the
authors and novels in question for the particular relevance of
"rooted and vernacular" cosmopolitanism, which suggests both that
exploration of the world must begin at home and that stories are
crucial for such explorations.
This interdisciplinary collection of essays unites researchers from
many divergent fields in a common effort to explore the complexity,
diversity, and paradoxes of French Harki literature. Given the
growing body of literature written by, for, and about the Harkis,
this project begins to fill a significant research gap. Although
French Harki literature continues to evolve and diversify with each
passing day, this book represents the first systematic attempt to
delineate the significance of this emerging field within the larger
context of Francophone literature, migration studies, and diaspora
studies. Furthermore, the invaluable contributions of noted
historians which open the volume offer an essential theoretical
framework which places Harki literature in its appropriate
historical context on both sides of the Mediterranean. As the title
of this collection unequivocally implies, this volume was
intentionally designed to foster meaningful collaboration with
scholars from disciplines such as French/Francophone literature,
history, anthropology, and sociology in a common effort to create
intellectually rigorous essays which are also accessible to a broad
audience. A Practical Guide to French Harki Literature is a
much-needed point of departure that strives to encourage other
researchers to contribute to the conversation regarding the past
and present repercussions of the construction of the social group
known as the Harkis.
Writerly Identities in Beur Fiction and Beyond explores the
Beur/banlieue literary and cultural field from its beginnings in
the 1980s to the present. It examines a set of postcolonial
Bildungsroman novels by Azouz Begag, Farida Belghoul, Leila Sebbar,
Said Mohamed, Rachid Djaidani, and Mohamed Razane. In these novels,
the central characters are authors who struggle to find
self-identity and a place in the world through writing and
authorship. The book thus explores the different ways all these
novels relate the process of "becoming" to the process of writing.
Neither is straightforward as the author-characters struggle to put
their lives into words, settle upon a genre of writing, and adopt
an authorial persona. Each chapter of Writerly Identities in Beur
Fiction and Beyond focuses on a given author's own relationship to
writing before assessing his or her use of the author-character as
a proxy. In so doing, the study as a whole explores a set of
literary questions (genre, textual authority, reception) and
engages them against the backdrop of socio-cultural challenges
facing contemporary French society. These include debates on
education, cultural literacy, diversity and equal opportunity, and
the "banlieue" environment. Finally, it argues in relation to the
authors and novels in question for the particular relevance of
"rooted and vernacular" cosmopolitanism, which suggests both that
exploration of the world must begin at home and that stories are
crucial for such explorations.
Post-Migratory Cultures in Postcolonial France offers a critical
assessment of the ways in which French writers, filmmakers,
musicians and other artists descended from immigrants from former
colonial territories bring their specificity to bear on the bounds
and applicability of French republicanism, "Frenchness" and
national identity, and contemporary cultural production in France.
In mobilizing a range of approaches and methodologies pertinent to
their specialist fields of inquiry, contributors to this volume
share in the common objective of elucidating the cultural
productions of what we are calling post-migratory (second- and
third-generation) postcolonial minorities. The volume provides a
lens through which to query the dimensions of postcoloniality and
transnationalism in relation to post-migratory postcolonial
minorities in France and identifies points of convergence and
conversation among them in the range of their cultural production.
The cultural practitioners considered query traditional French high
culture and its pathways and institutions; some emerge as
autodidacts, introducing new forms of authorship and activism; they
inflect French cultural production with different 'accents', some
experimental and even avant-garde in nature. As the volume
contributors show, though post-migratory postcolonial minorities
sometimes express dis-settlement, they also provide an incisive
view of social identities in France today and their own compelling
visions for the future.
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