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Variety of debates and ideas crucial to current theories and dialogues.
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l'identité
http://www.fabula.org/actualites/article32031.php
considérer la Caraïbe :
Mimi Sheller, Consuming the Caribbean: From Arawaks to Zombies. London: Routledge, 2003, ix+252 pp. review by Alison Van nyhuis link
Penser la francophonie : entre tradition et « nouveautés » en littérature africaine
« In contrast to the usual canon of francophone African authors-Senghor, Dadié, Hampâté Bâ, Ousmane Sembène- Lydie Moudileno analyses writing of the last two decades of the 20th century by such writers as Calixthe Belaya, Kossi Efoui, Bessora, Alain Mabanckou and Abdourhaman Waberi. The new generation never lived under colonialism, and after immigrated to Frane when they were in their early 20s;being African and Franch, they are “cultural mulattos”. In contrast to writers of Norfth African origin (“beurs”) and in contrast to England, there are few second-generation writers of sub-Saharan African origin in Frane. The New authors often write about individual problems rather than community; their literature is, Moudileno says, a literature of existence, not of essence. [...] Who are postcolonial writers ? The term is not often used in France, where “Francophon”y is more common, with its emphasis on “France” as the touchstone. [...] Writers of Afrian origin who live in France are termed “Francophone African”, never “Black French”. Even writters from the Caribbean –Guadeloupe, Martiinique, Guyane, (all departments of France)- are always “French Caribbean”. [...] Except for a few bets-selling writers such as Calixte Beyala, publishers have shown limited interest in the lives of the black immigrant community in France.»[2]
Penser le colonial,
Aimé Césaire, Discours sur le colonialisme,
Albert Memmi, Portrait du colonisé, Portrait du colonisateur, 1960
Nicolas Bancel, Pascal Blanchard, Françoise Vergès, Essai sur une utopie, 2003
Nicolas Bancel, Pascal Blanchard, Sandrine Lemaire, La fracture coloniale, 2005
Louis-Jean Calvet, Linguistique et colonialisme, Payot et Rivages, 2002 link
Le Post-colonial
Nicolas Bancel, Pascal Blanchard, Culture postcoloniale 1961-2006, 2006
http://scholar.library.miami.edu/anthurium/volume_6/issue_2/strongman-acarribeanresponse.html
Post colonialisme : La mémoire et le devoir de mémoire as a post-colonial theme and project
« The Sea [John Banvill’s novel, 2005] is a skillfully presented story, moving back and forth in time, (...) but it is difficult to know where the pretentiousnes of the narrator, with his comparisons of people to works of art and mythology, differs from that of the author. I had assumes that such preening had been pushed aside by the urgency of writinig by minorities [oh mon dieu ! il a vraiment écrit minorities ? Il doit être américain], the new British, and from the Commonwealth, with their more interesting subject matter, as well as more original forms and themes.
Kazuo Ishiguro, for example, always seems to be experimenting with established literary models , and ways of presenting narrative; he is a realist in his use of detail, postmodern in pastiche and indetrminacy, even expressionist in how his scenes share in the emotions of his characters-who are often guilty, although why takes much attentive reading and puzzling, and there is an unexpected moral insight hiddeb behind layers od misleading confession. Complex, original, compelling, Never Let Me Go was an obvious choice for the 2005 award.
Also a novel about memory, Never Let Me Go [2005] is the best Ishiguro novel since Remains of the Day. Ishiguro is interested in the past, especially childhood, and the deceits in the fiction and the memoirs of school days, the story, although beginning as a puzzle, eventually comes into focus and ends with a conclusion that most readers will find upsetins, raising issues that they perhaps have not considered.Told by a narrator obsessed by a her years at a special boarding school and its effects on her later life, the story at first seems one of those studies in sensitivity, snobbery, and how teachers, friends and early attachments influence adult life. [...]
The other oovious candidate for the Man Booker was Zadie Smith’s One Beauty,which offers an updating of E.M. Forster’s Howards End, a debt to which the author calls attention in her Acknowledgments. [...] Smith is concerned about autheticity of self in contrast to ideological and ethnic notions of identity. [...] Smith is a much better writter here than in White Teeth.Her many characters have become more emotionnaly and verbally interesting; the story is full of life, insight, and events. (...) The prose is amusing, vigorous, filled with literary echoes. [...]
We are told this is the postcolonial moment, and indeed it is from this quality and quantity of publications by such fromer outsiders as writers from new nations, immigrnats, racial minoriries and women; While, Smith (...) treat[s] of racial and cultural themes, Smith does mostly as scial comedy. Rushdie [in Shalimar the Clown, 2005] still draws on cultural onflict and postcolonial politics as subject matter but he is moving towards international storytelling for his own sake. As shown by many allusions to contemporary cinema and television programmes, his vision is strongly influenced by globelized American mass culture. Banville’s novel provides no support for those who think Irish literature is about such issues as co-option and resistance to a history of English colonialism. It could and should be argued that Ishiguro is part of the postcolonial, but, like Smith’s novels, his writing takes society’s treatment of Otherness in new, different directions. My impression is such writers are edging into the postcolonial-whatever it is going to be.»[3]
[1] According to Fiona TOLAN & Alison RUDD, «Introduction», in Revue Journal of postcolonial writing, vol.43. N°1. April 2007, p.1 ISSN 1744-9863 online
[2] Adele KING, « Francophony today », in Revue Journal of postcolonial writing, vol.43. N°1. April 2007, p 97-98.
ISSN 1744-9863 online
[3] Bruce KING, « Towards the postcolonial », in Revue Journal of postcolonial writing, vol.43. N°1. April 2007, p 100-105.
ISSN 1744-9863 online
Black studies ?
réponse de Amherst U
Black Studies majors learn in many ways. For a start, all majors take an introductory course that familiarizes them with some of the central debates and problems within the field: Is there such a thing as a "Black" experience? How African is African-American culture? What kinds of theories can we advance to explain the relationship between race and a range of social and economic indicators? How have scholars traditionally understood the connections between Africa, the Caribbean and the Americas? How do issues of gender affect issues of race? What new insights do postmodern and postcolonial theories offer on all these subjects? Usually two members of the Department teach this course together; other Department members often contribute guest lectures.
