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This book is the record of a colloquium held at Churchill College, Cambridge. It pursues lines of discussion radiating out from the core theme of the power of the image (understood in its pictorial, iconic, sensory and verbal senses). Writers, scholars and artists are grouped in pairs representing the two language-cultures (English and French). Central topics covered include the manifold ways in which our readings of pictorial images old and contemporary can bridge cultures, language politics and the politics of culture, the limitless and instructive senses of the concept of the ‘word’, the relation between orality and the written text, the implications of the act of writing, history and opera, the word in theatre, the influence of the Nobel Prize.... The terms of discussion universally urbane, effortlessly wide-ranging and deeply probing. Most importantly – and a reminder of how best to ensure literate wisdom in intercultural debate – is the fact that the contributors gathered here have avoided all ‘pre-packaging’ of their reflections in the shibboleth ‘discourses' (whether Freudian, poststructuralist, postmodern or postcolonial) of our time. Contributors are: Anthony Kwame Appiah, Biyi Bandele, Jacques Chevrier, Tim Cribb, Irène d’Almeida, Casimir d’Angelo, Assia Djebar, Akin Euba, Christiane Fioupou, Lorna Goodison, Wilson Harris, Marika Hedin, Gerard Houghton, Abiola Irele, Anny King, John Kinsella, Henri Lopés, Daniel Maximin, Femi Osofisan, Niyi Osundare, Ato Quayson, Alain Ricard, Tracy Ryan, Julien Sinzogan, Alioune Sow, Wole Soyinka, George Steiner, Véronique Tadjo, Maria Tippett, Olabiyi Yaï
This book explores the politics of artistic creativity, examining how black artists in Africa and the diaspora create art as a procedure of self-making. Essays cross continents to uncover the efflorescence of black culture in national and global contexts and in literature, film, performance, music, and visual art. Contributors place the concerns of black artists and their works within national and transnational conversations on anti-black racism, xenophobia, ethnocentrism, migration, resettlement, resistance, and transnational feminisms. Does art by the subaltern fulfill the liberatory potential that critics have ascribed to it? What other possibilities does political art offer? Together, these essays sort through the aesthetics of daily life to build a thesis that reflects the desire of black artists and cultures to remake themselves and their world.
Vol. 1- , spring 1970- , include "A Bibliography of American doctoral dissertations on African literature," compiled by Nancy J. Schmidt.
One of the most celebrated authors of twentieth-century France, Marguerite Duras loved crime. Indeed, criminal faits divers from the newspaper represented a key element in her literary project. Sensational news stories made their way into her novels, plays and screenplays, inspired numerous journalistic pieces and media interventions, and even informed the way that she discussed her life and work in the press. The Crimes of Marguerite Duras offers an innovative framework for analyzing Duras's literary works and journalism as they relate to the mass media and broader cultural debates. Anne Brancky reveals how Duras's predilection for provocatively blurring the line between truth and fiction on various media platforms helped make her a best-selling author and a public intellectual ahead of her time. Exploring the movement between serious literature and public scandal, this readable book affirms literature's abiding role in political debate and the public sphere.
This annual French XX Bibliography provides the most complete listing available of books, articles, and book reviews concerned with French literature since 1885. Unique in its scope, thoroughness, and reliability of information, it has become an essential reference source in the study of modern French literature and culture. The bibliography is divided into three major divisions: general studies, author subjects (arranged alphabetically), and cinema. Number 59 in the series contains 12,703 entries. William J. Thompson is Associate Professor of French and Undergraduate and Interdisciplinary Programs in the College of Arts and Sciences at the University of Memphis.
Kathleen Long explores the use of the hermaphrodite in early modern culture wars, both to question traditional theorizations of gender roles and to reaffirm those views. These cultural conflicts were fueled by the discovery of a new world, by the Reformation and the backlash against it, by nascent republicanism directed against dissolute kings, and by the rise of empirical science and its subsequent confrontation with the traditional university system. For the Renaissance imagination, the hermaphrodite came to symbolize these profound and intense changes that swept across Europe, literally embodying these conflicts. Focusing on early modern France, with references to Switzerland and Germany, this work traces the symbolic use of the hermaphrodite across a range of disciplines and domains - medical, alchemical, philosophical, poetic, fictional, and political - and demonstrates how these seemingly disparate realms interacted extensively with each other in this period, also across national boundaries. This widespread use and representation of the hermaphrodite established a ground on which new ideas concerning sex and gender could be elaborated by subsequent generations, and on which a wide range of thought concerning identity, racial, religious, and national as well as gender, could be deployed.
This collection explores the evolution of notions about masculinity during the intense crisis of Renaissance and early modern France. Authors of the period reflect the anxieties about masculinity that became more pronounced against the backdrop of major events and innovations of the period: the religious conflict in France, the repeated questioning of religious and royal authority, the revival of Greek skepticism, the discovery of the New World, and the rise of clinical medicine. These events in turn fueled growing doubt concerning the fixed and hierarchical nature of gender distinction, a distinction upon which many felt French culture was dependent for its very survival.
Originally published in 1949, this volume contains 23 essays in the field of French studies by colleagues of Professor R. L. Greene.