Books by Patrick N . Crowley
What Forms Can Do. The Work of Form in 20th- and 21st- century French Literature and Thought, 2020
This volume responds to important questions about the formal properties of literary texts and the... more This volume responds to important questions about the formal properties of literary texts and the agency of form. A central feature of twentieth- and twenty-first century French and Francophone writing has been the exploration of how cultural forms (literary, philosophical and visual) create distinctive semiotic environments and at the same time engage powerfully with external realities. How does form propose a bridge between the environment of the text and the world beyond? What kinds of formal innovations have authors devised in response to the complexity of that world? How do the formal properties of texts inflect our reading of them, and perhaps also our apprehension of the real? In addressing such questions as they apply to a wide corpus of texts, including the novel, life writing, the essay, travel writing, poetry and textual/visual experiments, the chapters in this volume offer new perspectives on a wide range of creative figures including Proust, Picasso, Breton, Bataille, Ponge, Guillevic, Certeau, Camus, Barthes, Perec, Roubaud, Chauvet, Savitzkaya, Eribon, Ernaux, Laurens and Akerman. Collectively, they renew the engagement with form that has been a key feature of French cultural production and of analysis in French studies.
Algeria: Nation, Culture and Transnationalism 1988–2015 offers new insights into contemporary Alg... more Algeria: Nation, Culture and Transnationalism 1988–2015 offers new insights into contemporary Algeria. Drawing on a range of different approaches to the idea of Algeria and to its contemporary realities, the chapters in this volume serve to open up any discourse that would tie 'Algeria' to a fi xed meaning or construct it in ways that neglect the weft and warp of everyday cultural production and political action. The confi guration of these essays invites us to read contemporary cultural production in Algeria not as determined indices of a specifi c place and time (1988–2015) but as interrogations and explorations of that period and of the relationship between nation and culture. The intention of this volume is to offer historical moments, multiple contexts, hybrid forms, voices and experiences of the everyday that will prompt nuance in how we move between frames of enquiry. These chapters – written by specialists in Algerian history, politics, music, sport, youth cultures, literature, cultural associations and art – offer the granularity of microhistories, fi eldwork interviews and studies of the marginal in order to break up a synthetic overview and offer keener insights into the ways in which the complexity of Algerian nation-building are culturally negotiated, public spaces are reclaimed, and Algeria reimagined through practices that draw upon the country's past and its transnational present.
Pierre Michon is one of France's most significant contemporary writers. Since the publication in ... more Pierre Michon is one of France's most significant contemporary writers. Since the publication in 1984 of his first book, "Vies minuscules," Michon's work has never ceased to evade generic classifications. His work ingests books, lives and thought and probes their complex interrelationship and those moments of convergence that transform an ordinary name into that of an 'Author' or of an 'Artist'. The contents of Michon's work are well documented: they are drawn from canonical novels, chronicles, archives and the biographies of artists' lives and are worked into cross-generic forms that revive names and make us rethink the uncertainty of literature. Less has been written of his engagement with avant-garde thought. The legacy of French avant-garde thinkers of the 1960s and 1970s, in particular the work of Roland Barthes, informs Michon's work. Barthes's notions of the referent, of intertextuality and of authorship, for example, are transposed, reconfigured and sometimes contested within Michon's work. In this way, Barthes's name, the afterlife of his thought, remains encrypted within Michon's prose. This book situates and reads Michon's texts through the complex inscription and transformation of names drawn from the Creuse, literature, art and avant-garde thought. And it is within this matrix that Michon puts in play his own name and its uncertain relation to literature.
Papers by Patrick N . Crowley
Algerian Cultural Production, 2022
This article provides an overview of the key Algerian novels published in French since 2000 and i... more This article provides an overview of the key Algerian novels published in French since 2000 and identifies some of the salient themes and conditions of production.
French Studies, 2022
This essay offers an overview of Algerian cultural production, primarily since 2000.
This chapter integrates a reading of the travel writings of the nineteenth century French painter... more This chapter integrates a reading of the travel writings of the nineteenth century French painter Eugène Fromentin (1820–76), whose work is seen as having inaugurated French Algerian literature and the work of Assia Djebar (b. 1937) the Algerian writer and trained historian who, with
the publication of L'Amour, la fantasia, began a quartet of novels that sought to represent Algeria in ways distinct from French and nationalist Algerian forms. It addresses the following questions: What kinds of relationship can exist between the postcolonial writer and the organon of
‘universal’ models that has been bequeathed? And what kind of nation is at stake? In asking these questions, the chapter focuses on the letter— the ‘form’ adopted by Fromentin to organize his travel narrative, his representation of Algeria; this 'form', the letter, is a leitmotif within Djebar's L'Amour, la fantasia that links both works in unexpected ways.
This article examines Édouard Glissant’s notion of opacité and how it has been interpreted by cri... more This article examines Édouard Glissant’s notion of opacité and how it has been interpreted by critics as a form of resistance to cultural appropriation. In doing so it asks to what extent opacité can be located within a postcolonial framework. Or, to put it another way, is Glissant’s opacité a form of resistance that is specific to a territory that we can call postcolonial or is it more general? In teasing out this question, the article critically examines approaches to Glissant’s work which, whilst always illuminating, tend to circumscribe opacité within specific contexts. The importance of contexts is acknowledged but, it is argued, opacité is active within transversal modes of poetic interpretation that Victor Segalen’s work suggests and Glissant’s thought elaborates. Opacité’s resistance operates obliquely by both informing that which is culturally or psychically impenetrable and opening it to its outside in a process of créolisation in which the elements of exchange are transformed in unpredictable ways. As such, Glissant’s work could be located within a postcolonial territory but its logic would exceed the, albeit uncertain, limits of such a domain.
That Ricœur’s notion of narrative identity is being applied to autobiography is not surprising, w... more That Ricœur’s notion of narrative identity is being applied to autobiography is not surprising, what is surprising is that autobiography only appears on the margins of Ricœur’s work. Given that his concept of identity would appear to have its generic home within autobiography Ricœur’s near silence invites inquiry. This article sets out to give an account of narrative identity and argues that Ricœur’s work is driven as much by the concern that processes of signification can undo the subject as it is by the desire to formulate a theory of identity. In effect, autobiography, far from affirming narrative identity, challenges the presuppositions that underpin Ricœur’s phenomenological-hermeneutic approach to identity and time.
Drawing on Giorgio Agamben's work on messianic time, principally The Time That Remains, this arti... more Drawing on Giorgio Agamben's work on messianic time, principally The Time That Remains, this article seeks to extend Agamben's epistemological paradigm on messianic time to Fanon's work. At stake here is the question of the Messianic and the extent to which it is not simply a matter of Fanon's prophetic tone but a dimension of Fanon's work that contributes to the shaping of both his thought on the ‘New Man’ and its relationship to time.
Patrick Crowley, « Savitzkaya : qui-quoi ? et le jeu des formes », Textyles, 44 | 2013, 87-96. Ré... more Patrick Crowley, « Savitzkaya : qui-quoi ? et le jeu des formes », Textyles, 44 | 2013, 87-96. Référence électronique Patrick Crowley, « Savitzkaya : qui-quoi ? et le jeu des formes », Textyles [En ligne], 44 | 2013, mis en ligne le 23 avril 2014, consulté le 09 juin 2016. URL : http://textyles.revues.org/2483
Naming peoples and places was a central feature of colonial and imperial enterprises: to name was... more Naming peoples and places was a central feature of colonial and imperial enterprises: to name was to have dominion, or at least the illusion of control that colonial administrators sought to make real. The attempt to regulate, in some way, the name of the colonial subject by inserting it into the standard format of the état civil—nom followed by prénom—was, however, even more problematic as it involved changes in social practice and tradition. This article examines the role of the name in two post/colonial Francophone texts and, in doing so, questions
contemporary French pragmatic approaches to genre that emphasize the relationship between the stability of the individual’s name, as inscribed within the état civil, and the generic status of the text.
This issue of Contemporary French & Francophone Studies: SITES returns to Abdelkébir Khatibi's in... more This issue of Contemporary French & Francophone Studies: SITES returns to Abdelkébir Khatibi's influential text Le Roman maghrébin (1968) nearly 50 years after its publication and asks where the roman magrébin is now. Khatibi's analysis situates the “Maghrebian” novel within its social and political contexts while highlighting the critical importance of aesthetics, what he calls un ensemble d'attitudes, a writing that appropriates, in its own way, its political and social contexts.
Contemporary French and Francophone Studies
Volume 20, Issue 1, 2016
Special Issue: The Contem... more Contemporary French and Francophone Studies
Volume 20, Issue 1, 2016
Special Issue: The Contemporary Roman Maghrébin: Aesthetics, Politics, Production 2000-2015
On fait souvent dépendre la valeur d'un écrit de sa force de témoignage et de son réalisme. Or, la tricherie de l’écriture ne permet pas de circonscrire la véracité du témoignage et le réalisme d'une œuvre n'est pas nécessairement proportionnel à la description d'une société et d'une époque.
[The value of a piece of writing is often seen to depend upon its capacity to bear witness and its realism. However, writing's ruse does not allow for restrictions on how truth is expressed and the realism of a work is not necessarily proportionate to its description of a society or a period.]
Abdelkébir Khatibi, Le Roman maghrébin.*
This issue of Contemporary French & Francophone Studies: SITES returns to Abdelkébir Khatibi's influential text Le Roman maghrébin (1968) nearly 50 years after its publication and asks where the roman magrébin is now. Khatibi's analysis situates the “Maghrebian” novel within its social and political contexts while highlighting the critical importance of aesthetics, what he calls un ensemble d'attitudes, a writing that appropriates, in its own way, its political and social contexts. Chief amongst those contexts, then, was the Algerian War of Independence (1954–62) which, along with other struggles of decolonization, gave Maghrebian writers a platform and material. Placing the emphasis mainly on francophone writing in Morocco, Algeria, and Tunisia, Khatibi notes how the novelists of the 1950s and 1960s (such as Driss Chraïbi, Kateb Yacine, and Albert Memmi) are united by the common conviction that what they have to say about these new or prospective nations, and the legacies of colonization, was important. Their work was to be a contribution to the revolutionary process of decolonization by cultural means, an opportunity to give expression to a society in crisis (Khatibi, Le Roman 11). Khatibi advocates the construction of forms of national culture across North Africa that would break colonial ties with France and establish new cultural relations and networks with what was then called the “Third World” (Le Roman 14). This work of form, these new articulations of national culture, these new networks of exchange were to be important if a cultural, as well as political, form of decolonization were to take place.
What, then, of the Maghrebian novel today? If Khatibi asked what meaning the novel might have for North Africans in 1968, then the question is of equal relevance today. If the roman maghrébin were to continue the revolution by other means in the 1960s, can the same be said of the contemporary novel across the Maghreb today? The articles in this special issue can be situated within Khatibi's view of the Maghrebian novel; indeed they display what we might call a “thematic continuation” rather than a break with the past even if some of the issues have changed or evolved: there is a concern to engage with a political dimension (the shadow of the state, the emergence of Islamism, the “Arab Spring,” the harragas—those “boatpeople” whose very presence mirrors the persistence of economic as well as political hardship—a continued exploration of aesthetic possibilities, a concern with neo-colonialism—its pressures and temptations—and the unfinished work of decolonization). The very existence and strength of the contemporary Maghrebian novel in French seems almost to confound Khatibi's expectations about its survival; in Le Roman maghrébin, he cited Albert Memmi's prognosis that writing in French would eventually die out (30). Indeed, Khatibi expected the current generation of writers to advise “new generations [of writers] to use their national language” (40). Nearly 50 years later the francophone Maghrebian novel has not yet faded away but is in good health in the face of successive policies of Arabization and Amazight cultural resurgence.
For more see the following link: http://www.tandfonline.com/eprint/Jk2bDPehQdKDIrSdqi8P/full
International Journal of Francophone Studies, 2013
Since the 1950s and the period of decolonization, intellectuals in the francophone world have add... more Since the 1950s and the period of decolonization, intellectuals in the francophone world have addressed the legacy of humanism. Frantz Fanon, amongst others, wrote on the possibilities of a new humanism and of 'new man' in a decolonized world. This humanism to be constructed, this humanism to come, was faced with the difficulty of how to negotiate the legacy of the European tradition of humanism and the conceptually constructed tension between particularizing experiences deemed proper to cultures outside of Europe and a notion of the universal, which, while an abstraction, was also characteristically French. In examining works by two Tunisian intellectuals -Albert Memmi and Hélé Béji -this article analyses what they try to do with the term 'humanism'. It is clear that both intellectuals advocate a better world and an end to human suffering, but their principal weapon -humanism -lacks sharpness and the kind of political edge (dialectical) that characterized Fanon's notion of 'new humanism'. Résumé Depuis les années 1950s et la période de la décolonisation, la réflexion sur l'humanisme se renouvelle chez les intellectuels francophones. Frantz Fanon, parmi d'autres, se donnait à écrire sur la destinée de l'homme, et la possibilité d'un nouvel humanisme, d'un 'homme neuf', dans un monde décolonisé. Cet humanisme à construire se pose une question au moins: que faire de la tradition de l'humanisme européen et cette tension entre le particulier d'une expérience propre à des cultures hors d'Europe et la notion de l'universel, à la fois abstraite mais, dans un monde francophone, bien française? Or, par le biais de deux intellectuels tunisiens -Albert Memmi et Hélé Béji -cet article analyse le mode d'emploi de leur notion de l'humanisme, c'est-à-dire ce qu'ils essaient de faire du terme 'humanisme'. Ces deux intellectuels luttent pour un monde meilleur, luttent pour mettre fin aux souffrances des gens, mais que leur arme principale -l'humanismemanque de netteté et n'a pas la vigueur politique (dialectique) qui a caractérisé celle de Fanon. Mohamed Larbi Ben M'hidi […]: You know, Ali, it's hard enough to start a revolution, even harder to sustain it, and hardest of all to win it. But it's only afterwards, once we've won, that the real difficulties begin.
This article draws on Pierre Bourdieu's analysis of the relationship between contemporary develop... more This article draws on Pierre Bourdieu's analysis of the relationship between contemporary developments in print-capitalism -such as the vertical integration of means of production and distribution -and the literary avant-garde, and takes it in two directions. The first questions the extent to which these developments have, or have not, weakened the hold of Parisian publishers -and the dominance of French literature -on literatures in French published outside France. The second, related angle of enquiry questions the decline of the avant-garde at the expense of a thematics of the "real" that takes a number of forms, one of which is the postcolonial. The thrust of the argument is that this contemporary transitional moment sees French literature in a state of flux within broader, transnational configurations.
Edited Volumes by Patrick N . Crowley
What Forms Can Do. The Work of Form in 20th- and 21st-century French Literature and Thought, 2020
This volume responds to important questions about the formal properties of literary texts and the... more This volume responds to important questions about the formal properties of literary texts and the agency of form. A central feature of twentieth- and twenty-first century French and Francophone writing has been the exploration of how cultural forms (literary, philosophical and visual) create distinctive semiotic environments and at the same time engage powerfully with external realities. How does form propose a bridge between the environment of the text and the world beyond? What kinds of formal innovations have authors devised in response to the complexity of that world? How do the formal properties of texts inflect our reading of them, and perhaps also our apprehension of the real? In addressing such questions as they apply to a wide corpus of texts, including the novel, life writing, the essay, travel writing, poetry and textual/visual experiments, the chapters in this volume offer new perspectives on a wide range of creative figures including Proust, Picasso, Breton, Bataille, Ponge, Guillevic, Certeau, Camus, Barthes, Perec, Roubaud, Chauvet, Savitzkaya, Eribon, Ernaux, Laurens and Akerman. Collectively, they renew the engagement with form that has been a key feature of French cultural production and of analysis in French studies.
Exotisme: la littérature coloniale , 2016
Dans cet ouvrage, publié en 1911 et devenu introuvable, Cario et Régismanset souhaitent montrer c... more Dans cet ouvrage, publié en 1911 et devenu introuvable, Cario et Régismanset souhaitent montrer comment le détail exotique – formé par « le souvenir vécu des pays lointains ou la vision imaginative des contrées exotiques » – a laissé sa trace dans la littérature de la métropole. Ce faisant, les auteurs posent la question de l’existence, ou non, du roman colonial français, cherchent à renouveler le roman français, et constatent l’importance d’un « exotisme nouveau ». Promouvoir l’œuvre coloniale est sans doute l’objectif principal de cet ouvrage. Au fond, L’Exotisme représente un texte clé pour ceux qui veulent comprendre cette notion, mais aussi le champ littéraire sous la IIIe République et le roman colonial, reconnu comme genre à part entière dans l’entre-deux-guerres.
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Books by Patrick N . Crowley
Papers by Patrick N . Crowley
the publication of L'Amour, la fantasia, began a quartet of novels that sought to represent Algeria in ways distinct from French and nationalist Algerian forms. It addresses the following questions: What kinds of relationship can exist between the postcolonial writer and the organon of
‘universal’ models that has been bequeathed? And what kind of nation is at stake? In asking these questions, the chapter focuses on the letter— the ‘form’ adopted by Fromentin to organize his travel narrative, his representation of Algeria; this 'form', the letter, is a leitmotif within Djebar's L'Amour, la fantasia that links both works in unexpected ways.
contemporary French pragmatic approaches to genre that emphasize the relationship between the stability of the individual’s name, as inscribed within the état civil, and the generic status of the text.
Volume 20, Issue 1, 2016
Special Issue: The Contemporary Roman Maghrébin: Aesthetics, Politics, Production 2000-2015
On fait souvent dépendre la valeur d'un écrit de sa force de témoignage et de son réalisme. Or, la tricherie de l’écriture ne permet pas de circonscrire la véracité du témoignage et le réalisme d'une œuvre n'est pas nécessairement proportionnel à la description d'une société et d'une époque.
[The value of a piece of writing is often seen to depend upon its capacity to bear witness and its realism. However, writing's ruse does not allow for restrictions on how truth is expressed and the realism of a work is not necessarily proportionate to its description of a society or a period.]
Abdelkébir Khatibi, Le Roman maghrébin.*
This issue of Contemporary French & Francophone Studies: SITES returns to Abdelkébir Khatibi's influential text Le Roman maghrébin (1968) nearly 50 years after its publication and asks where the roman magrébin is now. Khatibi's analysis situates the “Maghrebian” novel within its social and political contexts while highlighting the critical importance of aesthetics, what he calls un ensemble d'attitudes, a writing that appropriates, in its own way, its political and social contexts. Chief amongst those contexts, then, was the Algerian War of Independence (1954–62) which, along with other struggles of decolonization, gave Maghrebian writers a platform and material. Placing the emphasis mainly on francophone writing in Morocco, Algeria, and Tunisia, Khatibi notes how the novelists of the 1950s and 1960s (such as Driss Chraïbi, Kateb Yacine, and Albert Memmi) are united by the common conviction that what they have to say about these new or prospective nations, and the legacies of colonization, was important. Their work was to be a contribution to the revolutionary process of decolonization by cultural means, an opportunity to give expression to a society in crisis (Khatibi, Le Roman 11). Khatibi advocates the construction of forms of national culture across North Africa that would break colonial ties with France and establish new cultural relations and networks with what was then called the “Third World” (Le Roman 14). This work of form, these new articulations of national culture, these new networks of exchange were to be important if a cultural, as well as political, form of decolonization were to take place.
What, then, of the Maghrebian novel today? If Khatibi asked what meaning the novel might have for North Africans in 1968, then the question is of equal relevance today. If the roman maghrébin were to continue the revolution by other means in the 1960s, can the same be said of the contemporary novel across the Maghreb today? The articles in this special issue can be situated within Khatibi's view of the Maghrebian novel; indeed they display what we might call a “thematic continuation” rather than a break with the past even if some of the issues have changed or evolved: there is a concern to engage with a political dimension (the shadow of the state, the emergence of Islamism, the “Arab Spring,” the harragas—those “boatpeople” whose very presence mirrors the persistence of economic as well as political hardship—a continued exploration of aesthetic possibilities, a concern with neo-colonialism—its pressures and temptations—and the unfinished work of decolonization). The very existence and strength of the contemporary Maghrebian novel in French seems almost to confound Khatibi's expectations about its survival; in Le Roman maghrébin, he cited Albert Memmi's prognosis that writing in French would eventually die out (30). Indeed, Khatibi expected the current generation of writers to advise “new generations [of writers] to use their national language” (40). Nearly 50 years later the francophone Maghrebian novel has not yet faded away but is in good health in the face of successive policies of Arabization and Amazight cultural resurgence.
For more see the following link: http://www.tandfonline.com/eprint/Jk2bDPehQdKDIrSdqi8P/full
Edited Volumes by Patrick N . Crowley
the publication of L'Amour, la fantasia, began a quartet of novels that sought to represent Algeria in ways distinct from French and nationalist Algerian forms. It addresses the following questions: What kinds of relationship can exist between the postcolonial writer and the organon of
‘universal’ models that has been bequeathed? And what kind of nation is at stake? In asking these questions, the chapter focuses on the letter— the ‘form’ adopted by Fromentin to organize his travel narrative, his representation of Algeria; this 'form', the letter, is a leitmotif within Djebar's L'Amour, la fantasia that links both works in unexpected ways.
contemporary French pragmatic approaches to genre that emphasize the relationship between the stability of the individual’s name, as inscribed within the état civil, and the generic status of the text.
Volume 20, Issue 1, 2016
Special Issue: The Contemporary Roman Maghrébin: Aesthetics, Politics, Production 2000-2015
On fait souvent dépendre la valeur d'un écrit de sa force de témoignage et de son réalisme. Or, la tricherie de l’écriture ne permet pas de circonscrire la véracité du témoignage et le réalisme d'une œuvre n'est pas nécessairement proportionnel à la description d'une société et d'une époque.
[The value of a piece of writing is often seen to depend upon its capacity to bear witness and its realism. However, writing's ruse does not allow for restrictions on how truth is expressed and the realism of a work is not necessarily proportionate to its description of a society or a period.]
Abdelkébir Khatibi, Le Roman maghrébin.*
This issue of Contemporary French & Francophone Studies: SITES returns to Abdelkébir Khatibi's influential text Le Roman maghrébin (1968) nearly 50 years after its publication and asks where the roman magrébin is now. Khatibi's analysis situates the “Maghrebian” novel within its social and political contexts while highlighting the critical importance of aesthetics, what he calls un ensemble d'attitudes, a writing that appropriates, in its own way, its political and social contexts. Chief amongst those contexts, then, was the Algerian War of Independence (1954–62) which, along with other struggles of decolonization, gave Maghrebian writers a platform and material. Placing the emphasis mainly on francophone writing in Morocco, Algeria, and Tunisia, Khatibi notes how the novelists of the 1950s and 1960s (such as Driss Chraïbi, Kateb Yacine, and Albert Memmi) are united by the common conviction that what they have to say about these new or prospective nations, and the legacies of colonization, was important. Their work was to be a contribution to the revolutionary process of decolonization by cultural means, an opportunity to give expression to a society in crisis (Khatibi, Le Roman 11). Khatibi advocates the construction of forms of national culture across North Africa that would break colonial ties with France and establish new cultural relations and networks with what was then called the “Third World” (Le Roman 14). This work of form, these new articulations of national culture, these new networks of exchange were to be important if a cultural, as well as political, form of decolonization were to take place.
What, then, of the Maghrebian novel today? If Khatibi asked what meaning the novel might have for North Africans in 1968, then the question is of equal relevance today. If the roman maghrébin were to continue the revolution by other means in the 1960s, can the same be said of the contemporary novel across the Maghreb today? The articles in this special issue can be situated within Khatibi's view of the Maghrebian novel; indeed they display what we might call a “thematic continuation” rather than a break with the past even if some of the issues have changed or evolved: there is a concern to engage with a political dimension (the shadow of the state, the emergence of Islamism, the “Arab Spring,” the harragas—those “boatpeople” whose very presence mirrors the persistence of economic as well as political hardship—a continued exploration of aesthetic possibilities, a concern with neo-colonialism—its pressures and temptations—and the unfinished work of decolonization). The very existence and strength of the contemporary Maghrebian novel in French seems almost to confound Khatibi's expectations about its survival; in Le Roman maghrébin, he cited Albert Memmi's prognosis that writing in French would eventually die out (30). Indeed, Khatibi expected the current generation of writers to advise “new generations [of writers] to use their national language” (40). Nearly 50 years later the francophone Maghrebian novel has not yet faded away but is in good health in the face of successive policies of Arabization and Amazight cultural resurgence.
For more see the following link: http://www.tandfonline.com/eprint/Jk2bDPehQdKDIrSdqi8P/full
Dans cet ouvrage, publié en 1911, Cario et Régismanset souhaitent montrer comment le détail exotique – formé par « le souvenir vécu des pays lointains ou la vision imaginative des contrées exotiques » – a laissé sa trace dans la littérature de la métropole. Ce faisant, les auteurs posent la question de l’existence, ou non, du roman colonial français, cherchent à renouveler le roman français, et constatent l’importance d’un « exotisme nouveau ». Promouvoir l’œuvre coloniale est sans doute l’objectif principal de cet ouvrage. Au fond, L’Exotisme représente un texte clé pour ceux qui veulent comprendre cette notion, mais aussi le champ littéraire sous la IIIe République et le roman colonial, reconnu comme genre à part entière dans l’entre-deux-guerres.
« Je supplie qu’on me cite un seul ouvrage écrit par un Français, né dans une colonie française ou y ayant si longtemps vécu qu’il se soit identifié avec elle, qu’il en reflète la mentalité originale, les conceptions morales particulières, la façon spéciale de juger les rapports entre les sexes, ou entre la race conquise et la race conquérante. »
Cario et Régismanset
1 Editors’ Introduction
Articles
8 Heteroglossia and the Poetics of the Roman Maghrébin
Hoda El-Shakry
18 The Novel in Morocco as Mirror of a Changing Society
Gonzalo Fernández Parrilla
27 Le Roman Maghrébin en Berbère
Mohand Akli Salhi and Nabila Sadi
37 The Critical Pulse of the Contre-enquête: Kamel Daoud on the Maghrebi Novel in French
Lia Brozgal
38 Figure of an Anartist: Keeping Local Francophone Literature Engaged with Mustapha Benfodil’s Literature-action
Alexandra Gueydan-Turek
58 “On peut apprendre de la littérature à se méfier”: Writing and Doubt in the Contemporary Algerian Novel
Jane Hiddleston
67 Le Nouveau roman algérien : une réinscription de la thèse de Khatibi
Lynda-Nawel Tebbani
76 L’Effet Barzakh
Corbin Treacy
85 The Maghreb’s New Publishing House: les éditions barzakh and the Stakes of Localized Publishing
Mary Anne Lewis
94 Old Stories, New Histories: The Past in the Francophone Tunisian Novel
Debbie Barnard
102 For a Transcolonial Reading of the Contemporary Algerian Novel
Olivia C. Harrison
111 Between Men: Homosocial Desire and the Dynamics of Masculinity in the Novels of Rachid O. And Abdellah Taïa
Alessandro Badin
122 L’Espace littéraire de Mahi Binebine: pour une esthétique du désenchantement social
Afaf Zaid
131 Clandestine Emigration as Twenty-First Century Meme in the Roman Maghrébin
Meg Furniss Weisberg
141 The Roman Maghrébin in the Aftermath of the Arab Spring
Nina Wardleworth
Fiction
150 james joyce
Salim Bachi
Dossier/Gallery
161 Un Artiste autodidacte
Robert Albouker
Œuvres
la matrice du conte (2005–2006)
les rois mages (2005–2006)
mauvaise rencontre (2005–2006)
valet de cœur (2005–2006) voodoo child (2005–2006)
Abdel Mir
163 Editorial Assistants
164 Acknowledgments