FR6 Innovation & Upheaval: Deformation and reformulation in the 20 th and 21 st centuries

(1)

FR6 Innovation & Upheaval:

Deformation and reformulation in the 20^th and 21^st centuries This paper is available for 2022-23.

This paper will allow students to explore key developments in literature, thought and visual culture from the French-speaking world from the perspectives of innovation and upheaval, conflict and renewal. It will take as its central concern the rupture and transformation of social, aesthetic, and cultural forms. Processes of historical, social, and subjective relation, mutation, and renewal will be addressed through motifs of formation and deformation, and with regard to political and cultural responses to colonialism, decolonization, and the postcolonial, as well as questions of identity in terms of gender, sexuality, class, and race.

The search for new artistic, social, relational, and cultural forms in response to existential and historical processes of rupture and innovation will accordingly be key to the paper’s concerns, as will be the modes of philosophical, ethical, and political critique generated through these processes. Students will further develop analytical skills relating to the historical-cultural contextualization of aesthetic practices as well as theoretical and critical approaches to such practices.

Topics:

1. Making and unmaking forms: Apollinaire, Alcools, Calligrammes; Beckett, Fin de partie, L'Innommable; Buñuel and Dalí, Un Chien andalou; Dulac, La Coquille et le clergyman

2. Forming and deforming the self: Cahun, Aveux non avenus; Césaire, Cahier d’un retour au pays natal, Discours sur le colonialisme; Ernaux, Une Femme, La Place;

Resnais, Hiroshima mon amour

3. Philosophies of freedom: Cixous, ‘Le rire de la Méduse’; Fanon, Peau noire, masques blancs; Sartre, L’Existentialisme est un humanisme

4. 17 October 1961: Adi, Ici, on noie les Algériens; Daeninckx, Meurtres pour mémoire;

Panijel, Octobre à Paris; Sebbar, La Seine était rouge

5. Filming postcolonial cities: Benyamina, Divines; Diop, Vers la tendresse; Sciamma, Bande de filles; Sissako, Bamako

6. Récits contemporains: Chamoiseau, Solibo Mognifique; Devi, Eve de ses décombres;

Djebar, Femmes d’Alger dans leur appartement; Houellebecq, Les Particules élémentaires

7. Lyrical relations, poetic worlds: Glissant, Le Sel noir; Portugal, Définitif Bob; Ponge, Le Parti pris des choses

Preparatory reading:

For introductory and preparatory reading, please see Sections A & B of the full reading list for the paper (see link in next section).

Full reading list:

Please see the full reading list for Fr.6 here.

Teaching and learning:

(2)

The paper will be taught through a combination of 20 lectures and 10 college supervisions.

Each topic will be covered in two lectures: one overview and one devoted to particular prescribed materials. Six lectures will focus on the critical commentary exercise.

For the Fr.6 Moodle site, please see here.

Assessment:

The paper is assessed by examination or by two Long Essays.

The examination paper will take the following form. Section A will feature a choice of six questions, to be answered synoptically with reference to more than one topic. Section B will feature a choice of seven questions, one per topic, formulated openly and to be answered with reference to work by two or more authors or filmmakers prescribed for a single topic.

Section C will feature a choice of three commentary passages, all drawn from the prescribed materials. Students must answer ONE question from each section.

Since this version of Fr.6 will run for the first time in 2022-23, past papers are not yet available. A specimen examination paper is available here.

Course contact:

Prof. Martin Crowley mpvc2@cam.ac.uk

(3)

MLT1/FR6/SPECIMEN 2022-23 onwards

MODERN AND MEDIEVAL LANGUAGES TRIPOS Part IB

________________________________________________________________

[DATE] [TIME]

Paper Fr.6

INNOVATION AND UPHEAVAL: DEFORMATION AND REFORMULATION IN THE 20^TH AND 21^ST CENTURIES Answer three questions, one from each section.

Candidates for this paper may not draw substantially on material which they have used or intend to use in another scheduled paper.

Candidates may not draw substantially on the same material in more than one question on the same paper.

STATIONERY REQUIREMENTS 20-page Answer Book x 1

Rough work pad

SPECIAL REQUIREMENTS None

SPECIMEN PAPER

You may not start to read the questions printed on the subsequent pages of this question paper until instructed

that you may do so by the Invigilator

(4)

MLT1/FR6/SPECIMEN 2022-23 onwards – 2 –

SECTION A

Discuss ONE of the following with reference to TWO OR MORE works, drawn from TWO OR MORE prescribed topics:

1 ‘Literary works of the period use language as a medium to explore the full range of subjective experience, from historical embeddedness, to social relations, to the most impersonal depths.’

2 ‘Despite their frequent rejection of realist modes of representation, literature and film of the period remain intensely engaged with social and political realities.’

3 ‘In works of the period, political commitment demands the renewal of artistic form.’

4 ‘In works of the period, the same formal techniques work both to dismantle and to reinvent forms of selfhood.’

5 ‘Works of the period locate the experience of freedom in the refusal of historically inherited constraints.’

6 ‘Works of the period document and celebrate oppressed, marginal, or renegade existences.’

SECTION B

Discuss ONE of the following with reference to works by TWO OR MORE authors or filmmakers from ONE prescribed topic. (NB: Buñuel and Dalí count as ONE filmmaker.)

7 ‘Works from the period are concerned more to take apart the compositional conventions of their form than to assemble new ones.’

8 ‘Processes of subjective dissolution and affirmation require new artistic forms.’

9 ‘Freedom is above all the capacity to change.’

10 ‘Literary and filmic works challenge official narratives of conflict by highlighting their strategic silences.’

11 ‘The postcolonial city reproduces colonial dynamics of separation and exclusion.’

12 ‘Contemporary narratives confront their historical situation by an immanent critique of their form.’

13 ‘Poetry from the period preserves and reinvents the lyric voice in new modes of relation.’

(5)

SECTION C

14 Write a critical commentary on one of the following passages:

(a)

Elle était devenue très forte, quatre-vingt-neuf kilos. Elle mangeait beaucoup, gardait toujours des morceaux de sucre dans la poche de sa blouse. Pour maigrir, elle s’est procuré des pilules dans une pharmacie de Rouen, en cachette de mon père. Elle s’est privée de pain, de beurre, mais n’a perdu que dix kilos.

Elle claquait les portes, elle cognait les chaises en les empilant sur les tables pour balayer. Tout ce qu’elle faisait, elle le faisait avec bruit. elle ne posait pas les objets, mais semblait les jeter.

À sa figure, on voyait tout de suite si elle était contrariée. En famille, elle disait ce qu’elle pensait en paroles abruptes. Elle m’appelait chameau, souillon, petite garce, ou simplement

« déplaisante ». Elle me battait facilement, des gifles surtout, parfois des coups de poing sur les épaules (« je l’aurais tuée si je ne m’étais pas retenue! »). Cinq minutes après, elle me serrait contre elle et j’étais sa « poupée ».

Elle m’offrait des jouets et des livres à la moindre occasion, fête, maladie, sortie en ville. Elle me conduisait chez le dentiste, le spécialiste des bronches, elle veillait à m’acheter de bonnes chaussures, des vêtements chauds, toutes les fournitures scolaires réclamées par la maîtresse (elle m’avait mise au pensionnat, non à l’école communale). Quand je remarquais qu’une camarade avait par exemple une ardoise incassable, elle me demandait aussitôt si j’avais envie d’en avoir une : « Je ne voudrais pas qu’on dis que tu es moins bien que les autres. » Son désir le plus profond était de me donner tout ce qu’elle n’avait pas eu. Mais cela représentait pour elle un tel effort de travail, tant de soucis d’argent, et une préoccupation du bonheur des enfants si nouvelle par rapport à l’éducation d’autrefois, qu’elle ne pouvait s’empêcher de constater : « Tu nous coûtes cher » ou « Avec tout ce que tu as, tu n’es pas encore heureuse ! »

ANNIE ERNAUX, Une Femme.

5

10

15

20

25

30

35

(TURN OVER for continuation of Question 14)

(6)

(b)

En pointillé surnage un tracé hésitant, restes d’une culture de femmes qui s’asphyxie lentement : chansons des terrasses des jeunes filles, quatrains d’amour des femmes de Tlemcen, magnifiques thrènes funéraires de celles de Laghouat, toute une littérature qui devient hélas de plus en plus lointaine, pour finir par ressembler à ces oueds sans embouchure, égarés dans les sables…

Lamento du folklore des chanteuses juives et arabes des noces algéroises, peu à peu, cette douceur surannée, cette nostalgie amoureuse, à peine allusive, se transmet des femmes à des adolescentes, futures sacrifiées, comme si le chant se refermait sur lui-même.

Nous, enfants dans les patios où nos mères nous apparaissent encore jeunes, sereines, aux bijoux qui ne les écrasent pas – pas encore –, qui les parent souvent d’une vanité inoffensive, nous, dans le bruissement alangui des voix féminines perdues, nous en percevons encore la chaleur

ancienne… mais rarement le recroquevillement. Or ces îlots de paix, cet entracte que garde notre mémoire, n’est-ce pas un peu de cette autonomie végétale des Algéroises du tableau, monde des femmes complètement séparé ?

Monde dont s’éloigne le garçon avançant en âge, mais dont s’éloigne aussi la jeune fille aujourd’hui qui s’émancipe.

Pour celle-ci surtout, l’éloignement revient à déplacer le lieu de son mutisme : elle troque le gynécée et la communauté

ancienne contre un face-à-face souvent fallacieux avec l’homme.

Ainsi, ce monde de femmes, quand il ne bruit plus de chuchotements de tendresse complice, de complaintes perdues, bref d’un romantisme d’enchantement évanoui, ce monde-là devient brusquement, aridement, celui de l’autisme.

Soudain la réalité présente se dévoile sans fards, sans passéisme : le son est vraiment coupé.

ASSIA DJEBAR, Femmes d’Alger dans leur appartement

5

10

15

20

25

30

(TURN OVER for continuation of Question 14)

(7)

(c) L'huître

L'huître, de la grosseur d'un galet moyen, est d'une apparence plus rugueuse, d'une couleur moins unie, brillamment blanchâtre. C'est un monde opiniâtrement clos. Pourtant on peut l'ouvrir : il faut alors la tenir au creux d'un torchon, se servir d'un couteau ébréché et peu franc, s'y reprendre à plusieurs fois. Les doigts curieux s'y coupent, s'y cassent les ongles : c'est un travail grossier. Les coups qu'on lui porte marquent son enveloppe de ronds blancs, d'une sorte de halos.

À l'intérieur l'on trouve tout un monde, à boire et à manger : sous un firmament (à proprement parler) de nacre, les cieux d'en dessus s'affaissent sur les cieux d'en dessous, pour ne plus former qu'une mare, un sachet visqueux et verdâtre, qui flue et reflue à l'odeur et à la vue, frangé d'une dentelle noirâtre sur les bords.

Parfois très rare une formule perle à leur gosier de nacre, d’où l’on trouve aussitôt à s’orner.

FRANCIS PONGE, Le Parti pris des choses 5

10

END OF PAPER

(8)

FR6: Innovation and Upheaval:

Deformation and reformulation in the 20th and 21st centuries

A. Introductory material

The following are useful resources to get to grips with the essential literary, visual and cultural landmarks of the 20^th and 21^st centuries. They offer many excellent entries on FR6 authors/topics.

Burgwinkle, Bill, Nicholas Hammond and Emma Wilson (eds.) The Cambridge History of French Literature (Cambridge University Press, 2011).

Forsdick, Charles and David Murphy (eds), Francophone Postcolonial Studies: A Critical Introduction (Routledge, 2003).

Hollier, Denis, New History of French Literature (Harvard UP, 1989).

Kritzman, Larry, Columbia Encyclopedia of Modern French Thought (Columbia, 2006).

Suleiman, Susan Rubin and Christie McDonald, French Global (Columbia, 2011).

Websites:

An excellent overview of key historical and cultural events:

http://www.port.ac.uk/special/france1815to2003/indexofinterviews/

An excellent online Encyclopedia (directly accessible from a Cambridge IP address) with many relevant entries: http://www.litencyc.com

An immense collection of avant-garde films and more: http://www.ubu.com/

B. Preparatory reading:

The following is a list of general but targeted introductions on the various aspects of the course, to explore before choosing the paper.

Azérad, Hugues and Peter Collier, Twentieth-Century French Poetry: A Critical Anthology (CUP 2010) (includes commentaries on poems by Césaire, Apollinaire, etc).

Chapman, Herrick, France’s Long Reconstruction: In Search of the Modern Republic (Harvard University Press, 2018).

Corcoran, Patrick, The Cambridge Introduction to Francophone Literature (CUP, 2007).

Forsdick, Charles and David Murphy (eds), Postcolonial Thought in the French- Speaking World (Liverpool, 2009).

Gutting, Gary, French Philosophy in the Twentieth Century (Cambridge University Press, 2001).

Gay, Amandine, Ouvrir la voix (film, 2016)

Harrison, Nicholas, Postcolonial Criticism (Polity, 2003).

Hiddleston, Jane, Understanding Postcolonialism (Routledge, 2009).

—, Decolonizing the Intellectual (Liverpool, 2014).

James, Ian, The New French Philosophy (Polity, 2013).

(9)

Khalfa, Jean, Poetics of the Antilles (Peter Lang, 2017).

Mathews, Eric, Twentieth-Century French Philosophy (Oxford, 1996).

Milne, Lorna (ed.), Postcolonial Violence, Culture and Identity in Francophone Africa and the Antilles (Peter Lang, 2007).

Moore-Gilbert, Bart, Postcolonial Theory (Verso, 1997).

Niang, Mame-Fatou, Identités françaises: Banlieues, féminités et universalisme (Brill, 2019)

Noland, Carrie, Voices of Negritude in Modernist Print: Aesthetic Subjectivity, Diaspora, and The Lyric Regime (Columbia University Press, 2014).

Ross, Kristin, Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture (MIT, 1995).

Stora, Benjamin, and Gabriel Le Bomin, ‘La Guerre d’Algérie: La déchirure’:

https://www.youtube.com/watch?v=QPbLctFA_ro&feature=youtu.be Suleiman, Susan Rubin, Subversive Intent: Gender, Politics, and the Avant-

garde (Harvard University Press, 1990).

Wilson, Emma, French Cinema Since 1950: Personal Histories (Duckworth, 1998).

Webber, Andrew, The European Avant-Garde 1900-1940, (Polity, 2005).

Young, Robert J.C., Postcolonialism: An Historical Introduction (Blackwell, 2001).

—, Postcolonialism: A Very Short Introduction (Routledge, 2003).

C Secondary Reading per Topic 1. Making and unmaking forms Apollinaire:

Adamson, Walter, Embattled Avant-Gardes (Berkeley, 2007).

Bohn, Willard, Apollinaire on the Edge: Modern Art, Popular Culture, and the Avant-garde (Rodopi, 2010).

—, Apollinaire and the International Avant-garde, (State University of New York Press, 1997).

Harrow, Susan, The Material, the Real, and the Fractured Self :

Subjectivity and Representation from Rimbaud to Réda, (University of Toronto Press, 2004).

Mathews, Timothy, Reading Apollinaire: theories of poetic language (Manchester University Press, 1987).

—, Literature, Art and the Pursuit of Decay in Twentieth-century France, (Cambridge University Press, 2000).

Websites:

http://www.wiu.edu/Apollinaire/

Listen to Apollinaire reading his own poems, and much more:

http://www.writing.upenn.edu/pennsound/

Beckett:

Adorno, Theodor, ‘Trying to understand Endgame’, in The Adorno Reader, ed. Brian O'Connor (Blackwell, 2000), 319-352.

Bryden, Mary, Samuel Beckett and the Idea of God (Macmillan, 1998).

(10)

Critchley, Simon, Very Little... Almost Nothing (Routledge, 1997), 3rd section.

Davies, Paul, Beckett and Eros: Death of Humanism (Macmillan, 2000).

Pilling, John (ed), The Cambridge Companion to Beckett (CUP, 1994).

Uhlmann, Anthony, Beckett and Poststructuralism, (CUP, 1999).

— Beckett and the Philosophical image (CUP, 2006).

Buñuel and Dalí:

Adamowicz, Elsa, Buñuel/Dalí: Un Chien andalou, (IB Tauris, 2010).

Bürger, Peter, Theory of the Avant-garde (University of Minnesota Press, 1984).

Conley, Katherine, Surrealism and its Others (Yale French Studies, 2006).

Malt, Johanna, Obscure Objects of Desire: Surrealism, Fetishism, and Politics (Oxford University Press, 2004).

Short, Robert, The Age of Gold: Surrealist Cinema (Creation, 2003).

Williams, Linda, Figures of Desire: A Theory and Analysis of Surrealist Film (University of Illinois Press, 1981).

Dulac:

Flitterman-Lewis, Sandy, To Desire Differently : Feminism and the French Cinema (University of Illinois Press, 1990).

Gunning, Tom, ‘Light, Motion, Cinema!: The Heritage of Loïe Fuller and Germaine Dulac’, Framework: The Journal of Cinema and Media 46, no. 1 (2005): 106-29. http://www.jstor.org/stable/41552430.

Hayward, Susan, ‘Ahistory of French Cinema: 1895-1991 Pioneering Film- makers (Guy, Dulac, Varda) and Their Heritage’, Paragraph 15, no. 1 (1992): 19-37. http://www.jstor.org/stable/43151733.

Maule, Rosanna, and Catherine Russell, ‘Another Cinephilia: Women's Cinema in the 1920s’, Framework: The Journal of Cinema and Media 46, no. 1 (2005): 51-55. http://www.jstor.org/stable/41552425.

Williams, Tami, Germaine Dulac : A Cinema of Sensations (University of Illinois Press, 2014).

2. Forming and deforming the self Cahun:

Cahun, Claude, and François Leperlier, Ecrits (J.M. Place, 2002).

Doy, Gen., Claude Cahun: A Sensual Politics of Photography (I.B. Tauris, 2007).

Downie, Louise, Claude Cahun, and Suzanne Malherbe, Don't Kiss Me:

The Art of Claude Cahun and Marcel Moore (Tate/Jersey Heritage Trust, 2006).

Egger, Anne, Claude Cahun, l'antimuse (Les Hauts-Fonds, 2015).

Leperlier, François, and Claude Cahun, Claude Cahun : L'exotisme intérieur (Fayard, 2006).

Shaw, Jennifer, Reading Claude Cahun's Disavowals (Ashgate, 2017).

—, Exist Otherwise: The Life and Works of Claude Cahun (Reaktion, 2017).

(11)

Césaire:

Arnold, James, Modernism and Negritude: The Poetry and Politics of Aimé Césaire (Harvard University Press, 1981).

Césaire, Aimé, Poésie, théâtre, essais et discours (CNRS, 2014).

—, The Complete Poetry of Aimé Césaire (Wesleyan University Press, 2017).

Combe, Dominique, Aimé Césaire, ‘Cahier d’un retour au pays natal’

(Presses Universitaires de France, 1993):

https://gallica.bnf.fr/ark:/12148/bpt6k4804668m/f7.image Davis, Gregson, Aimé Césaire (Cambridge University Press, 2008).

Fonkoua, Romuald, Césaire (Perrin, 2013).

Khalfa, Jean, “Césaire volcanique”, L'Esprit Créateur 45.2 (2005): 52-61.

—, ‘Aimé Césaire, Cahier d’un retour au pays natal’, in Azérad, Hugues and Peter Collier (eds), Twentieth-Century French Poetry: A Critical Anthology (CUP 2010).

Hountondji, Victor, Le ‘Cahier’ d’Aimé Césaire (L’Harmattan, 1993).

Malela, Buata B., Les Éecrivains afro-antillais à Paris (1920–1960).

Stratégies et postures identitaires (Karthala, coll. Lettres du Sud, 2008).

Maximin, Daniel, Césaire, Frère-volcan (Seuil, 2013).

Munro, Martin, Shaping and Reshaping the Caribbean: The Work of Césaire and René Depestre (MHRA, 2000).

Sartre, Jean-Paul, ‘Orphée noir’, in Léopold Sédar Senghor (ed), Anthologie de la nouvelle poésie nègre et malgache de langue française [1948] (Quadrige, 1997).

Suk, Jeannie, Postcolonial Paradoxes in French Caribbean Writing:

Césaire, Glissant, Condé (Clarendon, 2001).

Ernaux:

Best, Francine, et al, Annie Ernaux: Le temps et la mémoire (Stock, 2014).

Day, Loraine, Writing Shame and Desire: The Work of Annie Ernaux (Peter Lang, 2007).

Ernaux, Annie, and Frédéric-Yves Jeannet, L'Écriture comme un couteau (Stock, 2003).

Ernaux, Annie, Pierre-Louis Fort, and Violaine Houdart-Merot, Annie Ernaux: Un engagement d'écriture (Sorbonne Nouvelle, Fiction/non- fiction 21, 2015).

Ernaux, Annie, and Michelle Porte, Le Vrai Lieu: Entretiens avec Michelle Porte (Gallimard, 2014).

Hugueny-Léger, Élise, Annie Ernaux, une poétique de la transgression (Peter Lang, 2009).

McIlvanney, Siobhán, Annie Ernaux : The Return to Origins (Liverpool University Press, 2001).

Thomas, Lyn, (1999). Annie Ernaux : An Introduction to the Writer and her Audience (Berg, 1999).

(12)

Resnais:

Anderst, Leah, ‘Cinematic Free Indirect Style: Represented Memory in

"Hiroshima Mon Amour"’, Narrative 19, no. 3 (2011): 358-82.

http://www.jstor.org/stable/41289309.

Carlier, Christophe, Marguerite Duras, Alain Resnais: Hiroshima mon amour (Presses Universitaires de France, 1994).

Martin, Christian, ‘Skin Deep: Bodies without Limits in "Hiroshima Mon Amour"’, French Forum 38, no. 1/2 (2013): 267-82.

Solman, Gregory, and Jonathan Rosenbaum, "Time to Remember:

Resnais’, Film Comment 36, no. 3 (2000): 44-51.

Ungar, Steven, ‘Scenes in a Library: Alain Resnais and "Toute La Mémoire Du Monde"’, SubStance 41, no. 2 (2012): 58-78.

Wilson, Emma, Alain Resnais (Manchester University Press, 2009).

3. Philosophies of freedom Cixous:

Bergen, Véronique, Hélène Cixous: La langue plus-que-vive (Champion, 2017).

Blyth, Ian, and Susan Sellers, Hélène Cixous: Live Theory (Continuum, 2004).

Cixous, Hélène, et al, ‘Coming to writing’ and Other Essays (Harvard University Press, 1991).

Cixous, Hélène, and Susan Sellers, White ink: Interviews on Sex, Text and Politics (Acumen, 2008).

Cixous, Hélène and Jeannet, Frédéric-Yves, Encounters: Conversations on Life and Writing (Polity, 2013).

Conley, Verena Andermatt, Hélène Cixous: Writing the Feminine (University of Nebraska Press, 1991).

Derrida, Jacques, H.C. pour la vie, c'est à dire (Galilée, 2002).

Shiach, Morag, Hélène Cixous: A Politics of Writing (Routledge, 1991).

Sellers, S. Hélène Cixous: Authorship, Autobiography, and Love (Polity, 1996).

Fanon:

Cherki, Alice, Fanon: Portrait (Seuil, 2000) Fanon, Frantz, Œuvres (La découverte, 2011).

—, Écrits sur l’aliénation et la liberté (La découverte, 2017).

Gibson, Nigel, Fanon: The Postcolonial Imagination (Polity, 2003) Gordon, Lewis R., Fanon and the Crisis of European Man (Routledge,

1995)

—, T. Denean Sharpley-Whiting, & Renée T. White (eds.), Fanon: A Critical Reader (Blackwell, 1996)

Jinadu, L. Adele, Fanon: In Search of the African Revolution (KPI, 1986) Khalfa, Jean, ‘Relire Fanon’:

https://www.academia.edu/32406252/Relire_Fanon

(13)

Macey, David, Frantz Fanon: A Life (Granta, 2000)

Marriott, David, Whither Fanon? Studies in the Blackness of Being (Stanford University Press, 2018).

Perinbaum, B. Marie, Holy Violence: The Revolutionary Thought of Frantz Fanon (Three Continents Press, 1982)

Sartre:

Arthur, Paige, Unfinished Projects: Decolonization and the Philosophy of Jean-Paul Sartre (Verso, 2010)

Butterfield, Elizabeth, Sartre and Posthumanist Humanism (Peter Lang, 2012).

Crowell, Steven (ed.), The Cambridge Companion to Existentialism (Cambridge University Press, 2012).

Flynn, Thomas, Existentialism: A Very Short Introduction (Oxford University Press, 2006).

Howells, Christina, Sartre: The Necessity of Freedom (Cambridge University Press, 1988).

— (ed.), Howells, Christina, The Cambridge Companion to Sartre (Cambridge University Press, 1992).

Kail, Michel, Jean-Paul Sartre: Conscience et subjectivité (Demopolis, 2018).

Myerson, George, Sartre’s Existentialism and Humanism: A Beginner’s Guide (Hodder & Stoughton, 2002).

Sartre, Jean-Paul, Qu’est-ce que la subjectivité? (Les prairies ordinaires, 2018).

Scriven, Michael, Jean-Paul Sartre: Politics and Culture in Postwar France (Macmillan, 1999).

4. 17 October 1961 On the massacre:

Brunet, Jean-Paul, ‘Police Violence in Paris, October 1961: Historical Sources, Methods, and Conclusions’, The Historical Journal, 51:1 (2008), 195-204. doi:10.1017/S0018246X07006632.

Cole, Joshua, ‘Remembering the Battle of Paris: 17 October 1961 in French and Algerian Memory’, French Politics, Culture & Society 21:3 (2003): 21-50. http://www.jstor.org/stable/42843303.

Einaudi, Jean-Luc, Octobre 1961: Un massacre à Paris (Fayard, 2001).

Gordon, Daniel A., ‘World Reactions to the 1961 Paris Pogrom’, University of Sussex Journal of Contemporary History:

http://www.sussex.ac.uk/history/documents/2._gordon_world_reacti ons_to_the_1961_paris_pogrom.pdf

House, Jim, and Neil MacMaster, ‘Time to Move On: A Reply to Jean-Paul Brunet’, The Historical Journal, 51:1 (2008), 205-214.

doi:10.1017/S0018246X07006644

—, Paris 1961: Algerians, State Terror, and Memory (Oxford University Press, 2006).

LeCour Grandmaison, Olivier, Le 17 octobre 1961: Un crime d'État à Paris (La Dispute, 2001).

(14)

On the materials and their contexts:

Amine, Laila, Postcolonial Paris: Fictions of Intimacy in the City of Light, (University of Wisconsin Press, 2018), 156-64.

Blanchard, Emmanuel, ‘Le 17 Octobre 1961 en images’, Vingtième Siècle.

Revue D'histoire, no. 120 (2013): 156-59.

Brozgal, Lia, Absent the Archive: Cultural Traces of a Massacre in Paris (Liverpool University Press, 2020).

Cole, Joshua, ‘Entering History: The Memory of Police Violence in Paris, October 1961’, in Algeria & France, 1800–2000: Identity, Memory, Nostalgia, ed. by Patricia M. E. Lorcin (Syracuse University Press, 2006), 117–34.

Derderian, Richard L., ‘Algeria as a lieu de memoire: Ethnic Minority Memory and National Identity in Contemporary France’, Radical History Review 83 (2002): 28-43. https://muse.jhu.edu/article/30243.

Flood, Maria, France, Algeria and the Moving Image: Screening Histories of Violence 1963-2010 (Legenda, 2017).

Higbee, Will, Post-beur Cinema: North African Émigré and Maghrebi- French Filmmaking in France since 2000 (Edinburgh University Press, 2014).

Jones, Kathryn, ‘Franco-Algerian Sites of Memory: Leïla Sebbar's Journeys of Remembrance’, Dalhousie French Studies 93 (2010): 43- 52. http://www.jstor.org/stable/41705557.

Lewis, Jonathan, The Algerian War in French/Algerian Writing: Literary Sites of Memory (Cardiff: University of Wales Press), ch. 3.

Mortimer, Mildred, ‘Probing the Past: Leïla Sebbar, La Seine était

rouge/The Seine Was Red’, The French Review 83:6 (2010): 1246-256.

Reid, Donald, ‘Didier Daeninckx: Raconteur of History’, South Central Review 27:1/2 (2010): 39-60. http://www.jstor.org/stable/40645928.

Rice, Alison, ‘Rehearsing October 17, 1961: The Role of Fiction in Remembering the Battle of Paris’, L'Esprit Créateur, 54:4 (2014), 90- 102. Project MUSE, doi:10.1353/esp.2014.0051

Ross, Kristin, ‘Parisian Noir’, New Literary History 41:1 (2010): 95-109.

5. Filming postcolonial cities Benyamina:

‘DIVINES: Du tournage à la consécration cannoise!’ (interviews & clips):

https://www.youtube.com/watch?v=S55kQ-deUYo

Rose, Steve, ‘Divines Director Houda Benyamina: “It’s better to make a film than a bomb’ (interview):

https://www.theguardian.com/film/2016/nov/10/divines-director- houda-benyamina-its-better-to-make-a-film-than-a-bomb

Diop:

(15)

Barlet, Olivier, ‘”C’est à nous de travailler sur nos propres complexes”:

Entretien avec Alice Diop’, Africultures, 92-93:2 (2013), 206:

https://www.cairn.info/revue-africultures-2013-2-page-206.htm Diau, Claire, Double Vague: Le nouveau souffle du cinéma français

(Vauvert, 2017)

Vermeersch, Laure, and Sébastien Dolidon, ‘Vers la tendresse: Entretien avec Alice Diop’, Vacarme, 76:3 (2016), 103:

https://www.cairn.info/revue-vacarme-2016-3-page-103.htm Sciamma:

Higbee, Will, ‘”Beyond Ethnicity” or a Return to Type?: Bande de filles/Girlhood and the Politics of Blackness in Contemporary French Cinema’, in Kleppinger K. & Reeck L. (eds.), Post-Migratory Cultures in Postcolonial France (Liverpool University Press, 2018), 166-182.

http://www.jstor.org/stable/j.ctv3hvc45.14.

McNeill, Isabelle, ‘“Shine Bright Like a Diamond”: Music, Performance and Digitextuality in Céline Sciamma’s Bande de filles (2014)’, Studies in French Cinema, 18:4 (2018), 326-340, doi:

10.1080/14715880.2017.1345187

Smith, Frances, Bande de Filles: Girlhood Identities in Contemporary France (Routledge, 2020)

Sissako:

Barchiesi, Franco, ‘Globalization on Trial’, New Labor Forum 16:3/4 (2007): 183-86. http://www.jstor.org/stable/40342730.

Guillén, Michael, and Abderrahmane Sissako, ‘Hidden Certainties and Active Doubts: An Interview with Abderrahmane Sissako’, Cinéaste 40:2 (2015): 42-45. http://www.jstor.org/stable/43500786.

Olaniyan, Tejumola, ‘Of Rations and Rationalities: The World Bank, African Hunger, and Abderrahmane Sissako's Bamako’, The Global South 2, no. 2 (2008): 130-38. http://www.jstor.org/stable/40339263.

6. Récits contemporains Chamoiseau:

Chamoiseau, Patrick, Écrire en pays dominé (Gallimard, 1997).

Chancé, Dominique, Chamoiseau: Écrivain postcolonial et baroque (Champion, 2010).

Constant, Isabelle, Le Robinson antillais: De Daniel Defoe à Patrick Chamoiseau (L’Harmattan, 2015).

McCusker, Maeve, Patrick Chamoiseau (Liverpool University Press, 2007) Milne, Lorna, Patrick Chamoiseau (Rodopi, 2006)

Kassab-Charfi, S, Chamoiseau (Gallimard, 2012) Knepper, Wendy, Chamoiseau (Mississippi, 2013) Devi:

Damlé, Amaleena, The Becoming of the Body: Contemporary Women's Writing in French (Edinburgh University Press, 2014).

Devi, Ananda, and Dinah Assouline Stillman, ‘A Quiet Author's Written Rebellion: An Interview with Ananda Devi’, World Literature Today 87:3 (2013): 22-27. doi:10.7588/worllitetoda.87.3.0022.

(16)

Kistnareddy, Ashwiny, Locating Hybridity: Creole, Identities and Body Politics in the Novels of Ananda Devi (Peter Lang, 2015).

Lohka, Eileen, ‘De La Terre à La Terre, Du Berceau à La Tombe: L'Île D'Ananda Devi’, Nouvelles Études Francophones 23:1 (2008): 155-62.

Poddar, Namrata, ‘The Islands Within: Alterity, Imperialism and the Metroport in Mauritian Fiction’, Dalhousie French Studies 94 (2011):

39-51. http://www.jstor.org/stable/41705582.

Tyagi, Ritu, ‘“Feminine” Desire in Ananda Devi's Narrative’, Dalhousie French Studies 94 (2011): 65-75.

Djebar:

Calle-Gruber, Mireille, Assia Djébar ou la résistance de l’écriture (Maisonneuve et Larose, 2001)

Clerc, Jeanne-Marie, Assia Djebar: Écrire, transgresser, résister (L'Harmattan, 1997).

Coward, David, and University of Leeds Department of French, Assia Djebar: Entretien enregistré dans les studios du Service de l’Audio- Visuel de l’Université de Leeds le 19 septembre 1997 (Leeds University French department, in association with Leeds University Media Services, 2001).

Hiddleston, Jane, Assia Djebar (Liverpool, 2006)

Murray, Jenny, Remembering the (Post)colonial Self: Memory and Identity in the Novels of Assia Djebar (Peter Lang, 2008)

Ringrose, Priscilla, Assia Djebar: In Dialogue with Feminisms (Rodopi, 2006).

Houellebecq:

Crowley, Martin, ‘Low Resistance’, in Sara Crangle and Peter Nicholls (eds), On Bathos : Literature, Art, Music (Continuum, 2010), 148-64

— & Victoria Best, The New Pornographies: Explicit Sex in Recent French Fiction and Film (Manchester University Press, 2007), 180-21

Cruickshank, Ruth, ‘Fin de millénaire’ French Fiction: The Aesthetics of Crisis (OUP, 2009), 114-67.

Morrey, Douglas, Michel Houellebecq: Humanity and its aftermath (Liverpool University Press, 2013).

Novak-Lechevalier, Agathe, Michel Houellebecq et l’art de la consolation (Stock, 2018).

7. Lyrical relations, poetic worlds Glissant:

Glissant, Édouard, and Lise Gauvin, L’Imaginaire des langues: Entretiens avec Lise Gauvin (1991-2009) (Gallimard, 2010).

Glissant, Édouard, and Alexandre Leupin, Les Entretiens de Bâton Rouge (Gallimard, 2008).

Leupin, Alexandre, Édouard Glissant, philosophe: Héraclite et Hegel dans le Tout-Monde (Hermann, 2016).

(17)

Norvat, Manuel, Le Chant du divers: Introduction à la philopoétique d'Édouard Glissant (L’Harmattan, 2015).

Noudelmann, François, and Glissant, L’Entretien du monde (Vincennes, 2018).

Portugal:

Azérad, Hugues, et al, Chantiers du poème: Prémisses et pratiques de la création poétique moderne et contemporaine (Peter Lang, 2012).

Darras, Jacques, ‘Anne Portugal: Le Travail Sur Les Cadres’, Esprit, no.

405 (2014): 113-16. http://www.jstor.org/stable/24278658.

Parish, Nina, and Emma Wagstaff (eds), 21^st-century French Poetry (Enitharmon, 2016).

— , Writing the Real: A Bilingual Anthology of Contemporary French Poetry (Enitharmon, 2016).

Wall-Romana, Christophe, ‘Poire, Plume, Douve Et Bob: Les Fantoches Filmiques De La Poésie’, The French Review 81:2 (2007): 289-300.

Ponge:

Collot, Michel, Francis Ponge: Entre mots et choses (Champ Vallon, 1991).

Derrida, Jacques, Signéponge (Seuil, 1988).

Freed-Thall, Hannah, Spoiled Distinctions: Aesthetics and the Ordinary in French Modernism (Oxford University Press, 2015).

Higgins, Ian, Francis Ponge (Athlone, 1979).

Maldiney, Henri, and Jean-Pierre Charcosset, Le vouloir-dire de Francis Ponge (Encre marine, 2014).

Pierrot, Jean, Francis Ponge (José Corti, 1993).

Sollers, Philippe, and Francis Ponge, Entretiens de Francis Ponge avec Philippe Sollers (Gallimard, 1970).