John Gillespie and Katherine Morris
Globalizing the History of French Decolonization
Jessica Lynne Pearson
While the recent “transnational” and “global” turns in history have inspired new approaches to studying the French Revolution and the French Resistance, they have made a surprisingly minor impact on the study of French decolonization. Adopting a global or transnational lens, this special issue argues, can open up new possibilities for broadening our understanding of the collapse of France's global empire in the mid-twentieth century as well as the reverberations of decolonization into the twenty-first.
Historicizing the Gallic Singularity
Jean Elisabeth Pedersen
This article, the introduction to the special issue “Representations of Women in the French Imaginary: Historicizing the Gallic Singularity,” frames the work of contributors Tracy Adams, Christine Adams, Jean Elisabeth Pedersen, Whitney Walton, and Kathleen Antonioli by analyzing two especially important contemporary debates about French sexual politics, one popular and one academic: (1) the international controversy over Catherine Deneuve's decision to sign a French manifesto against the American #MeToo movement in Le Monde; and (2) the mixed French and American response to the work of Mona Ozouf in Les mots des femmes: Essai sur la singularité française. The five articles in the special issue itself bring new breadth and depth to the study of these and related debates by exploring a range of different French representations of women in a series of key texts, topics, and historical episodes from the rise of the Middle Ages to the aftermath of World War I.
John Ireland and Constance Mui
We are thrilled, on the occasion of the 25th anniversary of Sartre Studies International, to publish for the first time in English (thanks to Dennis Gilbert’s initiative and perseverance) two interviews on theater given by Sartre to Russia’s oldest continually running theater journal, Teatr, whose first issues date from the 1930s. Six years apart, these two interviews give us the flavor of Sartre addressing a Soviet audience, in early 1956, just before Russian tanks rolled into Hungary and then again in early 1962, as France negotiated its exit out of the disastrous Algerian War. While these interviews intersect at times with remarks made by Sartre in interviews and lectures during the same period in France (the need for theater to become a truly popular forum, the importance of Brecht as a model of politically engaged theater, etc.), the tone of the two interviews (the first in particular) is different, as Sartre seeks to connect with a socialist audience. These interviews also break new ground. Discussing contemporary playwrights, Sartre demonstrates, for example, his familiarity with Kateb Yacine and Algerian theater. More unexpectedly, addressing Russian readers, Sartre offers a much more positive assessment of Jean Vilar’s Théâtre National Populaire than he ever formulated in France. In short, beyond their content, these interviews help us appreciate even more the importance of the situation shaping Sartre’s pronouncements at any given moment.
John Gillespie and Katherine Morris
This issue spans the entirety of Sartre’s philosophical life, from his mémoire on images written at the age of twenty-two for his diploma at the Ecole normale supérieure to his thoughts about democracy as expressed in his final interview, Hope Now, at seventy-four. Fittingly enough, in between come reflections on sin and love and on the ageing body. As a result, we can get a sense of how Sartre’s thinking changes and develops throughout his career and is always engaged, right to the end.
Arguing that the resistance in France during the Second World War was always transnational in important ways, this piece identifies some of the recent scholarship that has expanded both the temporal and geographic parameters of the French Resistance. It introduces some of the key themes of this collection of articles and underscores the important contributions made by the participating authors. As these articles reveal, we can find sites of transnational resistance by looking at the relationship between the Allies and the resistance, the role that non-French denizens played in the resistance, the politics of cultural resistance, and the circulation of downed Anglo-American aircrews in Europe.
John Ireland and Constance Mui
Writing History and the Social Sciences with Ivan Jablonka
This introduction outlines Ivan Jablonka’s theory and practice of writing the social sciences as foregrounded in three of his most noted, recent books, A History of the Grandparents I Never Had, History is a Contemorary Literature, and Laëtitia. As he outlines in his own contribution here, Jablonka advances rigorous, methodical research that nevertheless details the subjective investment of the researcher while at the same time utilizing creative “literary” techniques to engage a wide spectrum of readers well beyond the habitual circles of academic specialists. The essays contributed by Julie Fette, Sarah Fishman, Melanie Hawthorne, Don Reid, and Nathan Bracher explore various facets of Jablonka’s approach, including, respectively: writing history with family stories, resisting the erosion of factual reasoning in the Trump years, pursuing biographies of supposedly non-descript lives, appreciating the importance of Communist cultural networks in postwar France, and revisiting the role of the subject in the social sciences.
Thinking with Sartre
Edited by John H. Gillespie and Sarah Richmond
Comics, Memory, and Cultural Representations of 17 October 1961
The brutal police repression of the demonstration of 17 October 1961 stands as a stark reminder of the violence of French colonialism. A continuing official reluctance to acknowledge these traumatic events has led individuals and groups to seek alternative routes for recognition. This article explores one of these alternative routes: the comic book, and specifically Octobre Noir, a collaboration between writer Didier Daeninckx and graphic artist Mako. By analyzing the reframing of 17 October 1961 within the comic form, this article argues that Octobre noir offers a site for interrogating the relationship between history and memory. This is achieved by exchanging a cultural narrative of police brutality and Algerian victimization for a narrative of legitimate protest and Algerian political agency. Octobre noir exemplifies the value of the comic book as a vector of memory able to represent the past in ways that enrich historical analysis and inter disciplinary debate.