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Edward C. Knox

In the last ten to fifteen years, at least twenty personal narratives and sets of essays have appeared, recounting attempts by Americans to fit in, to belong at some level in France. These texts, of which Adam Gopnik’s Paris to the Moon is probably the best known, have by now become a full-fledged genre, one that appears, moreover, to be more prominent on France than on any other country or culture, with Italy/Tuscany as the only competitor. Two became bestsellers (Gopnik and Sedaris) and a third (Kaplan) was a National Book Award finalist. Nor is this an isolated phenomenon, as Carolyn Durham demonstrates in the area of fiction elsewhere in this issue.

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Amy Kallander


This article examines love as a facet of nation building in constructions of modern womanhood and national identity in the 1950s and 1960s. In Tunisia and France, romantic love was evoked to define an urban, middle-class modernity in which the gender norms implicit in companionate marriage signaled a break with the past. These ideals were represented in fiction and women's magazines and elaborated in the novel genre of the advice column. Yet this celebration was interrupted by concern about “mixed marriage” and the rise of anti-immigrant discrimination targeting North Africans in France. Referring to race or religion, debates about interracial marriage in Tunisia and the sexual stereotyping of North African men in France reveal the continuity of colonialism's racial legacies upon postcolonial states. The idealization of marital choice as a testament to individual and national modernity was destabilized by transnational intimacies revealing the limits of the nation-state's liberatory promise to women.

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Camille Robcis and Benjamin Poole

. While the massive scope of his project precludes close analysis of specific shows and broadcasts, Bourdon offers an innovative solution to this challenge, examining the evolution of different television genres. Several chapters tackle various genres

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Searching for What Is Already Found

Ivan Jablonka and the Life of a Nobody

Melanie Hawthorne

that even a nobody could become a representative of a certain type of life. The difference between these two poles—1889 and 1998—enables us to measure how far our notion of biography has evolved. The genre of graphic (written) accounts of a life (bios

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La flânerie au feuilleton?

Quotidien et modernité critique chez Siegfried Kracauer

Catherine Nesci

nombreuses, surtout si on considère que Muhlmann mène son étude hors contexte, historique ou national, et sans considération ou problématisation des divers genres journalistiques. L’interprétation minutieuse et novatrice qu’elle fait des essais benjaminiens

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Jelena Jovicic

qui canalisaient ses significations. Je limiterai mon analyse à deux systèmes de représentations de la nostalgie de l’époque, qu’il serait utile de désigner comme « médical » et « géographique » même s’il s’agit de genres hétéroclites, dépassant

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Les journaux francophones au dix-neuviéme siécle

Entre enjeux locaux et perspective globale

Guillaume Pinson

, le genre de la chronique fut probablement le plus emblématique, pratiqué dans toutes les zones concernées. Il est frappant de constater, en effet, qu’à mesure que s’étendit en Amérique du Nord la couverture des journaux francophones, ils donnaient

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Marie-Ève Thérenty

’élaboration de l’écriture journalistique 6 . Parallèlement, les genres journalistiques (la chronique, le fait divers 7 , le reportage, l’interview) ont continuellement inspiré les écritures du réel, du naturalisme au roman de non-fiction, et cette interaction

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Disruptive Technology

Social Media from Modiano to Zola and Proust

Elizabeth Emery

at home. Many played along with this new genre because they were friends with the reporters, but others were perplexed about how to respond. 13 What was said in interviews could quickly become a liability, as words (attributed truly or falsely) were

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Journalistes scandaleuses des années trente

Petite réflexion sur l’histoire de la presse de l’entre-deux-guerres

Marie-Ève Thérenty

contraintes genrées. Surtout les lieux choisis par ces journalistes sont presque toujours beaucoup plus connotés sexuellement que ceux de leurs prédécesseuses américaines. Leurs reportages, au temps des grandes enquêtes aventureuses d’un Albert Londres ou d