partition agreement, France and Britain received, respectively, three quarters and one quarter of the territory and its inhabitants. 3 It has been argued that this disproportionate partitioning laid the foundation for the Francophone majority and Anglophone
Raymond Nkwenti Fru and Johan Wassermann
Entre enjeux locaux et perspective globale
Cet article entend explorer quelques pistes de réflexion sur le fonctionnement de ce que nous proposons d’appeler le « système francophone de l’information », en insistant sur l’axe nord-atlantique vers le milieu du dix-neuvième siècle ainsi que sur
Laurent Dubois and Achille Mbembe
This article offers a genealogy of the impact of French and Francophone Studies during the past decades in order to offer suggestions about how the field might be reconfigured and re-imagined in the present. We argue that the best way forward will be to dispense with traditional boundaries and borders within the field and instead embrace a general identity as Francophonists in order to bring together work on and from different regions of the globe.
In the field of postcolonial literary studies, representations of concrete forms of mobility have not received the critical attention they deserve. This is partly due to the field’s reductive understanding of “mobility” as a synonym for migration. In order to enhance dialogue between postcolonial literary studies and mobilities research, this article focuses on representations of aeromobility in the context of Afroeuropean student mobilities in a set of Francophone African novels from the 1980s to the 2010s. My reading of scenes of aeromobility in the text corpus draws attention to the anxious aspects of the air travel of unaccustomed travelers and African newcomers traveling to the former colonial center, and explores the formal functions of representations of aeromobility in terms of narrative structures and tropes.
This article explores cultural traditions from a little-known corner of the francophone world, what specialists call Franco-America. It represents a fertile site for reexamination of francophone postcolonial cultures. Beginning in the nineteenth century, French Canadians traveled to New England mill towns in search of work, established ethnic communities, and progressively became Franco-Americans. Today, endogamous Franco enclaves have all but disappeared, but French cultural expressions persist. Jack Kerouac is the most wellknown representative of this obscure French life. Franco-American written cultures, the focus of this essay, shed light on a distinct immigrant experience in the United States.
This article explores the strategies Gabonese cartoonist Pahé deploys to disrupt media-driven images of Africa in both his autobiographical series La vie de Pahé ['The Life of Pahé'] and the fictional series Dipoula, co-created with French cartoonist Sti. It focuses on the role of humor as a way to mock Western hegemony while exposing how sustained colonial logic informs Western representations of Africa. Using humor that thrives on misrecognition, Pahé thwarts readers' expectations and facilitates new possibilities for thinking through the relationship between Europe and Africa, while also drawing attention to the attendant relationship between Franco-Belgian bandes dessinées and other Francophone comics.
The present edition of European Comic Art is our somewhat belated tribute to the eightieth anniversary of Hergé’s Adventures of Tintin. Hergé’s roaming reporter first appeared in the Brussels-based children’s magazine Le Petit Vingtième on 10 January 1929, but he still bestrides the world of Francophone comics like a colossus in plus fours. The 24 Tintin albums, which appeared from 1929 to 1986, have sold millions of copies. Without The Adventures of Tintin the bande dessinée would not exist as we know it and neither, very probably, would European Comic Art.
Female AutobioBD and Julie Doucet's Changements d'adresses
In comparison to the U.S. market, the trend for autobiographical sequential art arrived late within the history of the francophone bande dessinée. Its rising popularity throughout the 1990s and into the new millennium coincided, and to an extent connected, with another belated development in the French-language industry however: that of the growing presence of the female artist. This article considers the strong presence of life narratives in bandes dessinées created by women, before presenting a case-study examining the manipulation of the medium to an autobiographical end in Québécoise artist Julie Doucet's 1998 Changements d'adresses ['Changes of Addresses']. It considers how, in this coming-of-age narrative set first in Montreal and then New York, Doucet utilises the formal specificity of the bande dessinée to emphasise both the fragmentation and then reintegration of her hybrid enunciating instances. It further examines Doucet's usage of the life-narrative bande dessinée to oppose her representation from that of the disruptive male figures in her life, whose sexual presence in her personal evolution is often connected to images of dysfunction and death, finally suggesting via this examination of Julie Doucet and Changements d'adresses the particular suitability of female-created life narratives to feminist reappropriations of the francophone bande dessinée.
With FPCS embarking on its fourth decade of publishing work on the study of France and the francophone world, the journal invited scholars in several disciplines to write short essays on where they thought the field of French Studies should head in the future. This essay introduces the resulting dossier on “French Studies and Its Futures.” It situates the project in the current context in which the field is thriving intellectually but struggling with menacing institutional pressures. It goes on to describe the particular formulation of French Studies that the journal came to represent in its early years in the 1980s, how it evolved since, and what that experience suggests about how scholars can respond creatively to the challenges and opportunities the future may hold for the field.
Teresa Hoefert de Turégano
French efforts in lobbying for a “cultural exception” in world trade agreements have attracted much attention. Less noticed have been the long-standing French attempts to support the film production of individuals from around the world, for whom making films in their countries of origin is difficult for economic, political, and social reasons. One of France’s areas of predilection for such cinematographic support has been francophone sub-Saharan Africa, specifically countries that were once former colonies. Shortly after most African countries in the region became independent, France created the Ministry of Cooperation and Development to administer relations with the African states; an important part of French support consisted of helping develop cinematographic production.