|Appears in Collections:||Literature and Languages Book Chapters and Sections|
|Title:||Postcolonial France: Immigration and the De-centring of the Hexagon|
|Citation:||Barclay F (2011) Postcolonial France: Immigration and the De-centring of the Hexagon. In: McCormack J, Pratt M & Rolls A (eds.) Hexagonal Variations. Diversity, Plurality and Reinvention in Contemporary France. Faux Titre, 359. Amsterdam: Rodopi, pp. 413-431. http://www.rodopi.nl/senj.asp?BookId=FAUX+359|
France Social conditions 20th century
France Emigration and immigration History 20th century
|Series/Report no.:||Faux Titre, 359|
|Abstract:||Research into the plurality of contemporary French identities has tended to focus on the perspectives and experiences of groups which, for reasons of ethnicity, gender or class, differ from the constructed norms of the metropolitan majority. Consequently, in the postcolonial field comparatively little attention has been paid to the potential of metropolitan writers for decentring traditional conceptions of the Hexagon. This chapter analyses the similarities between Françoise Sagan’s modern classic Bonjour Tristesse (1954) and the more recent novel by Dominique Bona, Malika (1992), and compares the way in which received notions of bourgeois reality are destabilised. While Sagan used the presence of feminine autonomy and emergent sexuality as the disruptive force, Bona draws on many of the features of Sagan’s text to construct her image of a white, bourgeois milieu, before disrupting it through the addition of Malika, a young and beautiful Moroccan immigrant. The nature of the challenge to French society forms the focus of the second half of the chapter, as the postcolonial Other produces diverse reactions, ranging from an empowering creativity to the return of repressed memories of the Algerian war. However, whilst an initial reading of the text suggests that Malika wields an exotic power over those around her, further analysis suggests that, like Sagan’s Anne, she does not fully control her situation. Rather, she represents a modern exoticism designed to appeal to the tastes of Western readers such that, in the process of consumption, hegemonic discourses of the North African woman are reasserted. The resumption of the status quo, albeit in a subtly altered form, raises questions about the power of the exotic to resist totalising constructions, and serves to indicate the persistence of neo-colonial conceptions of the immigrant Other in contemporary French society.|
|Rights:||Published in Hexagonal Variations: Diversity, Plurality and Reinvention in Contemporary France, Faux Titre, 359, pp. 413 - 431 by Rodopi.; Rights according to Rodopi Author copyright and self-archiving policies: http://www.rodopi.nl/au.asp#copyright|
|(De)colonising France 0908b.pdf||Fulltext - Accepted Version||359.9 kB||Adobe PDF||View/Open|
This item is protected by original copyright
Items in the Repository are protected by copyright, with all rights reserved, unless otherwise indicated.
The metadata of the records in the Repository are available under the CC0 public domain dedication: No Rights Reserved https://creativecommons.org/publicdomain/zero/1.0/
If you believe that any material held in STORRE infringes copyright, please contact email@example.com providing details and we will remove the Work from public display in STORRE and investigate your claim.