Mireille Rosello – författare

In recent years, hospitality has emerged as a category in French thinking for addressing a range of issues associated with immigration and other types of journeys. Rosello's book concentrates primarily on France and its former colonies in North and sub-Saharan Africa and considers how hospitality and its dissidence are defined, practiced, and represented in European and African fictions, theories, and myths at the end of the twentieth century. Postcolonial Hospitality explores the ways in which Western superpowers rewrite ideals of hospitality that are borrowed from a variety of sources and that sometimes constitute an incompatible system of values.Each chapter focuses on a problematic moment when hospitality is read either as excessive or lacking: when the host does not give what is ideally expected; when the guest is mistreated rather than protected; when the guest abuses the host rather than being grateful. In considering these issues, the author examines the relationship between ownership and generosity, focusing specifically on the connections among nationalism, immigration, and hospitality. Because the intersections between cultural differences and issues of gender often expose the fragility or arbitrariness of hospitable conventions, the author studies novels, films, and immigrant interviews that explore those moments of crisis when systems of hospitality clash.

In recent years, hospitality has emerged as a category in French thinking for addressing a range of issues associated with immigration and other types of journeys. Rosello's book concentrates primarily on France and its former colonies in North and sub-Saharan Africa and considers how hospitality and its dissidence are defined, practiced, and represented in European and African fictions, theories, and myths at the end of the twentieth century. Postcolonial Hospitality explores the ways in which Western superpowers rewrite ideals of hospitality that are borrowed from a variety of sources and that sometimes constitute an incompatible system of values.Each chapter focuses on a problematic moment when hospitality is read either as excessive or lacking: when the host does not give what is ideally expected; when the guest is mistreated rather than protected; when the guest abuses the host rather than being grateful. In considering these issues, the author examines the relationship between ownership and generosity, focusing specifically on the connections among nationalism, immigration, and hospitality. Because the intersections between cultural differences and issues of gender often expose the fragility or arbitrariness of hospitable conventions, the author studies novels, films, and immigrant interviews that explore those moments of crisis when systems of hospitality clash.

What's Queer about Europe? examines how queer theory helps us initiate disorienting conjunctions and counterintuitive encounters for imagining historical and contemporary Europe. This book queers Europe and Europeanizes queer, forcing a reconsideration of both. Its contributors study Europe relationally, asking not so much what Europe is but what we do when we attempt to define it.The topics discussed include: gay marriage in Renaissance Rome, Russian anarchism and gender politics in early-twentieth-century Switzerland, colonialism and sexuality in Italy, queer masculinities in European popular culture, queer national identities in French cinema, and gender theories and activism. What these apparently disparate topics have in common is the urgency of the political, legal, and cultural issues they tackle. Asking what is queer about Europe means probing the blind spots that continue to structure the long and discrepant process of Europeanization.

The authors studied in this book can be visualized as the islands that constitute an unknown, fragile and trembling literary and cultural Francophone archipelago. The archipelago does not appear on any map, in the middle of an ocean whose name we already know. No Francophone anthology would put these authors together as a matter of course because what connects them is a narrative grammar rather than a national origin or even a language. Yet, their writing techniques and their apprehension of the real (the ways in which they know and name the world) both reflect and actively participate in our evolving perception of what Gayatri Spivak calls the “planet”. The Reparative in Narratives argues that argue that they repair trauma through writing.One description of these awe-inspiring, tender and sometimes horrifying tales is that their narrators are survivors who have experienced and sometimes inflicted unspeakable acts of violence. And yet, ultimately, despair, nihilism, cynicism or silenceare never the consequences of their encounter with what some quickly call evil. The traumatic event has not killed them and has not killed their desire to write or perform, although the decidedly altered life that they live in the aftermath of the disaster forces them to become different types of storytellers. They are the first-person narrators of their story, and their narration reinvents them as speaking subjects. In turn, this requires that we accept new reading pacts. That pact is a temporal and geographical signature: the reparative narrative needs readers prepared to accept that healing belongs to the realm of possibilities and that exposure and denunciation do not exhaust the victim’s range of possibilities. Rosello contends that this context-specific yet repeating pattern constitutes a response to the contemporary figuration of both globalized and extremely localized types of traumatic memories.

French-English bilingual edition. André Breton called Césaire's Cahier 'nothing less than the greatest lyrical monument of this time'. It is a seminal text in Surrealist, French and Black literatures - published in full in English for the first time in Bloodaxe's bilingual Contemporary French Poets series. Aimé Césaire (1913-2008) was born in in Basse-Pointe, a village on the north coast of Martinique, a former French colony in the Caribbean (now an overseas departement of France). His book Discourse on Colonialism (1950) is a classic of French political literature. Notebook of a Return to My Native Land (1956) is the foundation stone of francophone Black literature: it is here that the word Negritude appeared for the first time. Negritude has come to mean the cultural, philosophical and political movement co-founded in Paris in the 1930s by three Black students from French colonies: the poets Léon-Gontran Damas from French Guiana; Leopold Senghor, later President of Senegal; and Aimé Césaire, who became a deputy in the French National Assembly for the Revolutionary Party of Martinique and was repeatedly elected Mayor of Fort-de-France. As a poet, Cesaire believed in the revolutionary power of language, and in the Notebook he combined high literary French with Martinican colloquialisms, and archaic turns of phrase with dazzling new coinages. The result is a challenging and deeply moving poem on the theme of the future of the negro race which presents and enacts the poignant search for a Martinican identity. The Notebook opposes the ideology of colonialism by inventing a language that refuses assimilation to a dominant cultural norm, a language that teaches resistance and liberation.

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