Francophone Postcolonial Studies – serie

What does Afro-Europe signify? This volume explores the concept and possibility of a black European community by analysing the ways in which contemporary Francophone African writers articulate and interrogate their complex relationships with European society, culture and history. Through the different contributions in this volume, readers will discover the symbiotic ways in which Africa has transformed/been transformed (in/by) Europe and in turn how Africanness has (re)defined Europeanness. To this end, the volume places scholarly articles addressing the relationship between the francophone and Afro-European context alongside new, specially commissioned short stories and essays by some of the most critically-acclaimed and influential producers of Afropean writing today: Fatou Diome, Alain Mabanckou, Léonora Miano, Wilfried N’Sondé, Sami Tchak and Abdourahman Waberi. Works by these authors are discussed in and across the scholarly interventions, generating dialogue around what it means to be ‘Francophone’ and ‘Afropean’ in the twenty-first century. At a time when it is no longer easy to define what Europe really is, this book considers to what extent the category ‘Afropean’ may prove helpful in improving our understanding of the complex ways in which minority communities conceive of identity in Europe today and address the range of issues impacting them. The notion of ‘Afropeanism’ is of course relatively new, and this book does not claim to offer an exhaustive analysis of the term’s usage and/or potential pertinence. Rather, the cultural, political, and social circumstances of Europe today are reflected in discussions surrounding the term and perhaps not surprisingly, in the diverse and diverging perspectives adopted by the scholars and creative writers in this volume.

Recent years have seen a growing body of literature dedicated to memories of slavery in the Anglophone world, yet little has been done to approach this subject from Francophone perspectives. This collection responds to the urgent need to contribute to current research on slavery and memory studies by focusing specifically on the Francophone world. Featuring the scholarship of leading academics in France, Britain, the United States and Canada, the collection reflects upon contemporary commemorative practices that relate to the history of slavery and the slave trade, and questions how they function in relationship to other, less memorialized histories of exploitation, such as indentured and forced labour. The volume is set against the context of France’s growing body of memory legislation, as well as its close cultural and political connections to its former empire, all of which make it an influential player in how slavery continues to be memorialized and conceptualized in the public sphere. Contributors retrace and redraw the narrative map of slavery and its legacies in the Francophone world through a comparative understanding of how these different, but interconnected forms of labour exploitation have been remembered and/or forgotten from European, West African, Indian Ocean and Caribbean perspectives.

This collection of essays considers the means and extent ofHaiti’s ‘exceptionalization’ – its perception in multiple arenas asdefinitively unique with respect not only to the countries of the NorthAtlantic, but also to the rest of the Americas. Painted as repulsive andattractive, abject and resilient, singular and exemplary, Haiti has long beenframed discursively by an extraordinary epistemological ambivalence. Thisnation has served at once as cautionary tale, model for humanitarian aid anddevelopment projects and point of origin for general theorising of theso-called Third World. What to make of this dialectic of exemplarity andalterity? How to pull apart this multivalent narrative in order to examine itsconstituent parts? Conscientiously gesturing to James Clifford’s ThePredicament of Culture (1988), the contributors to The Haiti Exception workon the edge of multiple disciplines, notably that of anthropology, to take upthese and other such questions from a variety of methodological anddisciplinary perspectives, including Africana Studies, Anthrohistory, ArtHistory, Black Studies, Caribbean Studies, education, ethnology, JewishStudies, Literary Studies, Performance Studies and Urban Studies. Ascontributors revise and interrogate their respective praxes, they accept thechallenge of thinking about the particular stakes of and motivations for theirown commitment to Haiti.

Algeria: Nation, Culture and Transnationalism 1988–2015 offers new insights into contemporary Algeria. Drawing on a range of different approaches to the idea of Algeria and to its contemporary realities, the chapters in this volume serve to open up any discourse that would tie ‘Algeria’ to a fixed meaning or construct it in ways that neglect the weft and warp of everyday cultural production and political action. The configuration of these essays invites us to read contemporary cultural production in Algeria not as determined indices of a specific place and time (1988–2015) but as interrogations and explorations of that period and of the relationship between nation and culture. The intention of this volume is to offer historical moments, multiple contexts, hybrid forms, voices and experiences of the everyday that will prompt nuance in how we move between frames of enquiry. These chapters — written by specialists in Algerian history, politics, music, sport, youth cultures, literature, cultural associations and art — offer the granularity of microhistories, fieldwork interviews and studies of the marginal in order to break up a synthetic overview and offer keener insights into the ways in which the complexity of Algerian nation-building are culturally negotiated, public spaces are reclaimed, and Algeria reimagined through practices that draw upon the country’s past and its transnational present.

Post-Migratory Cultures in Postcolonial France offers a critical assessment of the ways in which French writers, filmmakers, musicians and other artists descended from immigrants from former colonial territories bring their specificity to bear on the bounds and applicability of French republicanism, “Frenchness” and national identity, and contemporary cultural production in France. In mobilizing a range of approaches and methodologies pertinent to their specialist fields of inquiry, contributors to this volume share in the common objective of elucidating the cultural productions of what we are calling post-migratory (second- and third-generation) postcolonial minorities.The volume provides a lens through which to query the dimensions of postcoloniality and transnationalism in relation to post-migratory postcolonial minorities in France and identifies points of convergence and conversation among them in the range of their cultural production. The cultural practitioners considered query traditional French high culture and its pathways and institutions; some emerge as autodidacts, introducing new forms of authorship and activism; they inflect French cultural production with different ‘accents’, some experimental and even avant-garde in nature. As the volume contributors show, though post-migratory postcolonial minorities sometimes express dis-settlement, they also provide an incisive view of social identities in France today and their own compelling visions for the future.

By exploring dynamic Jewish-Muslim interactions across North Africa and France through performance culture in the 20th and 21st centuries, we offer an alternative chronology and lens to a growing trend in media and scholarship that views these interactions primarily through conflict. Our volume interrogates interaction that crosses the genres of theatre, music, film, art, and stand-up, emphasising creative influence and artistic cooperation between performers from the Maghrib, with a focus on Algeria, Tunisia, Morocco, and diaspora communities, notably in France. The plays, songs, films, images, and comedy sketches that we analyse are multilingual, mixing not only with the former colonial language French, but also the rich diversity of indigenous Amazigh and Arabic languages. The volume includes contributions by scholars working across and beyond disciplinary boundaries through anthropology, ethnomusicology, history, sociology, and literature, engaging with postcolonial studies, memory studies, cultural studies, and transnational French studies. The first section examines accents, affiliations, and exchange, with an emphasis on aesthetics, familiarity, changing social roles, and cultural entrepreneurship. The second section shifts to consider departure and lingering presence through spectres and taboos, in its exploration of absence, influence, and elision. The volume concludes with an autobiographical afterword, which reflects on memories and legacies of Jewish-Muslim interactions across the Mediterranean.Contributors: Cristina Moreno Almeida, Jamal Bahmad, Adi Saleem Bharat, Aomar Boum, Morgan Corriou, Ruth Davis, Samuel Sami Everett, Fanny Gillet, Jonathan Glasser, Miléna Kartowski-Aïach, Nadia Kiwan, Hadj Miliani, Vanessa Paloma Elbaz, Elizabeth Perego, Christopher Silver, Rebekah Vince, Valérie Zenatti

This collection of essays considers the means and extent ofHaiti’s ‘exceptionalization’ – its perception in multiple arenas asdefinitively unique with respect not only to the countries of the NorthAtlantic, but also to the rest of the Americas. Painted as repulsive andattractive, abject and resilient, singular and exemplary, Haiti has long beenframed discursively by an extraordinary epistemological ambivalence. Thisnation has served at once as cautionary tale, model for humanitarian aid anddevelopment projects and point of origin for general theorising of theso-called Third World. What to make of this dialectic of exemplarity andalterity? How to pull apart this multivalent narrative in order to examine itsconstituent parts? Conscientiously gesturing to James Clifford’s ThePredicament of Culture (1988), the contributors to The Haiti Exception workon the edge of multiple disciplines, notably that of anthropology, to take upthese and other such questions from a variety of methodological anddisciplinary perspectives, including Africana Studies, Anthrohistory, ArtHistory, Black Studies, Caribbean Studies, education, ethnology, JewishStudies, Literary Studies, Performance Studies and Urban Studies. Ascontributors revise and interrogate their respective praxes, they accept thechallenge of thinking about the particular stakes of and motivations for theirown commitment to Haiti.

What does Afro-Europe signify? This volume explores the concept and possibility of a black European community by analysing the ways in which contemporary Francophone African writers articulate and interrogate their complex relationships with European society, culture and history. Through the different contributions in this volume, readers will discover the symbiotic ways in which Africa has transformed/been transformed (in/by) Europe and in turn how Africanness has (re)defined Europeanness. To this end, the volume places scholarly articles addressing the relationship between the francophone and Afro-European context alongside new, specially commissioned short stories and essays by some of the most critically-acclaimed and influential producers of Afropean writing today: Fatou Diome, Alain Mabanckou, Léonora Miano, Wilfried N’Sondé, Sami Tchak and Abdourahman Waberi. Works by these authors are discussed in and across the scholarly interventions, generating dialogue around what it means to be ‘Francophone’ and ‘Afropean’ in the twenty-first century. At a time when it is no longer easy to define what Europe really is, this book considers to what extent the category ‘Afropean’ may prove helpful in improving our understanding of the complex ways in which minority communities conceive of identity in Europe today and address the range of issues impacting them. The notion of ‘Afropeanism’ is of course relatively new, and this book does not claim to offer an exhaustive analysis of the term’s usage and/or potential pertinence. Rather, the cultural, political, and social circumstances of Europe today are reflected in discussions surrounding the term and perhaps not surprisingly, in the diverse and diverging perspectives adopted by the scholars and creative writers in this volume.

Recent years have seen a growing body of literature dedicated to memories of slavery in the Anglophone world, yet little has been done to approach this subject from Francophone perspectives. This collection responds to the urgent need to contribute to current research on slavery and memory studies by focusing specifically on the Francophone world. Featuring the scholarship of leading academics in France, Britain, the United States and Canada, the collection reflects upon contemporary commemorative practices that relate to the history of slavery and the slave trade, and questions how they function in relationship to other, less memorialized histories of exploitation, such as indentured and forced labour. The volume is set against the context of France’s growing body of memory legislation, as well as its close cultural and political connections to its former empire, all of which make it an influential player in how slavery continues to be memorialized and conceptualized in the public sphere. Contributors retrace and redraw the narrative map of slavery and its legacies in the Francophone world through a comparative understanding of how these different, but interconnected forms of labour exploitation have been remembered and/or forgotten from European, West African, Indian Ocean and Caribbean perspectives.

Over the past 25 years, Rwanda has undergone remarkable shifts and transitions: culturally, economically, and educationally the country has gone from strength to strength. While much scholarship has understandably been retrospective, seeking to understand, document and commemorate the Genocide against the Tutsi, this volume gathers diverse perspectives on the changing social and cultural fabric of Rwanda since 1994. Rwanda Since 1994 considers the context of these changes, particularly in relation to the ongoing importance of remembering and in wider developments in the Great Lakes and East Africa regions. Equally it explores what stories of change are emerging from Rwanda: creative writing and testimonies, as well as national, regional, and international political narratives. The contributors interrogate which frameworks and narratives might be most useful for understanding different kinds of change, what new directions are emerging, and how Rwanda’s trajectory is shaped by other global factors.The international set of contributors includes creative writers, practitioners, activists, and scholars from African studies, history, anthropology, education, international relations, modern languages, law and politics. As well as delving into the shifting dynamics of religion and gender in Rwanda today, the book brings to light the experiences of lesser-discussed groups of people such as the Twa and the children of perpetrators.

Algeria: Nation, Culture and Transnationalism 1988–2015 offers new insights into contemporary Algeria. Drawing on a range of different approaches to the idea of Algeria and to its contemporary realities, the chapters in this volume serve to open up any discourse that would tie ‘Algeria’ to a fixed meaning or construct it in ways that neglect the weft and warp of everyday cultural production and political action. The configuration of these essays invites us to read contemporary cultural production in Algeria not as determined indices of a specific place and time (1988–2015) but as interrogations and explorations of that period and of the relationship between nation and culture. The intention of this volume is to offer historical moments, multiple contexts, hybrid forms, voices and experiences of the everyday that will prompt nuance in how we move between frames of enquiry. These chapters — written by specialists in Algerian history, politics, music, sport, youth cultures, literature, cultural associations and art — offer the granularity of microhistories, fieldwork interviews and studies of the marginal in order to break up a synthetic overview and offer keener insights into the ways in which the complexity of Algerian nation-building are culturally negotiated, public spaces are reclaimed, and Algeria reimagined through practices that draw upon the country’s past and its transnational present.

Post-Migratory Cultures in Postcolonial France offers a critical assessment of the ways in which French writers, filmmakers, musicians and other artists descended from immigrants from former colonial territories bring their specificity to bear on the bounds and applicability of French republicanism, “Frenchness” and national identity, and contemporary cultural production in France. In mobilizing a range of approaches and methodologies pertinent to their specialist fields of inquiry, contributors to this volume share in the common objective of elucidating the cultural productions of what we are calling post-migratory (second- and third-generation) postcolonial minorities.The volume provides a lens through which to query the dimensions of postcoloniality and transnationalism in relation to post-migratory postcolonial minorities in France and identifies points of convergence and conversation among them in the range of their cultural production. The cultural practitioners considered query traditional French high culture and its pathways and institutions; some emerge as autodidacts, introducing new forms of authorship and activism; they inflect French cultural production with different ‘accents’, some experimental and even avant-garde in nature. As the volume contributors show, though post-migratory postcolonial minorities sometimes express dis-settlement, they also provide an incisive view of social identities in France today and their own compelling visions for the future.

Sounds Senses is about what happens to the francophone postcolonial condition when sound is taken as a point of departure for engaging cultural production. Offering a synthetic overview of sound studies, it dismantles the retinal paradigms and oculocentrism of francophone postcolonial studies. By shifting the sensory hermeneutics of perception from the visual, the textual, and the graphemic to the sonic, the auditory, and the phonemic, the book places cultural production that privileges or otherwise exaggerates æstheticized sensorial experiences at the forefront of francophone postcolonialism. In the process, it introduces two primary theoretical thrusts—the unheard and the unintegrated—to the project of analyzing, extending, and rejuvenating francophone postcolonial studies. The book reevaluates francophone culture in relation to sound and the experience of sound, situating it along the fluid axes of paralingual utterance, audio-vision, voice, and narrative speakers. Through a range of case studies focusing on parafrancophonics, poetry, world music, cinema, the graphic novel, popular speech phenomenæ, and the poetics and politics of transcolonial identification, Sounds Senses demonstrates how francophone postcolonial culture is satiated with a glut of unexplored sonic significance.

Decadence is seldom looked at in the context of colonialism, and yet its heyday in the 1880s and 1890s is directly contemporary with the expansion of France’s modern colonial empire. Ever a slippery signifier, Decadence figures alternately as pro-colonial, anticolonial and apolitical. This edited volume gives a sense of the sheer range and diversity of intersections between colonialism and Decadence, from anticolonial anarchist writers to colonial discourse, from nineteenth-century women writers to our contemporary, Michel Houellebecq. Different chapters explore these intersections in the cultural imagination of dance, the novel, travel writing, historiographical theory, and literary networks. Decadence is often seen as an essentially metropolitan, urban movement, but this study identifies key spaces elsewhere, from fin-de-siècle Saigon to India in the heyday of French colonialism, from Byzantium to ancient Persia. Although the colonies were held up by some as an antidote to the threat of French decline, other writings reveal anxiety that the antidote might itself be a form of poison. Colonial contact might exacerbate degeneration, whether through cultural mixing or through the violence of colonial aggression itself. A profound anxiety about French identity and France’s so-called mission civilisatrice is played out through the imagery, the style and the pose of Decadence.

Francophone Oceania Today: Literature, Visual Arts, Music and Cinema is a compilation of essays that breaks new ground in the exploration of recent and contemporary cultural expressions emerging from Francophone Oceania. This books explores Francophone Oceania today: a region rich in literary, artistic, and cultural productions, which nonetheless remains a marginalised space within Francophone Studies and disconnected from the mostly Anglophone cultural networks currently deployed in the South Pacific.Francophone Oceania Today: Literature, Visual Arts, Music and Cinema establishes an état présent of recent and contemporary Francophone Oceanian literature, visual arts, music and cinema. It measures the local and global diffusion of Francophone Oceanian culture today and examines its key thematic and critical approaches, including ecocritical perspectives on art, literature, and cinema, while proposing new directions for research in the region.Francophone Oceania Today opens a much-needed critical conversation between scholarly disciplines, between French-speaking and English-speaking academics, and between university researchers, museum professionals, and artistic voices. Our book contains hitherto unpublished contributions by Mā'ohi Nui/French Polynesian writer Chantal T. Spitz and by New Caledonian writer Nicolas Kurtovitch (in English translations by Jean Anderson).Our book aims to draw interdisciplinary bridges among literature, cinema, music and the visual arts, and to account for the various cross-fertilisations currently happening in the region. Ultimately, what emerges from our volume is a multifaceted reflexion on the contemporary existence of Francophone Oceania, showcasing the diversity of views, artforms, critical perspectives and artistic voices that are gathered across its islands and the sea that surrounds them.

This volume pays tribute to the work of Professor Kate Marsh (1974-2019), an outstanding scholar whose research covered an extraordinarily wide range of interests and approaches, encompassing the history of empire, literature, politics and cultural production across the Francophone world from the eighteenth to the twenty-first century. Each of the chapters within engages with a different aspect of Marsh’s interest in French colonialism and the entanglements of its complex afterlives — whether it be her interest in the longevity of imperial rivalries; loss and colonial nostalgia; exoticism and the female body; decolonization and the ends of empire; the French colonial imagination; the policing of racialized bodies; or anti-colonial activism and resistance. As well as reflecting the geographical and intellectual breadth of Marsh’s research, the volume demonstrates how her work continues to resonate with emerging scholarship around decoloniality, transcolonial mobilities and anti-colonial resistance in the Francophone world. From French India to Algeria and from the Caribbean to contemporary France, this collection demonstrates the persistent relevance of Marsh’s scholarship to the histories and legacies of empire, while opening up conversations about its implications for decolonial approaches to imperial histories and the future of Francophone Postcolonial Studies.

Maryse Condé and Caribbean Crossings brings together an international group of scholars to reflect on the life, work, and legacy of one of the most significant writers of the Caribbean and the Black Atlantic world, Alternative Nobel Prize-winning author Maryse Condé. The volume emerges from a landmark international symposium held in May 2024, just weeks after Condé’s passing. Organized by the Centre for Comparative Literature and the Centre for Caribbean and Diaspora Studies at Goldsmiths, University of London, the symposium brought together scholars to honor Condé’s life and to interrogate the crossings that define her œuvre.Taking as its point of departure Condé’s assertion that frontiers have ceased to exist, the volume approaches crossing as both a critical framework and a guiding concept. The essays explore geographical movements between the Caribbean, Africa, Europe, and the Americas, as well as crossings between genres, histories, and temporalities. Contributors examine the porous boundaries between fiction and autobiography, memory and imagination, and the living and the dead, while attending to how Condé’s work unsettles inherited literary paradigms and fixed identities. The volume opens with a foreword by Richard Philcox and concludes with an unedited appendix presenting Condé’s final text, Le “mentir vrai”, reproduced in its original form.

Francophone Oceania Today: Literature, Visual Arts, Music and Cinema is a compilation of essays that breaks new ground in the exploration of recent and contemporary cultural expressions emerging from Francophone Oceania. This books explores Francophone Oceania today: a region rich in literary, artistic, and cultural productions, which nonetheless remains a marginalised space within Francophone Studies and disconnected from the mostly Anglophone cultural networks currently deployed in the South Pacific.Francophone Oceania Today: Literature, Visual Arts, Music and Cinema establishes an état présent of recent and contemporary Francophone Oceanian literature, visual arts, music and cinema. It measures the local and global diffusion of Francophone Oceanian culture today and examines its key thematic and critical approaches, including ecocritical perspectives on art, literature, and cinema, while proposing new directions for research in the region.Francophone Oceania Today opens a much-needed critical conversation between scholarly disciplines, between French-speaking and English-speaking academics, and between university researchers, museum professionals, and artistic voices. Our book contains hitherto unpublished contributions by Mā'ohi Nui/French Polynesian writer Chantal T. Spitz and by New Caledonian writer Nicolas Kurtovitch (in English translations by Jean Anderson).Our book aims to draw interdisciplinary bridges among literature, cinema, music and the visual arts, and to account for the various cross-fertilisations currently happening in the region. Ultimately, what emerges from our volume is a multifaceted reflexion on the contemporary existence of Francophone Oceania, showcasing the diversity of views, artforms, critical perspectives and artistic voices that are gathered across its islands and the sea that surrounds them.

Sounds Senses is about what happens to the francophone postcolonial condition when sound is taken as a point of departure for engaging cultural production. Offering a synthetic overview of sound studies, it dismantles the retinal paradigms and oculocentrism of francophone postcolonial studies. By shifting the sensory hermeneutics of perception from the visual, the textual, and the graphemic to the sonic, the auditory, and the phonemic, the book places cultural production that privileges or otherwise exaggerates æstheticized sensorial experiences at the forefront of francophone postcolonialism. In the process, it introduces two primary theoretical thrusts—the unheard and the unintegrated—to the project of analyzing, extending, and rejuvenating francophone postcolonial studies. The book reevaluates francophone culture in relation to sound and the experience of sound, situating it along the fluid axes of paralingual utterance, audio-vision, voice, and narrative speakers. Through a range of case studies focusing on parafrancophonics, poetry, world music, cinema, the graphic novel, popular speech phenomenæ, and the poetics and politics of transcolonial identification, Sounds Senses demonstrates how francophone postcolonial culture is satiated with a glut of unexplored sonic significance.

Through a postcolonial lens, this book explores the various ways in which francophone writers, visual artists and activists are responding to the global climate and environmental crises threatening the Earth today.The volume covers most of the francosphere: Africa, the Caribbean, the Indian Ocean, South America and Polynesia. As well as discussing a range of environmental issues, from soil erosion to nuclear testing, it also considers ways in which francophone writers have become ecological activists. The ecotexts discussed include graphic novels, visual narratives, and zines alongside more conventional literary texts such as novels, short stories and poetry.The book seeks to decentre Belgium and France in francophone ecocritical scholarship while engaging in current debates in the field of ecocriticism, including the afterlives of Belgian and French colonialism and neo-colonialism in relation to climate change and environmental degradation, Blue Humanities, waste and toxicity studies, critical animal and plant studies, Indigenous peoples and their cultures and knowledges, climate-environmental (in)justice, and writerly/textual activism for climate and environment. It aims to widen the geographical scope of francophone ecocriticism by discussing a wide range of eco-themes that go beyond the segmentation and compartmentalisation found in other books in the field.

Decadence is seldom looked at in the context of colonialism, and yet its heyday in the 1880s and 1890s is directly contemporary with the expansion of France’s modern colonial empire. Ever a slippery signifier, Decadence figures alternately as pro-colonial, anticolonial and apolitical. This edited volume gives a sense of the sheer range and diversity of intersections between colonialism and Decadence, from anticolonial anarchist writers to colonial discourse, from nineteenth-century women writers to our contemporary, Michel Houellebecq. Different chapters explore these intersections in the cultural imagination of dance, the novel, travel writing, historiographical theory, and literary networks. Decadence is often seen as an essentially metropolitan, urban movement, but this study identifies key spaces elsewhere, from fin-de-siècle Saigon to India in the heyday of French colonialism, from Byzantium to ancient Persia. Although the colonies were held up by some as an antidote to the threat of French decline, other writings reveal anxiety that the antidote might itself be a form of poison. Colonial contact might exacerbate degeneration, whether through cultural mixing or through the violence of colonial aggression itself. A profound anxiety about French identity and France’s so-called mission civilisatrice is played out through the imagery, the style and the pose of Decadence.

This volume pays tribute to the work of Professor Kate Marsh (1974-2019), an outstanding scholar whose research covered an extraordinarily wide range of interests and approaches, encompassing the history of empire, literature, politics and cultural production across the Francophone world from the eighteenth to the twenty-first century. Each of the chapters within engages with a different aspect of Marsh’s interest in French colonialism and the entanglements of its complex afterlives — whether it be her interest in the longevity of imperial rivalries; loss and colonial nostalgia; exoticism and the female body; decolonization and the ends of empire; the French colonial imagination; the policing of racialized bodies; or anti-colonial activism and resistance. As well as reflecting the geographical and intellectual breadth of Marsh’s research, the volume demonstrates how her work continues to resonate with emerging scholarship around decoloniality, transcolonial mobilities and anti-colonial resistance in the Francophone world. From French India to Algeria and from the Caribbean to contemporary France, this collection demonstrates the persistent relevance of Marsh’s scholarship to the histories and legacies of empire, while opening up conversations about its implications for decolonial approaches to imperial histories and the future of Francophone Postcolonial Studies.

By exploring dynamic Jewish-Muslim interactions across North Africa and France through performance culture in the 20th and 21st centuries, we offer an alternative chronology and lens to a growing trend in media and scholarship that views these interactions primarily through conflict. Our volume interrogates interaction that crosses the genres of theatre, music, film, art, and stand-up, emphasising creative influence and artistic cooperation between performers from the Maghrib, with a focus on Algeria, Tunisia, Morocco, and diaspora communities, notably in France. The plays, songs, films, images, and comedy sketches that we analyse are multilingual, mixing not only with the former colonial language French, but also the rich diversity of indigenous Amazigh and Arabic languages. The volume includes contributions by scholars working across and beyond disciplinary boundaries through anthropology, ethnomusicology, history, sociology, and literature, engaging with postcolonial studies, memory studies, cultural studies, and transnational French studies. The first section examines accents, affiliations, and exchange, with an emphasis on aesthetics, familiarity, changing social roles, and cultural entrepreneurship. The second section shifts to consider departure and lingering presence through spectres and taboos, in its exploration of absence, influence, and elision. The volume concludes with an autobiographical afterword, which reflects on memories and legacies of Jewish-Muslim interactions across the Mediterranean.Contributors: Cristina Moreno Almeida, Jamal Bahmad, Adi Saleem Bharat, Aomar Boum, Morgan Corriou, Ruth Davis, Samuel Sami Everett, Fanny Gillet, Jonathan Glasser, Miléna Kartowski-Aïach, Nadia Kiwan, Hadj Miliani, Vanessa Paloma Elbaz, Elizabeth Perego, Christopher Silver, Rebekah Vince, Valérie Zenatti

The 2007 manifesto in favour of a “Littérature-monde en français” has generated new debates in both “francophone” and “postcolonial” studies. Praised by some for breaking down the hierarchical division between “French” and “Francophone” literatures, the manifesto has been criticized by others for recreating that division through an exoticizing vision that continues to privilege the publishing industry of the former colonial métropole. Does the manifesto signal the advent of a new critical paradigm destined to render obsolescent those of “francophone” and/or “postcolonial” studies? Or is it simply a passing fad, a glitzy but ephemeral publicity stunt generated and promoted by writers and publishing executives vis-à-vis whom scholars and critics should maintain a skeptical distance? Does it offer an all-embracing transnational vista leading beyond the confines of postcolonialism or reintroduce an incipient form of neocolonialism even while proclaiming the end of the centre/periphery divide? In addressing these questions, leading scholars of “French”, “Francophone” and “postcolonial” studies from around the globe help to assess the wider question of the evolving status of French Studies as a transnational field of study amid the challenges of globalization.

Postcolonial literature has often tended to invite readings that focus on the relation between texts and political contexts, not surprisingly perhaps, given the fraught historical moments of colonialism and decolonisation with which it frequently engages. Nevertheless, critics such as Nicholas Harrison have argued for attention to the literary as literary, and have explored the ways in which literary representation makes any assumed ideological content necessarily indeterminate. Taking into account this call for attention to the literary, this volume investigates more specifically the idiosyncrasies of postcolonial poetics, including postcolonial literature’s use of and experimentation with genre and form. However, this attention to poetics is not intended to replace political engagement, and, rather than privileging the literary at the expense of the political, this volume analyses how texts use genre and form to offer multiple distinct ways of responding to political and historical questions. Postcolonial texts engage with the political world in a variety of ways, directly or indirectly, and it is in their specific uses of genre and form that they alter or develop our understanding of the particular contexts with which they grapple. According to Graham Huggan, postcolonial studies is inherently plural and interdisciplinary, in that it is made up of literary and cultural analysis as well as political theory, psychoanalysis, anthropology, history and philosophy. It is in the combination and manipulation of such forms of analysis that postcolonialism is able to imagine alternative identities and societies. This volume of postcolonial poetics therefore probes some examples of different kinds of literary writing, its blurring with other discourses and its manipulation of genre and form, in order to achieve a better understanding of its transformatory power.This exploration of the poetics of genre also sheds light on how different kinds of texts offer specific, distinct modes of thought.

An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library.The Francophone Caribbean and the American South are sites born of the plantation, the common matrix for the diverse nations and territories of the circum-Caribbean. This book takes as its premise that the basic configuration of the plantation, in terms of its physical layout and the social relations it created, was largely the same in the Caribbean and the American South. Essays written by leading authorities in the field examine the cultural, social, and historical affinities between the Francophone Caribbean and the American South, including Louisiana, which among the Southern states has had a quite particular attachment to France and the Francophone world. The essays focus on issues of history, language, politics and culture in various forms, notably literature, music and theatre. Considering figures as diverse as Barack Obama, Frantz Fanon, Miles Davis, James Brown, Edouard Glissant, William Faulkner, Maryse Condé and Lafcadio Hearn, the essays explore in innovative ways the notions of creole culture and creolization, terms rooted in and indicative of contact between European and African people and cultures in the Americas, and which are promoted here as some of the most productive ways for conceiving of the circum-Caribbean as a cultural and historical entity.

The 2007 manifesto in favour of a “Littérature-monde en français” has generated new debates in both “francophone” and “postcolonial” studies. Praised by some for breaking down the hierarchical division between “French” and “Francophone” literatures, the manifesto has been criticized by others for recreating that division through an exoticizing vision that continues to privilege the publishing industry of the former colonial métropole. Does the manifesto signal the advent of a new critical paradigm destined to render obsolescent those of “francophone” and/or “postcolonial” studies? Or is it simply a passing fad, a glitzy but ephemeral publicity stunt generated and promoted by writers and publishing executives vis-à-vis whom scholars and critics should maintain a skeptical distance? Does it offer an all-embracing transnational vista leading beyond the confines of postcolonialism or reintroduce an incipient form of neocolonialism even while proclaiming the end of the centre/periphery divide? In addressing these questions, leading scholars of “French”, “Francophone” and “postcolonial” studies from around the globe help to assess the wider question of the evolving status of French Studies as a transnational field of study amid the challenges of globalization.