announcements, calls for papers, job opportunities, monthly mailing, new titles, news, SFPS Mailing, SFPS monthly mailing

SFPS Mailing: August 2020

24th August 2020
  1. Calls for Papers/Contributions.

1.1 Film, Television, and History in the French-speaking world.

1.2 Being Hospitable: Languages and Cultures Across Borders (MLA International Symposium, 17-19 June 2021, Glasgow)

1.3 Call for Participation: The Languages of Covid-19: Implications for Global Healthcare.

1.4 Call For Papers: Historical Reflections/Réflexions Historiques.

1.5 Call for Papers / Ecrire la frontière (journée d’étude) – Aix-Marseille Université.

1.6 Call for Contributors (Book Project / Colloquium): Colonial Slavery in European Museums: Arts and Representations.

1.7 CFP: DISCOVERY | 19th-C. Studies Assoc. Virtual Conference.

1.8 CfA: (De)commemoration: Making sense of the contemporary calls for tearing down statues and renaming places.

1.9 Appel à contributions : Les Mondes d’Édouard Glissant / The Worlds of Édouard Glissant.

1.10 Studies in Travel Writing special issue: ‘Vertical Travel: Deceleration, Microspection, Confinement’.

1.11 CfP/Appel – Francophone Texts of the North and South: Geographical Imaginaries (NeMLA 2021 – Philadelphia, PA, USA, March 11 – 14, 2021).

1.12 Call For Papers: “Cheap Nature” in Visualizations of Transatlantic Exchange.

1.13 Call for Papers: “Gardening in the Tropics: Ecology and Race in Caribbean Art”.

1.14 Appel à communications : « Sillonner pour dé/former les brèches langagières: pratiques et existences exophoniques » (Colloque annuel de la revue Post-Scriptum) / Un/crossing language cracks: exophonic practices and realities (Post-Scriptum’s annual conference).

1.15 CFP – NeMLA 2021 – Aquatic Tropes in Francophone Postcolonial Cultures (Panel).

1.16 CFP: “Tragedy and Philosophy,” a CPCT conference (AY 2020-21; submission deadline 1 September, 2020).

1.17 Historical Reflections Special Issue CFP.

1.18 CfA – Special Issue of the Australian Journal of French Studies.

1.19 CFP: Marginalised Voices and Figures in French Festival Culture, 1500–1800 (King’s College London, 24-25 October 2020).

1.20 Appel à contribution Statuaires, mémoires.

  1. Job and Scholarship Opportunities.

2.1 IF@ULB – Individual Fellowships at Université libre de Bruxelles.

2.2 Lecturer in French – Grade 7/8, University of Liverpool.

2.3 British Academy Postdoctoral Fellowships – University of St Andrews.

2.4 British Academy Postdoctoral Fellowships – Newcastle University.

2.5 Leeds: BA Postdoctoral Fellowships.

2.6 Davis Center Fellowships.

2.7 Call for applications for the Core Program of the Camargo Foundation 2021-2022 (Cassis, France).

2.8 Tenure Track Professorship in Conflict Studies (W1 Tenure Track to W2), University of Marburg .

2.9 British Academy Postdoctoral Fellowship at the IMLR – call for Expressions of Interest.

2.10 Part-Time Instructor in French Needed, Ohio Wesleyan University.

2.11 Assistant Professor, Teaching Stream – French as a Second Language (Writing) job posting – Department of Language Studies, University of Toronto Mississauga.

2.12 British Academy Postdoctoral Fellowships at University of Warwick.

  1. Announcements.

3.1 Daphne Jackson Fellowships now available to Arts and Humanities Researchers.

3.2 ASMCF Initiative Fund and Outreach Prize.

3.3 Call for applications: National Recognition for Outstanding Teachers of French in Australia.

3.4 Virtual Scholarly Exchange in French History.

3.5 Cultures of Belgian Space/ Cultures de l’espace belge (1850-1924): Conference Programme.

3.6 My Thesis in 3 minutes in French.

3.7 Decolonising Modern Languages: A Symposium for Sharing Practices and Ideas (online, 8-11 September 2020).

3.8 Ameena Gafoor Institute for the Study of Indentureship and its Legacies Website Launch.

3.9 Transnational Modern Languages: Introducing the Book Series.

  1. New Publications.

4.1 Hamid Dabashi, On Edward Said: Remembrance of Things Past (Chicago: Haymarket Books, 2020) (Forthcoming in November).

4.2 Gavan Titley, Is Free Speech Racist? (Cambridge: Polity Press, 2020).

4.3 Histoire sociale / Social History, 53, 107 (2020) Slavery, Memory, Power: France and Its Former Colonies. Guest edited by Audra A. Diptée and Myriam Cottias.

4.4 RELIEF 14,1 (2020) Ecritures francophones du Maroc contemporain. Édité par Annelies Schulte Nordholt et Emmanuelle Radar.

4.5 Alain-Philippe Durand (ed.), Hip-Hop en Français: An Exploration of Hip-Hop Culture in the Francophone World (Lanham: Rowman & Littlefield, 2020).

4.6 Cynthia J. Becker, Blackness in Morocco: Gnawa Identity through Music and Visual Culture (Minneapolis: University of Minnesota Press, 2020) (Forthcoming in November).

4.7 Jean Sénac, Le Soleil sous les armes (Paris: Terrasses éditions, 2020).

4.8 Gavin Arnall, Subterranean Fanon: An Underground Theory of Radical Change (New York: Columbia University Press, 2020).

4.9 Babel. Littératures plurielles, 41 (2020) Identité et altérité dans la littérature de l’espace euro-méditerranéen.

4.10 Clio. Femmes, Genre, Histoire, 51 (Printemps 2020) Femmes et genre en migration.

4.11 Pascale Pellerin (ed.), Les Lumières, l’esclavage et l’idéologie coloniale. XVIIe-XXe siècles (Paris: Classiques Garnier, 2020).

4.12 Michael Peyron, Contes et légendes de la montagne amazighe (Maroc) (Rabat: Institut Royal de la Culture Amazighe, 2020).

4.13 Catherine Gilbert, Kate McLoughlin, and Niall Munro (eds.), On Commemoration: Global Reflections upon Remembering War (Oxford: Peter Lang, 2020).

4.14 Eva Spišiaková, Charles Forsdick, and James Mark (eds.), The Global Crisis in Memory: Populism, Decolonisation and How We Remember in the Twenty-First Century. The new Special Collection from Modern Languages Open, a fully Open Access platform.

4.15 Buata B. Malela, Édouard Glissant. Du poète au penseur (Paris: Editions Hermann, 2020).

4.16 Claude Couture and Srilata Ravi (eds.), Britannicité. Essai sur la présence française dans l’Empire britannique au XIXe siècle (Laval: Presses de l’Université Laval, 2020).

4.17 Lia Brozgal, Absent the Archive: Cultural Traces of a Massacre in Paris, 17 October 1961 (Liverpool: Liverpool University Press, 2020) (Forthcoming in November).

4.18 Inès Cazalas and Delphine Rumeau (eds.), Épopées postcoloniales, poétiques transatlantiques (Paris: Classiques Garnier, 2020).

4.19 Cynthia V. Parfait, Panorama des littératures francophones des îles de l’océan Indien (Paris: Anibwe, 2020).

4.20 Loïc Céry, Édouard Glissant, une traversée de l’esclavage (Paris: Éditions de l’Institut du Tout-Monde, 2020).

4.21 Alma Rachel Heckman, The Sultan’s Communists: Moroccan Jews and the Politics of Belonging (Redwood: Stanford University Press, 2020) (Forthcoming in November).

4.22 Jay Rajiva, Towards An Animist Reading of Postcolonial Trauma Literature (London: Routledge, 2020).

1. Calls for Papers/Contributions

1.1 Film, Television, and History in the French-speaking world

Film and television intersect with history in French-speaking regions of the world in myriad ways.  They represent the past in documentaries and fiction; act as documents of the periods in which they were produced and initially consumed; offer new ways to imagine and/or narrate the past; and function as objects of study that help us understand the emergence, marketing, and appropriation of what has been one of the most widely consumed cultural forms of the modern era.

Film and television intersect with history transnationally as well, through complex networks of production, consumption, and appropriation across the globe. Envisioning film and TV productions as, to quote Felwine Saar, “local imaginaries” dissenting from the formulaic audio-visual narratives of the former colonizer and/or a US-inflected global culture, we seek contributions that address how directors configure unique histories and narratives in the French-speaking world, as well as analyses of films or television programs from France about France.

This special issue of French Historical Studies invites papers from scholars of history, film, and television studies whose inquiries concern France and/or regions that have shared its history and have engaged with it politically, culturally, or intellectually. In so doing, we hope to assess and advance the conversation between historians and scholars of film and television around issues of representation. What can film and/or television tell us about France, most especially “France in the world” (to quote Boucheron et al.)? What can film and/or television tell us about the need for new historically inflected narratives of the post-colony?

Submissions on all periods are encouraged.  Themes may include and are not limited to:

  • Film as a way of representing the past
    • Staging history on the screen, large or small
    • Adapting the historical text or fiction for the screen
    • Documentary about historical events/ moments/ personalities
    • Accentuated cinema in France
  • Film and the archive
    • The constitution and/or use of film archives
    • Film as compensation for the missing archive by giving voice to the voiceless
  • Film as cultural object
    • Documentary or essay film as a reflection on/of its era
    • How particular conditions of production, distribution, or appropriation illuminate their historical moment
    • The use of film to engage cultural, political, or linguistic struggle
    • Political histories of film and TV

Queries about submission and other matters should be addressed to both guest editors Laura Mason ( and Florence Martin (  We would like to receive proposals for papers by October 2020.

To submit an article, visit After registering, follow the submission instructions under “Instructions for Authors” on the website. Articles may be either in English or in French but must in either case conform to French Historical Studies style and must be accompanied by 150-word abstracts in both French and English. Manuscripts may be between 4,000 and 8,000 words. For illustrations, stills, or film clips, authors must obtain written permission for both print and online publication from the relevant persons or institutions.

Deadline for submission of papers to FHS is September 1, 2021


Appel à communications:  Film, télévision, et histoire dans le monde francophone

Les éditrices de French Historical Studies lancent un appel à articles pour un numéro spécial sur le cinéma, la télévision et l’histoire, à paraître en 2022.

Le cinéma, la télévision croisent l’histoire dans les régions francophones de mille façons. Ils représentent le passé dans des documentaires ou des fictions; font office de témoignages des périodes dans lesquelles ils sont produits et consommés pour la première fois; imaginent ou narrent le passé d’une façon nouvelle; fonctionnent comme objets d’étude qui nous renseignent sur l’émergence, le marketing et l’usage des formes culturelles les plus populaires du monde contemporain.

Le cinéma et la télévision croisent aussi l’histoire dans un contexte transnational, par l’intermédiaire de réseaux complexes de production, consommation, et appropriation à travers le monde. Concevant le cinéma et la télévision comme des “imaginaires locaux” (pour citer Felwine Saar) qui divergent des récits conventionnels de l’ex-colonisateur et/ou d’une culture mondiale dominée par les Etats-Unis, nous invitons des propositions de textes traitant des façons dont les réalisateurs du monde francophone configurent ou construisent des Histoires ou des récits uniques, ainsi que d’analyses de films ou d’émissions de télévision en France sur la France.

Ce numéro spécial de FHS invite des propositions d’historiens et de spécialistes du cinéma et/ou de la télévision en France et/ou dans les régions qui ont partagé son histoire et interprété sa vie politique, sociale, ou culturelle. Nous espérons ainsi aboutir à un état des lieux et poursuivre une conversation active entre historiens et spécialistes de film et de télévision autour des questions de représentation. Que peuvent nous dire le cinéma et/ou la télévision de la France, surtout “la France dans le monde” (pour reprendre l’_expression_ de Boucheron et al.)? Que peut nous dire le cinéma et/ou la télévision sur le besoin de récits nouveaux autour de l’histoire dans la post-colonie?

Toutes les époques historiques entrent dans notre champ d’investigation. Parmi les thèmes possibles :

  • Le cinéma comme représentation du passé
    • Représenter l’histoire sur grand ou petit écran
    • Adapter la fiction ou le texte historique à l’écran
    • Documentaires sur des événements / personnages / périodes historiques
    • Le « Cinéma accentué » en France
  • Le film et l’archive
    • La constitution et/ou l’usage d’archives de film
    • Le film et l’absence d’archive ; donner voix aux personnes sans voix.
  • Le film comme objet culturel
    • Documentaire ou film-essai en tant que réflexion de/sur son époque.
    • Éclairage des conditions de production, distribution, ou consommation du film sur une époque historique donnée.
    • + Le rôle du film dans les luttes culturelles, politiques et/ou linguistiques.
    • + Histoires politiques du cinéma et/ou de la télévision.

Les propositions d’articles, ainsi que toutes vos questions, sont à adresser à nos deux directrices du numéro spécial : Laura Mason ( et Florence Martin (

La date limite pour une proposition d’abstract est fixée au 31 octobre 2020.

Pour soumettre un article, veuillez consulter Après vous être enregistré(e), suivez les instructions de la section « Instructions for Authors ». Les articles peuvent être soumis en anglais ou en français, mais, dans les deux cas, ils doivent être conformes au style de FHS, et doivent être accompagnés d’un résumé ou abstract de 150 mots, dans les deux langues. Les manuscrits doivent comporter entre 4 000 et 8 000 mots. Concernant les illustrations, prises de vue, ou extraits de film, les auteurs doivent obtenir la permission écrite de les publier sous forme papier et digitale de la part des personnes dépositaires des droits sur ces images ou extraits audiovisuels, ou de la part des responsables des institutions d’où les images sont originaires.

La date limite pour soumettre les articles est fixée au 1 septembre 2021.

1.2 Being Hospitable: Languages and Cultures Across Borders (MLA International Symposium, 17-19 June 2021, Glasgow)

The next MLA symposium will take place in Glasgow, Scotland, from 17–19 June 2021. The call for papers, “Being Hospitable: Languages and Cultures Across Borders,” is available now:

Perhaps you have an idea for a roundtable or panel session. Maybe you’d like to submit an individual paper proposal. Our online submission portal is open, so take a look at the call and send in your work. We look forward to gathering in person, and we can’t wait to welcome you to Glasgow. Use the links below to learn more about the symposium.


Symposium details and FAQs


Important dates and deadlines


Call for papers


Submission portal

If you have any questions about the symposium or how to submit a proposal, please write to

1.3 Call for Participation: The Languages of Covid-19: Implications for Global Healthcare

Online Workshops followed by Conference on 21-22 June 2021 (IMLR, London)

This British Academy-funded project examines the role that modern languages and translation studies can play in revealing new ways of thinking about and communicating Covid-19. Focusing on the language used in multilingual healthcare settings, international public health campaigns and by patients across the globe, the project analyses what new facets or understandings of the disease might be revealed by a linguistic and cultural encounter with non-anglophone languages and societies. The project is formed of three connecting strands.

Strand 1 will focus on Covid-19 healthcare delivery in non-anglophone medical settings in the UK and overseas. Drawing on the experience of practitioners and academic research, it will ask how translation and interpreting, far from leading to a ‘loss’ of information, may generate new epistemes on Covid-19. This strand may also include examinations of the language used by medical practitioners that reflect on the value of linguistic diversity in patient healthcare.

Strand 2 will examine the language used by politicians and policy makers from across the world to articulate Covid-19. It will discuss the prophylactic language used in governmental public health messages and campaigns by cultural figures (e.g. musicians) in non-anglophone countries, asking how these differ from trends in the anglophone world. It will also consider public health messages in signed languages and what light these shed on understandings of Covid-19.

Strand 3 will consider the language used to describe Covid-19 by non-anglophone patients who have contracted the disease. It will draw on a range of first-person patient accounts and languages of Covid-19, including blogs, documentaries, articles, social media posts and short stories, asking how a more multilingual, multi-generic, multimedia appreciation of ‘the patient’s story’ might enhance our understanding of the disease.

A conference bringing together all participants will be held at the IMLR in London on 21-22 June 2021. The Keynote Speaker will be Professor Charles Forsdick (University of Liverpool and AHRC Theme Leadership Fellow, ‘Translating Cultures’).

Proposals of c. 250 words outlining a contribution to the issues to be considered in one of the three strands (please indicate which) should be emailed to the organisers, Dr Steven Wilson ( and Dr Piotr Blumczynski (, by Monday 14th September 2020. There will be a publication resulting from this project.

Participants must be free to take part in their respective online workshop and the conference (21-22 June 2021). Dates for the workshops are: Strand 1 – Friday 29th January 2021; Strand 2 – Friday 12th February 2021; Strand 3 – Friday 26th February 2021 (all 2-4pm).

1.4 Call For Papers: Historical Reflections/Réflexions Historiques

Editor: Elizabeth C. Macknight, University of Aberdeen
Co-Editor: W. Brian Newsome, Elizabethtown College

Historical Reflections/Réflexions Historiques (HRRH) has established a well-deserved reputation for publishing high quality articles of wide-ranging interest for over forty years. The journal, which publishes articles in both English and French, is committed to exploring history in an interdisciplinary framework and with a comparative focus. Historical approaches to art, literature, and the social sciences; the history of mentalities and intellectual movements; the terrain where religion and history meet: these are the sub-jects to which Historical Reflections/Réflexions Historiques is devoted.

Contributions are invited from all fields of intellectual-cultural history and the history of religion and mentalities.

Some specific themes include:
• Music history
• Social policies and societal change (including studies with a comparative focus)
• Material culture and emotions
• Architectural and garden history
• Small businesses
• Colonial/imperial studies

Manuscript Submission
The editorial board welcomes submissions for publication in English or French. Authors should submit articles as email attachments, formatted as Microsoft Word or Rich Text Format files. Please note that all correspondence will take place via email. Send submissions and complete contact information to the editor, Elizabeth Macknight at

Have other questions? Please refer to the various Berghahn Info for Authors pages for general information and guidelines including topics such as article usage and permissions for Berghahn journal article authors (

Indexed in:
• Arts & Humanities Citation Index (Web of Science)
• Scopus
• Historical Abstracts

For a full listing of indices, please visit the website:

1.5 Call for Papers / Ecrire la frontière (journée d’étude) – Aix-Marseille Université

Vendredi 27 novembre 2020, IMéRA, Marseille

Écrire la frontière est une journée d’étude organisée par des jeunes chercheur·e·s de l’Université d’Aix-Marseille et de l’ED 354. Cette manifestation est labellisée par la fédération interdisciplinaire CRISIS (Corpus, Représentations, Identités, Santé et Interactions Sociales), en partenariat avec l’IMéRA (Institut Méditerranéen d’études et de recherches avancées) et le Collège doctoral franco-allemand Conflits de culture – cultures de conflit.

Texte de présentation 

Selon le dictionnaire historique de la langue française, la frontière est « un dérivé de front (faire front), […] un lieu gardé par une armée, une place forte qui fait front à un ennemi ». Le terme que nous employons aujourd’hui, et qui renvoie à la limite qui sépare deux États ou détermine l’étendue d’un territoire, remonte à 1360. Peu à peu, la frontière revêt ainsi une dimension géopolitique, dont peuvent découler des processus de surveillance, de fermeture et de contrôle, allant jusqu’aux politiques migratoires et à la création d’« effets frontières ». Aussi, émergent des « frontiérisations », consolidant la limite entre les territoires. Par ailleurs, le concept de frontière est investi dès le XVIIIe siècle d’un sens figuré pour marquer des limites, des séparations, dans des champs aussi bien concrets qu’abstraits ; on parle par exemple de « frontières d’une région » ou de « frontières linguistiques ».

L’espace frontalier que figure la Méditerranée est révélateur de la polysémie que le concept déploie. Elle constitue une rupture entre différentes aires culturelles et territoires qui se sont rencontrés dans la violence et les rapports conflictuels. Marqué par les conséquences du colonialisme, le « Mur Méditerranée » (Dalembert, 2019) est infranchissable pour certain·e·s, ou traversé au péril des existences ; même une fois la frontière franchie, la « condition de l’exilé » (Nouss, 2015) reste empreinte de cette limite, qui le maintient à la lisière socioculturelle du continent d’arrivée. Toutefois, la Méditerranée peut aussi être appréhendée comme un « tiers-espace » (Bhabha, 1994), où les cultures environnantes convergent pour finalement former une entité composite. En témoigne par exemple la lingua franca (Dakhlia, 2008), langue véhiculaire utilisée du Moyen Âge jusqu’au XIXe siècle par des populations de diverses origines (commerçants, négociants, esclaves, prisonniers, nomades, marins, voyageurs, etc.) circulant au sein du bassin méditerranéen. Ainsi, la frontière peut être pensée comme un espace de rencontres et de liens entre des entités a priori séparées, surtout à une époque où les personnes, les biens et les informations connaissent une circulation globalisée. Peut-on néanmoins parler de « dématérialisation des frontières » ?

Stéphane Rosière affirme que « nous ne vivons pas un processus de dématérialisation des frontières comme les libéraux des années 1990 l’avaient rêvé mais un processus concomitant de matérialisation/dématérialisation des frontières internationales ». En effet, « l’effacement (et la dématérialisation) de la frontière se fait par une sorte d’étalement de la fonction frontalière qui s’en trouve délinéarisée ». Les frontières obéiraient alors davantage à une logique réticulaire, et pourraient à ce titre être qualifiées de mouvantes, notamment en vertu du déplacement des contrôles au-delà de la ligne frontalière, facilité par les technologies de tracking des individus. Cette dématérialisation dépend en effet d’une mise en réseau de divers systèmes de contrôle qui visent à produire les documents de la surveillance. Il s’agit donc d’une véritable matérialité, celle des data centers qui, s’ils sont déconnectés de la frontière linéaire, concrétisent une frontière disséminée.

Cette mutation de la notion de frontière a trouvé, entre transgression et célébration, un écho important dans les pratiques littéraires et artistiques contemporaines (arts plastiques, arts visuels, arts de la scène, entre autres). À travers les démarches de délimitation d’un médium, ou celles revendiquant, au contraire, une hybridité constitutive du geste artistique, un véritable espace de croisements et de « contaminations » est édifié. Depuis les années 1960, les travaux sur la dématérialisation ont nourri sans précédent la réflexion artistique (McLuhan, 1964 ; Lippard & Chandler, 1968 ; Michaud, 2003), depuis les débats entre fiction et documentaire jusqu’aux multiples déplacements des frontières entre les arts, notamment via des pratiques hybrides telles que les livres d’artiste, les installations multimédia, la coprésence du numérique et de l’analogique, les rapports art-science. L’hybridation des pratiques artistiques, prise dans un double mouvement de dématérialisation/rematérialisation de ces frontières, ouvre de nouvelles questions autour de l’esthétique, du geste formel de l’acte de création et des dynamiques de réception. Aussi, les frontières entre artiste et public sont redessinées, rendant poreuse la délimitation traditionnelle entre la scène et les spectateurs, et plus largement entre l’espace de la fiction et celui du réel / entre « monde du texte » et « monde du lecteur », ou au contraire en se traçant sur de nouveaux supports.

Aux côtés de la notion de « frontière » en tant qu’objet représenté, se manifeste de plus en plus le désir de composer directement in situ et « sur le fil ténu des frontières » (Pliya, 2011). Les écrivains, les artistes et les penseurs contemporains ont prolongé leurs réflexions autour de la problématique frontalière et des différentes présences possibles au monde qu’elle sous-tend. Il s’agirait donc moins de s’intéresser à la frontière comme objet de création que de la considérer à travers son caractère liminaire, c’est-à-dire, comme « seuil » (Agier, 2013) vers la création. Les pratiques scripturales et artistiques investissent cet espace-frontière en tant que lieu de vie tissé d’un ensemble de relations et de liens, afin de dire son hétérogénéité et la richesse des échanges qu’il génère. En ce sens, la frontière devient notamment performative pour les identités hybrides ; c’est ainsi que la conçoit Léonora Miano, écrivaine qui dit « habiter la frontière ». Cette dernière se décline au sein de ses créations à travers le mélange des influences et des langages artistiques, ou encore dans sa perception des catégories sociales. Aussi, même si « ces identités frontalières sont nées de la douleur » et qu’elles « habitent, au fond, un espace cicatriciel », « la cicatrice n’est pas la plaie. Elle est la nouvelle ligne de vie qui s’est créée par-dessus. Elle est le champ des possibles les plus insoupçonnés » (Miano, 2012).



Plusieurs dimensions de la frontière seront abordées, parmi lesquelles figurent (liste non exhaustive) :

  1. Choix esthétiques et mélanges génériques, intermédialité, interdisciplinarité, extra-disciplinarité, hybridation artistique et linguistique.
  2. Reconfiguration de l’espace de création et des expériences de réception : frontière artiste/public, réel/fiction, altérité/corporalité.
  3. Pratiques et enjeux de l’écriture et de la création en lien avec la distanciation physique et / ou sociale : espace privé et espace public, privation des libertés, situations d’isolement, confinement, création en exil ou sous la censure.
  4. Repenser les espaces humains et les relations culturelles et identitaires ; approches géocritique, géopoétique, écopoétique.


Déroulement de la manifestation 

Cette journée d’étude, Écrire la frontière se veut internationale et interdisciplinaire.

Elle sera consacrée à des communications de jeunes chercheur·e·s ayant répondu à l’appel à contributions, qui seront inaugurées par l’intervention de Patrick Suter, Professeur de littérature française à l’Université de Berne et auteur du théâtre-essai Frontières. Il s’agira de problématiser et circonscrire les divers points de vue interdisciplinaires sur la question des traces frontalières : « Frontières ? Si nombreuses sur la surface de la terre ! Si diverses ! Ne cessant de changer, de se recomposer, de naître, de disparaître ! (…) et certes, Frontières, le texte que tu lis, lecteur, ne contient que quelques variations parmi une infinité possible » (Suter, 2014). La manifestation sera clôturée par une table-ronde réunissant des écrivain·e·s et des artistes de différents territoires géographiques et artistiques, qui discuteront les usages littéraires, artistiques et historiques de la frontière. Ces artistes du « Tout-Monde » (Glissant, 1997) seront invité·e·s à s’exprimer sur la présence/absence et la résonance des frontières au sein de leurs œuvres.

Nous souhaitons que la journée d’étude se tienne en présentiel. Toutefois, si des participant·e·s préfèrent communiquer à distance, ils·elles peuvent nous le signifier dans leur proposition de communication ; nous pourrions, à titre indicatif, en accepter deux, sous la forme, par exemple, d’un enregistrement à reproduire lors de la manifestation. Par ailleurs, si la situation liée à la pandémie du Covid-19 nous oblige à un nouveau confinement, la JE se fera entièrement à distance, via l’application zoom. Un message sera envoyé aux participant·e·s fin septembre pour faire le point sur la situation.


Date limite et modalités de soumission  

L’appel à contribution s’adresse à des doctorant·e·s et à des jeunes chercheur·e·s (ayant soutenu leur thèse il y a moins de 4 ans) issu·e·s de diverses disciplines en sciences humaines et sociales, notamment en arts, littératures, philosophie, esthétique, histoire, sciences du langage, anthropologie, sociologie, langues et cultures étrangères.

Les propositions de communication sont à envoyer à l’adresse mail : au plus tard le 25 août 2020 ; nous vous prions d’y faire figurer un titre, un résumé de 400 mots maximum, l’(es) axe(s) retenue(s), ainsi qu’une courte bio-bibliographie. Les réponses seront envoyées au plus tard le 21 septembre 2020.

La langue française sera privilégiée pour nos échanges, mais les communications en anglais sont également acceptées. Par ailleurs, les communications à deux et en dialogue interdisciplinaire sont les bienvenues.

Les communications donneront lieu à un projet de publication numérique.

Nous nous tenons à disposition des intéressé·e·s et des participant·e·s retenu·e·s pour toutes questions logistiques.

Pour plus d’informations :


Membres de l’équipe organisatrice





– Mounir TAIRI (LERMA)


Membres supplémentaires du conseil scientifique 

–       Dante BARRIENTOS-TECUN, Professeur en Études latino-américaines, CAER, AMU.

–       Nicole COLIN, Professeure en Études germaniques, ECHANGES, AMU ; directrice du collège doctoral franco-allemand, Conflits de culture – cultures de conflit.

–       Matthew GRAVES, Maître de conférences HDR en Études anglophones, LERMA, AMU.

–       Anna GUILLÓ, Professeure en Arts plastiques et sciences de l’art, LESA, AMU.

–       Catherine MAZAURIC, Professeure de Littérature contemporaine d’expression française, directrice du CIELAM, AMU.


Bibliographie indicative

Agier, Michel, La condition cosmopolite, L’anthropologie à l’épreuve du piège identitaire, Paris, La Découverte, 2013.

Amilhat Szary, Anne-Laure, « Le Border Art fait le mur », De ligne en ligne n°18, 2015.

Assmann, H.-D., Baasner, F., Wertheimer, J., (dir.), Grenzen, Baden-Baden, Nomos, 2014.

Augé, Marc, Non-Lieux. Introduction à une anthropologie de la surmodernité, Paris, Seuil, 1992.

Berthet, Dominique (dir.), Vers une esthétique du métissage ?, Paris, L’Harmattan, 2002.

Bhabha, Homi K., Les lieux de la culture. Une théorie postcoloniale, Paris, Payot, 2007.

Chamayou-Kuhn, C., Iglesias, S., Quéva, C., Richter, A., et Vilain, Y., « Frontières en question », Trajectoires n°2/2008, [].

Cristofol, Jean, « L’art aux frontières », antiAtlas Journal, [].

Dakhlia, Jocelyne, Lingua franca – Histoire d’une langue métisse en Méditerranée, Actes Sud, 2008.

Dufoulon, S., Rostekova, M., Migrations, mobilités, frontières et voisinages, Paris, L’Harmattan, 2011.

Glissant, Édouard, Traité du Tout-Monde, Paris, Gallimard, 1997.

Gómez-Pena, G., et Sifuentes, R., Exercises for Rebel Artists : radical Performance Pedagogy, Londres, Routledge, 2011.

Guilló, Anna, « Border art et frontières de l’art », antiAtlas Journal, 1, 2016, []

Harmon, Katharine, The Map as Art, Contemporary artists explore cartography, New York, Princeton Architectural Press, 2009.

Holmes, Brian, « L’extra-disciplinaire. Pour une nouvelle critique institutionnelle », Multitudes n°28, 2007, [].

Ivekovic, Rada, 2012, « Conditions d’une dénationalisation et décolonisation des savoirs », Mouvements n°72, p. 35-41.

Le Bris, M., Rouaud, J. (dir.), Pour une littérature-monde, Paris, Gallimard, 2007.

Lippard Lucy & Chandler, John, « The Dematerialization of Art », Art International vol.12, n°2, févr. 1968, p. 31-36.

Mazauric, Catherine, Mobilités d’Afrique en Europe, Récits et figures de l’aventure, Karthala, Lettres du Sud, 2012.

Mezzadra, S., Neilson, B., La frontière comme méthode ou la multiplication du travail, Toulouse, L’asymétrie, 2019.

Kantuta Quirós et Aliocha Imhoff (dir.), Géo-esthétique, Paris, B42, 2014.

Miano, Léonora, Habiter la frontière, Paris, L’Arche, 2012.

Michaud, Yves, L’art à l’état gazeux : essai sur le triomphe de l’esthétique, Paris, Stock, 2003

Mignolo, Walter, La Désobéissance épistémique : rhétorique de la modernité, logique de la colonialité et grammaire de la décolonialité, Berne, Peter Lang, 2015.

Pliya, José, Écrire sur le fil ténu des Frontières, Carnières-Morlanwelz, Lansman, 2011.

Rosière, Stéphane, “Les frontières internationales entre matérialisation et dématérialisation”, antiAtlas Journal, 2, 2017,[]

Suter, Patrick, Frontières, Paris, Passages d’encres, 2014.


Frontières, groupe de jeunes chercheur·e·s de l’Université d’Aix-Marseille



IMéRA, Marseille

1.6 Call for Contributors (Book Project / Colloquium): Colonial Slavery in European Museums: Arts and Representations

“Les décors et installations éviteront le style de reconstitution réaliste, qui ne rend compte de rien du tout, car il n’approchera jamais la cruauté des ventres des bateaux et des antres des Plantations.”


Édouard Glissant. Mémoires des esclavages. La fondation d’un centre national pour la mémoire des esclavages et de leurs abolitions. Gallimard, 2007. 153-4.



“[W]e might ask if a museum, as an institution that is profoundly marked by the fantasy of modernity, and whose postmodern trimmings only double its capacity to create a fiction nourished by the West, is a suitable tool for voicing the complex cultural structure born out of slavery …. [T]he slave’s experience is diametrically opposed to that of the museum, since slavery contains within it the ‘scandalous’ version of the very modernist project that the museum works to consecrate.”


Christine Chivallon. “Representing the Slave Past : The Limits of Museographical and Patrimonial Discourses” in Nicola Frith and Kate Hodgson, eds., At the Limits of Memory : Legacies of Slavery in the Francophone World. Liverpool University Press, 2015. 43-44.

Edited by Professors Anne-Claire Faucquez (Université Paris 8), Renée Gosson (Bucknell University, Pennsylvania), Androula Michael (Université Jules Verne Picardie, Amiens)

Often at the political crossroads between state institutions and associations calling for increased emphasis on the memory, truth and colonial legacies, museal institutions that speak about slavery have historically reinforced patrimonial discourses that celebrate European abolitionists and neutralize claims to alternate memories.

Ten years after the international colloquium “Exposer l’esclavage-méthodologies et pratiques” (Musée du Quai Branly, 11-13 May 2011), and amidst recent calls to “decolonize” museums, our collection seeks to examine the representation of colonial slave trade and slavery across European museal contexts. Our project proposes to investigate the degree to which European museums featuring the slave trade, slavery and their abolitions have responded to many of the questions raised at this colloquium by museum directors, scholars, and artists. Given the recent explosion of global protests against racialized police brutality and the desecration of statues and monuments symbolizing racism, what further changes do these museums envision?

In what ways do the International Slavery Museum in Liverpool, the Museums of Bristol and Glasgow, the Musée d’histoire de Nantes, the Musée d’Aquitaine de Bordeaux, the Musée du Nouveau-Monde de la Rochelle, and Amsterdam’s Tropenmuseum or Rijksmuseum, just to name a few, narrativize slavery within their permanent and temporary exhibits and how has this evolved over time? Especially in the absence of physical objects owned by the enslaved, we are particularly interested in the museographical strategies museums implement to represent the ultimately unspeakable and unrepresentable horrors of the slave trade and the plantation.  For example, what role do contemporary art and artists play in permanent or temporary exhibits in representing the silenced and forgotten experiences of the enslaved? In what ways do they decolonize or, as Christine Chivallon says, “scandalize” the inherently and perhaps inescapably Western space that is the museum? How does art remember differently, thereby breaking with national museographical narratives that maintain a hierarchy of memory and superficially celebrate multicultural social cohesion?

Finally, how does or can art address the gaps between history and memory and connect the slave past to its cultural, racial, economic, and social legacies today? In what ways do these works of art, and the museums that “hold” them, incite visitors to see and to relate to these connections and to engage in social justice? Particularly at this moment when—in the midst of a global pandemic that has accentuated racial disparities in healthcare—there are worldwide protests against police brutality (Black Lives Matter) and the international desecration of statues and monuments connected to slavery, what role should the museum play in moving societies toward postcoloniality?

We are seeking contributions—theoretical and/or descriptive—from academic scholars, curators, and artists on topics including:

  •     The museographies of colonial slavery in European museal spaces (in Britain, the Netherlands, France and the Iberian Peninsula–Spain and Portugal)
  •     The use of muséohistoire/museohistory to question the staging and narrativization of museum exhibits on colonial slavery
  •     The role of art in permanent and/or temporary exhibits on colonial slavery
  •     The limits of museographical/patrimonial discourses to represent the enslaved’s experience. (Is the slave, as says Achille Mbembe, an “anti-museum figure”?)
  •     The use of alternative museographies (digital technologies, multimedia, interactive, immersive, multisensorial exhibits, web-based museums) to supplement, question, and challenge traditional exhibits
  •     The role of the museum as social agitator/harmonizer in moving communities toward understanding/reconciliation of a shared history

This book project grew out of a series of conferences titled “Objets et enjeux des représentations de l’esclavage colonial” / “Objects and Stakes of Slavery Commemoration”:

  • “Scénographies et regards d’artistes” / “Scenographies and the Role(s) of Art(ists)” (Paris 8; December 2018);
  • “Décolonisation des discours et regards d’artistes / “Decolonizing discourses and the Role(s) of Art(ists)” (U. de Picardie, Amiens; March 2019); and
  • “Retours à l’Afrique” / “Returns to Africa” (Bandjoun Station; Université Dschang, Cameroon, November 2019).

Authors will be invited to present their contributions at our next colloquium–“Objects and Stakes of Slavery Commemoration: Mapping Slavery Memories and Artistic Visions” / “Objets et enjeux des représentations de l’esclavage colonial: Cartographies des mémoires et regards d’artistes”–at the Musée d’Art et d’Histoire Paul Eluard de la ville de Saint-Denis as part of the (postponed) Africa2020 project with the Institut Français. If the pandemic prevails, this international colloquium will be virtual.

Project Timeline:

  1. By October 1, 2020: Please send abstracts of 250-300 words in addition to a 50-100 word biography in a Word document to Papers can be in English (preferred) or French. Authors will be notified by mid-October.

2: Early April 2021: Successful proposal authors will submit their contributions (3,500-8,000 words in length). We welcome traditional scholarly and non-traditional contributions, varying in length and format.

3: May 2021: Organized into chapter themes, contributors will be asked to read each other’s work prior to our colloquium.

4: June 10-11 2021: International colloquium–“Mapping Slavery Memories and Artists’ visions” / “Cartographies des mémoires et regards d’artistes”–with presentations of 10 min in conversation with other panelists’ papers and the larger book project. (Open to the public.)

  1. Mid-July  2021: Final versions of contributions due.

Please do not hesitate to send questions prior to deadline.

Participants are encouraged to include moving or still images to accompany their submissions.


Projet éditorial /Colloque

L’esclavage colonial dans les musées européens : 

mises en récit et regards d’artistes

Sous la direction des professeurs Anne-Claire Faucquez (Université Paris 8), Renée Gosson (Bucknell University, Pennsylvanie), Androula Michael (Université Jules Verne Picardie, Amiens)

A la croisée des chemins politiques entre les institutions étatiques et les associations qui réclament un renforcement de la mémoire, de la vérité et des héritages coloniaux, les institutions muséales qui parlent de l’esclavage ont historiquement renforcé les discours patrimoniaux qui célèbrent les abolitionnistes européens et neutralisent les prétentions à des mémoires alternatives.

Dix ans après le colloque international “Exposer l’esclavage-méthodologies et pratiques” (Musée du Quai Branly, 11-13 mai 2011), et au milieu des récents appels à “décoloniser” les musées, notre collection cherche à examiner la représentation de la traite négrière coloniale et de l’esclavage dans les contextes muséaux européens. Notre collection se propose d’examiner dans quelle mesure les musées européens qui présentent la traite des esclaves, l’esclavage et leurs abolitions ont répondu à de nombreuses questions soulevées lors de ce colloque par les directeurs de musées, les chercheurs et les artistes. Étant donné la récente explosion des protestations mondiales contre la brutalité policière raciste et la profanation de statues et de monuments symbolisant le racisme, quels autres changements ces musées envisagent-ils ?

De quelle manière le Musée international de l’esclavage de Liverpool, les Musées de Bristol, ou de Glasgow, le Musée d’histoire de Nantes, le Musée d’Aquitaine de Bordeaux, le Musée du Nouveau-Monde de la Rochelle, le Tropenmuseum ou le Rijksmuseum d’Amsterdam, pour n’en citer que quelques uns, narrent-ils l’esclavage dans leurs expositions permanentes et temporaires et comment cela a-t-il évolué au fil du temps ? En l’absence d’objets physiques appartenant aux esclaves, nous sommes particulièrement intéressés par les stratégies muséographiques que les musées mettent en œuvre pour représenter les horreurs finalement indicibles et non représentables de la traite des esclaves et de la plantation.  Par exemple, quel rôle l’art et les artistes contemporains jouent-ils dans les expositions permanentes ou temporaires pour représenter les expériences silencieuses et oubliées des esclaves ? De quelle manière décolonisent-ils ou, comme le dit Christine Chivallon, “scandalisent-ils” l’espace intrinsèquement et peut-être inévitablement occidental qu’est le musée ? Comment l’art se souvient-il différemment, rompant ainsi avec les récits muséographiques nationaux qui maintiennent une hiérarchie de la mémoire et célèbrent superficiellement la cohésion sociale multiculturelle ?

Enfin, comment l’art aborde-t-il ou peut-il aborder les écarts entre l’histoire et la mémoire et relier le passé de l’esclavage à son héritage culturel, racial, économique et social actuel ? De quelle manière ces œuvres d’art, et les musées qui les “détiennent”, incitent-ils les visiteurs à voir et à se rapprocher de ces liens et à s’engager dans la justice sociale ? En particulier en ce moment où, en pleine pandémie mondiale qui a accentué les disparités raciales dans les soins de santé, des protestations mondiales contre la brutalité policière (Black Lives Matter) et la profanation internationale de statues et de monuments liés à l’esclavage, quel rôle le musée devrait-il jouer pour faire évoluer les sociétés vers la postcolonialité ?

Nous recherchons des contributions – théoriques et/ou descriptives – d’universitaires, de conservateurs et d’artistes sur des sujets tels que:

– Les muséographies de l’esclavage colonial dans les espaces muséaux européens (Au Royaume-Uni, aux Pays-Bas, en France et dans la Péninsule ibérique, Espagne et Portugal)

– L’utilisation de la “muséohistoire” pour interroger la mise en scène et la narrativisation des pièces de musée sur l’esclavage colonial

– Le rôle de l’art dans les expositions permanentes et/ou temporaires sur l’esclavage colonial

– Les limites des discours muséographiques/patrimoniaux pour représenter l’expérience de l’esclave, l’esclave est-il “figure de l’anti-musée” (Achille Mbembe)?

– L’utilisation de muséographies alternatives (technologies numériques, multimédia, interactives, immersives, expositions multisensorielles, musées en ligne) pour compléter, questionner et remettre en question les expositions traditionnelles

– Le rôle du musée comme agitateur/harmonisateur social pour amener les communautés à comprendre/réconcilier une histoire commune

Ce projet de livre est né d’une série de conférences intitulées “Objets et enjeux des représentations de l’esclavage colonial” / “Objects and Stakes of Slavery Commemoration” :

  • “Scénographies et regards d’artistes” / “Scénographies et rôle(s) de l’art” (Paris 8 ; décembre 2018) ;
  • “Décolonisation des discours et regards d’artistes” (U. de Picardie, Amiens ; mars 2019) ; et
  • “Retours à l’Afrique” / “Retours to Africa” (Université Dschang, Cameroun, novembre 2019).

Les auteurs seront invités à présenter leurs contributions lors de notre prochain colloque “Objets et enjeux de la commémoration de l’esclavage” : Mapping Slavery Memories and Artistic visions” / “Objets et enjeux des représentations de l’esclavage colonial : Cartographies des mémoires et regards d’artistes” — qui se tiendra au Musée d’Art et d’Histoire Paul Eluard de la ville de Saint Denis dans le cadre du projet Africa2020 (reporté) avec l’Institut Français. Si les conditions sanitaires ne nous permettent pas de nous réunir, ce colloque aura lieu en distanciel.

Calendrier du projet :

  1. 1er octobre 2020 : Veuillez envoyer un résumé de 250-300 mots en plus d’une biographie de 50-100 mots à Les articles peuvent être rédigés en français ou en anglais. Vous recevrez une réponse mi-octobre.

2 : Début avril 2021 : Les auteurs des propositions retenues soumettront leurs contributions (de 3 500 à 8 000 mots). Nous acceptons tout type de contributions, de longueurs et de formats différents.

3 : Mai 2021 : Organisés par thèmes de chapitre, les contributeurs seront invités à lire/commenter leurs travaux respectifs avant notre colloque.

4 : 10-11 juin 2021 : Colloque international “Mapping Slavery Memories and Artistic visions” / “Cartographies des mémoires et regards d’artistes”- dans lequel les contributeurs feront une courte présentation de 10 min en lien avec les chapitres des autres membres de leur atelier et en lien avec le projet du livre. (Ouvert au public.)

  1. Mi-juillet 2021 : Envoi des versions finales des contributions.

N’hésitez pas à envoyer vos questions avant la date limite.

Les participants sont encouragés à inclure des illustrations pour accompagner leurs chapitres.

1.7 CFP: DISCOVERY | 19th-C. Studies Assoc. Virtual Conference

The 42nd Annual Virtual Conference
Nineteenth Century Studies Association
March 11-13, 2021

CFP Deadline: October 31, 2020


NCSA invites proposals for papers, panels, roundtables, and special sessions that explore our theme of Discovery in the long nineteenth century (1789-1914). As an interdisciplinary organization, we particularly seek papers by scholars working in art/architecture/visual studies, cultural studies, economics, gender and sexuality, history (including history of the book), language and literature, law and politics, musicology, philosophy, and science (and the history of science). In light of the many changes in pedagogy, research, and the exchange of ideas we have all experienced this past year, we particularly welcome papers, panels, or roundtable topics that address discoveries in the use of technology for nineteenth-century studies and teaching.

Papers might discuss uncovering lost cities, recovering forgotten manuscripts, or discovering new ways of thinking about aesthetic and historical periods. Scholars might explore the physical recovery of the past (archeology, geology), but also intellectual recovery as old ideas become new (evolution, neoclassicism, socialism, spiritualism). Papers might discuss publicizing discoveries (periodicals, lectures) or exhibiting discoveries (museums, world’s fairs, exhibitions). Other topics might include rediscovering and revisiting the period: teaching the nineteenth century, editing primary texts, and working toward diversity and social justice in the humanities.

Click here for more details.

1.8 CfA: (De)commemoration: Making sense of the contemporary calls for tearing down statues and renaming places

Editors: Sarah Gensburger & Jenny Wüstenberg

The toppling of the statue of slave-trader Edward Colston in Bristol, England, by activists on June 7 has spotlighted the ubiquitous presence of memorials that glorify colonial and racist legacies. In the wake of protests in 2020 against police violence and racism, calls to dismantle memorials have reverberated around the globe. One might say that the current wave of mobilization surrounding public commemoration began in 2017, when the removal of a Confederate monument was proposed in Charlottesville Virginia and led to violent clashes with white supremacists and neo-Nazis. However, the toppling of statues is neither a new or unique phenomenon nor is it limited to the Anglo-Saxon world. The transformation of commemoration – challenging and removing existing monuments, and creating new ones – is at the core of remembrance as social and political action. Memory studies scholars have highlighted the extent to which the evocation of the past is always framed by interests and meanings in the present. This book brings together cutting-edge research from different regions and disciplines – not to determine whether tearing down particular statues or renaming places is good or bad, but to help us make sense of the current era of (de)commemoration as a way to understand and transform contemporary societies. The book is aimed not merely at scholars, but at the public more broadly.

We place the idea of “(de)commemoration” at the center of this volume in order to signal that dismantling monuments and place names must be considered in conjunction with processes of remembrance more generally. In other words, we can understand the removal of references to the past only through what is placed there instead – even if it turns out to be an empty space. This notion parallels the close relationship between remembering and forgetting.
Contributors will raise and answer key questions on (de)commemoration, each of them articulating conceptual and empirical elements, emerging from case studies from different continents, perspectives and social science disciplines (including political science, anthropology, sociology, geography, history and media studies, and of course memory studies). Questions to be addressed include (but are not limited to):
§ To what extent is (de)commemoration (or particular elements of it) is a new phenomenon?
§ Does contemporary (de)commemoration result from transnational dynamics?
§ What do claims for (de)commemoration in (mostly) urban spaces mean in a digital society?
§ Who calls for (de)commemoration and using what arguments?
§ Do “ordinary people” actually care about statues, street names and other vectors of memory that others want to change?
§ How is (de)commemoration implemented and by whom, from state administrators to memory activists?
§ Can we speak of (de)commemoration as a policy field?
§ Can (de)commemoration itself become heritage?
§ How effective is (de)commemoration as a means of challenging ingrained structures of racism and inequality?

Gathering between twenty and thirty contributions (5000 words each) and written for a large audience that stretches beyond an academic readership, the book will be published by Berghahn Books in the “Worlds of Memory” book series (in cooperation with the Memory Studies Association, edited by Jeffrey Olick, Aline Sierp and Jenny Wüstenberg), on an accelerated schedule. We are also exploring co-editions with foreign-language publishers.

Please send a short biography (100 words) and an abstract (250-300 words) in one document to the editors, presenting your case study/studies, methodology and data, and outlining the questions you will address by September 1st. We will respond by September 15. Please note that, given the goal of reaching a broad audience and our tight production schedule, the final texts will need to be submitted by November 15, 2020. It is crucial that you are fully aware of this expectation.

Sarah Gensburger, French National Center for Scientific Research, CNRS,
Jenny Wüstenberg, Nottingham Trent University,

1.9 Appel à contributions : Les Mondes d’Édouard Glissant / The Worlds of Édouard Glissant

Les Mondes d’Édouard Glissant · Francosphères

(English below)

« Le monde a toujours été un perpétuel devenir » déclare Édouard Glissant en 1994 dans un entretien publié dans la revue Passages (12). Ainsi annonçait-il en penseur la cause du caractère « imprévisible », « déroutant », « complexe » et « intriqué »  de ce qui constituait pour lui « l’objet le plus haut du poème » (La Terre le Feu l’Eau et les Vents. Une anthologie de la poésie du Tout-monde, 19). Cependant, si le monde a de toute évidence été pour Glissant un double objet de poésie et de pensée, celui-ci fit aussi l’objet de variations dans ses différentes et successives expressions au fil de sa production littéraire (poésie, essai, roman, théâtre…). Bien qu’imaginé et pensé en tant que « totalité », le monde pouvait aussi bien être « particulier », comme il l’annonce dès son premier essai, Soleil de la conscience (1956), affirmant alors « que tout être vient à la conscience du monde par son monde d’abord ; d’autant universel (pour parler large) qu’il est particulier ; d’autant généreux et commun qu’il a su devenir seul, et inversement » (18).

Inlassable penseur du monde, poète attentif à ne pas le réduire, ni à l’uniformiser, ni à l’essentialiser, Édouard Glissant a forgé à travers ses écrits de nombreuses notions-monde : chaos-monde, échos-monde, totalité-monde, mondialité, elles-mêmes subsumées dans le Tout-monde, défini comme  « notre univers tel qu’il change et perdure en changeant et, en même temps, la “vision” que nous en avons » (Traité du Tout-Monde, 176). Au regard de ces mondes d’Édouard Glissant, les questions suivantes guideront notre étude : Comment cette  pensée poétique du/des monde(s) évolue-t-elle dans l’œuvre ? Quelles en sont les origines et les éventuelles influences ? En quoi les premiers écrits d’Édouard Glissant demeurent-ils actuels ? Et si son oeuvre constitue un miroir de notre monde contemporain, comment nous aide-t-elle à le penser ?

Ce dossier ne cherche pas à résumer, à présenter ou à définir systématiquement ce que serait la vision du monde d’Édouard Glissant. Il entend bien plutôt mettre en lumière son « tremblement », c’est-à-dire la multiplicité de ses pensées des mondes, leurs variations, leur(s) origine(s), le cheminement de leur élaboration, leur place, aussi, dans l’œuvre du penseur. Dix ans après sa disparition, et parce que sa poétique continue d’inspirer les travaux académiques à travers les langues, les frontières et les disciplines, nous interrogerons ce « monde à créer mais qui est déjà là, et dont nous n’avons pas encore une connaissance disons évidente » (L’Imaginaire des langues, 116). Ce volume accueillera des travaux touchant à l’œuvre d’Édouard Glissant dans des domaines tels que la littérature, la philosophie, l’histoire, l’anthropologie, la sociologie ou les arts. Les études pourront porter sur un ou plusieurs texte(s), comme sur une ou plusieurs pensées-monde de Glissant. Les articles ne devront pas excéder 6000 mots (bibliographie et notes incluses) et respecter les consignes de la revue (consulter le guide).

Les propositions de contribution en français ou en anglais (entre 250 et 400 mots, suivies d’une notice bio-bibliographique de 120 mots maximum) sont à adresser à Jeanne Jégousso (Hollins University), Raphaël Lauro (Université de Montréal) et Charly Verstraet (University of Alabama at Birmingham) à jegoussoj[at]

Date-limite pour les propositions d’articles : 1er octobre 2020

Date-limite pour les articles (MHRA Style: 1er février 2021, suivi d’une période de relecture et de révisions

Date prévue de publication : décembre 2021 dans la revue Francosphères


Call for Papers · Special issue of the journal Francosphères (December 2021)

“Le monde a toujours été un perpétuel devenir [The world has always been in perpetual becoming]” says Édouard Glissant in 1994 in an interview published in the journal Passages (12). Here, he announced the grounds of the “unpredictable”, “disconcerting”, “complex”, and “intricate” nature of what constituted for him “l’objet le plus haut du poème [the highest purpose of the poem]” (La Terre le Feu l’Eau et les Vents. Une anthologie de la poésie du Tout-monde, 19). However, if the world was a double object of poetry and thought for Glissant, it was also subject to variations in different and successive forms during the course of its literary production (poetry, essay, novel, theater play …). Although imagined and thought of as a “totality”, the world could just as well be “unique” as Glissant writes in his first essay, Sun of Consciousness (1956), asserting then “que tout être vient à la conscience du monde par son monde d’abord ; d’autant universel (pour parler large) qu’il est particulier ; d’autant généreux et commun qu’il a su devenir seul, et inversement ? [that every being comes to the consciousness of the world through his world first; as universal (broadly speaking) as it is unique; as generous and common as it became solitary, and vice versa?]” (18).

An indefatigable thinker of the world, a poet attentive not to reduce it, nor to standardize it or to essentialize it, Édouard Glissant has elaborated many world notions through his writings: chaos-monde, échos-monde, totalité-monde, mondialité, themselves subsumed in Tout-monde, defined as “notre univers tel qu’il change et perdure en changeant et, en même temps, la “vision” que nous en avons [our universe as it changes and endures by changing and, concurrently, the ‘vision’ that we have of it]” (Treatise on the Whole-World, 176). Considering these worlds of Édouard Glissant, the following questions will guide our study: How does this poetic thought of the world (s) evolve in his work? What are its origins and possible influences? How do the first writings of Édouard Glissant remain current? And if his work is a mirror of our contemporary world, how does it help us understand our world?

This special issue does not seek to summarize, introduce or define what would be the thought of Édouard Glissant’s world. Rather, he intends to highlight his “trembling”, that is to say the multiplicity of his worldly thoughts, their variations, their origin(s), the evolution of their development, as well as their place in the work of the thinker. Ten years after Glissant’s passing, as his oeuvre continues to inspire scholarly works across languages, borders and disciplines, we will examine this “monde à créer mais qui est déjà là, et dont nous n’avons pas encore une connaissance disons évidente [world to be created but already there, and of which we do not yet have, let’s say, a thorough knowledge]” (L’Imaginaire des langues, 116). This issue welcomes approaches related to Édouard Glissant’s work in fields such as literature, philosophy, history, anthropology, sociology, and the arts. The studies may relate to one or more text (s), as well as to one or more Glissant worldly thoughts. Articles should not exceed 6000 words (bibliography and notes included) and respect the journal’s guidelines (see the style guide).

Abstracts in French or English (between 250 and 400 words, and a bio-bibliographic notice of 120 words maximum) should be emailed to Jeanne Jégousso (Hollins University), Raphaël Lauro (Université de Montréal), and Charly Verstraet (University of Alabama at Birmingham) at jegoussoj[at]

Due date for abstracts: October 1st, 2020

Due date for articles (MHRA Style): February 1st, 2021 (which will be followed by revisions)

Publication: December 2021 in Francosphères

1.10 Studies in Travel Writing special issue: ‘Vertical Travel: Deceleration, Microspection, Confinement’

Guest edited by Charles Forsdick (University of Liverpool), Zoe Kinsley (Liverpool Hope University) and Kate Walchester (Liverpool John Moores University)

Travel writing is not exclusively a literature of mobility. The journeying it describes often exists in creative tension with experiences of slowness, immobility and even of confinement. Some travelogues recount (self-imposed sojourns (e.g. Maria Graham’s Three Months Passed in the Mountains East of  Rome, or Eric Newby’s Love and War in the Apennines) while others , such as those narrating diplomatic journeys (e.g., the Letters of Lady Mary Wortley Montagu), may become accounts of “extended stays”. There is another tradition of travel texts that recount breakdown when the itinerary stalls and grinds to a halt, as travellers (like Victor Segalen, in the midst of his Equipée) are forced to refocus on their immediate surroundings. Other travel writers explore geographically limited lives and spaces, as is exemplified by Patrick Leigh Fermor’s focus on monasticism in A Time to Keep Silence. In a much earlier text, Voyage autour de ma chambre, Xavier de Maistre turns his own confinement into a reason to explore the minutiae of domestic space.

This broad range of texts disrupts the traditionally horizontal axes of travel writing by replacing the customary emphasis on expansive movement through open spaces with a more decelerated or even sessile attention to the proximate and vertical. As such, any spatial and kinetic shift they imply is simultaneously accompanied by a radical adjustment of scale as the panoramic yields to more microscopic forms of engagement. Kris Lackey coined the term ‘vertical travel’ to describe this often unexpectedly close attention to a specific location, a burrowing into topographical or chronological detail that permits new perspectives on the exotic as well as on the everyday. Vertical travellers can be out of place (e.g., Nicolas Bouvier in the Sri Lanka of Le Poisson-Scorpion), but may equally enhance a sense of denizenship and permit close engagement with their own locality in ways that encourage (in the poetry and prose of John Clare, Dorothy Wordsworth’s journals or the travel/nature writing of Jacques Lacarrière) re-enchantment of the ordinary. Vertical travel extends also to the contemporary practice of urban exploration (UrbEx), journeying to heights and depths to gain new perspectives on the cityscape.

Replacing such phenomenological concerns with an attention to the historical and even spectral, William Least HeatMoon coined the term “deep mapping” to designate his exploration of hidden cartographic detail in texts such as PrairyErth. Jean-Didier Urbain describes the practice of “ethnologie de proximité” (proximate ethnography), and in texts such as Scarp, Nick Papadimitriou performs what he calls a “deep topography” that links the practice to contemporary forms of psychogeography. Such journeying is far from being vicarious or disembodied. It is very different, for instance, from the practice of armchair travel exemplified by Huysmans’s Des Esseintes. The imagination and the intellect play a key role, and what Michael Cronin dubs “microspection” can, like the practice of any other form of travel, involve deep introspection. Yet vertical travel is a different form of embodiment, an alternative type of sensory engagement, involving closing in, as opposed to opening out.

We invite proposals of a maximum 500 words for articles that explore the concept of vertical travel and cognate practices. We welcome studies of travel writing from a range of different historical periods and linguistic or cultural traditions. The following list is far from exhaustive, but articles may address the following topics:

  • Travel writing and confinement
  • Travel writing and quarantine
  • Vertical travel and the senses
  • Vertical travel and the histories of place
  • Travel writing, deceleration and pedestrianism
  • Travel writing and nature writing
  • The exotic and the endotic
  • Verticality versushorizontalism

Key dates: submission of abstracts (including 200-word bio-bibliography): 30 September 2020; communication of outcome to potential contributors: 21 October 2020; submission of articles for review: 28 February 2021; where appropriate, submission of revised articles following review: 30 June 2021; publication of special issue: late 2021.

Information for contributors to Studies in Travel Writing is available here:

Please send proposals to:, and

1.11 CfP/Appel – Francophone Texts of the North and South: Geographical Imaginaries (NeMLA 2021 – Philadelphia, PA, USA, March 11 – 14, 2021)

Due September 30th

The study of Francophone writings in Francophonie has mostly focused on the borders and differences between different countries and regions, France maintaining its central position inherited from colonial times. There is a clear distinction between texts produced in France, which are not understood as part of the Francophone corpus, and a further one made between texts produced in Francophone regions or by emigrants of regions of the Global South: the Maghreb, Sub-Saharan Africa, Asia and the Caribbean; and those from the Global North: Europe, and Canada.

Our interest will be in how the Northern or Southern referents can be modulated by different imaginaries of the North and the South. These geographical markers often understood as absolutes can also be modified by the expression and the position of the author: The South of France might be Northern for a Maghrebi author, the Saint-Lawrence valley is Northern for most of French speakers, but Southern for Innu authors. We will study texts from authors established in different Francophone countries and regions and will attempt to see what links are possible between their different representations of geographic markers that have carried meaning mostly as absolutes, and also as synonyms of colonisation from the North towards the South.

We will attempt to build a corpus of representations of the North and South from different literatures of the Francophone world, and try to establish the different modes of writing these geographic markers. We will read the texts not by focusing exclusively on their national context but by studying their representations of what is Northern and Southern, breaking from the absolute of the cardinals in order to constitute modulated and varied Souths and Norths.

Questions guiding this panel will include:
-How are the South and the North adapted to different writing contexts, and do these markers change depending on the exogenous or endogenous positions of writers from the geographical regions?
-Are there links between the South as written in literatures from Europe and the Maghreb, the North as written in Canada or the Caribbean, for example?
-In which measure are authors able to extract themselves of the center-periphery dynamics of Francophonie to establish their own definitions of what is Southern and Northern?
-How are authors recontextualizing the geographical spaces of the South and North in their writing, what superpositions are possible between the different territories inhabited and lived, and imagined?
-Is there a possibility of reinvention and creation of new localities in modulating the absolutes of the North and South?
-What can Northern and Southern mean outside of their absolute ?

Proposals are welcome in both English and French.

To submit an abstract, please go on the NeMLA portal at : You will be prompted to create an account.

For general queries, please contact Sarah Yahyaoui at : syahyaoui@gradcenter.cuny.

Textes francophones du Sud et du Nord : imaginaires géographiques

Appel à contributions – NeMLA 2021 – Philadelphie, PA, États-Unis, 11-14 mars, 2021

Date de tombée : 30 septembre

L’étude de textes francophones dans la francophonie s’est surtout consacrée à celle des frontières et des différences entre les différents pays et régions, la France maintenant sa position centrale héritée de l’époque coloniale. Il existe une distinction claire entre les textes produits en France, qui ne sont pas compris comme faisant partie du corpus francophone, et une autre entre les textes produits par les auteurs attachés aux régions francophones du Sud global :  le Maghreb, l’Afrique subsaharienne, l’Asie et les Caraïbes; et ceux du Nord global : l’Europe et le Canada.

Notre intéret réside dans la modulation des référents du Nord et du Sud par différents imaginaires. Ces marqueurs géographiques souvent entendus comme absolus peuvent aussi être modifiés par l’expression et la position d’un auteur : le Sud de la France est nordique pour un auteur maghrébin, la vallée du Saint-Laurent nordique pour la majorité de la francophonie, mais austral pour les auteurs innus. Nous étudierons les textes d’auteurs établis dans différentes régions et pays francophones et tenterons de voir quels liens sont possibles entre leurs différentes représentations de marqueurs géographiques qui ont souvent été compris comme absolus, mais aussi comme synonymes de la colonisation du Nord vers le Sud.

Nous essaierons de construire un corpus de représentations du Sud et du Nord à partir de multiples littératures du monde francophone et établirons à partir de ceux-ci les modalités d’écriture de ces marqueurs géographiques. Nous lirons les textes sans seulement s’intéresser à leur contexte de production national, mais en étudiant les représentations qu’ils donnent de la nordicité et de l’australité, se détachant de l’absolu des points cardinaux afin de constituer des Suds et des Nords variés et modulés.

Les questions guidant ce panel inclueront :
-Comment le Sud et le Nord sont adaptés par différents auteurs et contextes d’écriture; est-ce que ces marqueurs changent selon la position exogène ou endogène des écrivains par rapport à ces régions géographiques?
-Existe-t-il des liens entre le Sud dans les littératures de l’Europe et du Maghreb, le Nord comme écrit au Canada ou dans les Caraïbes, par exemple?
-Dans quelle mesure les auteurs sont-ils capable de s’extraire des dynamiques centre-périphérie de la Francophonie afin d’établir leurs propres définitions de ce qui est nordique ou austral?
-Comment les auteurs recontextualisent les espaces géographiques du Nord et du Sud dans leurs écritures, quelles superpositions sont possibles entre les territoires habités et vécus et imaginés?
-Peut-on réinventer, voire créer de nouveaux lieux en modulant les absolus du Nord et du Sud?
-Qu’est-ce que la nordicité et l’australité peuvent vouloir dire en-dehors de leur absolu ?

Les communications peuvent être faites en anglais ou en français.

Pour envoyer votre proposition, prière d’aller sur le portail de NeMLA à cette adresse web : Vous pourrez dès lors créer un compte.

Pour toute autre question, vous pouvez contacer Sarah Yahyaoui à l’adresse courriel suivante : syahyaoui@gradcenter.cuny.

1.12 Call For Papers: “Cheap Nature” in Visualizations of Transatlantic Exchange

CFP: CAA 2021 Conference Session:  “”Cheap Nature” in Visualizations of Transatlantic Exchange” at the College Art Association Annual Conference, New York 10-13 Feb. 2021

Chairs: Maura A. Coughlin, Bryant University and Emily W. Gephart, School of the Museum of Fine Arts at Tufts University

Global movements of animal-and-plant based commodities have long been situated amid networks of colonized exploitation that began with the Columbian Exchange. As Raj Patel and Jason W. Moore write in A History of the World in Seven Cheap Things (2017), narratives of capitalist overconsumption of “cheap nature” harnessed naive faith in modernity to an accelerating extraction of monetary value from “natural resources.” From the late 15th to the mid 20th century, as the commons diminished and awareness grew of the loss of species on the land, in the sea and in the air, new forms of visual and material culture explored the mounting cost of expending seemingly inexhaustible natural materials. Alongside and entangled with the “slow violence” (Nixon, 2011) enacted by colonizers against indigenous populations, the depletion of extra-human natures was devastatingly short-sighted.

This panel aims to unsettle the comfort with which art history has trafficked in the “cheap” natural products that were hunted, harvested, circulated and recombined in the modern era. We seek papers that trace evidence of exploitative interspecies relations; ones that examine the intertwined aesthetic, and cultural networks of resource exhaustion; or ones that show how image-and-object makers registered the consequences of extinction.

Papers might consider settler colonialist land clearances, deforestation, agro-ecologies and Capitalocene frontiers, the production of ecological knowledge in the face of monetized nature, visualizations of migration, decimation, dispossession, and displacement of human and other-than human entities or the politics of “invasive” species.

Email 150 word abstract and short CV by September 16 to and

1.13 Call for Papers: “Gardening in the Tropics: Ecology and Race in Caribbean Art”

College Art Association Conference Session 2021

February 10-13, 2021

C.C. McKee, Assistant Professor of History of Art, Bryn Mawr College

Inspired by a volume from Jamaican poet Olive Senior, this panel endeavors to cultivate critical art historical methods for engaging the relationship between tropical ecology and race in artistic practices, visual and material culture from the Caribbean archipelago. Whether considering the past or the present, the environment’s most (neo-)colonial features all too often obfuscate the subaltern indigenous, African and Asian diasporic forms of being entwined with tropical nature. An array of theorists offer perspectives that bolster an environmental approach to representations of racialized being: Kamau Braithwaite’s tidalectics eschew dialectical synthesis in favor of a non-progressive existential flow where the ocean meets land. Édouard Glissant’s creolized ecology finds modes of Caribbean existence in the environment beyond a “traumatic reaction” to the ongoing legacy of slavery and indentureship. Suzanne Césaire’s theorization of the homme-plante (plant-man) contends that African diasporic life is “tied to the plant, to the vegetative cycle” to redress colonialism’s violence and valorize black culture developed under enslavement. Although the material implications of these positions abound, they predominately refer to racialized and (post-)colonial being-in-language. Embracing the region’s intrinsic heterogeneity, this panel welcomes proposals that address aesthetic engagements across historical period, national and imperial context, and artistic medium. Submissions may focus on, but are not restricted to, the following themes:

  • Marronage as an environmental ontology
  • Locating black being between the lines of natural history
  • Wage work and the acclimatization of indentured labor
  • Gender, race, and science in the kitchen garden
  • Decolonial queerness and the tropical landscape
  • Generative catastrophe in Caribbean aesthetics

Email a 150-word abstract and CV to by September 16, 2020.

1.14 Appel à communications : « Sillonner pour dé/former les brèches langagières: pratiques et existences exophoniques » (Colloque annuel de la revue Post-Scriptum) / Un/crossing language cracks: exophonic practices and realities (Post-Scriptum’s annual conference)

Université de Montréal, Québec, Canada, 8-9 avril 2021
Organisé par Flora Roussel et Miriam Sbih

*English follows

Au sein de sociétés mondialisées où l’individu est constamment connecté aux autres autant de manière positive que négative, une tendance à l’homogénéisation s’impose, telle une fusion avec une majorité née de et formée par l’oppression qui, dès le départ, avait le pouvoir nécessaire de dicter cette uniformisation. Réside toutefois la possibilité de se saisir des procédés mêmes ayant mené à l’assimilation afin d’y résister, de refuser cette identité contrainte se résumant en termes de nation, de culture et de langue. L’inscription d’identités et d’une pensée au creux d’une certaine réalité exige ce sillonnement, cette médiation par le langage. S’approprier une langue dont la présence immédiate a été synonyme d’oppression, de violences et d’arrachements identitaires n’a alors rien d’un hasard. S’agirait-il de l’actualisation d’un premier pas vers un pardon, afin que les effluves d’un traumatisme cessent de réduire au silence une mémoire accidentée, ou serait-ce plutôt la volonté de mettre sous son joug la violence d’une langue ennemie? L’existence de ce réseau de nœuds complexes pousse également à s’interroger sur les potentialités du corps au sein même de cet enchevêtrement. De fait, l’identité-mondialisée faisant l’éloge d’une individualité transnationale et fluctuante s’oppose à l’idée projetant une singularité ancrée et déterminée par une nation et un territoire statiques, idée toujours véhiculée socialement et politiquement. Comment les corps peuvent-ils ressentir la rencontre d’un tel cadrage trans/national qui vise trop souvent à les dépouiller de ce qui les construit? Quelle tension peut-on observer, exprimer, véhiculer à partir de ces extrêmes mutuellement contradictoires?

Le langage semble alors constituer la pierre angulaire de ce questionnement. Il est la matière qui crée, forme, déforme, façonne et remodèle les contextes dans lesquels certain.e.s évoluent librement et où d’autres doivent se plier aux iniquités érigées comme normes. Ce mode d’expression dans ses actualisations aussi diverses et déroutantes qu’uniques et conflictuelles suggère de se pencher sur et d’explorer la pratique de l’exophonie, c’est-à-dire l’acte d’écrire dans une langue qui n’est pas « la sienne ». Cette écriture créative fournit les outils nécessaires pour résister avec fermeté aux points de convergence et de divergence. Parce qu’elle repose sur l’écriture au-delà de la langue maternelle (Yildiz, 2012), l’exophonie peut être considérée comme une pratique post-monolingue mettant en évidence « la lutte contre le paradigme monolinguiste » (ibid. : 4; l’autrice souligne; notre traduction). Celle-ci apparaît comme un moyen de résister à la construction nationalisante de la langue ainsi qu’à sa dimension temporelle figée qui fossilisent certains termes et conceptualisations. Dans la mesure où « l’exophonie renvoie à l’état général de celle.celui* qui est à l’extérieur de sa langue maternelle » (Tawada, 2003 : 3; notre traduction), elle s’efforce de faire mouvoir les personnes, les choses, les espaces, les temps (ibid. : 36) et en ceci, les fait évoluer des lieux statiques où elles sont fixées. La littérature joue un rôle évidemment crucial dans l’expression de ce dialogue. Mais, si ce dialogue peut s’avérer fructueux et offrir une sorte de rencontre hybride, il peut aussi se transformer en monologue, c’est-à-dire en un argument dont les échos se voient ignorés. Cela n’implique pas que l’objectif “littéraire” doit uniquement reposer sur le maintien d’une homogénéité à partir d’éléments hétérogènes. Il faudrait plutôt mentionner que la littérature est le berceau de discussions qui reflètent ces tensions nourrissant ces réflexions qui incombent aux communautés et au politique. La pratique exophonique est alors lieu privilégié permettant d’observer une reprise de pouvoir, un renversement inédit des espaces langagiers convenus.

De nombreux mouvements ont nourri ces discussions autour de l’identité, de la nation, de la culture, de la langue. D’un côté, on peut penser à la littérature des immigré.e.s* (Gastarbeiterliteratur) qui prospéra en Allemagne à partir des années 1950 et décrivait les conditions de travail et de vie des immigrant.e.s* de la première génération. De l’autre, on se souvient du concept de Weltliteratur qui a été développé par Goethe dans le but de contrecarrer les soi-disant littératures nationales et qui a influencé la théorisation et la pratique de la littérature transnationale. En outre, l’écriture exophonique émerge aussi de contextes postcoloniaux et décoloniaux. Si le mutisme se fait souvent première réponse des tremblements de celles.ceux* qui ont connu l’oubli imposé de soi, certain.e.s auteurices* décident sans détour de se saisir des codes coloniaux assignés, les renversent en les utilisant pour dire ce qu’ils ont toujours réduit à néant. Se réapproprier la langue impériale et s’en servir contre elle, la refuser d’une certaine façon, en exhibant ce qu’elle a à chaque instant menacé. Le phénomène contraire s’impose également, c’est-à-dire que malgré les limites implacables de la langue coloniale, s’actualise cet effort de reprendre possession de sa langue, à travers les mots même qui l’ont arrachée. Dans States of the Body Produced by Love (2019), la poétesse et intellectuelle Nisha Ramayya retrace notamment son  réapprentissage du sanskrit, “armée” d’un dictionnaire colonial anglais (1899).

Ces contextes littéraires qui concernent le développement de l’exophonie indiquent également une recomposition des corps. En écrivant dans une langue étrangère (ex. : Aki Shimazaki, Assia Djebar, Leanne Betasamosake Simpson), en écrivant à la fois dans leur langue maternelle et dans une langue autre (ex. : Yoko Tawada, Emine Sevgi Özdamar, Felipe Guaman Poma de Ayala), ou bien en écrivant dans différentes langues étrangères, les écrivain.e.s* se font l’écho de cette discussion autour de l’identité et des corps, car iels* sont aussi* d’expériences vécues, imaginées, fictionnalisées qui reflètent le monde globalisé et ses enjeux. Quelle est la place accordée aux corps dans ce rapport entre nation, culture et langue? Quel est le rôle de l’exophonie dans cette relation? Comment se matérialisent les tensions autour de l’identité et l’exophonie parvient-elle à les exposer entièrement?

Post-Scriptum souhaite se pencher sur la notion d’exophonie, afin de questionner sa pratique et sa conceptualisation, ainsi que permettre une discussion concernant l’identité et les corps par rapport à la nation, la culture, la langue, le genre, la migration, etc. Les propositions peuvent porter, sans devoir s’y limiter, sur les thèmes suivants:

  • Exophonie, littérature autochtone, littérature postcoloniale/décoloniale:

En quoi l’utilisation détournée de la langue de l’occupant.e peut permettre sa réappropriation?

Qu’implique l’imposition de l’utilisation de la langue coloniale dans un procédé de pensée et d’écriture décolonial?

  • Exophonie, exil, migration, nation:

Quelles sont les possibilités et limites provoquées par l’apprentissage d’une vie dans une langue autre que la nôtre?

Que permet l’exophonie pour repenser les notions d’extraterritorialité et le fait d’être -considér.é.e.s-  étrangèr.e.s? La libre migration d’une langue à d’autres  est-elle possible?

  • Exophonie, silence, trauma:

Quelles sont les effets et considérations derrière la représentation et la documentation du trauma, à travers le langage même qui l’a provoqué?

Comment l’exophonie permet de détourner le silence contraint qui fait souvent office de première réponse à un oubli imposé du moi/de l’identité culturelle/singulière?

  • Exophonie, féminisme, queer, genre:

Dans quelle mesure l’exophonie peut-elle encourager la subversion d’injonctions normatives sur les corps? Comment peut-elle se faire confronter ou être confrontée avec les normes, notamment au regard du genre?

Comment est-ce que l’exophonie, dans un rapport de défamiliarisation/création avec la langue visitée, permet de dévoiler sous de nouveaux rapports les questions de genre et déconstruire certaines notions/définitions figées par le langage?

  • Exophonie, écriture créative, traduction:

Quelle sorte d’imbrication entre exophonie, écriture créative et traduction peut-on observer? Dans quelle mesure la pratique exophonique questionne-t-elle l’acte même de traduire?

Qu’implique la notion d’intraduisibilité?

  •  Exophonie, limites, tensions:

Dans quelle mesure l’exophonie réitère-t-elle biais, normes et stéréotypes? Où se trouvent les limites de l’exophonie? Quelles tensions peut-on observer de et dans la pratique exophonique?

L’état linguistique de l’autrice exophone qui se dédouane du contexte politique et social peut-il être désengagé?

Nous encourageons les propositions d’étudiant.e.s de tous les cycles, de candidat.e.s au doctorat ainsi que de chercheur.e.s diplômé.e.s et de professeur.e.s, qu’iels* soient en recherche ou en recherche-création. Les communications peuvent être en français ou en anglais. Elles dureront vingt minutes et seront suivies d’une période de questions de la part du public.

Les participant.e.s potentiel.le.s doivent envoyer une proposition de 300 mots au plus tard le 9 novembre 2020 à l’adresse suivante: Vous devez envoyer votre proposition en deux fichiers distincts: dans le premier document doit apparaître le titre de votre communication et le texte de votre proposition; dans le second document doivent apparaître votre nom, votre université d’attache, votre adresse courriel, une courte bio-bibliographie et le titre de votre communication. Les propositions feront l’objet d’une évaluation à l’aveugle par le comité de lecture.

Veuillez noter que les frais de transport et d’hébergement ne seront pas pris en charge par la revue. Aucun frais de participation au colloque ne sera demandé aux participant.e.s.


  • 9 novembre 2020: date limite d’envoi des propositions.
  • 3 décembre 2020: décision du comité.
  • 8-9 avril 2021: colloque à Montréal.


Tous les termes suivis d’un astérisque se veulent non-binaires. Le point médian est utilisé comme formule épicène.


RAMAYYA, Nisha. States of the body produced by love, London, Ignota, 2019.

TAWADA, Yōko. Ekusophonī: bōgo no soto e deru tabi [Exophonie: Voyager en-dehors de sa langue maternelle], Tōkyō, Iwanami shoten, 2003.

YILDIZ, Yasemin. Beyond the Mother Tongue. The Postmonolingual Condition, New York, Fordham University Press, 2012.

Conference organized by Flora Roussel and Miriam Sbih

In a globalized world in which one is constantly connected with others in a positive and/or negative way, and thereby can be pushed to merge with others, in particular those who are given a majority based on oppression, and a voice within this homogenizing tendency, one can also – and sometimes even does – use the tools of the others to resist assimilation, refuse a unique identity that would be defined in terms of nation, culture, and language. Writing identity and thought in the depth of a precise reality requires this crossing, this mediating through language. The re-appropriation of a language, the close contact of which was synonymous with oppression, violence, and identity wrench, then comes as no surprise. Is it not a question of actualizing a first step toward forgiveness, in such a way that the trauma’s effluvia stop forcing an injured memory into silence, or is it rather a choice of putting the violence of an enemy language under one’s yoke? In this complex nexus one might wonder as to the place of bodies. In fact, the globalization of identity that praises a transnational and fluid persona might also contradict a territorially and politically fixed national persona that is still conveyed by societies and politics. How can bodies feel the encounter of such a trans/national framing that too often aims to strip one of that which builds them*? Which tension can one observe, express, convey from these mutually contradictory extremes?

Language is at the center of this questioning: it helps in shaping, unshaping, reshaping contexts in which one is willing to or is forced to, evolve. This way of expression, which can be so diverse, confusing, yet unique, conflictual, suggests exploring the practice of exophony, that is, the act of writing in a foreign language. This creative writing endows one with the tools to continuously resist points of convergence and also divergence. For it relies on writing beyond the mother tongue (Yildiz, 2012), exophony can be considered as a postmonolingual practice that highlights “the struggle against the monolingual paradigm” (ibid.: 4; emphasis in the original). Exophony appears as a way of resisting the nationalizing language construction and temporal dimension, both of which fossilize certain terms and conceptualizations. Inasmuch as “exophony refers to the general state of being outside one’s mother tongue” (Tawada, 2003: 3; our translation), it endeavors to displace personae, things, spaces, times (ibid.: 36), and so, to help them in evolving outside of static places. Literature obviously plays an important role into expressing this dialogue. However, while this dialogue can bear fruits and enable a sort of hybrid encounter, it can also turn into a monologue, that is, an argument falling on deaf ears. That is not to say that literature’s goal should solely rest on supporting a homogeneity out of heterogeneous elements. Rather one should note how literature is often the cradle of discussions that reflect these tensions, which feed societies and politics. The practice of exophony then appears as a space that is favored, in order to observe a recapture of power, an unprecedented turnaround of places that are linguistically fixed.

Numerous movements have fueled these discussions around identity, nation, culture, language. On the one hand, one could think of the guest worker literature (Gastarbeiterliteratur) that blossomed in Germany since the 1950s and described the working and living conditions and experiences of immigrants of the first generation. On the other, one can also recall the concept of Weltliteratur developed by Goethe as a means to counter so-called national literatures, a concept that influenced the theorization and practice of transnational literature. Further, one can consider exophonic writing from postcolonial and decolonial contexts. In fact, if silence is often the first response to shivers felt by authors that experienced having forcibly had to forget themselves*, some authors purposely make the decision of seizing and turning around imposed colonial codes, so as to make use of them in order to tell that which they always hid in layers of silence. Re-appropriating the imperial language and employing it against itself, refusing it in a way, by revealing that which it threatened once and always. One can also note the opposite phenomenon, that is, this effort of getting one’s language back through the very same words that tore it away from oneself, is brought up to present despite the unavoidable limits of the colonial language. In States of the Body Produced by Love (2019), the poet and intellectual Nishi Ramayya recounts, for instance, having re-learn Sanskrit, “armed” with an English colonial dictionary (1899).

These literary contexts that pertain to the development of exophony point to a refiguring of bodies. Writing in a foreign language (e.g., Aki Shimazaki, Assia Djebar, Leanne Betasamosake Simpson), writing in both their* mother tongue and a foreign language (e.g., Yoko Tawada, Emine Sevgi Özdamar, Felipe Guaman Poma de Ayala), or even writing in different foreign languages, the author echoes this discussion around identity and bodies, for they* are also conveying experiences lived, imagined, fictionalized that reflect the globalized world and its problems. What is the place given to bodies in this relation between nation, culture, and language? What role does exophony play in this? How are the tensions around identity rendered and can exophony entirely display them?

Post-Scriptum wishes to engage with exophony, so as to question its practice and its conceptualization as well as to enter into a discussion of identity and bodies with regard to nation, culture, language, gender, migration, etc. Proposals can focus on (but are not limited to) the following topics:

  • Exophony, Indigenous Literature, Postcolonial/Decolonial Literature:

Which exophonic techniques can be developed in an act of re-appropriating the oppressors’ language?

What does the imposition of using the colonial language involve in the process of thinking and decolonial writing?  

  • Exophony, Exile, Migration, Nation:

What kind of possibilities and tensions does the act of learning to live in another language than one’s own provoke?

How can exophony allow one to rethink notions of extraterritoriality and of being considered as a foreigner? Is the ‘free’ migration from one language to others possible?

  • Exophony, Silence, Trauma:

Which effects of and accounts to trauma can one observe from the representation and documentation of this same trauma through the language that caused it?

How can exophony hijack a coerced silence that often acts as the first response to forcibly having had to forget oneself and one own, particular cultural identity?

  • Exophony, Feminism, Queer, Gender:

How can exophony help in subverting normative injunctions on bodies? How can it confront or be confronted with, norms with regard to gender for instance?

How can exophony by way of defamiliarization of/creation with the foreign language unveil and shed a new light on, questions of gender, as well as deconstruct certain notions/definitions fixed by language?

  • Exophony, Creative Writing, Translation:

Which sort of intertwining between exophony, creative writing, and translation can one observe? How does the exophonic practice question the act of translating?

What does the notion of untranslatability entail?

  •   Exophony, Limits, Tensions:

In what way can exophony reiterate bias, norms, or stereotypes? Where are the limits of exophony? Which tensions can be seen from and in the practice of exophony?

Can the linguistic condition of the exophonic author, who frees themselves* from the political and social context, be an act of disengagement?

We welcome proposals from research and creative research, and by undergraduate, graduate, and postgraduate students, Ph.D. candidates as well as post-docs and professors. We accept talks in French or English. Each talk will be allocated 20 minutes and each participant will be given time for questions from the audience.

Potential participants must send their 300-word proposals by November 9, 2020 at: Proposals must be sent in two distinct files: in the first file, you must include the title of your proposal and the proposal text itself. In the second file, you must include your name, your institution, your email address, a short biography, and the title of your proposal. Proposals will undergo a blind review by the reading committee.

Please note that travel and accommodation will be at the expense of participants. No participation fee will be charged.


  • November 9, 2020: Deadline for submitting a proposition.
  • December 3, 2020: Final decision of the committee.
  • April 8-9, 2021: Conference in Montreal.


“They/their/them/themselves” followed by * is used as epicene pronouns, and thus is gender-neutral.


RAMAYYA, Nisha. States of the body produced by love, London, Ignota, 2019.

TAWADA, Yōko. Ekusophonī: bōgo no soto e deru tabi [Exophony: Traveling Outward from One’s Mother Tongue], Tōkyō, Iwanami shoten, 2003.

YILDIZ, Yasemin. Beyond the Mother Tongue. The Postmonolingual Condition, New York, Fordham University Press, 2012.

1.15 CFP – NeMLA 2021 – Aquatic Tropes in Francophone Postcolonial Cultures (Panel)

52nd Northeast Modern Language Association (NeMLA) Convention

Philadelphia, PA

11-14 March, 2021

Deadline for abstract: 30 September, 2020.

Aquatic forms feature prominently in Francophone Postcolonial literature, film, and critical theory. These aqueous forms manifest as waterscapes, corporeal fluids, water-related natural disasters, and marine ecosystems and life forms. While bodies of water can be conceived as a metaphor for hybrid identities, as emphasized by Paul Gilroy’s The Black Atlantic: Modernity and Double Consciousness (1993), they also take on numerous other metaphorical meanings.

This session invites inquiries into aquatic tropes in Francophone Postcolonial cultural and literary works. It examines the representation of a broad range of aquatic forms that include but are not limited to maritime and inland waterways (oceans, seas, rivers, waterfalls), corporeal fluidity, and marine life forms to investigate how they inform and shape new readings of Francophone postcoloniality and broader questions related to hydro-criticism in the Francosphere.

Moving beyond the common metaphorical association of waterways as liquid expanses that are traversed and serve as bridges across physical, metaphorical, and historical transitions, this panel seeks to engage depictions of waterscapes and marine life forms that embody rupture, fear, destruction, death, and enigma. Manifestations of liquidity and fluidity, corporeal or otherwise, that redefine boundaries of time and space and facilitate forms of renewal and rebirth will also be considered.

Abstracts of 250 words in English or French should be submitted through the NeMLA website by 30 September, 2020.

For more information, please feel free to contact Shanaaz Mohammed ( and/or Alexis Finet (

1.16 CFP: “Tragedy and Philosophy,” a CPCT conference (AY 2020-21; submission deadline 1 September, 2020)

Centre for Philosophy and Critical Thought
Goldsmiths, University of London

Deadline for submissions: 1 September 2020**

Tina Chanter (University of Newcastle)
Rebecca Comay (University of Toronto)
Jeremy Matthew Glick (Hunter College)
Bonnie Honig (Brown University)
Miriam Leonard (University College London)
Manfred Posani Löwenstein (Istituto Italiano per gli Studi Storici)

Pivotal for the history of aesthetics are the encounters between philosophy and tragedy that span from Ancient Greece to the decolonizing Caribbean. Ever since its infamous exclusion in Plato’s Republic and its theorisation in Aristotle’s Poetics, tragedy has played a number of often contrasting roles in philosophy’s own self-understanding. Tragedy has variously been conceived as an origin of philosophical (and dialectical) thought, as a limit to philosophy’s efforts at intellectual sovereignty, as well as a constant source of ethical exemplification and conceptual instruction. While conscious of the stakes of philosophy’s image of tragedy, this conference will try to expand its purview to look beyond and beneath a late-eighteenth early-nineteenth century idea of the tragic which has often come to saturate reflection on this relationship. Tragedy and Philosophy will therefore also seek to consider a variety of themes that transcend the equation between tragedy and the tragic, including: the contribution of anthropology and history to an understanding of the specificity of Greek tragedy; the place of femininity, lament and conflict in ancient Greek tragedies; the relation between music and words in tragedy, and its philosophical significance (including in tragedy’s repetition by modern opera); the early modern emergence of a poetics of tragedy irreducible to Aristotelian and Idealist or Romantic variants; tragedy as a reflection on sovereignty; tragedy as an art intimately linked to moments of crisis and transition.

The conference will alternate sessions that delve into specific tragedies and theories of tragic drama with ones that explore the place of tragedy in the work of different philosophers and philosophical schools, ranging from Ancient Greek and Roman philosophy to the contemporary work of authors from Jacques Derrida and Judith Butler to Stanley Cavell, Martha Nussbaum and Édouard Glissant, while also considering the various ‘rebirths’ of tragedy in the Renaissance, early modernity, the nineteenth-century aftermath of revolutions and the interwar period in the 20th century.

Selected papers will be published as an edited collection or special journal issue.

In keeping with the above description, proposals for 20 minute papers are invited in all areas pertaining to the nexus of tragedy and philosophy (e.g. tragedy and critical theory, political philosophy, metaphysics, theology, ethics, etc.). Please send abstracts of not more than 250 words together with a brief (50-100 word) biographical statement including affiliation, status (student or not) and contact details to: [at] and a.toscano [at] Please also direct any questions to these addresses.

Julia Ng and Alberto Toscano, CPCT, Goldsmiths, University of London

1.17 Historical Reflections Special Issue CFP

Historical Roots of Contemporary Trans-Atlantic Phenomena

Editor: Elizabeth C. Macknight, University of Aberdeen
Co-Editor: W. Brian Newsome, Elizabethtown College

The editors invite submission of articles on the historical roots of contemporary trans-Atlantic phenomena, including but not limited to the gilets jaunes, Black Lives Matter/related European protests, and pandemics such as the 1918 influenza and COVID-19.

Manuscript Submission
Articles may be submitted individually or in groups of three to six to Senior Editor Elizabeth Macknight ( and co-editor Brian Newsome ( Scholars seeking to coordinate submission of article groups should contact the editors beforehand. Articles should be 7,000-9,000 words in length, and be submitted as email attachments, formatted as Microsoft Word or Rich Text Format files. For further details, including submission guidelines, please refer to the journal’s website.

Have other questions? Please refer to the Berghahn Journals For Authors page for general information and guidelines including topics such as article usage and permissions for Berghahn journal article authors (

About the Journal
Historical Reflections/Réflexions Historiques (HRRH) has established a well-deserved reputation for publishing high quality articles of wide-ranging interest for over forty years. The journal, which publishes articles in both English and French, is committed to exploring history in an interdisciplinary framework and with a comparative focus. Historical approaches to art, literature, and the social sciences; the history of mentalities and intellectual movements; the terrain where religion and history meet: these are the subjects to which Historical Reflections/Réflexions Historiques is devoted.

Indexed in:
• Arts & Humanities Citation Index (Web of Science)
• Scopus
• Historical Abstracts

For a full listing of indices, please visit the website:

1.18 CfA – Special Issue of the Australian Journal of French Studies

Special Issue on ‘The Contested Politics of Humour in French and  Francophone Literature and Media, 1700 to the Present’


Contributions are sought from scholars for a Special Issue on the politics of humour.

From the Dadaists and Surrealists of the early twentieth century, to the 1960s vogue for everything transgressive, humour and its concomitants (laughter, comedy, caricature, parody, satire etc.) have been harnessed to aesthetic movements whose politics were understood as perforce emancipatory. Ditto within criticism and literary studies more broadly. Pointing to the telling popularity of Mikhail Bakhtin’s account of laughter and the “carnivalesque” among literary scholars, the late Eric Griffiths noted how humour has come to be conflated not only with a progressive political agenda, but with benevolence in general: it is the “nice guy” of the literary world. Yet earlier analyses of humour present a far more contested and ambivalent account of its political, social and cultural valences. Hobbes and Descartes, for instance, drawing on Plato and Aristotle, associated humour, and especially its expression through laughter, with scorn, ridicule, contempt, hatred and derision: humour as an assertion of, rather than a challenge to, power; humour as a means of “punching down”, not up, in today’s parlance. Its appropriation by the reactionary Right in recent years, a development incarnated by the emergence of the internet “troll”, has troubled the assumption that humour (or what is framed, often disingenuously, as such) might be somehow the natural preserve of the political Left: a tool to expose and embarrass the privileged “WASP” hegemon and his oppressive pieties. Yet it is today those on the progressive Left–––however unjustly–––to which is imputed the stereotype of humourless killjoy who can’t take a joke. From the perspective of many on the Left itself, humour is now understood as a mere palliative in the face of inexorable right wing ascendancy. Indeed, a resigned Left might even wish to surrender (or “cancel”) humour entirely as a potentially emancipatory aesthetic mode, seeing it as irrevocably tarnished by its association with neo-fascism.

Drawing on examples from media across French and Francophone literary history (1700 to the Present), the articles in this Special Issue will hope to interrogate and reconfigure humour and its relationship to politics, posing such questions as: what might an emancipatory deployment of humour look like? What is the relationship between (social) media, aesthetic forms and humour? What was the role of humour in fascist and totalitarian movements of the early twentieth century? How might we go about historicizing the figure of the troll and their rhetorical strategies? Such questions are all the more urgent in a context where discourse purporting to be of humorous intent helps propagate racism, antisemitism, misogyny, homophobia and transphobia.

Articles in this issue might address the following topics, although this list is far from exhaustive:

Parody, farce, caricature and satire

Cartoons/bandes dessinées



Dada and Surrealism

Pamphlets and manifestos

“Dark”, “black” and “gallows” humour

Humour and transgression

Populism and the “carnivalesque”

Trolls and trolling; memes and “lulz”

Shame and shamelessness, especially in relation to gender and sexuality

Provocation and shock

Irony and postmodernism

Prospective contributors are invited to contact the guest editor, Dr Luke Warde. Please send proposals (title plus 250 word abstract) by December 1st, 2020. Accepted articles, in English or French, must be submitted in final form by the deadline of September 1st, 2021. Articles should be no more than 6,000 words long, including footnotes, and must conform to the AJFS style conventions (see website

Informal enquiries are most welcome. Communications should be directed to the guest editor at:

1.19 CFP: Marginalised Voices and Figures in French Festival Culture, 1500–1800 (King’s College London, 24-25 October 2020)

Deadline for paper proposals: 31 August 2020

Keynote speakers:
Prof. Kate van Orden (Harvard University) Prof. Julia Prest (University of St Andrews)

Please note: depending on how the current Covid-19 situation unfolds, this conference may ultimately be scheduled online (e.g. via Microsoft Teams)

The last few decades have seen a marked increase in early modern festival research. From royal coronations and ceremonial entries to court ballets and investitures of popes and cardinals, such events were important expressions of courtly, civic, and ecclesiastical hierarchy, community, and tradition. Between 1500 and 1800, France was one of the most prolific and influential centers of festival art in Europe. Indeed, French ‘inventions’ such as the court ballet (ballet de cour), the equestrian carousel, and the comédie-ballet were imitated and emulated across the continent.

However, research on French festival culture has typically focused on traditional centers of power like the royal court, and has either highlighted the contributions of well-known poets, painters, and dance masters or concentrated on the responses of elite spectators like foreign diplomats, princes, and nobles. Our conference instead seeks to shift the focus towards marginalised voices and figures, among them:

  • Lesser-knownmusicians, choreographers, poets, and artists who have been overlooked in conventional histories of music, literature, and the arts, namely because they do not conform to narratives of great composers/musicians, poets, and artists, despite being critical to the production and performance of French festivals.
  • Non-elitepeople, such as artisans and merchants, who were crucial to the production of festivals, or members from the urban population, who were regularly part of audiences for civic festivities in France, such as ceremonial entries and equestrian carousels.
  • ‘Subaltern’ people, among them women, ethnic and confessional minorities, queer audiences, and colonial populations, who were often involved in the production and performance of French festivals or attended them in person.

Our conference is interested in both what French festival culture during the period 1500–1800 reveals about these figures, and what this investigation tells us about early modern society on a more global level. What insights does the non-elite or subaltern status of festival contributors offer into early modern perceptions of the arts? What do French festivals tell us about other groups who were generally excluded or oppressed in society? How should we understand the frequent tension between emphasising and erasing the foreign ‘other’ (like the participation of colonial subjects, the use of blackface for racial stereotyping, or the cultural appropriation of valuable colonial objects, etc.)?

Paper proposals

The organisers are keen to encourage an interdisciplinary approach to this subject matter, assembling a balance of musicologists, historians, and scholars in other fields to create a forum for productive exchange. We particularly welcome applications from under-represented groups in academia, such as women, BAME, and LGBTQ+ communities.

We would be interested in any papers that address the following topics:

  • Investigations of musicians, artists, choreographers, poets, and other festival contributors who have been marginalised in conventional histories of early modern arts.
  • Analysis of individual festivals, theatrical performances, or ceremonies that involved and/or represented marginalised voices and figures.
  • Diachronic studies on the involvement and/or representation of marginalised voices and figures.
  • Research on cultural and diplomatic exchanges between traditional centres of power and commonly marginalised communities, such as colonial populations and confessional minorities. This may include transnational and global approaches to French festival culture.

If you would like to propose a 20-minute paper, please send a brief abstract of about 250 words to When sending your abstract, please also provide a one-page CV with details of your academic experience, affiliation, and publications. The deadline for submitting proposals is Monday 31 August 2020. The committee will make their final decision on submitted abstracts by mid-September 2020. Further information about the programme, registration, travel and accommodation will be announced after that date. The organisers are thinking of inviting conference delegates to prepare a chapter for an edited volume of papers presented at this event.

Twitter: @marginalisedvo1.


Marc W. S. Jaffré (University of Oxford), Bram van Leuveren (University of Groningen), and Alexander Robinson (King’s College London).

This event is generously supported by the Royal Musical Association, Music & Letters, The Society for the Study of French History, and The Society for Renaissance Studies.

1.20 Appel à contribution Statuaires, mémoires


Revue d’études culturelles

Numéro 1

« statuaires, mémoires et représentations au tournant décolonial »

Dans la Caraïbe, en Afrique, en Europe, aux États-Unis, et en d’autres points du globe, les statues de certains personnages historiquement liés à l’esclavage, ou à la colonisation, sont prises pour cibles, comme pour signifier une volonté collective de censure ou d’exclusion de symboles relayant l’apologie de crimes contre l’humanité. Destruction méthodique de deux statues de Victor Schœlcher en Martinique, dégradation artistique de celle de Léopold II en Belgique et de celle du Général Lee en Virginie, sans oublier le déboulonnage et la projection spectaculaire de la statue du négrier Edward Colston dans une rivière à Bristol : autant d’événements de l’actualité récente qui interrogent fortement la symbolique sculpturale du biopouvoir.

Les grands médias et réseaux sociaux transnationaux (par exemple, les mouvements #mustfall, #Blacklivesmatter) ont tôt fait de s’emparer du dossier, répercutant au passage l’écho d’une grande diversité de réactions, allant de l’approbation totale aux critiques les plus acerbes. Quelles peuvent être les motivations profondes à l’origine de tels agissements ? Faut-il voir en ces mouvements le renouvellement des luttes anticoloniales des décennies précédentes ? La résurgence ou la réappropriation de mémoires étouffées par une mémoire officielle, promue par les États et célébrée à l’occasion des commémorations publiques ? Que faire des symboles de domination occidentale tels que les statues, monuments ou enseignes glorifiant l’œuvre dite « civilisatrice » de colons ou d’abolitionnistes ? Que faire des héritages d’une histoire « glorieuse » pour les uns et « douloureuse » pour les autres ?

Pour répondre à ces questions, parmi tant d’autres, nous proposons de structurer ce numéro inaugural de NaKaN, revue de Mélanges Caraïbes, association internationale de chercheurs et acteurs culturels des Amériques et du monde diasporique, autour de trois axes thématiques principaux et complémentaires :

1)    Statuaire, discours et colonialités

La rémanence d’actes de contre-violence symbolique à l’égard des reliques du colonialisme et des statues de figures du colonialisme et de l’esclavagisme met sur le devant de la scène la question du rapport à la colonialité du savoir et du pouvoir (Quijano, 2012). L’histoire n’est pas, selon Ramón Grosfoguel, une science absolument neutre ou exempte de préjugés. Le sociologue portoricain livre dans ses réflexions sur la décolonisation épistémique des clés d’analyse pour saisir la portée symbolique et politique du mouvement transnational conduisant des individus d’âge ou d’ethnicité différents à attaquer frontalement la légitimité de tels symboles institutionnalisés (Grosfoguel 2002, 2007). De même que les pays occidentaux, le contexte hispanophone, de représentations historiques coloniales et d’un passé politique dictatorial, trouve un espace légitime à ce questionnement des statuaires dans les modes de vie, les mentalités, les politiques, les valeurs liés intrinsèquement à cet héritage historique dominant.

2)   Mémoires et patrimonialisation

Sont également invoqués par cette mise en perspective : le poids des mémoires et héritages postcoloniaux (Stannard 1992 ; Blanchard & Bancel, dirs. 2006), le passif douloureux des relations interethniques dans un contexte socioéconomique précaire, exacerbé par les tensions identitaires et communautaires, la lancinante question des réparations, et en dernier lieu, celles de la représentation et de la reconstruction des identités culturelles subalternisées (Lefrançois & Kirchner-Blanchard 2018).

Questionner la légitimité des statuaires dans l’espace public revient à sonder la profondeur des représentations et de la mémoire collective partagée par un groupe. Dans cette perspective, les travaux de Halbwachs amènent à distinguer le souvenir, la version forte, et la version distribuée, interprétation d’une représentation du passé. En parallèle, Paul Ricœur nous renvoie à trois notions – la mémoire, l’histoire, l’oubli – en prenant l’éthique comme axe principal de sa réflexion. A partir de ces travaux, il convient d’étudier les représentations mémorielles à l’aune de leur évolution historique afin de comprendre les changements de paradigme. Quel est l’intérêt de l’histoire, de la mémoire, de l’ancien, dans un nouveau paradigme ? Quid de l’héroïsation de certaines figures dans la conscience nationale des peuples ?

Si le désir de justice transparaît comme l’une des pistes d’analyse les plus évidentes, d’autres facteurs sont à prendre en compte pour interpréter l’ampleur et l’orientation d’un phénomène dont le caractère statistique n’a rien de discret. Un discours sous-jacent visant la décolonisation des arts dans l’espace public et institutionnel remet profondément en question la validité du relativisme culturel (Verges & Dambury 2018) et écorne au passage la thèse d’une résilience assumée et valorisée chez les populations ont connu des traumatismes majeurs tels que l’esclavage (Charles-Nicolas & Bowser 2019). Les facteurs psychologiques et politiques se recoupent ainsi dans le champ interdisciplinaire de l’ethnique, de l’esthétique et de l’éthique pour créer une synergie d’un genre singulier. Dès lors, il devient urgent d’en saisir la dynamique fondamentale.

3)   Héros et mythes

Si la statuaire s’identifie avec l’art de créer des œuvres sculpturales distinctives pour rendre hommage à certaines personnalités, elle ne se dissocie pas du champ croisé de l’esthétique, de l’éthique et du politique, car ces trois domaines se conjuguent pour redéfinir les critères du beau, du bien et du vrai en matière d’art et de bon goût. De ce point de vue, force est de constater la hiérarchisation qui s’opère souvent, dans les sociétés diasporiques de la Caraïbe et des Amériques, entre une statuaire désignée comme digne légataire d’une conscience nationale, fondée sur la place des héros dans les mythes et grands récits nationaux (Lyotard 1974, 1977, 1991), et une statuaire native émanant de la modernité des nouveaux mondes créoles.

L’ensemble de ces figures historiques, géoculturels, artistiques et génériques reflètent, en fin de compte, des idéologies, des représentations ou des imaginaires antagonistes. Dans la doxa occidentale (la vision des élites européennes, par exemple), elle fait partie de l’environnement public et est l’émanation, plus souvent que rarement, de choix politiques intentionnels. Elle se veut la représentation consensuelle et admise d’une lecture de l’Histoire – l’objectif originel étant de faire peuple, d’unir, d’homogénéiser et faire admettre, par le plus grand nombre, une certaine vision de l’histoire, d’ailleurs subjective.

Mais lorsque l’histoire d’un pays est traversée par des convulsions singulières, comme celles qui ont bousculé les sociétés postcoloniales caribéennes (esclavage, commerce des hommes ou colonisation) peut-on alors, de cette verticalité imposée de l’Histoire ailleurs, construire ici, un imaginaire collectif, dans toute sa « diversalité » ? En d’autres termes, ne risque- t-on pas, en occultant cette part sombre de l’histoire, d’obérer à la fois, la paix d’une nation, quelle qu’elle soit et la sérénité entre les diverses communautés qui la composent ? Pour preuve, les récents évènements sociaux et scandales sanitaires qui font resurgir les brisures d’un passé douloureux. Est-il possible, par conséquent, de conjuguer Histoire et Transhistoire – selon l’acception glissantienne (Glissant 1997 : 113) invoquant les concepts de « réseau » ou « d’archipel » – dans des communautés encore subalternisées, happées dans la spirale infernale de la domination des peuples, du colonialisme et de l’impérialisme ?

Consignes aux contributeurs

Pour entrer en résonance avec ce questionnement, les contributions pourront prendre la forme d’articles originaux, d’études de cas, d’analyses, de synthèses, d’entrevues ou de recensions dans ces champs disciplinaires connexes dont une liste non exhaustive suit :

–        cultural studies et culturologie

–        arts visuels et vivants

–        littératures nationales, diasporiques et comparées

–        philosophie : esthétique, ontologie, épistémologie

–        sciences humaines et sociales : histoire, sociologie, anthropologie, ethnologie, sciences politiques et une diversité de champs connexes.

Processus de sélection et calendrier

La sélection des propositions se fera en deux temps.

– Du 30 août au 30 octobre 2020 : envoi des abstracts et notices biobibliographiques

Les propositions de contribution devront comporter un titre et un résumé d’environ 400 mots maximum dans la langue habituelle de l’auteur. Elles devront être assorties d’une brève notice biobibliographique, n’excédant pas 150 mots.

– Du 1er novembre au 30 novembre 2020 : sélection des propositions.

Les propositions retenues feront l’objet d’un article de 35 000 signes maximum, espaces comprises. Une notification parviendra aux auteurs au 30 novembre 2020.


30 octobre 2020 : envoi des propositions (abstracts et notices biobibliographiques)

30 novembre 2020 : notification d’acceptation ou de refus des propositions aux auteurs

30 mars 2021 : date limite de réception du texte intégral des articles

30 mai 2021 : retour des expertises en double aveugle

30 juin 2021 : Parution du numéro 1 de NaKaN



Les propositions d’articles, assorties d’une courte notice biobibliographique, sont à envoyer au 30 octobre 2020 à Pour toute information nécessaire, merci d’adresser un email à

2. Job and Scholarship Opportunities

2.1 IF@ULB – Individual Fellowships at Université libre de Bruxelles

Update Call 3 : submission deadline postponed to September 15th

Because of the difficulties experienced by applicants due to the coronavirus outbreak, the deadline for submission of applications to the COFUND IF@ULB 3rd call has been extended until September 15Th 2020 at 5:00 pm Brussels time (CET).

Eligibility criteria

  • Applicants of any age and of any nationality are eligible.
  • Eligible applicants are Experienced Researchers, i.e.
    • Holders of a PhD degree with less than 7 years of post-doctoral experience prior to September 1st2020
    • Applicants without a PhD, provided they have documented full-time research experience of at least 4 years prior to September 15th2020 and not more than 11 years prior to September 1st 2020

An eligibility extension of 15 weeks per child is granted in case of maternity

  • Eligible applicants must not have resided or carried out their main activity (work, studies, etc.) in Belgium for more than 12 months during the past 3 years before September 1st2020

There are no restrictions on scientific domain. A member of ULB academic staff must explicitly accept to supervise and train the applicant to integrate them in their group.

Call application

The Guide for Applicants for the third call will help you to prepare your application file. The Guide also provides detailed information about the evaluation and selection procedure, which involves three stages: an eligibility check, a remote expert evaluation and a panel review.

The applicant must identify a supervisor at ULB and obtain a letter of acceptance from them. If the applicant has not yet identified a supervisor, they can consult the ULB Research Inventory.

More information below:

2.2 Lecturer in French – Grade 7/8, University of Liverpool

The Department of Modern Languages and Cultures wishes to appoint a Lecturer (Teaching & Scholarship) in French to maintain and enhance our successful and innovative delivery of French language teaching at undergraduate level and to contribute to ongoing departmental and School initiatives in language teaching and learning that form part of a wider Liverpool Languages Strategy. In your statement we specifically invite you to set out your plans for the design and delivery of a course in Advanced French language for Year Two students. Your proposal should consist of two twelve-week modules, one in each semester, and make explicit reference to the incorporation of Year Abroad preparation.

You will hold a relevant postgraduate or professional qualification in a discipline directly relevant to language teaching. Experience of teaching French language at undergraduate level in a Higher Education Institution is essential, as is experience of module design, delivery and assessment.

Interviews will be held in September 2020 and ideally we would like the successful candidate to take up the position from 21 September 2020.

Closing Date: 31 August 2020

For full details and to apply online, please visit:

For full advert and job description, click here

2.3 British Academy Postdoctoral Fellowships – University of St Andrews

The School of Modern Languages at the University of St Andrews welcomes applications from outstanding Early Career Researchers to the British Academy Postdoctoral Fellowship scheme for 2021/2022. The School has recently successfully recruited a candidate to this scheme and is looking to attract more postdocs to St Andrews.

Full details on the scheme are available on the British Academy’s website:

Applications are welcomed from candidates who have a strong research profile and meet the eligibility criteria

Interested candidates should contact the Director of Research, Professor Nicki Hitchcott at the earliest opportunity.

Candidates will be required to submit the following to by Wednesday 16 September 2020:

  • Short project description (maximum 2 pages)
  • CV (2 pages)
  • The name of a proposed mentor at the University of St Andrews
  • A short statement on how their research project fits the research profile of the School of Modern Languages at the University of St Andrews (200 words)

Following an internal selection process, successful candidates will be invited to submit their proposal through the British Academy’s Flexi-Grant application system. The final deadline for submissions is Wednesday 14 October 2020.

2.4 British Academy Postdoctoral Fellowships – Newcastle University

The School of Modern Languages at Newcastle University encourages outstanding postdoctoral scholars to apply to the 2020-21 round of the British Academy Postdoctoral Fellowship scheme. Our School has four main language areas: East Asian, French, German, Iberian and Latin American, Our language areas are linked by several research themes and we have a particular focus on the modern and contemporary period.

  • Film, Media and Visual Arts
  • History and Social Anthropology
  • Linguistics
  • Literary and Cultural Studies
  • Translation and Interpreting

We are active within a number of research centres and groups, including: · Anthropocene Research Group · Asian Studies Research Group (ASRG) · Centre for Latin American and Caribbean Studies · Cultures of Memory Research Group · Gender Research Group · Labour and Society Research Group · Research Centre in Film and Digital Media

Staff also take part in a wide range of department-based and interdisciplinary School seminars. For more information on our research activities, including specialist areas, major grants and research seminars, please visit:

Details of the British Academy Postdoctoral Fellowship scheme and eligibility criteria can be found here:

We would be delighted to hear from postdoctoral candidates working in relevant subject areas who are considering applying to the scheme, and would be happy to offer support and feedback in preparing applications. Candidates should demonstrate a record of publications appropriate to the stage of their career, but at least one publication will be expected. Initial enquiries can be directed to the Director of Research in the School, Professor Shirley Jordan or to members of staff closest to your research interests (email addresses are available on our website). In order to consider your application, we require potential candidates to submit:

A brief academic CV (not more than 2 pages of A4)

A list of publications (not more than 1 page of A4 and including forthcoming publications and publications in preparation)

A research proposal. This should include: Title, Fields of Study, Abstract (100 words) Details of current and past research (250 words) Detailed statement of proposed research (no more than 2 pages of A4). Please refer to the BA Guidelines for additional help on what to include in this statement.

These documents should be sent as a single pdf to Carolyn Taylor by noon on Monday 14th September, 2020. Your application will be considered internally, and you will be notified whether you have been selected to submit your application to the British Academy by Monday 21st September.

There is a two-stage application process. Those successful in the outline stage will be invited to apply to the second stage. The deadline for outline applications is 14th October 2020 (5pm)

2.5 Leeds: BA Postdoctoral Fellowships

The School of Languages, Cultures and Societies at Leeds invites expressions of interest from post-doctoral researchers considering making an application for the 2020/21 British Academy Postdoctoral Fellowship scheme.

The University of Leeds is one of the top UK universities for research and impact power. The results of the Research Excellence Framework (REF) 2014 saw Leeds ranked in 10th place for research power, a measure of the number of people producing the highest quality research.

The School of Languages, Cultures and Societies (LCS) is one of the UK’s leading centres for international-quality languages and cultures research and teaching. The School belongs to the Faculty of Arts, Humanities and Cultures, which was recently ranked in the top 50 in the world by the QS World University rankings. Researchers in the Faculty are currently running projects worth over £3 million, funded by research councils, charities and the European Union. We were ranked 1st in the UK for responsive awards made by the Arts and Humanities Research Council in the most recently published rankings. Post-doctoral researchers in Arts are supported by a networking and development programme in the Leeds Arts and Humanities Research Institute and a well-established impact and innovation infrastructure, designed to help all our colleagues realise the full potential of their research.

Staff in French Studies pursue individual, collaborative and multidisciplinary research in the fields of language, literature, history, politics, medical humanities, thought, cinema and visual cultures, postcolonial/francophone studies, cultural studies, and language, linguistics and translation studies.

General enquiries may be made Those considering applying are encouraged to contact potential research mentors in LCS to discuss their proposal directly.

How to apply

Make sure you meet the British Academy’s eligibility criteria for the scheme before you start to prepare your application. Please send your academic CV and a detailed project proposal directly to your prospective mentor, copying in as soon as possible. 

Applicants are strongly advised to take advantage of the rigorous School peer review process: please send us your draft application by Wednesday 9 September 2020 if you wish to take part in this.

LCS operates an internal closing date for this scheme of Wednesday 30 September 2020. Applications received after this date will not be supported.

2.6 Davis Center Fellowships

Shelby Cullom Davis Center for Historical Studies

“Revolutionary Change”

Historians have always considered moments of revolutionary change to be central objects of study. These moments do not necessarily involve politics, and are not limited to the modern world. The word “revolutionary” itself may be a relatively recent coinage (dating from the early modern period), but the sorts of change that it denotes have taken place in every area of human activity, and in every time and place. Revolutionary change is rapid and destabilizing. It is also dynamic, in the sense that it does not simply reflect or extend the forces which originally generated it, but builds on itself in original and often wholly-unpredictable ways. It can be both destructive and creative. It can entail a frightful human cost, but it can also open up new human possibilities and freedoms. It can take place on many different spatial and temporal scales—and at the same time, it can radically transform human understandings of the scales themselves. In 2020-22, the Davis Center seeks applications from historians working on revolutionary change in any period of human history, and in any area, including (but not limited to) the histories of politics, culture, ideas, social structure, gender relations, sexuality, race relations, religion and the environment. We also welcome applications from historians working on the concept of revolutionary change itself, on how moments of such change are retrospectively identified, and on failed, incomplete or ineffective examples. We are particularly interested in developing conversations among historians working on revolutionary change in different areas and periods.

Fellowships are awarded to scholars who hold full time academic positions, and who are expected to return to those positions at the conclusion of their Fellowship. Verification of employment and salary will be requested prior to approval by the Dean of the Faculty. PhD required. Fellowships may run either for one semester or for the full academic year.

To apply for a visiting position, please visit:

The deadline for receipt of applications and letters of recommendation for fellowships is December 1, 2020, 11:59 p.m. EST. Applicants must apply online and submit a CV, cover letter, research proposal, abstract of proposal, and contact information for three references. Princeton University is an Equal Opportunity/Affirmative Action employer and all qualified applicants will receive consideration for employment without regard to age, race, color, religion, sex, sexual orientation, gender identity or expression, national origin, disability status, protected veteran status, or any other characteristic protected by law.

2.7 Call for applications for the Core Program of the Camargo Foundation 2021-2022 (Cassis, France)

The Camargo Foundation, located in Cassis, France, and founded by artist and philanthropist Jerome Hill, is a residential center offering programming in the humanities and the arts. It offers time and space in a contemplative environment to think, create, and connect. The Foundation encourages the visionary work of artists, scholars, and thinkers in the arts and humanities.


Launched in 1971, the Camargo Core Program is the historical and flagship program of the Foundation. Each year an international call is launched through which 18 fellows (9 artists and 9 scholars/thinkers) are selected:
• Scholars
Applicants should be connected to the arts and humanities working on French, Francophone, or Mediterranean cultures.
• Thinkers
This category includes accomplished professionals and practitioners in cultural and creative fields (i.e. as curators, journalists, critics, urban planners, independent scholars, etc).
• Artists (all disciplines)
Applicants should be the primary creators of a new work/project.


A stipend of 250 USD per week is available, as is funding for basic transportation to and from Cassis.


The Camargo Core Program has two sessions:
• Fall 2021
8 weeks from September 8 to November 3, 2021
• Spring 2022
6 weeks from February 15 to March 29, 2022
8 weeks from February 15 to April 12, 2022
11 weeks from February 15 to May 3, 2022

The deadline to apply is October 1, 2020.


Candidates must be able to communicate well in English.


2.8 Tenure Track Professorship in Conflict Studies (W1 Tenure Track to W2), University of Marburg

The Center for Conflict Studies invites applications for a Tenure Track Professorship in Conflict Studies (W1 Tenure Track to W2) to be filled at the earliest possible date. This professorship is funded by the Tenure Track Program of the German Federal Government and the Federal States and is initially limited to six years.

The Center for Conflict Studies is an interdisciplinary institution of the University of Marburg. Current research projects include gross human rights violations after mass violence, intergroup conflicts as well as the politics of international state- and peacebuilding in post-war societies. In addition to undergraduate degree program modules, the Center offers a German-taught master’s degree program and an English-taught master’s degree program in Peace and Conflict Studies, the latter in cooperation with the University of Kent (Canterbury).

We are looking for a researcher (m/f/d) who will thematically complement the research profile of the Center for Conflict Studies. The successful applicant’s research focus will be on conflicts in predominantly peaceful societies inside or outside of Europe and should be situated within protest research, urban and regional studies, or social inequality research. The successful applicant will further expand the profile of the Center in methodologically or disciplinarily innovative ways. An active participation in the range of classes offered at the Center, especially teaching in English, as well as in the research initiatives of the Center and the involved departments is expected.

This call is explicitly aimed at researchers in the early stages of their scientific careers. The duration of the employment in research and science after obtaining the doctoral degree should not exceed four years. In addition, applicants should not have received their doctorate at the University of Marburg. In case the doctoral degree was obtained at the University of Marburg, the applicant should have worked in research and science outside of the University of Marburg for at least two years thereafter (in accordance with § 64 Abs. 3 Hessisches Hochschulgesetz HHG, the State of Hessen Higher Education Act). We are looking for an applicant with outstanding scholarly achievements and an innovative research profile that demonstrates the potential for a continuing successful career in research at the highest international level.

A completed university degree in the social sciences, psychology, social and cultural anthropology or geography, an outstanding doctorate as well as a special pedagogical aptitude, are required. Experience in the successful acquisition of thirdparty funds will be considered an asset.

The employment requirements of §§ 61, 62 and especially 64 HHG apply. The Tenure Track professorship is initially a grade W1 fixed term (6 years) position. If the requirements under general German civil service law are met, the applicant shall be granted a temporary civil service status for a period of six years. In the event of a positive evaluation of the professional, didactic and personal aptitude, the applicant will be granted a civil service status for life, combined with the assignment of a W2 permanent professorship. Further information on tenure track professorships at the University of Marburg is available at

The University of Marburg attaches great importance to the intensive supervision of students and doctoral candidates and expects from its lecturers and thus from the applicants a distinctive presence at the university and a high degree of commitment in the field of academic teaching.

We support women and therefore explicitly encourage them to apply. We welcome individuals with children – the University of Marburg is committed to the goal of a family-friendly university. People with disabilities in the terms of the SGB IX (§ 2 Abs. 2, 3 SGB IX) are preferred if they are equally qualified for the position. Application and interview costs will not be reimbursed.

Please send your application documents (copies) including a research and teaching concept and the completed electronic short questionnaire provided on to the President of the University of Marburg, Biegenstraße 10, 35032 Marburg, Germany, by September 11st 2020 exclusively as a PDF file to bewerbung@

2.9 British Academy Postdoctoral Fellowship at the IMLR – call for Expressions of Interest

IMLR invites proposals from suitably qualified applicants for the 2020 round of the prestigious British Academy Postdoctoral Fellowships scheme.

These grants enable early-career researchers to gain further experience of conducting research and teaching in a university environment with the aim of developing their CV and improving their prospects for obtaining permanent lecturing posts. Fellowships are for three years and cover salary, small-scale research expenses up to £6,000, and mentoring support from a SAS academic.

The final application deadline for the 2020 scheme is 14 October 2020 (this is the British Academy’s deadline for applicants, including referee statement and organisational approval). Anyone who wishes to apply for one of these fellowships through the IMLR, School of Advanced Study should follow the process outlined below.

Process: Expressions of interest must be submitted before Sunday 6 September 2020 to the IMLR Acting Director, Dr Godela Weiss-Sussex, copying The expression of interest should include:

  • CV
  • A 100-word abstract
  • An outline (two pages maximum) of the research proposal, including intended publication outputs
  • Identification of potential mentor (if not the director of IMLR)

Applicants who are to be supported in the fellowship competition by the School of Advanced Study will be notified by 12 September 2020.

2.10 Part-Time Instructor in French Needed, Ohio Wesleyan University

The Department of Modern Foreign Languages at Ohio Wesleyan University is seeking a part-time instructor of French to teach 1-2 introductory level French courses during the fall semester of 2020, with the possibility of continuing in spring 2021. Required qualifications include a Master’s degree in French (Ph.D. preferred), native or near native fluency in French, and evidence of dedicated teaching experience at the college level. We are especially interested in instructors who are familiar with recent trends in teaching methodology and prepared to teach in a remote or hybrid environment, as dictated by current social distancing mandates.

The focus of our introductory language classes is communicative in nature, and all classes are taught in the target language to the extent possible. More information about the French major at Ohio Wesleyan is available here.

The fall semester begins August 20, 2020, and classes are scheduled in the mornings. There is a possibility of teaching fully remotely, given the current pandemic. The current part-time salary is $5,000 per course. Interested candidates should send their CV and a brief cover letter to Dr. David Counselman, Chair of the Department of Modern Foreign Languages, at as soon as possible.

Review of applications will begin immediately and will continue until the position has been filled.

2.11 Assistant Professor, Teaching Stream – French as a Second Language (Writing) job posting – Department of Language Studies, University of Toronto Mississauga

Please see below job posting for the Assistant Professor, Teaching Stream – French as a Second Language (Writing), Department of Language Studies, University of Toronto Mississauga.

Posting can be accessed at the following link at University of Toronto Careers site:

It is also featured on the Department of Language Studies website, under Employment:

Deadline for submitting applications is October 15, 2020.  All applications and relevant material must be submitted online – please refer to the posting for detailed information and instructions.


Assistant Professor, Teaching Stream – French as a Second Language (Writing)

Department of Language Studies

University of Toronto Mississauga

Req. ID: 404

The Department of Language Studies at the University of Toronto Mississauga invites applications for a teaching stream appointment at the rank of Assistant Professor, Teaching Stream in the area of French as a Second Language (FSL) with a specialization in second language writing. The position start date is July 1, 2021, or shortly thereafter.

Applicants must have earned a PhD in French Studies, Applied Linguistics, Education or a related area by the time of appointment or shortly thereafter, and must have: 1) demonstrated expertise in teaching French to university-level learners as well as in second language pedagogy, second language assessment, and computer/corpus-assisted second language writing; 2) a record of excellence in university-level teaching, including extensive knowledge of pedagogical content development and curriculum design; 3) a demonstrated commitment to continued pedagogical/professional development including the scholarship of teaching & learning; and 4) native or near-native proficiency in French and the demonstrated ability to successfully work in an English-medium academic context. We seek candidates whose teaching interests complement and strengthen our existing departmental strengths.

Evidence of excellence in teaching and pedagogical inquiry can be demonstrated through teaching accomplishments, awards and accolades, presentations at significant conferences, strong letters of reference from referees of high standing, and the teaching dossier submitted as part of the application, including a strong coherent teaching statement, sample syllabi, course materials, and excellent evaluations of teaching.

The successful candidate will be expected to undertake teaching at the undergraduate level at the University of Toronto Mississauga in both French as a second language and Language Teaching & Learning, and to play a central role in the development of our French language series, in particular by taking the lead in the development and innovation in the pedagogy of written French communication for students in our major and specialist programs. They will also be expected to take a lead in the development of writing courses, to participate in the periodic reviewing and development of undergraduate curriculum, and to collaborate on teaching projects with colleagues both within and outside of the Department. In addition to core teaching responsibilities in face-to-face and online formats, the position includes developing curricular materials, teaching tools, and pedagogy-oriented scholarship. Furthermore, the successful candidate will be expected to participate in and contribute to the co-curricular and experiential learning activities offered in the Department and to engage in community and international outreach.

Salary will be commensurate with qualifications and experience.

For more information about the University of Toronto Mississauga and the Department of Language Studies, please visit and

All qualified candidates are invited to apply online by clicking the link below. Applications must include a cover letter, a curriculum vitae, a teaching dossier (including a teaching statement, sample syllabi & course materials, and teaching evaluations), two innovative syllabi for FSL writing courses at the high-beginner (CEFR A2) and high intermediate (CEFR B2) levels appropriate for students in the Department’s French major and specialist programs, an outline of current and future teaching-related interests, a diversity statement as it relates to research, teaching, and service (as outlined below), and one representative sample of scholarship (e.g., a sample publication or working paper).

Equity and diversity are among UTM’s core values and are essential to academic excellence. We seek candidates who value diversity and whose research, teaching and service bear out our commitment to equity. Candidates are therefore also asked to submit a 1-2 page statement of contributions to equity and diversity, which might cover topics such as (but not limited to): research or teaching that incorporates a focus on underrepresented communities, the development of inclusive pedagogies, or the mentoring of students from underrepresented groups.

Applicants must provide the names and contact information of three referees. The University of Toronto’s recruiting tool will automatically solicit and collect letters of reference form each once an application is submitted. Applicants, however, remain responsible for ensuring that referees submit letters (on letterhead, dated and signed) addressing teaching abilities and suitability for the position, and that the letters are submitted by the referees by the closing date.

The application deadline is October 15th 2020. All application materials must be submitted online. Submission guidelines can be found at: Please consolidate all application attachments into one or two files in PDF/MS Word format. If you have any questions about this position, please contact Joanna Szewczyk, Assistant to the Chair, at

All application materials, including reference letters, must be received by October 15th, 2020.

To apply please visit:

All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority.

Diversity Statement
The University of Toronto is strongly committed to diversity within its community and especially welcomes applications from racialized persons / persons of colour, women, Indigenous / Aboriginal People of North America, persons with disabilities, LGBTQ persons, and others who may contribute to the further diversification of ideas.

As part of your application, you will be asked to complete a brief Diversity Survey. This survey is voluntary. Any information directly related to you is confidential and cannot be accessed by search committees or human resources staff. Results will be aggregated for institutional planning purposes. For more information, please see

Accessibility Statement
The University strives to be an equitable and inclusive community, and proactively seeks to increase diversity among its community members. Our values regarding equity and diversity are linked with our unwavering commitment to excellence in the pursuit of our academic mission.

The University is committed to the principles of the Accessibility for Ontarians with Disabilities Act (AODA). As such, we strive to make our recruitment, assessment and selection processes as accessible as possible and provide accommodations as required for applicants with disabilities.

If you require any accommodations at any point during the application and hiring process, please contact

2.12 British Academy Postdoctoral Fellowships at University of Warwick

The School of Modern Languages and Cultures at the University of Warwick welcomes expressions of interest for the 2021-2022 British Academy Postdoctoral Fellowship scheme. For details of the scheme and eligibility criteria, please visit .

Prospective candidates will need to identify a mentor in the School of Modern Languages and Cultures and to make an initial internal application by Thursday 10 September through the Faculty of Arts – see .

Preliminary enquiries should be addressed to the relevant sectional director of research (or directly to your prospective mentor if you have already identified one):

French Studies: Prof. Jeremy Ahearne (

German Studies: Prof. Elisabeth Herrmann (

Hispanic Studies: Dr Tom Whittaker (

Italian Studies: Prof. David Lines (

Comparative or interdisciplinary proposals: Prof. Jeremy Ahearne

The School of Modern Languages and Cultures at Warwick is one of the UK’s leading sites of research in French, German, Hispanic, Italian and Translation Studies, and our expertise ranges from the Medieval period to the present. Further details about staff research interests can be found here – .

3. Announcements

3.1 Daphne Jackson Fellowships now available to Arts and Humanities Researchers

AHRC are delighted to announce that Daphne Jackson Fellowships are now available to arts and humanities researchers. Daphne Jackson Fellowships offer male and female academics the opportunity to return to research following a career break of two years or more when taken for family, caring or health reasons.

The Fellowships, which will be supported by AHRC, are typically held for two years on a part-time basis, in a UK university. The Fellowships are flexible and include a tailored training programme designed to update the fellow’s skills and knowledge to support them in their return to research.

“I am delighted that we are now collaborating with the Daphne Jackson Trust, to support arts and humanities researchers looking to return to work after a career break. Daphne Jackson Trust Fellowships present our researchers not only with the opportunity to engage in high-quality research, but also offer personalised retraining and support, giving fellows the confidence and skills to return to research successfully”

Anne Sofield, Associate Director of Skills and Public Policy at the Arts and Humanities Research Council

For further information on how to apply please visit the Daphne Jackson trust website.

3.2 ASMCF Initiative Fund and Outreach Prize

A friendly reminder that the deadline for two of the ASMCF’s funding and prizes is approaching.

The Association’s Initiative Fund provides small grants (up to £500) to individuals who are members of the Association to help defray the costs of research events (conferences, study days, workshops etc.), including postgraduate-led initiatives. The Association is particularly keen to encourage and support regionally-based collaborative initiatives on the part of its members, which should be intended to benefit a wide public. More details about the prize can be found on the ASMCF website:

The Schools Liaison and Outreach Prize offers up to £500 to support members of the Association who organise teacher- or pupil-focused events which fulfil the following objectives:

  • promote the learning of French in its social, political, historical and cultural context in schools to prepare pupils for the diversity of content of current UK French degrees;
  • assist teachers who wish to engage in personal intellectual development in subjects relating to those which they are teaching, with a view to enrich their provision and enable them to help students to bridge the gap between school and university.

Projects must be undertaken within 12 months of application. More information about the scheme, including project criteria and application procedure can be found on the ASMCF website:

The deadline for both of these prizes is 31 August 2020.

3.3 Call for applications: National Recognition for Outstanding Teachers of French in Australia

The Federation of Associations of Teachers of French in Australia (FATFA), the Embassy of France and SBS French radio have announced a new prize for ‘National recognition for outstanding teachers of French in Australia’. From FATFA:

“This year, to promote the profession of « professeur de français » and to celebrate the international « Journée du prof de français » on 26 November 2020, FATFA would like to officially recognise outstanding teachers of French at a national level, in conjunction with the Ambassade de France, SBS French radio, state Teachers of French Associations: AFTV, MLATQ, NATF, SAFTA, TOFAWA and the ASFS.

Do you know amazing teachers who show great enthusiasm and passion for their profession? Teachers who motivate, inspire their students with innovative teaching practices, and support and empower their colleagues? You can nominate a teacher in one of these 2 categories: Prix du jeune espoir – Young Hope Award or Prix du prof de français de l’année (expert).”

ASFS members should note that there is a category for university teachers of French. Applicants can nominate a colleague or self-nominate with a referee.

Consult the flyer here for criteria and application details, and submit your nomination by 30 September 2020 to Sabine Kuuse ( and Diane de Saint Leger (

3.4 Virtual Scholarly Exchange in French History

Announcement from H-France, the Society for French Historical Studies, the Western Society for French History, the French Colonial Historical Society, the George Rudé Society, and the Society for the Study of French History:

The Societies, taking note of the lack of an obvious end to the current Covid crisis, and in response to the survey conducted earlier this summer by the WSFH, would like to reach out to their combined memberships, and other interested scholars, to encourage and facilitate virtual discussions as a substitute for the normal round of in-person exchange and feedback that characterises academic life.

The Societies seek to offer an umbrella structure for scholars to connect with others who have similar interests or scholarly goals, at any career-stage, including advanced graduate students. We particularly encourage the formation of reading, writing, or discussion groups meeting online, which could be organized by geographic area, period, or topic of interest – including those that are already taking place, and willing to open up to new members.

If you are currently convening such a group, and are willing to welcome new members, please contact <> with details of its scope: topics & periods discussed, current number of members, habitual times/days of meeting, along with the appropriate email for contact.

If you are willing to convene a group, but not yet doing so, please also provide the address above with details of the topics/periods you would be interested in discussing.

Details of current and potential convenors received will be posted in a document on Friday 28 August, for individuals to make contact. (For reasons of volume, people interested in participation, but not convening, should kindly wait until this list is posted, rather than responding to the address above). The document will remain open to further additions, via the contact above, after that time as well.

The above Societies are committed to equity, inclusivity, and scholarly excellence. We expect scholars involved in groups formed under the umbrella of the Societies to conduct themselves in a professional manner. Participants may not discriminate, mistreat, or harass others on the basis of race, gender, gender expression, professional status, age, religion, geographic location, or any other real or perceived characteristic. We expect that senior members of groups will commit to mentoring and nurturing the scholarship of junior members.

3.5 Cultures of Belgian Space/ Cultures de l’espace belge (1850-1924): Conference Programme

Emile Verhaerenmuseum – Kasteel d’Ursel (Belgium)


16 – 17 October 2020


Patrick McGuinness (St Anne’s College, Oxford, UK)


DAY 1: 16 October (d’Ursel Castle)

Registration (8:30)


Introduction (9:00- 9:30)


Panel 1 Dedicated Spaces: the Beguinage, the Movie Theatre and the Colonial Exhibition

chairs tbd for all panels


Juliet Simpson (University of Coventry / Warburg Institute)

Sensing the Medieval in Fin-de-Siècle Belgian Liminal Spaces: The Beguinage as Work of Art


Leen Engelen (LUCA School of Arts / KU Leuven)

A Garden with a View: Visual Culture at the Antwerp Zoo


Maria Golovteeva (University of St Andrews)

Spaces of Colonial Exhibitions in Nineteenth-Century Belgium


11:00-11:30: Coffee, tea and biscuits (plus registration, continued)


Panel 2 Nature, Corporeality and Art


Laurence Brogniez (Université Libre de Bruxelles – ULB) / Tatiana Debroux (Université Libre de Bruxelles – ULB)

Exposer (dans) l’atelier: du lieu de travail au lieu d’exposition


Dominique Bauer (KU Leuven)

Time and Corporeality in Fernand Khnopff’s Art and Architecture


Jason Hartford (University of Dundee)

Belgium: Fabricated Natural in the Land of the Anthropocene


Lunch (13:00-14:00)


Panel 3 Exporting Cultural Identity and the Transformation of the Exotic


Jos Vandenbreeden (KU Leuven)

La nature et les structures dans l’architecture de l’Art nouveau. La réception de la spatialité japonaise et la conception de l’espace dans l’architecture de Victor Horta.


Charlotte Rottiers (KU Leuven)

Exporting National Identity: The Neo-Flemish Renaissance Castle in Peking (1903-1905) as an Instrument of Communication or Disruption


Leo Lecci (Università di Genova)

Le pavillon de la Belgique aux premières expositions internationales d’art de Venise 1907-1914: une espace pour la synthèse des arts


15:30-16:00: Coffee, tea and light refreshments


Panel 4 The Theatre


Evelien Jonckheere (University of Antwerp) / Davy Depelchin (Royal Museums of Fine Arts of Belgium – Constantin Meunier Museum)

In shadows. Spectacular Spaces Imagined and Performed by Le Diable-au-Corps in Brussels (1893-1929)

Quentin Rioual (Université Paris Nanterre)

La transformation des espaces architectural et urbain (Bruxelles, tournant XIXe-XXe siècle) dans le contexte de la nouvelle alimentation des décors de théâtre



Patrick McGuinness (St. Anne’s College, Oxford)

The Poetics and Politics of Privacy in Belgian Symbolism


(possibility to go back to the hotel, or join us for an informal drink in “Lindehof”)

20.00 Conference dinner at d’Ursel Castle

DAY 2:  17 October (d’Ursel Castle – Verhaerenmuseum)


Panel 5 Travel, Dépaysement and Exile


Ulrich Tiedau (University College London)

Belgian-Space-in-Exile in interwar Britain


Tom Verschaffel (KU Leuven)

Staging Baudelaires Misery: Settings and Supporting Actors of Charles Baudelaires Stay in Belgium (1864-1867)


Stefan Huygebaert (Ghent University)

The Two Bruges:” Travelers vs. Tourists and the Saint-John’s Hospital

10.30-11:00: Coffee, tea and biscuits


Panel 6: Collections, Catalogues and Museums

Ulrike Müller (University of Antwerp)

The Collectors Cabinet as a Creative Space between (National) Tradition and Renewal

Zsuzsanna Börocz (KU Leuven)

The Private Interior as Exhibition Space: The Catalogues of the National Exhibitions of Brussels in 1880 and the Architect, Archaeologist and Collector Jules-Jacques van Ysendyck (1836-1891)

Apolline Malevez (Queen’s University Belfast)

Viewing Belgian Artists’ Interiors: Collections, Displays and Interior Design

Lunch (12:30-13:30)


Panel 7: Objects in Space


Margo Buelens-Terryn (University of Antwerp) / Ilja Van Damme (University of Antwerp)

Spaces of Illustrated Lecturing. The Uses of the Magic Lantern in Public Lectures in Antwerp and Brussels, ca. 1860- ca.1920


Ole W. Fischer (University of Utah)

Psychological Line-Furniture and Object-Architecture. Henry Van de Velde and Problems of Belgian Space around 1900


14:30: to the Verhaerenmuseum, view of the Scheldt


Panel 8: Literature


David Gullentops (Vrije Universiteit Brussel – VUB)

L’espace tensionnel chez Rodenbach, Verhaeren et Maeterlinck


Michael Rosenfeld (Université Sorbonne Nouvelle – Paris 3 / UCLouvain)

Belgian Queer Spaces: Gay Cruising Areas in the Press and in Georges Eekhoud’s Fiction

Mathilde Régent (Université Sorbonne Nouvelle – Paris 3)

Les intérieurs de Maeterlinck, de l’idéalisme allemand au perspectivisme animal


17:30 – 18:30/19:00 Concluding remarks.

Beer and wine reception and light refreshments


Dinner, around 20:00.



Normal registration is 30 euro/day. Students pay15 euro/day. Due to the current pandemic, a numerus clausus may be applied. If you would like to register, please send an email to: to obtain a registration document, payment details and all the practical information regarding the conference. The deadline for registration is 15 September.


This conference is organised by Dominique Bauer (KU Leuven), Marjan Sterckx (Ghent University), Laurence Brogniez (Université Libre de Bruxelles – ULB), Jason Hartford (University of Dundee, UK), Claire Moran (Queen’s University Belfast, UK) and Rik Hemmerijck (Emile Verhaerenmuseum, Puurs-Sint-Amands, Belgium)

This conference is made possible by the support of the universities of Leuven (KU Leuven) and Ghent (Ghent University), by the Research Foundation Flanders (F.W.O.) and the Fonds de la Recherche Scientifique (F.N.R.S.) and by the generosity of our sponsors: our main sponsor the Municipality of Puurs – Sint- Amands, and also Vermeiren Princeps, Café-Tasse, Van Reeth’s Koffiebranderij, notary Luc Rochtus, Bouwbedrijf Van Wezemael nv, and Guido Peleman, CEO of Peleman Industries/Unibind and chairman of the Emile Verhaeren Society.

3.6 My Thesis in 3 minutes in French

Registation is now open, to all postgraduates in Ireland in all disciplines, for the fourth edition of “My Thesis in 3 minutes… in French!” contest, for the first time in partnership with the Association des études françaises et francophones d’Irlande (ADEFFI).

Join us for the ADEFFI’s Journée des Doctorants and share your passion for your thesis subject while you test your French oral skills!
You will have 3 minutes to present your research to a non-specialist audience… Ready to face the challenge?

This year, the contest will be online and you will send your presentation in a video. Great prizes to win: dinner experience in a French Michelin-starred restaurant in Dublin, membership to the Alliance Française (access to the French Multimedia Library and events of the Cultural Centre).


Candidates must submit their video presentation before the end of Monday 7th September. The award ceremony will take place during the ADEFFI’s Journée des doctorants on Friday 18th September!


All participants must be doctoral students, presenting their dissertation subject in French in 3 minutes (180 seconds) for a general and non-specialist public, explaining how their research was conducted, in a video. The presentation must be in one take and cannot be edited.
Presentations have to be clear, concise and convincing. No props are permitted, except notes: no specific clothes, text, special effects, etc. Only one slide (not animated) is allowed in the background (or overlaid).


The contest is open to students from all disciplines, currently registered as PhD students in a Research or Higher Education Institution in Ireland.
All nationalities are welcome!
You just need to send the link to the video in the form at the below address.


  1. Speech (voice, rhythm, fluidity, gesture, presence on scene, virtual interactions with public, context of the subject, raising public curiosity, passion, personal experience, humour)
    2. Outreaching (accessibility of language, relevance of titles/examples/metaphors and added-value of the slide)
    3. Structure (clarity, originality, context, chain of ideas, and balance between parts of the speech)
    4. Bonus (something exceptional in the speech)


Each PhD student must fill in the form at the below address after informing their supervisors and sponsors and submit it before 7 September.

3.7 Decolonising Modern Languages: A Symposium for Sharing Practices and Ideas (online, 8-11 September 2020)


School of Advanced Study • University of London

8-11 September 2020


All times are in BST

Day 1   Tuesday 8 September

10:15    Welcome & Introduction from the Organisers

10:30    Panel 1: De-Colonial Teaching and ‘Epistemic Decolonisation’
Elizabeth Ward (University of Hull): Decolonising the Curriculum: Exposing the Hidden Curriculum?
Monica Boria (University of Cambridge): Decolonising Italian Studies
Amar Guendouzi (Mouloud Mammeri University-Tizi-Ouzou, Algeria): Decolonising an Algerian Course in English Literature

12:00    Break for lunch

14:00    Panel 2: From Language Canons to a Decolonised Literary and Theoretical Commons
Ruth Bush (University of Bristol): Towards a Decolonised Literary Commons
Mbaye Bashir Lo (Duke University): Decolonising Arabic from the ‘Curse’ of Ferguson’s Diglossia 
Emanuelle Santos (University of Birmingham) and Joseph Ford (IMLR): Deconstruct to Decolonise: towards a decolonial practice
melissandre varin (independent artist-researcher): Where Words Fail: looking for a language at the margins of Western Universities
15:45    End

Day 2   Wednesday 9 September

11:00    Panel 3: Decolonising the Study of Languages and Cultures at Leeds
Nina Wardleworth (University of Leeds): Reconceptualising European Identity
Fozia Bora (University of Leeds): Silenced Knowledge and the Decolonial Classroom: Case Studies from the Middle East 
Helen Finch & Stephan Petzold (University of Leeds): Decolonising the German Curriculum at Leeds

12:30    Break for lunch

14:00    Panel 4: TROPO UK – Decolonising Portuguese Language Teaching and Learning
José Peixoto Coelho de Souza (University of Manchester): A quem (não) interessa a lusofonia?: questioning neocolonial ideology in the Portuguese language class
Ana Bela Almeida (University of Liverpool): Chega de Saudade: a Portuguese textbook in the making 
João Pedro Vicente Faustino (University of Warwick): Decolonising Portuguese language teaching: reflexions and strategies
15:30    End

Day 3   Thursday 10 September

10:30    Panel 5: Decolonising Language Teaching: translingualism and translation
Rebekah Vince (Queen Mary, University of London): Excuse my French: Challenging Mastery and Troubling Language 
Celine Benoit (Aston University): Deconstructing Western hegemonic discourses in class
Gitanjali Patel (Shadow Heroes): Decolonising language-learning at schools through translation

12:15    Break for lunch

14:00    Panel 6: Decolonising Languages: unsettling prescriptive practices
Rey Conquer (St Hilda’s College, Oxford), Nicola Thomas (Queen Mary, University of London) & Tom Smith (St. Andrews): Expanding German Studies
Marion Bernard (University of Exeter): Decolonising the mind: knowledge equilibrium and moving beyond diversity in a second-year French curriculum
Vincenzo Cammarata (King’s College London): A Decolonial Strategy to Rethink the Study of Post-colonial Angolan Literature
15:30    End

Day 4   Friday 11 September (afternoon only)

14:00    Panel 7: Modern Languages and Digital Decolonisation
Juan García-Precedo (University of Exeter): Confronting the Colonising Effect of Commodified Education in Language Teaching at the University of Exeter
Rosalba Biasini & Ana Reimão (University of Liverpool): Language Stories in Liverpool: from a Transnational to a Decolonial approach to Language Teaching 
Paul Spence (King’s College London): The role of Modern Languages in decolonising the digital 
Romina Isratii (SOAS): Introducing ‘Decolonial Subversions’ – a new Multilingual Open Access Publishing Platform

15:45-16:00       Thanks and Closing Remarks

Conference Organisers:
Dr Emanuelle Santos (University of Birmingham) and Dr Joseph Ford (University of London)

With thanks for organisation and support to the University of Birmingham Portuguese Studies, Institute of Modern Languages Research, and Instituto Camões Cátedra Gil Vicente

All are welcome to attend this free event. You will need to register in advance to receive the online event joining link, which will be valid for all the sessions. You may join any session you wish.


3.8 Ameena Gafoor Institute for the Study of Indentureship and its Legacies Website Launch

The newly established Ameena Gafoor Institute for the Study of Indentureship and its Legacies is pleased to announce its website.

The website will be updated on a regular basis. Please send in any comments, corrections, criticism. Please consider submitting written or visual material for the website. Membership of the Ameena Gafoor Institute is free of charge. Do sign up!

3.9 Transnational Modern Languages: Introducing the Book Series

Did you miss this event last month? You can catch up now and watch the recording online (scroll to the bottom of the page)

This event, hosted by the IMLR as part of its summer programme of online events, marks the publication of the first volumes in the ‘Transnational Modern Languages’ series.

Specifically targeted at a student audience, the series aims to demonstrate the value – practical and commercial, as well as academic and cultural – of modern language study when conceived as transnational cultural enquiry. The individual volumes in the series as well as its anchoring text, Transnational Modern Languages: A Handbook, address how work on the transnational and the transcultural broadens the confines of Modern Languages. The event will begin with a short presentation by the editors of the series, followed by an introduction to the Handbook by Jenny Burns and Derek Duncan (eds).

Charles Burdett and Loredana Polezzi will then chair a discussion on the series as a whole, its individual volumes, and their potential role in the delivery of the Modern Languages curriculum in the UK and beyond. Participants include Claire Gorrara (Cardiff and UCML), Ana de Medeiros (KCL), Kombola Ramadhani Mussa (Cardiff) and Rachel Scott (Royal Holloway), as well as volume editors.

The discussion will lead to an open Q&A session, where the audience will have the chance to respond to the Series and panellists. To find out more about the series, its aims and the content and approach of each volume, see the dedicated pages and blog posts on the LUP website.

4. New Publications

4.1 Hamid Dabashi, On Edward Said: Remembrance of Things Past (Chicago: Haymarket Books, 2020) (Forthcoming in November)

An intimate intellectual, political and personal portrait of Edward Said, one of the 20th century’s leading public intellectuals

Edward Said (1935–2003) was a towering figure in post-colonial studies and the struggle for justice in his native Palestine, best known for his critique of orientalism in western portrayals of the Middle East. As a public intellectual, activist, and scholar, Said forever changed how we read the world around us and left an indelible mark on subsequent generations.

Hamid Dabashi, himself a leading thinker and critical public voice, offers a unique collection of reminiscences, travelogues and essays that document his own close and long-standing scholarly, personal and political relationship with Said. In the process, they place the enduring significance of Edward Said’s legacy in an unfolding context and locate his work within the moral imagination and environment of the time.


“This book moves elegantly between anecdotes in Edward Said’s life and a profound analysis of the intellectual contribution of one of the most influential thinkers of our times. Hamid Dabashi guides us skillfully between Said’s universalist, humane and moral position and his total commitment for the liberation of Palestine. With the help of this book we revisit, in a very accessible language and a straightforward style, Said’s intellectual prominence and impact on cultural studies. We are also introduced once more to the extent of his commitment to the struggle for justice in Palestine. Whether you are a devoted ‘Saidian’ or a newcomer to his world, this book is an essential reading.” —Ilan Pappé

“Reading Dabashi is like going for an extended coffee with a very smart friend.” —Vijay Prashad, author of The Poorer Nations

“Said’s influence … was far from being confined to the worlds of academic and scholarly discourse. An intellectual superstar.” —Malisse Ruthven, obituary, the Guardian

“Hamid Dabashi’s respect and affection for Edward W. Said and his intellectual legacy are manifest throughout this book. As a former colleague and friend of Said’s, Dabashi’s engagement is not only personal, but also emphatically political and intellectual.” —Joseph Massad

“Hamid Dabashi has written a deeply moving text that pays tribute and engages with one of the most important thinkers of time, Edward Said. The book is comprised of essays , documents and shorter political pieces which skillfully highlight the impact of Said’s work on the pressing political issues of time. The original presentation which shows Said’s influence over many years not only on Dabashi himself but on some many others who struggled and continue to struggle with what it means to challenge Eurocentrism and the brutal legacy of colonialism This is a book that is a must read not only for those interested in Said but for anyone who reads him for the sake of a life committed to justice.” —Drucilla Cornell

4.2 Gavan Titley, Is Free Speech Racist? (Cambridge: Polity Press, 2020)

The question of free speech is never far from the headlines and frequently declared to be in crisis. Starting from the observation that such debates so often focus on what can and cannot be said in relation to race, Gavan Titley asks why racism has become so central to intense disputes about the status and remit of freedom of speech.

Is Free Speech Racist? moves away from recurring debates about the limits of speech to instead examine how the principle of free speech is marshalled in today’s multicultural and intensively mediated societies. This involves tracing the ways in which free speech has been mobilized in far-right politics, in the recycling of ‘race realism’ and other discredited forms of knowledge, and in the politics of immigration and integration. Where there is intense political contestation and public confusion as to what constitutes racism and who gets to define it, ‘free speech’ has been adopted as a primary mechanism for amplifying and re-animating racist ideas and racializing claims. As such, contemporary free speech discourse reveals much about the ongoing life of race and racism in contemporary society.

4.3 Histoire sociale / Social History, 53, 107 (2020) Slavery, Memory, Power: France and Its Former Colonies. Guest edited by Audra A. Diptée and Myriam Cottias

Table des matières / Table of Contents



Audra A. Diptée et Myriam Cottias
L’avenir de l’esclavage : histoire sociale comme histoire radicale

Project MUSE

Individual subscribers

Audra A. Diptée and Myriam Cottias
The Future of Slavery: Social History as Radical History

Project MUSE

Individual subscribers



Jennifer L. Palmer
“She Persisted in her Revolt”: Between Slavery and Freedom in Saint-Domingue

Project MUSE

Individual subscribers

Lorelle Semley
Beyond the Dark Side of the Port of the Moon: Rethinking the Role of Bordeaux’s Slave Trade Past

Project MUSE

Individual subscribers

Yun Kyoung Kwon
Forgotten Island of the Liberator: Haiti’s Influences on Victor Schœlcher’s Abolitionism, 1833-1848

Project MUSE

Individual subscribers

Alix Rivière
“Directing the Upcoming Generation’s Mind in the Right Direction”: Enslaved Children in the French Emancipation Project in Martinique, 1835-1848

Project MUSE

Individual subscribers

Jessica Balguy
L’indemnité coloniale de 1849 : Mise en place à répartition en Martinique et en Guadeloupe

Project MUSE

Individual subscribers

Malik Noël-Ferdinand
Le choix de Marie : Aimé Césaire et Suzanne Césaire face au 22 mai (1948-1960)

Project MUSE

Individual subscribers

Martin Mourre
Quali er l’esclavage et (commencer à) commémorer son abolition au Sénégal : la loi du 5 mai 2010

Project MUSE

Individual subscribers

Renée Gosson
Breaking Museal Tradition: Guadeloupe’s “Mémorial ACTe” and the Scenography of Slavery

Project MUSE

Individual subscribers

4.4 RELIEF 14,1 (2020) Ecritures francophones du Maroc contemporain. Édité par Annelies Schulte Nordholt et Emmanuelle Radar.

Le roman francophone marocain d’aujourd’hui semble se caractériser par son orientation sur les « questions qui fâchent », selon la belle expression d’Asma Lamrabet. Plutôt que « concertante », tenant sagement sa voix dans le concert culturel national, cette littérature demeure « déconcertante » : elle s’attache volontiers à des thèmes sensibles, longtemps restés tabous, comme la sexualité, les Années de plomb, la migration clandestine et de manière générale, les carences politico-sociales du Maroc contemporain. En même temps, les écrivains marocains d’aujourd’hui travaillent à un renouveau de l’imaginaire et des formes littéraires. C’est leur voix propre que ce dossier de RELIEF désire faire entendre. Myriam Alaoui, Mokhtar Chaoui, Youssouf Amine Elalamy, Fouad Laroui, Mohamed Nedali, Abdelhak Serhane et Abdellah Taïa : autant d’écrivains qui sont à l’avant-scène de la littérature marocaine d’aujourd’hui et dont les œuvres sont étudiées ici dans leur spécificité. En outre, ce numéro propose trois fictions inédites et un essai sociologique sur les défis de l’édition au Maroc.


Annelies Schulte Nordholt, Introduction : Le roman d’expression française au Maroc : une littérature « déconcertante » ?


Mohamed Nedali, Souad de Bab Ghemat 

Youssouf Amine Elalamy, Big le Grand (extrait)

Fouad Laroui, La Croisée des chemins

Kenza Sefrioui, Être éditeur au Maroc 

Études critiques
Joanne Brueton, Abdellah Taïa’s literary palimpsests

Hanane Raoui, Les identités queer dans L’amour est paradis de Mokhtar Chaoui

Edwige Crucifix, Donner de la voix : prostituées postcoloniales dans le roman marocain contemporain

Imane-Sara Zouini, Abdelhak Serhane, Les temps noirs : un métissage culturel et linguistique

Ieme van der Poel, Vivre avec des racines aériennes : voix de la diaspora judéo-marocaine 

Annelies Schulte Nordholt, « Parler ce n’est pas voir ». L’écriture polyphonique dans Les clandestins et C’est beau, la guerre de Youssouf Amine Elalamy

Florentin Chif-Moncousin, L’écriture de soi, une écriture de l’autre ? Penser la réconciliation à l’œuvre chez Abdellah Taïa

Cristina Vezzaro, L’utopisme postcolonial chez Fouad Laroui : La vieille dame du riad et Les tribulations du dernier Sijilmassi

Comptes rendus
Emmanuelle Radar, Bernadette Rey Mimoso-Ruiz (dir.), Frontières. Littératures francophones postcoloniales du XXe siècle

Emmanuelle Radar, Rabia Redouane (dir.), Autres plumes littéraires d’expression française au Maroc

Arnaud Genon, Jean-Pierre Boulé, Abdellah Taïa, la mélancolie et le cri

Manet van Montfrans, Raoul Delemazure, Une vie dans les mots des autres. Le geste intertextuel dans l’œuvre de Georges Perec

Amirpasha Tavakkoli, Jacques Rancière, Le temps du paysage


RELIEF est une revue scientifique internationale évaluée par les pairs dans le domaine des littératures de langue française. RELIEF paraît deux fois par an. Les numéros sont organisés par thème, mais chaque numéro réserve un espace aux contributions diverses ainsi qu’aux comptes rendus et notes de lecturePour plus d’infos :

4.5 Alain-Philippe Durand (ed.), Hip-Hop en Français: An Exploration of Hip-Hop Culture in the Francophone World (Lanham: Rowman & Littlefield, 2020)

Hip-Hop en Français charts the emergence and development of hip-hop culture in France, French Caribbean, Québec, and Senegal from its origins until today. With essays by renowned hip-hop scholars and a foreword by Marcyliena Morgan, executive director of the Harvard University Hiphop Archive and Research Institute, this edited volume addresses topics such as the history of rap music; hip-hop dance; the art of graffiti; hip-hop artists and their interactions with media arts, social media, literature, race, political and ideological landscapes; and hip-hop based education (HHBE).

The contributors approach topics from a variety of different disciplines including African and African-American studies, anthropology, Caribbean studies, cultural studies, dance studies, education, ethnology, French and Francophone studies, history, linguistics, media studies, music and ethnomusicology, and sociology.

As one of the most comprehensive book dedicated to hip-hop culture in France and the Francophone World written in the English language, this book is an essential resource for scholars and students of African, Caribbean, French, and French-Canadian popular culture as well as anthropology and ethnomusicology.

4.6 Cynthia J. Becker, Blackness in Morocco: Gnawa Identity through Music and Visual Culture (Minneapolis: University of Minnesota Press, 2020) (Forthcoming in November)

For more than thirteen centuries, caravans transported millions of enslaved people from Africa south of the Sahara into what is now the Kingdom of Morocco. Today there are no museums, plaques, or monuments that recognize this history of enslavement, but enslaved people and their descendants created the Gnawa identity that preserves this largely suppressed heritage. This pioneering book describes how Gnawa emerged as a practice associated with Blackness and enslavement by reviewing visual representation and musical traditions from the late nineteenth century to the present.

Cynthia J. Becker addresses the historical consciousness of subaltern groups and how they give Blackness material form through modes of dress, visual art, religious ceremonies, and musical instruments in performance. She examines what it means to self-identify as Black in Morocco (a country typically associated with the Middle East and the Arab world), especially during this time of increased contemporary African migration, which has made Blackness even more visible. Her case studies draw on archival material and on her extended research in the city of Essaouira, site of the wildly popular Gnawa World Music Festival. Becker shows that Gnawa spirit possession ceremonies express the marginalization associated with enslavement and allow these unique communities to move toward healing, even as the mass-marketing of Gnawa music has resulted in some Gnawa practitioners engaging Blackness to claim legitimacy and spiritual power.

This book challenges the framing of Africa’s cultural history into “sub-Saharan” versus “North African” or Islamic versus non-Islamic categories. Blackness in Morocco complicates how we think about the institution of slavery and its impact on North African religious and social institutions, and readers will better understand and appreciate the role of Africans in shaping global forces, including religious institutions such as Islam.

4.7 Jean Sénac, Le Soleil sous les armes (Paris: Terrasses éditions, 2020)

Préfacé par Nathalie Quintane, cet ouvrage regroupe le seul essai écrit par Jean Sénac en 1957, Le soleil sous les armes, et un recueil de poésie et d’hommages au poète algérien paru en 1981, Jean Sénac vivant.

Jean Sénac, homme de radio, poète et militant politique algérien s’engagea dès le début de la guerre de libération nationale algérienne au côté du FLN et offrit ses compétences en termes d’écriture, de journalisme et d’édition pour soutenir l’indépendance de son pays. Poète prolifique, il ne cessa de soutenir les droits des peuples, d’écrire contre le colonialisme et l’aliénation tout en encourageant de nombreux jeunes poètes algériens. Attaqué vigoureusement pour son homosexualité mais aussi pour sa liberté de pensée dans une Algérie qu’il voulait ouverte et socialiste, il fut petit à petit mis à l’écart, menacé jusqu’à être assassiné en 1973 à Alger. Il laissa une œuvre poétique impressionnante de réalisme, de force politique et d’espoir populaire ainsi que des écrits louant une culture nationale révolutionnaire.

Le soleil sous les armes, sous-titré Éléments d’une poésie de la Résistance Algérienne bravant la censure française en pleine guerre d’Algérie est alors un essai destiné à servir la cause algérienne auprès de l’opinion publique française tout autant qu’une première anthologie de la poésie algérienne. A l’origine le texte est celui d’une conférence de presse donnée par Sénac le 13 mars 1956 à Paris à la salle de géographie, à l’initiative de l’Union des Étudiants de la Nouvelle Gauche. Jean Sénac y est à la fois critique d’art, faisant découvrir des textes inédits de la poésie algérienne, et dans le même temps militant œuvrant sur le front de l’opinion publique et auprès des hommes de lettres français et internationaux afin de servir la cause de l’indépendance algérienne.

Jean Sénac vivant est un ouvrage posthume d’hommages au poète publié en 1981. Des textes de Jean Dejeux, Jean Pélégri, Robert Llorens, Emmanuel Robles, Eugene Evtouchenko… y précédent deux des derniers recueils de poésie de Sénac : A-Corpoème et Les Désordres.

4.8 Gavin Arnall, Subterranean Fanon: An Underground Theory of Radical Change (New York: Columbia University Press, 2020)

The problem of change recurs across Frantz Fanon’s writings. As a philosopher, psychiatrist, and revolutionary, Fanon was deeply committed to theorizing and instigating change in all of its facets. Change is the thread that ties together his critical dialogue with Hegel, Marx, Freud, and Nietzsche and his intellectual exchange with Césaire, Kojève, and Sartre. It informs his analysis of racism and colonialism, négritude and the veil, language and culture, disalienation and decolonization, and it underpins his reflections on Martinique, Algeria, the Caribbean, Africa, the Third World, and the world at large.

Gavin Arnall traces an internal division throughout Fanon’s work between two distinct modes of thinking about change. He contends that there are two Fanons: a dominant Fanon who conceives of change as a dialectical process of becoming and a subterranean Fanon who experiments with an even more explosive underground theory of transformation. Arnall offers close readings of Fanon’s entire oeuvre, from canonical works like Black Skin, White Masks and The Wretched of the Earth to his psychiatric papers and recently published materials, including his play, Parallel Hands. Speaking both to scholars and to the continued vitality of Fanon’s ideas among today’s social movements, this book offers a rigorous and profoundly original engagement with Fanon that affirms his importance in the effort to bring about radical change.


Gavin Arnall is assistant professor of Romance languages and literatures at the University of Michigan, Ann Arbor. He is the translator of Emilio de Ípola’s Althusser, The Infinite Farewell (2018).

4.9 Babel. Littératures plurielles, 41 (2020) Identité et altérité dans la littérature de l’espace euro-méditerranéen

Table des matières / Table of Contents

Youssef Ferdjani, Introduction

  1. Histoire, écriture et identité

Mounira Chatti, L’occidentalisme dans Amrikanli de Sonallah Ibrahim

Daniel S. Larangé, Conscience et identité libanaises à la croisée des mondes. Chékri Ibn Ibrahim Ganem et Charles Corm ou la parabole des deux fils

Lakhdar Kharchi, La quête de l’identité dans la littérature algérienne d’expression française

Khalid Hadji, Le chemin vers soi-même ou Le Scribe et son ombre. À propos de l’écriture aventurée d’Abdelkébir Khatibi 

Jacques-Emmanuel Bernard, Décrire une ville d’Islam : Jérôme et Jean Tharaud, Ahmed Sefrioui et Abdellatif Laâbi

  1. Identités plurielles

Randa El Amraoui, « Je » humain et « Je » divin, l’identité chez les mystiques musulmans

Hanna Ayadi, Écrire chez Leïla Marouane : une réappropriation littéraire de l’Histoire

Françoise Navarro, La construction de l’identité féminine, entre héritage méditerranéen et quête émancipatoire dans trois œuvres romanesques contemporaines

Souaad Masmoudi, Mani, le prophète voyageur dans Des jardins de lumière d’Amin Maalouf

Youssef Ferdjani, La poésie du métissage et du rapprochement comme arme contre la politique de l’exclusion : Georges Henein et Jean Sénac

Jaouad Serghini, De l’interculturel et du métissage dans l’écriture de Salim Bachi


Farideh Alavi et Zeinab Rezvantalab, La peinture métaphorique de la guerre dans Savochoun de Simine Daneshvar

Florence Lhote, Genre et genres : le VIH par ses récits

Mattia Ringozzi, Rushes sur le cinéma italien. L’ultimo minuto di Ugo Tognazzi 

Compte rendu

Anita Staron, Recension de : Laure Lévêque, Jules Verne. Un lanceur d’alerte dans le meilleur des mondes, L’Harmattan, coll. « Histoire, Textes, Sociétés », 2019, 207 p.


4.10 Clio. Femmes, Genre, Histoire, 51 (Printemps 2020) Femmes et genre en migration

Responsables du numéro :
Linda GUERRY & Françoise THÉBAUD

S’inscrivant dans une actualité politique et scientifique, ce numéro de Clio, attentif aux approches et sources nouvelles, questionne les femmes et le genre en migration au cours de l’histoire. De l’Antiquité à la période très contemporaine, les contributions, qui s’intéressent à des migrations de grande ampleur, proposent de nouvelles lectures des mouvements migratoires, montrent la capacité d’agir des femmes migrantes mais aussi les contraintes liées aux rapports de genre. Ce dossier interroge également ce que fait la migration à la féminité, à la masculinité, aux rôles socio-sexués, en mobilisant la notion de réagencement de genre.

« Revues en lutte » 

Sciences en danger, revues en lutte. Par le collectif des revues en lutte, le Comité de rédaction de Clio. FGH & Camille Noûs


Linda GUERRY & Françoise THÉBAUD
Éditorial. Femmes et genre en migration


Marie-Adeline LE GUENNEC
Mobilités et migrations féminines dans l’Antiquité romaine. Une histoire fragmentaire
Du fer et du sang. Le genre des Grandes invasions (IVe-VIe siècle)
Virginie ADANE
Des Provinces-Unies à la vallée de l’Hudson. Réagencement de genre en Nouvelle-Néerlande (1624-1664)
La « traite des femmes », une histoire de migrations (France-Cuba, début du XXe siècle)
Stéphanie CONDON
Entre stratégies individuelles et stratégies de l’État. Le genre de l’émigration antillaise dans les années 1960

Regards complémentaires

Donner ou non la vie à Lampedusa. Histoires de migrations plurielles

« En route vers la liberté » ? Trois récits de réfugiées musulmanes en Allemagne

La trilogie Istanbul-Berlin d’Emine Sevgi Özdamar. Genre et écriture entre deux mondes

Actualité de la recherche

Nancy GREEN 

Quatre âges des études migratoires


La migration noire américaine. Le récit de vie de Jane Edna Hunter (1882-1971)

Réunir les familles séparées par la migration. Récits de l’Immigrants’ Protective League à Chicago, 1931

Turcs et Marocains aux Pays-Bas pendant la Révolution sexuelle (1964-1979). Une analyse photographique


Marianne AMAR
Migrantes au musée. Questions posées à l’histoire (entretien) par Linda GUERRY & Françoise THÉBAUD


Angela Groppi (1947-2020), pionnière de l’histoire des femmes en Italie


L’habitude de bien lire. Lectures quotidiennes d’une jeune bourgeoise dans les années 1820
Celles qui sortent et celles qui restent. « Carrières asilaires » des femmes internées dans les asiles en France au XIXe siècle

Clio a lu

⋅ Laurens E. TACOMA, Moving Romans: Migration to Rome in the Principate (Marie-Sophie Caruel)
⋅ Katharine M. DONATO & Donna GABACCIA, Gender and International Migrations (Elisa Camiscioli)
⋅ Marie RUIZ, British Female Emigration Societies and the New World, 1860-1914 (Marie-Paule Hâ)
⋅ Francesca FALK, Gender Innovation and Migration in Switzerland (Anne Rothenbühler)
⋅ Sylvie APRILE, Maryla LAURENT & Janine PONTY, Polonaises aux champs. Lettres de femmes immigrées dans les campagnes françaises (1930-1935) (Michelle Zancarini-Fournel)
⋅ Maëlle MAUGENDRE, Femmes en exil. Les réfugiées espagnoles en France (1939-1942) (Celia Keren)
⋅ Chadia ARAB, Dames de fraises, doigts de fée. Les invisibles de la migration saisonnière en Espagne (Michelle Zancarini-Fournel)
⋅ Claire LEVY-VROELANT, L’Incendie de l’Hôtel Paris-Opéra. Enquête sur un drame social (Linda Guerry)
⋅ Caroline B. BRETTEL, Gender and Migration (Francesca Sirna)

4.11 Pascale Pellerin (ed.), Les Lumières, l’esclavage et l’idéologie coloniale. XVIIe-XXe siècles (Paris: Classiques Garnier, 2020)

Résumé: Comment articuler les problématiques de l’esclavage et de la colonisation ? Comment l’anthropologie des Lumières s’est-elle développée à partir de l’expédition d’Égypte puis de la conquête de l’Algérie ? Quel rôle a-t-elle joué dans les constructions de l’image de l’indigène au xixe siècle ?


Pages 7 à 41: Pascale Pellerin, Introduction générale.


Pages 45 à 61: Michelle Ruivo-Coppin, Lutte contre les pratiques des esclavagistes. Un combat contre l’usage d’un déterminisme linguistique et social dans Candide de Voltaire.

Pages 63 à 83: Eszter Kovács, Des faits contestés à la polémique. La réflexion sur les missions jésuites de Paraguay de Montesquieu à Diderot.

Pages 85 à 98: Damien Tricore, Les Lumières, l’idéologie coloniale et Madagascar. Aux origines de la mission civilisatrice.

Pages 99 à 114: Moulay-Badreddine Jaouik, Anquetil-Duperron ou comment détruire les « fantômes ». Des récits de voyage destinés à préparer l’impérialisme occidental sur l’Orient.

Pages 115 à 129: Rachida Saidi, Le Maroc dans les récits de captivité barbaresque. Regard idéologique et littéraire de l’Orient des Lumières.

Pages 131 à 152: Fayçal Falaky, D’un déisme à l’autre. Le wahhabisme au temps des Lumières.


Pages 155 à 179: Anaïs Cécile Pédron, Olympe de Gouges, anti-esclavagiste et anticolonialiste ?

Pages 181 à 215: María-José Villaverde, Le premier abolitionnisme espagnol. Zinda de María Rosa Gálvez.

Pages 217 à 236: Izabella Zatorska, Esclave baroque, éclairé, romantique. Aphra Behn et Saint-Lambert contre Mérimée et Hugo ?

Pages 237 à 258: Emese Egyed, Le modèle dramatique ou l’Histoire critiquée. Les Espagnols au Mexique – un drame de Domokos Teleki (1794).

Pages 259 à 279: Laurine Quetin, Dénonciation de M. l’abbé Grégoire (1791). Jean-Charles Michel de Chabanon des Salines. Un colon esclavagiste à Saint-Domingue.

Pages 281 à 296: Luc-André Biarnais, Images et représentations raciales dans l’administration. La délivrance des passeports à Nantes et La Rochelle durant la Révolution française.

Pages 297 à 315: Pascale Pellerin, Colonialisme et esclavage dans les journaux du Directoire.

Pages 317 à 334: Jean-Claude Halpern, Les enjeux d’une nouvelle colonisation, de la condamnation de l’esclavage moderne à l’aventure égyptienne.


Pages 337 à 347: Abdelhak Zerrad, L’orientalisme. Une idéologie coloniale ?

Pages 349 à 365: María Luisa Sánchez-Mejía, Benjamin Constant et les colonies. Perfectibilité, progrès et abolitionnisme.

Pages 367 à 392: Jonathan Arriola, Les Lumières radicales au Rio de la Plata. La Révolution orientale et le caudillismo éclairé de José Artigas.

Pages 393 à 410: Amélie Gregório, L’Arabe colonisé sur les scènes françaises. Des discours des Lumières à l’idéologie coloniale (XIXe-XXe siècles).

Pages 411 à 438: Ahlème Charfeddine, Maupassant et l’idéologie coloniale.

Pages 439 à 451: Sandrine Lemaire, Lumières vs Ténèbres. L’esclavage et les Lumières dans l’iconographie coloniale.

Pages 453 à 473: Nicolas Bancel et Pascal Blanchard, Le passage de l’esclave à l’indigène. Régime juridique, discours politique et idéologie coloniale.

Pages 475 à 489: Alain Ruscio, Dominants et dominés, maîtres et « indigènes » dans la chanson française de l’ère coloniale.

Pages 491 à 532: Bibliographie

Pages 533 à 550: Index des noms propres

Pages 551 à 556: Résumés

Pages 557 à 560: Table des matières

4.12 Michael Peyron, Contes et légendes de la montagne amazighe (Maroc) (Rabat: Institut Royal de la Culture Amazighe, 2020)

Ce recueil de contes et légendes est réalisé par Michael Peyron, géographe de formation. Il est angliciste à la FLSH de Rabat (1973-1988). Il est l’auteur de nombreuses notices à l’Encyclopédie Berbère d’Aix-en-Provence. Il a notamment animé un cours d’histoire et de culture amazighe à l’université Al-Akhawayne d’Ifrane (1998-2009). Pendant ses longues années passées au Maroc, l’auteur a effectué des randonnées à travers les monts de l’Atlas, depuis Bab ou Idir au Seksawa, s’initiant en autodidacte aux divers parlers amazighes.

Cet opus d’envergure est l’œuvre d’un passionné, censé en toute modestie prendre la suite du mémorable Contes berbères du Maroc d’Emile Laoust (1949). De plus, afin de ratisser le plus large possible, ont été inclus un certain nombre de textes relevant des parlers du tachelhit.

Cet ouvrage contribuera la connaissance des genres narratifs de la littérature orale amazighe, souvent méconnus, et qui recouvrent aussi bien les objets culturels que les dimensions didactiques.

4.13 Catherine Gilbert, Kate McLoughlin, and Niall Munro (eds.), On Commemoration: Global Reflections upon Remembering War (Oxford: Peter Lang, 2020)

How, in the twenty-first century, can we do commemoration better? In particular, how can commemoration contribute to post-war reconciliation and reconstruction? In this book, a global roster of distinguished writers, artists, musicians, religious leaders, military veterans and scholars debate these questions and ponder the future of commemoration. They include the world-renowned architect Daniel Libeskind, the Pulitzer Prizewinning journalist Tony Horwitz, the award-winning novelists Aminatta Forna and Rachel Seiffert, and the human rights lawyer and Gifford Baillie Prize-winner Philippe Sands. Polemics and reflections together with poetry and creative prose movingly illuminate a subject that speaks to our common humanity.

4.14 Eva Spišiaková, Charles Forsdick, and James Mark (eds.), The Global Crisis in Memory: Populism, Decolonisation and How We Remember in the Twenty-First Century. The new Special Collection from Modern Languages Open, a fully Open Access platform.

Since the 1980s, the idea of ‘coming to terms with the past’, shaped by the values of neoliberal economics and liberal politics, became part of a globally-powerful consensus over how societies should overcome violent and traumatic histories. In the 2010s, in the context of the global rise of populist nationalisms, political hostility to migration, and increasingly vocal criticisms of a neoliberal order, this consensus was powerfully challenged. Rather than rejecting memory politics, new political formations have in fact embraced them.

Some chapters here historicise the growth of the liberal ‘coming to terms’ paradigm in order better to understand the present challenge to it. Others, focussing variously on social media, political rhetoric, law, visual culture and public space, explore how populists in the Americas, Europe and Asia seek to replace earlier cosmopolitan forms of remembrance with historical cultures of national victimhood and masculine racial-religious supremacy, and often resist challenges that unsettle stories of imperial and national benevolence. Moreover, these new memory practices increasingly have their own alternative internationalisms, reaching across or beyond regions in new transnational formations.

Other chapters, variously addressing countries in Latin America, Europe and Africa, either analyse leftist and decolonial resistance to both liberal and emergent populist approaches, or advocate for new memory work that can tackle the insufficiencies of the liberal ‘coming to terms’ paradigm.

4.15 Buata B. Malela, Édouard Glissant. Du poète au penseur (Paris: Editions Hermann, 2020)

Le parcours social d’Édouard Glissant, l’analyse de sa pensée créatrice et de son discours littéraire développé entre 1950 et 2011, laissent transparaître l’existence de deux moments décisifs dans son traitement de la question du monde et du sujet : entre 1950 et 1981, le « temps du poète », et, entre 1982 et 2011, le « temps du penseur ». Ce parcours s’objective dans des choix qui ont orienté la conception de ses productions textuelles. Ces dernières expriment une poétique discontinue et confirment sa posture de poète et de penseur.

Buata B. Malela est maître de conférences HDR en littératures francophones à l’Université de Mayotte et chercheur associé à l’Université Libre de Bruxelles. Ses recherches portent sur les littératures francophones (Afrique, Antilles, Europe et océan Indien), la théorie de la littérature et les cultures populaires francophones (pop-musique).

Lien :

4.16 Claude Couture and Srilata Ravi (eds.), Britannicité. Essai sur la présence française dans l’Empire britannique au XIXe siècle (Laval: Presses de l’Université Laval, 2020)

« Ce livre n’est pas un livre d’histoire mais l’histoire est son sujet. Plus précisément, notre histoire et ce besoin de mieux comprendre cette « chose » qui a été omniprésente dans nos vies, l’Empire britannique et son fantôme. »

Ce livre est un essai dans lequel les deux auteurs, dans un cas né au Québec, dans l’autre en Inde, cherchent simplement à explorer la signification de la présence permanente dans leurs vies, malgré la distance considérable qui sépare leurs origines, d’un ensemble, l’Empire britannique. C’est que cet empire n’a pas été un empire comme les autres, avec une période d’apogée et de déclin. L’Empire britannique a laissé des traces et ces traces ont encore une grande influence dans le monde d’aujourd’hui, y compris, sinon surtout, au Canada.

Quelle a été la relation de cet Empire britannique avec l’Empire français de la période 1815-1920 ? Cette relation a-t-elle eu, justement, des conséquences au Canada ? Dans ce livre, les auteurs proposent, dans une perspective non pas transnationale mais transcoloniale, quelques pistes de réflexion sur l’Empire britannique, sa structure, enfin l’enchevêtrement de ses différentes sections. Depuis les années 1960, dans le contexte canadien, la grande noirceur de la période antérieure associée trop souvent au seul Québec était en fait la grande noirceur globale d’un monde colonial occidental définitivement dominé par les Britanniques après 1815.

4.17 Lia Brozgal, Absent the Archive: Cultural Traces of a Massacre in Paris, 17 October 1961 (Liverpool: Liverpool University Press, 2020) (Forthcoming in November)

Absent the Archive: Cultural Traces of a Massacre in Paris, 17 October 1961 is the first cultural history devoted to literary and visual representations of the police massacre of peaceful Algerian protesters. Covered up by the state and hidden from history, the events of October 17 have nonetheless never been fully erased. Indeed, as early as 1962, stories about the massacre began to find their way their way into novels, poetry, songs, film, visual art, and performance. This book is about these stories, the way they have been told, and their function as both documentary and aesthetic objects. Identified here for the first time as a corpus—an anarchive—the works in question produce knowledge about October 17 by narrativizing and contextualizing the massacre, registering its existence, its scale, and its erasure, while also providing access to the subjective experiences of violence and trauma. Absent the Archive is invested in exploring how literature and culture represent history by complicating it, whether by functioning as first responders and persistent witnesses; reverberating against reality but also speculating on what might have been; activating networks of signs and meaning; or by showing us things that otherwise cannot be seen, while at the same time provoking important questions about the aesthetic, ethical, and political stakes of representation.

Author Information

Lia Brozgal is an Associate Professor in the Department of French and Francophone Studies at UCLA.

4.18 Inès Cazalas and Delphine Rumeau (eds.), Épopées postcoloniales, poétiques transatlantiques (Paris: Classiques Garnier, 2020)

Résumé: Parce qu’elle engage des questions collectives, parce qu’elle apparaît comme un genre prestigieux, l’épopée est très sollicitée dans les littératures d’Amérique et d’Afrique. Ce livre analyse les fonctions de l’épique dans un contexte postcolonial et dans un espace transatlantique.


Pages 7 à 4: Inès Cazalas & Delphine Rumeau, Introduction. L’épopée dans les littératures postcoloniales et dans les espaces transatlantiques


Pages 47 à 63: Delphine Rumeau, Postcolonial et transatlantique. De quelques épopées nord-américaines au XIXe siècle.

Pages 65 à 86: Christophe Imbert, La gloire de l’empire à l’ère du soupçon. L’aspiration épique chez Walcott, entre horizon post-colonial et post-moderne.

Pages 87 à 102: Cécile Chapon-Rodriguez, Retrouver l’histoire à travers l’épopée – ou s’en délester ?Communauté antillaise et prisme épique dans Ormerod d’Édouard Glissant et Omeros de Derek Walcott.

Pages 103 à 114: Florian Alix, Penser avec et sans concepts. Permanence de l’épique dans l’essai postcolonial martiniquais (Césaire, Fanon, Glissant, Chamoiseau).

Pages 115 à 132: Tina Harpin, Mystères, cri et poésie, l’épopée des sans-voix. Ultravocal et Les Affres d’un défi de Frankétienne.

Pages 133 à 148: Cyril Vettorato, Modèle(s) épique(s) et expérience post-esclavagiste dans Wise Why’s Y’s d’Amiri Baraka.


Pages 151 à 163: Mathilde Rogez, L’épopée chez Sol T. Plaatje. Une relecture de Mhudi.

Pages 165 à 179: Pierre Soubias, Entre tradition et refondation. Le sens des références épiques chez Sembène Ousmane et Ahmadou Kourouma.

Pages 181 à 194: Yolaine Parisot, « Travail épique » et poétique de l’immédiat. Links, Knots et Crossbones de Nuruddin Farah.

Pages 195 à 225: Inès Cazalas, Un recueil épique pour « rêvérer » les mondes qui font le Mozambique. Mia Couto, lecteur des nouvelles de João Guimarães Rosa.

Pages 227 à 242: Catherine Mazauric, Donner voix au silence. Histoire tue et énonciation épique dans La Quête infinie de l’autre rive de Sylvie Kandé.

Pages 243 à 259: Sylvie Kandé, L’épique et le subalterne.

Pages 261 à 285: Florence Goyet, Conclusion. Geste épique et dynamique épique : deux régimes possibles de l’épique dans le cadre postcolonial.

Pages 287 à 293: Bibliographie.

Pages 295 à 298: Index des noms.

Pages 299 à 300: Index des personnages.

Pages 301 à 305: Résumés.

Pages 307 à 309: Table des matières.

4.19 Cynthia V. Parfait, Panorama des littératures francophones des îles de l’océan Indien (Paris: Anibwe, 2020)

Les littératures francophones des îles de l’océan Indien ont, dès leur genèse, cherché à se démarquer de la littérature française en évoquant notamment le pays natal, anté-colonial ou post-colonial. Elles se proposent alors de dire les malheurs et de chanter les aspirations des peuples insulaires. Pour ce faire, elles peuvent alors se servir sans conteste des modèles occidentaux ou puiser leur vitalité dans les langues locales et les traditions orales des îles respectives. Puis à l’ère de la mondialisation, le désir de s’embarquer dans l’aventure de l’écriture, tout en continuant à questionner l’île natale, se fait pressant. Cet ouvrage que propose Cynthia Parfait vise à donner une vue d’ensemble de ces productions littéraires francophones des îles du sud-ouest de l’océan Indien pour interroger aussi leur place au sein des autres littératures francophones et plus largement dans la république mondiale des lettres.

Cynthia V. PARFAIT est maître de conférences en littératures francophones à l’Université d’Antsiranana (Madagascar) et chercheure associée à l’Université de Mayotte. Ses domaines de recherches portent sur les littératures francophones de l’océan Indien et les éditions littéraires à Madagascar. Elle est l’auteure de nombreux travaux qui couvrent ces axes d’études littéraires.

Lien :

4.20 Loïc Céry, Édouard Glissant, une traversée de l’esclavage (Paris: Éditions de l’Institut du Tout-Monde, 2020)

I – Étude critique : premier tome. Rassembler les mémoires

ISBN 978-2-491641-00-9

II – Étude critique : second tome. Renverser les gouffres

ISBN 978-2-491641-01-6

L’ouvrage en trois volumes propose une étude critique et une anthologie commentée de l’ensemble des textes consacrés par Édouard Glissant aux questions de l’histoire et des mémoires de l’esclavage. Prenant en compte les différents genres pratiqués par l’écrivain (essai, roman, poésie, théâtre), ces textes sont pour la première fois étudiés dans leur intégralité (volumes 1 et 2 : étude critique), impliquant une pensée capitale et une représentation plurielle de l’esclavage. L’anthologie commentée (volume 3) rassemble des extraits significatifs de ces textes.

Pour le premier volume (premier temps de l’étude critique), il s’agit autant de rendre compte d’une pensée déterminante de l’histoire où Glissant prône un « rassemblement des mémoires »  et une « impétuosité de la connaissance », que de rassembler les mémoires de l’œuvre elle-même, dans son foisonnement et son éminente précision.

Pour le deuxième volume (second temps de l’étude critique), sont envisagées les modalités  selon lesquelles Édouard Glissant formule une pensée inédite de l’histoire et une éthique de la mémoire qui visent à renverser les gouffres issus de la traite et de l’esclavage.

Cette édition répond au besoin qui se fait sentir depuis plusieurs années, tout à la fois d’une mise en perspective raisonnée à propos du regard porté par Édouard Glissant sur l’esclavage tout au long de son œuvre (relevant d’une véritable « matrice » de ses écrits), et d’une sélection représentative des lieux clés de cette œuvre portant trace d’une réflexion et d’une représentation amples autour de ces questions, sur plus de cinquante ans de création. Une pensée qui nous est plus que jamais indispensable aujourd’hui, partout dans le monde.

Loïc Céry dirige le Centre international d’études Édouard Glissant (CIEEG) et la revue Les Cahiers du Tout-Monde à l’Institut du Tout-Monde (fondé par Édouard Glissant à Paris en 2006). Il y coordonne par ailleurs le pôle numérique ainsi que les cycles pluridisciplinaires « Traduction » et « Penser la Caraïbe, penser le monde » en partenariat avec la FMSH. Spécialiste de Saint-John Perse et d’Édouard Glissant, il a fondé la revue La nouvelle anabase en 2006.

Lien de l’éditeur :

4.21 Alma Rachel Heckman, The Sultan’s Communists: Moroccan Jews and the Politics of Belonging (Redwood: Stanford University Press, 2020) (Forthcoming in November)

The Sultan’s Communists uncovers the history of Jewish radical involvement in Morocco’s national liberation project and examines how Moroccan Jews envisioned themselves participating as citizens in a newly-independent Morocco. Closely following the lives of five prominent Moroccan Jewish Communists (Léon René Sultan, Edmond Amran El Maleh, Abraham Serfaty, Simon Lévy, and Sion Assidon), Alma Rachel Heckman describes how Moroccan Communist Jews fit within the story of mass Jewish exodus from Morocco in the 1950s and ’60s, and how they survived oppressive post-independence authoritarian rule under the Moroccan monarchy to ultimately become heroic emblems of state-sponsored Muslim-Jewish tolerance.

The figures at the center of Heckman’s narrative stood at the intersection of colonialism, Arab nationalism, and Zionism. Their stories unfolded in a country that, upon independence from France and Spain in 1956, allied itself with the United States (and, more quietly, Israel) during the Cold War, while attempting to claim a place for itself within the fraught politics of the post-independence Arab world. The Sultan’s Communists contributes to the growing literature on Jews in the modern Middle East and provides a new history of twentieth-century Jewish Morocco.

About the author

Alma Rachel Heckman is Neufeld-Levin Chair of Holocaust Studies and Assistant Professor of History and Jewish Studies at the University of California, Santa Cruz.

4.22 Jay Rajiva, Towards An Animist Reading of Postcolonial Trauma Literature (London: Routledge, 2020)

This book uses the conceptual framework of animism, the belief in the spiritual qualities of nonhuman matter, to analyze representations of trauma in postcolonial fiction from Nigeria and India.

Toward an Animist Reading of Postcolonial Trauma Literature initiates a conversation between contemporary trauma literatures of Nigeria and India on animism. As postcolonial nations move farther away from the event of decolonization in real time, the experience of trauma take place within and is generated by an increasingly precarious environment of resource scarcity, over-accelerated industrialization, and ecological crisis. These factors combine to create mixed environments marked by constantly changing interactions between human and nonhuman matter. Examining novels by authors such as Chinua Achebe, Jhumpa Lahiri, Nnedi Okorafor, and Arundhati Roy, the book considers how animist beliefs shape the aesthetic representation of trauma in postcolonial literature, paying special attention to complex metaphor and narrative structure. These literary texts challenge the conventional wisdom that working through trauma involves achieving physical and psychic integrity in a stable environment. Instead, a type of provisional but substantive healing emerges in an animist relationship between human trauma victims and nonhuman matter. In this context, animism becomes a pivotal way to reframe the process of working through trauma.

Offering a rich framework for analyzing trauma in postcolonial literature, this book will be of interest to scholars of postcolonial literature, Nigerian literature and South Asian literature.

Table of Contents

Introduction: animating postcolonial trauma

  1. Survival’s strange shape: prophecy and materiality
  2. Witnessing at the limit: creative identification through dividual relation
  3. Nonsentient insurgence: perception, implication, and the disunity of locale
  4. Genres, possessed: trauma literature’s coming of age

Conclusion: entangling postcolonial reading



Jay Rajiva is Associate Professor of Global Anglophone Literature at Georgia State University, USA.

You Might Also Like

No Comments

Leave a Reply