By Welch, Edward; Barnet, Marie-Claire
'Famille, je vous ai (encore et toujours a l'esprit?), je vous aime un peu, beaucoup, ou je vous hais enormement?' What are households like in modern France? And what starts off to emerge after we think about them from the viewpoint of contemporary theoretical views: (faulty) unity, (fake) coherence, (carefully deliberate or subversive) deconstruction, loss (of love, self assurance or credibility), or, even (utter) chaos and (alarming) confusion? Which media revamp outdated stereotypes, generate substitute reinterpretations, and indicate extra ambiguous solutions? What pictures, scenes or frames stand out in modern representations of the relatives? Uneasy contradictions and ambiguities emerge during this bilingual selection of methods and style reports. The family members plot turns out to thicken as kin ties seem to loosen. Has 'the relatives' been misplaced from sight, or is it being reinvented in our collective imaginary? This e-book proposes a brand new sequence of views and questions about an previous and 'familiar' subject, exploring the country and standing of the kin in modern literature, tradition, serious and psychoanalytic idea and sociology
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Extra info for Affaires de famille : the family in contemporary French culture and theory
12. 22 This image migrates from text to text in Darrieussecq (see for example pp. 43-4 and p. , 1999)). 23 Marguerite Duras, L’Amant (Paris: Minuit, 1984). , 1998) not only does the narrator’s husband literally disappear, he also gradually disappears from the couple’s wedding photographs (pp. 47-50). 46 Shirley-Ann Jordan sa naissance, dans ce temps qui existe et n’existe pas. Voir tomber la falaise: tu aurais vu la tête d’Anne, la tête de Jeanne, les yeux ronds de maman. You should have seen it.
9 The term is used by Hirsch to explore the idea that all family photographs are visual texts combining narrative and image (p. 271, note 2). 10 Béatrix Le Wita, Ni vue ni connue. Approche éthnographique de la culture bourgeoise (Paris: Éditions de la Maison des Sciences de l’Homme, 1988). 11 Le Wita, Ni vue ni connue, p. 149. 12 Ni vue ni connue, pp. 128-9. 42 Shirley-Ann Jordan paintings and photographs of people and gatherings celebrate rites of passage, unions and unity, property, place and achievement.
Waiting at the station for ‘la véritable arrivée de ma vraie mère’, the narrator sees the approach of ‘une femme qui porte les lunettes disgracieuses de ma mère’ (AV 67) but the mother is never fully authenticated, recuperable 35 Ndiaye, Autoportrait en vert, p. 30. Subsequent references will be given in the text, following the abbreviation AV. Figuring out the Family 55 or knowable. There is no affirmation of what we familiarly recognise as a good mother/daughter kinship tie. The narrator’s reunion with her sisters again holds her in suspense between familiarity and alienation and is characterised by a similar unease.
Affaires de famille : the family in contemporary French culture and theory by Welch, Edward; Barnet, Marie-Claire