This study examines French women's writing and representations of the Occupation in post-'68 France. The author looks at the work of 'The Women Resisters', those women who were adult resisters during the war, and 'The Daughters of the Occupation', those who were born during or after the war period. The main contention of the study is that the older generation's nascent awareness of how gender informs political activism is reworked into explicitly feminist representations of wartime France by younger women writers.
This study explores France’s preoccupation with memories of the Second World War through an examination of popular culture and one of its more enduring forms, crime fiction. It examines what such popular narratives have to tell us about past and present perceptions of the war years in France and how they relate to post-war debates over memory, culture and national identity. Starting with narratives of the Resistance in the late 1940s and concluding with contemporary crime fiction for younger readers, Gorrara examines popular memories of the Second World War in dialogue with the changing social, cultural and political contexts of remembrance in post-war France. From memories of the persecution of Jews and French collaboration to the legacies of the concentration camps and the figure of the survivor-witness, all the crime novels discussed grapple with the challenges of what it means to live in the shadow of such a past for generations past, present and future.
All the novelists studied were published initially in popular collections, such as the Serie noire, but they have been chosen for the innovation of their work and the exciting ways in which they resist tired conventions and offer new ways of representing social reality." "One of the first English-language studies of this popular genre, The Roman Noir in Post-War French Culture offers much more than close readings of these fascinating texts; it demonstrates the important contribution of the roman noir to the cultural histories of post-war France."--Jacket.
This study examines French women's writing and representations of the Occupation in post-'68 France. The author looks at the work of 'The Women Resisters', those women who were adult resisters during the war, and 'The Daughters of the Occupation', those who were born during or after the war period. The main contention of the study is that the older generation's nascent awareness of how gender informs political activism is reworked into explicitly feminist representations of wartime France by younger women writers.
All the novelists studied were published initially in popular collections, such as the Serie noire, but they have been chosen for the innovation of their work and the exciting ways in which they resist tired conventions and offer new ways of representing social reality." "One of the first English-language studies of this popular genre, The Roman Noir in Post-War French Culture offers much more than close readings of these fascinating texts; it demonstrates the important contribution of the roman noir to the cultural histories of post-war France."--Jacket.
This study explores France’s preoccupation with memories of the Second World War through an examination of popular culture and one of its more enduring forms, crime fiction. It examines what such popular narratives have to tell us about past and present perceptions of the war years in France and how they relate to post-war debates over memory, culture and national identity. Starting with narratives of the Resistance in the late 1940s and concluding with contemporary crime fiction for younger readers, Gorrara examines popular memories of the Second World War in dialogue with the changing social, cultural and political contexts of remembrance in post-war France. From memories of the persecution of Jews and French collaboration to the legacies of the concentration camps and the figure of the survivor-witness, all the crime novels discussed grapple with the challenges of what it means to live in the shadow of such a past for generations past, present and future.
We are reaching a point in history when the generation who experienced the Holocaust as survivors, witnesses or exiles will soon disappear. What happens to our relationship to such a momentous event in global history when our living connection with such a past is broken? To answer this question, this article will explore recent French representations of the Holocaust through the comic book. It will approach such representations from the perspective of the grandchildren of those who were affected by the Holocaust, perhaps the last generation to have personal ties to this wartime past. It will focus specifically on Jérémie Dres's Nous n'irons pas voir Auschwitz (2011), translated as We Won't Go and See Auschwitz. As a "third generation" narrative, Dres's work is attentive to stories of Jewish exile and loss to be found on the margins of Holocaust histories. This perspective translates into an openness towards transnational histories of the Holocaust; a recognition of place as a substitute for living memory and an awareness of comics' potential to innovate in the transmission of Holocaust memories. Ultimately, this article will argue that the contemporary comic book acts as a privileged vehicle of remembrance, indicative of the reordering of Holocaust representations in an age of cultural memory.
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