Bringing The Empire Back Home

DIVA study of the meaning of culture in contemporary France with an emphasis on anti-globalization and post-colonial regionalism./div

Thirty years ago, an international antiglobalization movement was born in the grazing lands of France’s Larzac plateau. In the 1970s, Larzac farmers were joined by others from around the world in their efforts to prevent the expansion of a local military base: by ecologists, religious pacifists, and urban leftists, and by social activists including American Indians and South American peasant leaders. In 1999 some of the same farmers who had fought the expansion of the base in the 1970s—including José Bové—dismantled the new local McDonald’s. That gesture was part of a protest against U.S. tariffs on specified French exports including Roquefort cheese, the region’s primary market product. The two struggles—the one against expanding a French army camp intended to train troops for postcolonial wars, the other against American economic might—were landmarks in the global campaign to preserve local cultures. They were also key episodes in the decades-long attempt by the French to define their cultural heritage within a much changed nation, a new Europe, and, especially, an American-dominated world. In Bringing the Empire Back Home, the inventive cultural historian Herman Lebovics provides a riveting account of how intense disputes about what it means to be French have played out over the past half-century, redefining Paris, the regions, and the former colonies in relation to one another and the world at large. In a narrative populated with peasants, people from the former colonies, museum curators, former colonial administrators, left Christians, archaeologists, anthropologists, soccer players and their teenage fans, and, yes, leading government officials, Lebovics reveals contemporary French society and cultures as perhaps the West’s most important testing grounds of pluralism and assimilation. A lively cultural history, Bringing the Empire Back Home highlights not only the political significance of France’s efforts to synthesize the regional, national, European, ethnic postcolonial, and global but also the chaotic beauty of the endeavor.

How did South Africans become black? How did the idea of blackness influence conceptions of disadvantaged groups in England such as women and the poor, and vice versa? Bringing the Empire Home tracks colonial images of blackness from South Africa to England and back again to answer questions such as these. Before the mid-1800s, black Africans were considered savage to the extent that their plight mirrored England's internal Others—women, the poor, and the Irish. By the 1900s, England's minority groups were being defined in relation to stereotypes of black South Africans. These stereotypes, in turn, were used to justify both new capitalist class and gender hierarchies in England and the subhuman treatment of blacks in South Africa. Bearing this in mind, Zine Magubane considers how marginalized groups in both countries responded to these racialized representations. Revealing the often overlooked links among ideologies of race, class, and gender, Bringing the Empire Home demonstrates how much black Africans taught the English about what it meant to be white, poor, or female.

With contributions from leading scholars across the entire range of French studies, this up-to-date volume examines both the current state of French studies in the United Kingdom, as well as its future in an increasingly interdisciplinary world where student demand, new technologies, and developments in transnational education are changing the ways in which we teach, learn, research and assess achievements. Required reading for French studies scholars worldwide, this volume builds upon the findings of the influential Review of Modern Foreign Languages Provision in Higher Education and maps the present and future of the field.

French Studies in and for the 21st Century draws together a range of key scholars to examine the current state of French Studies in the UK, taking account of the variety of factors which have made the discipline what it is. The book looks ahead to the place of French Studies in a world that is increasingly interdisciplinary, and where student demands, new technologies and transnational education are changing the ways in which we learn, teach, research and assess. Required reading for all UK French Studies scholars, the book will also be an essential text for the French Studies community worldwide as it grapples with current demands and plans for the future.

At the close of the twentieth century, even as globalization spurred the growth of megacities worldwide, inhabiting the French countryside had become an internationally-shared fantasy and practice. Accounts of moving into old farmhouses were bestsellers, and houses and barns built by peasants had been renovated as second homes throughout the rural hinterland. Such developments, Sarah Farmer argues, did not simply stem from nostalgia for a rural past or a desire to invest in real estate. Rather, they defined new versions of the rural that emerge in post-agrarian societies. In post-World War II France, cutting-edge technological modernization and explosive economic growth uprooted rural populations and eroded the village traditions of a largely peasant nation. And yet, this book argues, rural France did not vanish in the sweeping transformations of the 1950s and 1960s. The French responded to the collapse of peasant society and threats to cherished landscapes by devising new ways of inhabiting the countryside, making them the sites of change and adaptation. In addition to the rise of restored peasant houses as second residences, Rural Inventions explores the utopian experiments in rural communes and in "going back to the land"; environmentalism; the extraordinary success of peasant autobiographies; photography; and other representations through which the French revalorized rural life and landscapes. The peasantry as a social class may have died out, but the countryside persisted, valued as a site not only for agriculture but increasingly for sport and leisure, tourism, social and political engagement, and a natural environment worth protecting. The postwar French state and the nation's rural and urban inhabitants, Sarah Farmer eloquently shows, remade the French countryside in relation to the city and to the world at large, not only invoking traditional France but also creating a vibrant and evolving part of the France yet to come.

Before French conquest, education played an important role in Moroccan society as a means of cultural reproduction and as a form of cultural capital that defined a person's social position. Primarily religious and legal in character, the Moroccan educational system did not pursue European educational ideals. Following the French conquest of Morocco, however, the French established a network of colonial schools for Moroccan Muslims designed to further the agendas of the conquerors. The Moroccan Soul examines the history of the French education system in colonial Morocco, the development of Fren.

In Soundscapes of Liberation, Celeste Day Moore traces the popularization of African American music in postwar France, where it signaled new forms of power and protest. Moore surveys a wide range of musical genres, soundscapes, and media: the US military's wartime records and radio programs; the French record industry's catalogs of blues, jazz, and R&B recordings; the translations of jazz memoirs; a provincial choir specializing in spirituals; and US State Department-produced radio programs that broadcast jazz and gospel across the French empire. In each of these contexts, individual intermediaries such as educators, producers, writers, and radio deejays imbued African American music with new meaning, value, and political power. Their work resonated among diverse Francophone audiences and transformed the lives and labor of many African American musicians, who found financial and personal success as well as discrimination in France. By showing how the popularity of African American music was intertwined with contemporary structures of racism and imperialism, Moore demonstrates this music's centrality to postwar France and the convergence of decolonization, the expanding globalized economy, the Cold War, and worldwide liberation movements.