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 once we examine them from the perspective of contemporary theoretical views: (faulty) solidarity, (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 Which media revamp outdated stereotypes, generate replacement reinterpretations, and suggest extra ambiguous solutions? What photos, scenes or frames stand out in modern representations of the relatives? Uneasy contradictions and ambiguities emerge during this bilingual choice of techniques and style reports. The relatives plot turns out to thicken as family members ties seem to loosen. Has 'the kin' been misplaced from sight, or is it being reinvented in our collective imaginary? This publication proposes a brand new sequence of views and questions about an outdated and 'familiar' subject, exploring the kingdom and standing of the relations in modern literature, tradition, severe and psychoanalytic conception and sociology
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Extra info for Affaires de famille : the family in contemporary French culture and theory
173-179. 33 Autoportrait en vert was commissioned for the recently established ‘Traits et Portraits’ series published by Mercure de France, which is dedicated to experimental self-portraiture combining text and image. Figuring out the Family 53 gain access to her grandmother’s birthday party. She is held at bay by bars, by the family dogs which no longer recognise her, and subsequently by the family’s enigmatic refusal to receive and acknowledge her as a member. Rosie Carpe begins with the pregnant Rosie sitting in the airport arrivals hall in Guadeloupe, her ‘grosse valise bien calée entre ses cuisses’ (p.
The photograph, as a concrete document, helps to constitute the family negatively as a ring defined by what it excludes rather than what it contains. Fanny stands accused by the family of having tried, in the few snapshots where she appears, to adopt poses that play down her ‘anomalous’ looks – ‘l’éclat de sa particularité, l’originalité de ses traits’ (EF 153). Yet what is most disturbing or unsettling, but of key importance, is that however much we may see the logic of Tante Colette’s argument, and share her view that Fanny brings the family’s 32 Michael Sheringham opprobrium on herself, partly by her own low self-esteem – occasioned by the very stain she would like to eradicate – we are also made to see that, in reality, what Fanny does makes no difference: the family, like the law that regulates the world of Kakfa’s Castle, will always find a way of making Fanny’s exclusion her own fault.
Those who lived through the cataclysm of Pierre’s death remember above all the moment of irrevocable fissure which compelled them to watch a metaphor of their own undoing. Revisiting the scene repeatedly and charting its erosion, Nore focuses instead on the permanent exhibition of devastated home space on the headland. Details of family life evoked by the blue, green and pink wallpaper of the bedrooms, the fireplace and the washbasin suspended above the beach are redundant markers of intimacy exposed to public view.
Affaires de famille : the family in contemporary French culture and theory by Welch, Edward; Barnet, Marie-Claire