« Tu ne pleures pas, tu suis Dieu… » Les aventuriers et le spectre de la mort

Canut, Cécile

doi:10.4000/remi.8720

Cited by 5 publications

(6 citation statements)

References 11 publications

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“…The important element is that behind this fluctuation of interpretations, very different ontologies about migration emerge. As I have shown in a recent work (Canut, 2018), the power to act and the willingness of the men and women who make these journeys are totally incompatible with the victimized vision of supposedly passive, subjected, manipulated people who do not know the dangers of the journey they undertake. My ethnographic work shows the opposite: the African adventurers present themselves as conquerors ready to face the challenges of the road with determination, solid knowledge of travel practices and a relentless quest for luck (Canut 2020a;Gaibazzi, 2015).…”

Section: Handing Out Voicesmentioning

confidence: 96%

“…Whereas co-construction is each and every time defined in a singular way depending on the contingencies of lived experiences (Canut, Danos, Him-Aquilli, & Panis, 2018), it is obvious that participants are animated by a common desire to bring forth an innovative collective speech and a collective voice. Thus, recalling and accounting in one gesture for different types of stories required for a refugee to obtain asylum in Europe has been a major focus of Nicola Mai's films and installations with transsexuals.…”

Section: Parole Commune Production Of and Engaging In Common Speech And A Common Voicementioning

confidence: 99%

“…In this film, co-construction involves the entanglement of several genres and several linguistic and semiotic hybridities that highlight "that agencing decisions mean very different things at different times" (Mai, 2016 p. 9). While batukadera women explicitly narrate their practice of batuku so as to extract all the functions that this performance fulfills in their daily life, this free speech is elaborated in interaction between them, especially through the role of the intermediary played by Ja, who leads the investigation in her own way "like a journalist" (Canut, 2018).…”

Section: Parole Commune Production Of and Engaging In Common Speech And A Common Voicementioning

confidence: 99%

“…Organized as a self-help group (sometimes with tontines), they support each other while letting off steam and creating. As I have shown in detail elsewhere (Canut, 2016a(Canut, , 2017(Canut, , 2018, the ambition of the work is to listen to what happens, and from this reality to engage in a common work to extend the free speech and the struggle, to unfold them in several places of power depending on the needs and desires of the people affected.…”

Section: Parole Commune Production Of and Engaging In Common Speech And A Common Voicementioning

confidence: 99%

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1. Can “migrants” speak? Voices, narratives and performances

Canut¹

2021

Transnational Narratives of Migration and Exile

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This chapter analyzes the multiple voices of exiles, asylum seekers, adventurers, travelers, or migrants. To understand migration processes, it is necessary to understand that language practices are social practices that create and throw into play interactional and socio-political contexts. In opposition to a media, state and police conception of the speech (parole) of exiles, a plethora of academic and artistic productions related to migration issues have shaped a new approach to mobility and language practices in Europe. By freeing the speech of exiles themselves, through life narratives in particular, these works offer a different perspective on women and men whose discourse and language registers have been obscured or erased. By shifting gazes, I suggest instead starting out from countries affected by mobility in order to observe language practices as social practices, where they emerge locally through cinema, radio, songs, rap, performances, novels, etc. Keywords migration | voices | narratives | performances | speech | semiotic | language practices 1. Can "migrants" speak? Voices, narratives and performances 1 As parole has no single English equivalent, the words 'speech' , 'voice' and 'words' have alternatively been used (we are referring here to the usual use of parole and not to the Saussure dichotomy langue/parole). 2 Here are some examples in France: Eldorado by Laurent Gaudé (J'ai Lu, 2009), Ulysses from Bagdad by Eric-Emmanuel Schmit (Albin Michel, 2008); Dans la peau d'un migrant by Arthur Frayer-Laleix (Fayard, 2015); Tous migrants ! (Gallimard, 2017); Brûle la mer by Berchache and Nathalie Nambot (2014); Les messagers by Crouzillat Hélène and Tura Laetitia (2014); La traversée by Mathieu Pernot (Le point du jour, 2014); the exhibition I AM WITH THEM: manifeste photographique pour les réfugiés, by Anne A-R., (Gründ, 2016); Weiwei's gesture imitating the dead child Aylan Kurdi. For information on the compassionate rhetoric of images, see Susan Sontag Devant la douleur des autres (Christian Bourgeois, 2003), in particular the analysis of Sebastião Salgado's exhibition Migrations : Humanity in Transition. Concerning the power of images, see Maaza Mengiste How not to photograph the Rohingya genocide in the making. 3The use of the terms "migrants" or "exiles" is not satisfactory, especially since those who they refer to use other terms ("aventuriers" 'adventurers' and "voyageurs" 'travelers' in French, but also many other terms stemming from local linguistic practices, see Canut & Ramos (2014) for West-Africa, for example). Therefore, we will be using several terms throughout this text in order not to settle on one or the other (see Canut, 2020).1. Can "migrants" speak? Voices, narratives and performances 1. Can "migrants" speak? Voices, narratives and performances

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Section: Handing Out Voicesmentioning

confidence: 96%

Section: Parole Commune Production Of and Engaging In Common Speech And A Common Voicementioning

confidence: 99%

Section: Parole Commune Production Of and Engaging In Common Speech And A Common Voicementioning

confidence: 99%

Section: Parole Commune Production Of and Engaging In Common Speech And A Common Voicementioning

confidence: 99%

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1. Can “migrants” speak? Voices, narratives and performances

Canut¹

2021

Transnational Narratives of Migration and Exile

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“…Des travaux ont déjà mis en lumière la précarité des migrants sub-sahariens dans les pays de transit (Goldschmidt, 2002 ;Timera, 2009) et les incidences de la mort durant les parcours migratoires (Canut, 2017 ;Collectif Babels et al, 2017 ;Kobelinsky, 2017 À force d'appeler le 115 tous les jours, la chance lui a souri. Un hébergement d'urgence lui a été trouvé à Sète.…”

Section: Les Parcours Migratoires Et La Santé Mentaleunclassified

L’impact des parcours migratoires sur la santé mentale des demandeurs d’asile

Loumonvi¹

2020

e-migrinter

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Des corps perdus aux corps-bateaux. L’Art et la manière

Fortier¹

2023

Cross-cult. stud. rev. (Online)

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The sunken ship motif is frequently found in films and artistic installations on migrants, as it symbolizes their perilous crossing. As Michel Foucault asserts, the ship is “the heterotopia par excellence,” and the contemporary fate of migrant barges is quite comparable to that of the ship of fools described by the philosopher in the classical age. The ship is a heterotopic motif which acts as a physical substitute for the body of the castaway, a substitute that makes sense in the maritime world, and that we find in classical paintings, in popular religious art, or even in the ex-votos. The objects that belonged to migrants perished at sea have a memorial character, allowing their history and sometimes their identity somehow to be restored. Giving them back their name is an essential issue so that they can be buried and not wander in a heterotopic space after their death, a heterotopic wandering which also characterizes the experience of their migratory journey.

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« Tu ne pleures pas, tu suis Dieu… » Les aventuriers et le spectre de la mort

Cited by 5 publications

References 11 publications

1. Can “migrants” speak? Voices, narratives and performances

1. Can “migrants” speak? Voices, narratives and performances

L’impact des parcours migratoires sur la santé mentale des demandeurs d’asile

Des corps perdus aux corps-bateaux. L’Art et la manière

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