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Emerging in the mid‐1980s, feminist geography has remained on the margins of Quebec's geography, as if it were a minor branch of the discipline. However, after having integrated concerns related to the geography of gender and sexualities, feminist geography expands on and consolidates theoretical, epistemological, and methodological levels by integrating intersectional and decolonial approaches. It is developing to such an extent that it is now legitimate to talk about feminist geographies in Quebec. In fact, by adopting intersectional and decolonial approaches, feminist geographies question the construction of the discourses and body of knowledge constituting the geography of Quebec, which claimed to be universal. In addition, the related analytical tools allow us to revisit established areas of interest such as migration and Indigenous issues, by giving women a voice. By paving the way for the co‐construction of knowledge, these approaches promote the visibility of the complexity of power relations and relationships to space of the different population groups living in Quebec. In other words, feminist geographies, by giving voice to women from subaltern social groups such as immigrant and aboriginal women, can help create a geography of emancipation. Messages clés: Apparues au milieu des années 1980, la géographie féministe du Québec s'est consolidée progressivement sur les plans théorique et méthodologique au point tel qu'aujourd'hui on parle de géographies féministes.L'intégration des approches intersectionnelle et décoloniale permet de questionner les discours et le corpus de connaissances de la géographie au Québec.Par un nouveau regard sur des champs d'intérêts comme les questions migratoires et autochtones, les géographies féministes contribuent à la création d'une géographie de l'émancipation. [ABSTRACT FROM AUTHOR]

In eighteenth- and nineteenth-century Southern Africa, European colonial and cultural imperialism was met with a variety of responses by the indigenous people. Some overtly and violently resisted, others 'collaborated' or sought 'accommodation' within the system, while others resorted to hidden forms of resistance. While we know a lot about the overt forms of resistance, we still know little about those who resorted to mimicry and sly civility and those who occupied a 'third space' – liminality – as a form of subverting and resisting the colonial onslaught. These strategies are at one in their subversion, mockery, and destabilising effect on the culture and authority of the coloniser. King Moshoeshoe I, the founder of the Basotho nation, used these strategies to write himself and his people into existence in the face of colonial intrusion. This paper, therefore, seeks to demonstrate how mimicry, sly civility and occupying an 'in-between' or unhomely position were employed by Moshoeshoe I as strategies to not only make nonsense of alien beliefs and practices, but also preserve their ways of living, worshiping, and knowing, as well as allowing survival from the onslaught of Western theological and cultural domination. Yet, where we can, we also highlight the precarity of some of King Moshoeshoe I's strategies and decisions. [ABSTRACT FROM AUTHOR]

Les œuvres littéraires qui abordent la mémoire du colonialisme mettent en scène la réappropriation d’un passé traumatique, tout en proposant un nouveau récit fortement ancré dans l’univers de la fiction. En analysant un choix d’œuvres de la postmémoire européenne, nous commenterons ici les diverses figurations de ces réécritures fictionnelles à propos de l’histoire coloniale, afin de souligner leur dimension prospective, fondée sur un acte de rupture qui, à son tour, dévoile l’idée d’une traduction des héritages mémoriels.

Kamloopa: An Indigenous Matriarch Story by Kim Senklip Harvey (Syilx and Tsilhqot'in) which won the 2020 Governor General's Literary Award for English-language drama, has been discussed by critics and scholars especially regarding Harvey's decision not to invite critics to write formal reviews of the recent production in Toronto and to only invite "love letters" from Indigenous women for the premier production in Vancouver. This article offers a reading of Kamloopa that unpacks how Harvey's refusal and radically different kind of invitation to engage is in continuation with the world of Kamloopa. It focuses on celebrations of love and joy as assertions of cultural and bodily sovereignty rooted in Indigenous women's love for each other and their relationships with the more-than-human world. Following the three women characters who leave their "white" apartment in East Vancouver to go on a road trip to the largest powwow on the West Coast, the article studies how Kamloopa disavows the politics of the colonial domestic as it relates to the history of violence on Indigenous women in residential schools and the MMIWG2S crisis. It discusses how the women in Kamloopa also reject confinement in colonial narratives of violence that are tied with the material confinement of domesticity. The article argues that Harvey's refusal of formal theatre reviews is in continuity with the play's resistance of settler colonial "domestication" of Indigenous women's lives, relations, and art. [ABSTRACT FROM AUTHOR]

Entre les décennies 1940 et 1980, la structure éditoriale Présence Africaine a occupé, depuis son siège parisien, une place centrale dans les espaces culturels africains et afro-descendants. Elle constitue ainsi un point d’observation privilégié pour saisir l’évolution des rapports de genre qui se sont joués au sein de ces espaces. Si les femmes sont restées très minoritaires au sein de la revue comme de la maison d’édition tout au long de la période, celle-ci fut marquée par une augmentation progressive des publications féminines et une forme d’élargissement des possibles pour les intellectuelles (écrivaines, critiques littéraires, femmes politiques) concernées. Ces dernières forment un groupe hétérogène et leur insertion dans des réseaux intellectuels masculins a pu conditionner leur reconnaissance ou, au contraire, leur éviction. Prêter attention à certaines trajectoires féminines chez Présence Africaine permet enfin d’éclairer leur capacité à agir sur les contenus éditoriaux en dépit d’expériences genrées marquées par la domination masculine.

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Copyright of Social Psychology / Psihologie Socială is the property of Alexandru Ioan Cuza University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay takes Marguerite Duras's presentation of Sino-French relations as a case study to re-examine and call into question postcolonial theorizations of China's shifting position vis-à-vis the West. I use two understudied essays by Duras, which describe her childhood travels to Yunnan, a Chinese province that borders Indochina, and her views on the Tiananmen Square protests. In each iteration of Duras's Cycle indochinois, spanning almost four decades, she significantly alters her depictions of Chinese characters and settings – namely that of the Chinese lover and Cholon. I explore how Duras utilizes her memories of China as a thread to connect and re-interpret different parts of her personal life while also reflecting the regional interplay between China and France in continental Southeast Asia, as well as China's growing power within the world economic system. I contend that the personal anxiety Duras projects towards China's so-called 'rise' in her late-career signals a contemporary re-balancing of Franco-Chinese cross-cultural representations as the author's engagement with the country shifts from that of a mythical, timeless civilization to a geopolitical and historical reality. [ABSTRACT FROM AUTHOR]

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Copyright of Revista de Estudos Literários is the property of Imprensa da Universidade de Coimbra and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article argues for a theoretical synergy between critical race theory (CRT) and decolonial thought. The author propounds that while CRT and decolonial thought have different scopes, we can synergize them in analysis. Specifically, decolonial thought's transnational focus on coloniality complements CRT's 'presentist' focus on national racialized social systems. The author displays the efficacy of this theoretical synergy by discussing Brexit Britain and Trumpamerica. While CRT is helpful for analysing how these political projects built upon contemporary post-racial ideology and racialized emotions, it struggles to deal with the postcolonial melancholia that runs through both political moments. Decolonial thought is thus required to tease out the transnational, historical dynamics of coloniality embodied in Brexit Britain and Trumpamerica. This is particularly apparent in the way both projects involve a desire to return the nation to its imperial glory, and to keep those who are deemed to be opposed to Western civilization – particularly 'the Muslim' – outside of the nation's borders. [ABSTRACT FROM AUTHOR]

This paper critically analyzes nationalism as a feature of public discourse in Barbados during the first wave of the COVID-19 pandemic. Globally, nationalism has resurfaced over the last decade as a focus of heated debates within diverse arenas, including academia, politics, and popular culture. The COVID-19 pandemic also brought to the surface latent tensions around nationhood and the relations between the local and international. Official invocations of nationalist discourses have thus been apparent in a number of Caribbean nation-states, as elsewhere, during COVID-19. Such invocations of nationhood are of particular interest in the case of Caribbean states because they both exemplify uncritical appeals to a homogenous grouping, but also because they often simultaneously acknowledge the importance of ongoing connectivity with the broader regional and international communities and assert the renewed relevance of multilateralism or internationalism, more broadly. This paper examines the ways in which various nationalist discourses or sentiments were strategically deployed in the Barbadian state's communication to the people in this specific moment of crisis, exploring the implications of these deployments for the national, regional, and international self-positionings of Caribbean Small Island States. Este artículo analiza críticamente el nacionalismo como una característica del discurso público en Barbados durante la primera ola de la pandemia de COVID-19. A nivel mundial, el nacionalismo ha resurgido durante la última década como foco de acalorados debates en diversos ámbitos, incluidos el mundo académico, la política y la cultura popular. La pandemia de COVID-19 también sacó a la luz tensiones latentes en torno a la nacionalidad y las relaciones entre lo local y lo internacional. Por lo tanto, las invocaciones oficiales de discursos nacionalistas han sido evidentes en varios estados-nación del Caribe, como en otros lugares, durante el COVID-19. Tales invocaciones de nación son de particular interés en el caso de los estados del Caribe porque ejemplifican llamamientos acríticos a un grupo homogéneo, pero también porque a menudo reconocen simultáneamente la importancia de la conectividad continua con las comunidades regionales e internacionales más amplias y afirman la relevancia renovada de multilateralismo o internacionalismo, más ampliamente. Este documento examina las formas en que varios discursos o sentimientos nacionalistas se desplegaron estratégicamente en la comunicación del estado de Barbados con la gente en este momento específico de crisis, explorando las implicaciones de estos despliegues para los autoposicionamientos nacionales, regionales e internacionales de los pequeños estados insulares del Caribe. Cet article analyse de manière critique le nationalisme en tant que caractéristique du discours public à la Barbade pendant la première vague de la pandémie de COVID-19. À l'échelle mondiale, le nationalisme a refait surface au cours de la dernière décennie en tant que centre de débats houleux dans diverses arènes, notamment le milieu universitaire, la politique et la culture populaire. La pandémie de COVID-19 a également fait émerger des tensions latentes autour de la nationalité et des relations entre le local et l'international. Des invocations officielles de discours nationalistes se sont ainsi manifestées dans un certain nombre d'États-nations caribéens, comme ailleurs, pendant la COVID-19. De telles invocations de l'identité nationale sont particulièrement intéressantes dans le cas des États des Caraïbes parce qu'elles illustrent à la fois des appels non critiques à un groupe homogène, mais aussi parce qu'elles reconnaissent souvent simultanément l'importance d'une connectivité continue avec les communautés régionales et internationales plus larges et affirment la pertinence renouvelée de multilatéralisme ou internationalisme, plus largement. Cet article examine les manières dont divers discours ou sentiments nationalistes ont été stratégiquement déployés dans la communication de l'État de la Barbade au peuple en ce moment spécifique de crise, en explorant les implications de ces déploiements pour les auto-positionnements nationaux, régionaux et internationaux des Petites États insulaires des Caraïbes. [ABSTRACT FROM AUTHOR]

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Résumé : Cheikh Anta Diop (1923-1986) est un érudit sénégalais, l'un des plus connus d'Afrique du XXe siècle. Ses travaux font de l’Afrique un sujet historique et la sortent ainsi de la sujétion, de la nuit noire dans laquelle l’avaient plongée les représentations occidentales. Pour Diop, l’Afrique est la civilisatrice du monde. Dans cette voie, il nous demande de faire un retour ou recours à la civilisation égyptienne noire afin de renaître et conduire ainsi notre Afrique à la modernité. De cette manière, Diop opère un changement de paradigme et nous y invite. Il se range incontestablement parmi les grandes figures initiatrices du postcolonialisme dans un premier temps. Puis, dans un second temps, sa distanciation conceptuelle opérée par les études culturelles inspire la récente théorie de la décolonialité, faisant de lui un penseur global. Cette approche théorique qui questionne l’histoire et la culture est la déconstruction de la colonialité présente dans les esprits. La pensée antadiopienne met en évidence les études postcoloniales et trouve un positionnement dans le champ décolonial. Cette pensée contemporaine du décolonial tente de décentrer l’Europe. D’ailleurs, le décolonial appel au décentrement. Comme un processus continu et continué de déprise de la pensé dite universelle, Diop propose de nouvelles épistémologies et fonde de nouvelles utopies.

Cet article propose d’étudier les différentes formes de manifestation et de réappropriation littéraire du motif environnemental dans les œuvres de deux auteurs francophones vietnamiens mettant en scène le retour au pays natal d’un personnage principal vietnamien. L’objectif est de montrer les enjeux idéologiques et historiques derrière la représentation littéraire du monde naturel et animal en contexte colonial ou post-colonial. L’analyse révèle en effet des stratégies ambivalentes de remise en valeur du milieu naturel et à travers celui-ci des traditions ancestrales de l’ancienne Indochine française. Ce traitement littéraire spécifique de la nature permet aux auteurs, d’une part de mettre en exergue la tension entre terre d’origine et terre d’accueil, et d’autre part, de remettre en question – de façon consciente ou inconsciente – la dichotomie entre nature et culture, qui se trouve au fondement de la pensée occidentale moderne. La convergence des approches écocritiques et postcoloniales, ainsi que la mise à contribution de la notion d’hybridité, se montrent ici particulièrement pertinentes pour dépasser cette opposition entre nature et culture, qui a permis pendant la colonisation de situer les différents peuples sur l’échelle de la civilisation.

This article explores narratives of sexual violence, commodification, and objectification of the Black female body in the patriarchal context through the intersectionality of the vectors of race, class, and gender. The notion of performativity is central to this context. This article addresses the way that, in Austin Clarke's novel The Polished Hoe, Mary-Mathilda assumes radical agency by resisting sexual victimization and reaches a complex understanding of the self by occupying various subject positions simultaneously: that of the field labourer, of the mother, of the mistress, of the sex worker, and of the murderer. A lot of emphasis has been placed on the dialectic of trauma inflicted on the Caribbean community, but little attention has been given to the attainment of Black female radical agency. I explore the question of positionality within the structure of a power hierarchy in a specific geographical space through phenomenology. This theory will shed light on the complexity of sexual relations in that system. Mary-Mathilda is a liminal subject whose transition to agency is marked by the spatiality of the plantation and by the temporality of the night. I argue that she falls into a third identitarian space. This new space is a discursive formation that functions as a locus where multiple subjectivities exist and where the subject can exist in its most authentic form in a cross-cultural framework similar to the one outlined by Paul Gilroy in The Black Atlantic. By employing the term "third identitarian space," I provide a fresh outlook in relation to the spatial dimension of the work of Frantz Fanon. The existence of a third identitarian space signals the existence of a third space of thinking, a way of thinking that deviates from the dialectical thought of postcolonial theorists who recognize this space only in relation to the transatlantic slave trade and colonialism. Ultimately, through her final act of mutilating Bellfeels, Mary-Mathilda rewrites the fabric of patriarchy. [ABSTRACT FROM AUTHOR]

Copyright of Recherches Feministes is the property of Groupe de Recherche et d'Echange Multidisciplinaires Feministes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, we analyze headscarf debates that unfolded in the first decade of the twenty-first century in France, the Netherlands, and Germany. Through a socio-historical overview looking at newspaper articles and policy and legal documents, we show how the headscarf has become a site for negotiating immigrant-related, postcolonial difference. We argue that certain feminist understanding of gender liberation and postcolonial difference in the headscarf debates reveal the continuity of control mechanisms from the colonial to the postcolonial era. We highlight the possibilities for decolonial thought and practice by centering the situatedness of headscarf. This allows us to show how Muslim citizens are active participants in producing contemporary Western European histories even as some of their practices face overt rejection. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to present considerations about the use of music as a critical and radical pedagogy in an International Relations class in the Global South. How can music help students understand the processes of marginalization, resistance, and struggle? Can it be understood as a tool to be used in the classroom to transcend traditional and marginalizing pedagogies? The contribution of our proposal derives from the possibility of a symbiosis between the teaching of critical, decolonial, and postcolonial perspectives and the language used to communicate these concepts and ideas to a young audience with different backgrounds. In this sense, we bring perceptions of the engagement with music as a pedagogical tool in an undergraduate course entitled " Decolonizing International Relations: epistemic violence and emancipation in Global South." By playing songs, not only the learning process became deeper and more meaningful to students, but it also opened margins to a dialogical interaction. We share our experience hoping to contribute to a meaningful debate among scholars, inspiring teachers to engage with decolonial/critical pedagogies. [ABSTRACT FROM AUTHOR]

Death and the King's Horseman, published in 1975, is undoubtedly Wole Soyinka's most acclaimed play. When awarding the playwright the Nobel Prize in Literature in October 1986, the Committee specifically cited it as a "drama of existence". Many literary critics have written about the play from multifarious perspectives. However, the dramatic text is still open to multidimensional interpretations that can further illuminate the rich texture of this canonical work. My study contextualises this dramatic masterpiece as yielding to a form of critical inquiry that makes it cohere with definitions of various literary traditions. It can be interrogated as Yoruba/Nigerian national literature, African literature, postcolonial literature, and world literature. It is, therefore, in this effort to use many approaches to see the play as a holistic text that I have chosen to interrogate it as "one text, many literary traditions". [ABSTRACT FROM AUTHOR]

Les fantasmes coloniaux ne se trouvent pas seulement chez les écrivains des grandes puissances coloniales. On les retrouve également chez les écrivains autrichiens, dont Stefan Zweig. La nouvelle Le voyage dans le passé révèle l'héritage impérialiste de l'Europe occidentale, qui est indispensable comme cadre de développement de l'histoire : le protagoniste européen se rend dans un pays lointain pour s'enrichir aux dépens de la population locale. Cet état de fait reste implicite, comme c'était le cas chez des prédécesseurs et modèles littéraires de Zweig comme Balzac. Les études littéraires postcoloniales sont en mesure de comprendre ces relations de pouvoir et donc de mieux situer la fiction dans un contexte politico-économique global.

Background: This article surveys recent engagement with infrastructure across several fields, with particular attention to analyses of the relationship between infrastructure, extractive capitalism, and settler colonialism. Analysis: The article treats infrastructure as a form of non-discursive politics and examines the critical status of the concept in light of the historical and contemporary implications of infrastructure in colonialism, settler colonialism, and racial capitalism. Conclusions and implications: The article concludes that treatments of infrastructure in recent critical feminist, queer, and Indigenous thought open new possibilities for rethinking politics, communication, and media. [ABSTRACT FROM AUTHOR]

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Copyright of Revista Crítica de Ciências Sociais is the property of Centro de Estudos Sociais and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article focuses on the critical cosmopolitan aim of transcending sociology's provincial outlook, which mistakenly universalizes Western societies' historical experiences and normative aspirations. The authors argue that a change in perspective, from sociology to social theory, is crucial in this regard. While a sociological inflection carries a primary investment in the analysis of changes cosmopolitanism brings to the social world, social theory addresses the ontological and epistemological features that these changes precipitate. To demonstrate this, the authors offer a condensed reconstruction of critical cosmopolitan sociology, presenting Beck's foundational formulation, outlining three main criticisms it faces and alternative programs stemming from them, and demonstrating how Delanty's immanent-transcendent approach overcomes these limitations. To conclude, the authors address a crucial onto-epistemological challenge facing contemporary cosmopolitan scholarship, namely, how to mediate between the particular and the universal. [ABSTRACT FROM AUTHOR]

Cette contribution étudie la figure de la prostituée dans Un Pays pour mourir d’Abdellah Taïa (2015) et La Vérité sort de la bouche du cheval de Meryem Alaoui (2018). À la rencontre de diverses traditions, la subversion de ce type littéraire par l’exploration de « déviances » sexuelles (agentivité féminine, homosexualité, transidentité, etc.) articule une critique des rapports de genre dans la société marocaine, mais aussi du stigmate colonial, au cœur de la métropole. La narration à la première personne permet à la prostituée elle-même – comme projection de l’écrivain – de donner voix à cette critique, devenant à la fois juge et victime de la réalité postcoloniale. This article explores the literary archetype of the prostitute in two novels: Abdellah Taïa’s Un Pays pour mourir (2015) and Meryem Alaoui’s La Vérité sort de la bouche du cheval (2018). At the encounter of various cultural traditions, the subversion of this archetype combined with the depiction of sexual « deviancy » (female agency, homosexuality, transidentity, etc.) offer both a critique of gender relations in Moroccan society and a commentary on France’s colonial history. The first-person narrative allows the prostitute herself – a projection of the writer – to give voice to this critique, becoming simultaneously judge and victim of postcolonial reality.

The artist Richard Long has generally enjoyed a positive critical response. His work has been described as subtle and poetical. Although aesthetically powerful, its environmental impact is minimal. Long defines his own work as “politically correct.” Yet in the 1980s, some rare controversial voices were raised to offer a different interpretation, considering Long’s practice as a reflection of British imperialist culture. Starting from this controversy, this paper will reassess Long’s outdoor plastic works in the light of his writings and interviews. In Long’s statements, repeated allusions to issues of ownership and control of the land reveal that natural space, devoid of any human presence, is often thought of as terra nullius. The artist’s unqualified attachment to British identity also contradicts his image as a citizen of the world relayed by the press. His once ground-breaking stance and aesthetic language have changed very little in fifty years and do not match with contemporary ecocritical approaches and new readings on the hybridization of culture. Nevertheless, if we ignore Long’s words, his glocal practice echoes environmental and societal concerns enhanced by globalization. This ambiguity could explain his continued success.

This article analyzes the connection of the modern writing of history with the domination of the conqueror, the sovereignty imposed by war and the concealment of this connection. At the same time, this paper postulates that the shift of other forms of relation with time towards «culture» constitutes the double episteme of this original formula of domination. The test is structured in four parts: 1. A study of the relationship between writing and conquest; 2. A work on the link between the writing of history and the theory of sovereignty, between the writing of history and colonialism; 3. A study of the procedures that relegated in culture the non-linear forms of relationship with time; 4. An approach of the mechanisms of historicism which prevent the thought of anachronism, asynchrony or repetition as subordinate historical logics. [ABSTRACT FROM AUTHOR]

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Copyright of Recherches Sociographiques is the property of Recherches Sociographiques and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The re-writing of Algerian history from the female perspective comes as a response to masculine domination and the occultation of women’s participation in the resistance to colonialism in Algerian official history. Djebar’s re-writing of Algerian history sets upside down the social hierarchy in order to allow the “subaltern” females to have their say and to dismantle the neo-patriarchal system hindering the redefinition of selfhood and the place and role of women. [ABSTRACT FROM AUTHOR]

As newly elected President of the International Sociological Association, I unfold my vision for new directions for global sociology. After defining what a global sociology is, I will point out two particular directions for this sociology: supplementing the postcolonial approach with an anti-authoritarian one, and theorizing post-secular society. One cannot but acknowledge the scars of the colonial era, but postcolonial studies have been rightly used but also abused. I would identify two abuses: the over-emphasis on external factors while neglecting local ones, and the binary logic of antagonistic categories such as East/ West, universalism/contextualism. Thus, I make the call to supplement the postcolonial approach with an anti-authoritarian one. There are three levels of authoritarianism: one relates to the political regime; another relates rather to neoliberalism; and the third concerns attitudes. The authoritarian attitude is closely related to the difficulty of dealing with religion in our society. Global sociology should take into account in any contemporary analysis of society the new features of our post-secular society, a sort of low-key secularism in confluence with neoliberalism. In light of these two directions, I would like to see global sociology moving forward. But what should the features of this global sociology be? The article will discuss five features for global sociology. [ABSTRACT FROM AUTHOR]

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As a professor of comparative literature in French from Quebec and in English from English-speaking Canada, I am not at all convinced by the project of worlding contemporary Québécois literature. Discussions of this matter are usually found under the umbrella expression "littérature- monde" in France. Taking into account the manifesto published in the newspaper Le Monde in Paris in 2007—and reprinted in Montreal's daily for intellectuals, Le Devoir, a few days later—I will argue that the case made for "littérature-monde" in the French-speaking world is conceived of in terms that are not applicable to Québécois literature in French. The usual symbolic structures that underlie this discourse (centre/périphérie; Nord/Sud; littérature des Blancs contre celle des Noirs) are not appropriate to Québécois literature in French, given, among other elements, the very strong "institution littéraire" that has existed in the territory for at least the last 60 years and actually for a longer period of time. I will base my arguments in part on the manifesto and on contributions found in the book Pour une littérature-monde (2007), published some months after the manifesto, and then contextualize them in the light of more recent contributions to the discussion. This article contains five parts: the professor, the context, the manifesto, reactions to the manifesto, and "Le cas du Québec," in which I suggest an alternative model. [ABSTRACT FROM AUTHOR]