CONGRESS CANCELED Globalizing Joan of Arc: Positioning France's Most Famous Freedom Fighter in a Transnational Landscape
Description
If Joan of Arc’s story has circulated well beyond its hexagonal borders of origin, it remains strangely entangled with euro-nationalism and white supremacy as indicated by the backlash over the 2018 choice of Mathilde Edey Gamassou, a biracial teenager of Polish and Beninois parentage to play the Maid in Orléans’ Fêtes de Jeanne d’Arc. This panel seeks presentations that consider Joan of Arc as multicultural or transnational perspective, with particular interest in non-Western interpretations of Joan.
To what effect has Joan of Arc been transplanted to other (especially non-Western) cultural contexts? Why is Joan often the lens for understanding women leaders, such as Lalla Fatma N'Soumer dubbed an “Algerian Joan of Arc” by media outlets. Under what circumstances is Joan evoked to comment on transnational politics? Given that Joan of Arc’s story circulates through the world in “haphazard, unpredictable trajectories,” to what extent can we understand it as “global” as McDonald and Suleiman define it? When does Joan act as a “positioning system” via which interconnected users “situate and navigate themselves” in an ever-shifting transnational landscape? Scott Manning
CONGRESS CANCELED Globalizing Joan of Arc: Positioning France's Most Famous Freedom Fighter in a Transnational Landscape
Schneider 1280
If Joan of Arc’s story has circulated well beyond its hexagonal borders of origin, it remains strangely entangled with euro-nationalism and white supremacy as indicated by the backlash over the 2018 choice of Mathilde Edey Gamassou, a biracial teenager of Polish and Beninois parentage to play the Maid in Orléans’ Fêtes de Jeanne d’Arc. This panel seeks presentations that consider Joan of Arc as multicultural or transnational perspective, with particular interest in non-Western interpretations of Joan.
To what effect has Joan of Arc been transplanted to other (especially non-Western) cultural contexts? Why is Joan often the lens for understanding women leaders, such as Lalla Fatma N'Soumer dubbed an “Algerian Joan of Arc” by media outlets. Under what circumstances is Joan evoked to comment on transnational politics? Given that Joan of Arc’s story circulates through the world in “haphazard, unpredictable trajectories,” to what extent can we understand it as “global” as McDonald and Suleiman define it? When does Joan act as a “positioning system” via which interconnected users “situate and navigate themselves” in an ever-shifting transnational landscape? Scott Manning