Références pertinentes:
GOLAMCO, Mark Benedict, « Three Modes of Citizenship in a Globalized World : Locally Oriented, Globally Oriented, and Cosmopolitan Citizenship », mémoire de maîtrise, Faculty of Arts, University of Alberta, 2005, 119 f.
Résumé: « This thesis analyzes three different, yet interconnected modes of citizenship in a world affected by globalization: the locally oriented, the globally oriented, and the cosmopolitan. The first chapter examines locally oriented citizenship—the idea that some individuals are tied exclusively to the dominant cultural influence of their natal homelands—as depicted in Michel Houellebecq’s Platform (2003). Chapter two examines the phenomenon of globally oriented citizenship as portrayed in Don DeLillo’s thirteenth novel, Cosmopolis (2003), the latter describing a technocentric network of individuals tied together by greed and venality in the global economy. Chapter three discusses Zadie Smith’s White Teeth (2000), which centers heavily upon multiculturalism, hybridization, and active cosmopolitanism; this chapter’s main focus is on cosmopolitan citizenship, the latter a synthesis of important local and global concerns, while also highlighting the sociocultural traits that promote healthy intercultural dialogue. »
LEOPOLD, Stephan, « Michel Houellebecq et la question de l’autre: Plateforme-Eine Eroberungsreise in Zeiten des Neokolonialismus », PhiN: Philologie im Netz , n° 31 (2005), p. 14-29.
Résumé: Michel Houellebecq’s novels portray the montonous life of middle-aged, middle-class men and their quest for impossible happiness. Propense to mental depression, they are obsessed with sex usually barred to them because of their lack of wealth and physical attraction. Plateforme (2002), the novel here mainly to be dealt with, transfers this basic model to the more ample context of a spirtually exhausted First World trying to revitalize itself through the physical resources of the Third World. Focussing on commercially organized sex-tourism in Thailand and Cuba, the text also widely depicts the threat of unassimilated immigration in France, and thus dialectically contrasts a second – economical as well as physical – conquest of the Other with a national Self haunted by the spectres of its own colonial past. Rich in stereotypes – both positive and negative – this politically uncorrect utopia of sexual métissage unfolds a Clash of Civilizations in which partly ironized discourses of (neo-)colonial appropriation of the Other merge with the uncanny reenactment of the monstruous Other always inherent in colonial discourse.