La politique de l’intime: impérialisme et conjugalité dans Oh les beaux jours /Happy Days et Comédie / Play de Samuel Beckett
Résumé
This article reads Happy Days (1961) and Play (1964) with the historical context of their inception: France’s swift modernization, the withdrawal into the private sphere, and the crumbling of the colonial empire. Its focus is on the intersection of the domestic and the political. The conflation of the bourgeois drawing-room and the empire encourages apprehending the metropolis and the colonies not as separate imperial spaces, as they have been constructed, but as contiguous places. It highlights the fundamentally political nature of the domestic sphere, as well as its links to an ideology of domination.