In the wake of the severe urban unrest that hit France in the 2000s, the banlieues have become the centre of sustained public attention as well as a narrative effervescence. Discourses produced by politicians, journalists, urban planners, social scientists, novelists, film-makers, hip-hop artists and stand-up comedians have since addressed urban marginality from a variety of angles. In mainstream media and political discourse, multi-ethnic suburban housing estates have mainly been depicted as menacing spaces that erode the cohesion of the nation and threaten both French national identity and Republican integrity. In 2005, Nicolas Sarkozy called banlieue youth ‘scum’ and ‘riff-raff’. He attributed rioting to the presence of organized gangs and promised to clean the suburbs with a ‘high-pressure cleaner’. Ten years later, in the aftermath of the 2015 terrorist attacks, Manuel Valls spoke about ‘ghettos’ and ‘territorial, social and ethnic apartheid’ in the French suburbs. The abrasive tone of these political discourses has contributed to the deteriorating image of banlieues in the collective imagination. Other discourses, on the contrary, have attempted to destigmatize working-class suburbs by establishing a different perspective on identity, communities, local and national belonging and urban renovation. In a context of enduring turmoil and debate it was not surprising to see the emergence of new narratives which undertook to explore the French urban periphery from within, focusing on the experience of those living on the margins and investigating their cultural practices, memory, access to political representation and affective appropriation of the urban space. These narratives, which appeared simultaneously in literature, film, music and other cultural forms, were distinctively original in their tone, aesthetics and aims. Critics acknowledged their novelty by using labels such as ‘urban’ or ‘banlieue’ in order to differentiate them from the works of previous generations. These designations simultaneously referred to the production’s geographic setting, main theme and place of enunciation, which coincided in the case of most authors. However, the labels ‘banlieue literature’ or ‘banlieue film’ have never been explicitly claimed by the creators themselves. Targeting universal rather than exclusively local audiences, they have been cautious about being assigned to a peripheral position owing to their social origins, place of residence or marginal status within what Bourdieu termed the field of cultural production in France (1993). Nevertheless, the banlieue narrative has attracted considerable scholarly attention, in particular over the last decade. It has been discussed at an array of interdisciplinary conferences focusing on French banlieues, such as Communities at the Periphery held in 2013 at the Institut Français in London or The Banlieue Far from the Clichés, organized in Oxford in 2014. It was also the

中文翻译：

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Banlieue 叙事：为法国城市边缘发声

在 2000 年代袭击法国的严重城市动乱之后，郊区已成为持续公众关注的中心以及叙事的沸腾。政治家、记者、城市规划师、社会科学家、小说家、电影制作人、嘻哈艺术家和单口相声演员发表的演讲从各个角度解决了城市边缘问题。在主流媒体和政治话语中，多种族的郊区住宅区主要被描述为侵蚀国家凝聚力并威胁法国民族认同和共和党完整性的威胁空间。2005 年，尼古拉·萨科齐 (Nicolas Sarkozy) 称班列青年为“人渣”和“即兴表演者”。他将骚乱归咎于有组织的帮派的存在，并承诺用“高压清洁器”清洁郊区。十年后，在 2015 年恐怖袭击之后，曼努埃尔·瓦尔斯谈到了法国郊区的“贫民窟”和“领土、社会和种族隔离”。这些政治话语的粗暴语气导致了集体想象中的郊区形象不断恶化。相反，其他话语试图通过在身份、社区、地方和国家归属感以及城市改造方面建立不同的视角来消除工人阶级郊区的污名。在持续动荡和辩论的背景下，看到新叙事的出现并不奇怪，这些叙事致力于从内部探索法国城市边缘，关注生活在边缘的人的经历，并调查他们的文化实践、记忆、获得城市空间的政治代表性和情感占有。这些同时出现在文学、电影、音乐和其他文化形式中的叙事，在基调、美学和目标上都具有独特的原创性。评论家通过使用诸如“城市”或“banlieue”之类的标签来承认它们的新颖性，以便将它们与前几代的作品区分开来。这些名称同时指的是作品的地理环境、主题和发音地点，这在大多数作者的情况下是一致的。然而，创作者自己从未明确声称“半流文学”或“半流电影”的标签。他们针对的是普遍而不是专门的本地受众，由于他们的社会出身，他们对被分配到边缘位置持谨慎态度，布迪厄所称的法国文化生产领域（1993）中的居住地或边缘地位。尽管如此，banlieue 叙事已经引起了学术界的广泛关注，尤其是在过去十年中。它已在一系列专注于法国 banlieues 的跨学科会议上进行了讨论，例如 2013 年在伦敦法兰西学院举行的 Communities at the Periphery 或 2014 年在牛津组织的远离陈词滥调的 Banlieue。