Reception of Quebec literature and Francophone identity

1930年，年轻的魁北克作家S开始寻找与新社会相适应的新身份。他们在心理小说中描写了精神上的冲突。然而，从接受的角度来看，他们的小说只有知识分子才能阅读。20世纪60年代的S是魁北克文学接受的“宁静革命”时期。这一现象使魁北克人为他们的文学感到自豪，并增强了他们的民族主义。他们重新获得了被鄙视为“腐败的法语”的本国方言的尊重。这种意识也体现在克里奥尔文学中：只有法国的法语不是正统的和正确的，但方言和变体却很多。事实上，1970年魁北克的S，那里有很多来自许多国家的人，已经被揭示出不适合民族文学的框架。《大众布鲁斯》是一部处于转折点的象征性小说。虽然民族主义需要同质的同情，但魁北克的许多当代作家不想再基于某种地区认同，而是接受这种多样性。因此，从1980年S开始使用的“法语国家”一词似乎代表的是“杂合”而不是纯净，代表的是“多样”而不是同质。

In 1930's, the young Quebec writers began to look for a new identity fit for a new society. They described the sprititual conflict in their psychological novels. However, from the standpoint of reception, their novels were read only by the intellectual. It is in 1960's, the period of "Tranquil revolution" that the reception of Quebec literature advanced. This phenomenon made Quebecois proud of their literature and enforced their nationalism. They recaptured the respect of their own dialect despised as "corrupt French". This kind of consciousness is also seen in Creole literature : only the French of France is not orthodox and right but there are many dialects and varieties.In fact, in 1970's, Quebec, where plenty of people come from numbers of coutries, Is already revealed not to be suitable for the frame of national literature. Volkswagen Blues is a symbolic novel at the turning point. While nationalism needs a homogeneous sympathy, many of Quebec contemporary writers do not want any more to be based on some regional identity but to accept the diversity. Thus it seems that the expression "Francophone", used since the 1980's, represents "hybride" rather than pureness, "variety" rather than homogeneity.