Pub Date : 2019-08-01DOI: 10.1386/IJFS.22.1-2.35_1
Martin R J Verbeke
This article studies the use of non-standard language (NSL) in a corpus of selected francophone rap tracks to see whether gender determinants have an impact on its use. This study relies on a lexicographic analysis to produce quantitative results, which are then analysed qualitatively with the help of extracts from francophone rap tracks and semi-structured interviews with francophone rappers. This article initially focuses only on male versus female rappers but the qualitative discussion takes more complex notions into account, such as gender performativity, queer linguistics or androgyny. Moreover, this research investigates unequal gender power relations in a male-dominated heterosexist industry. This study reviews how male and female artists react to and perpetuate these stereotypical gender manifestations in their lyrics. Some of the NSL use is also analysed in terms of speech acts to try and determine what the artists want to accomplish by using specific terms in certain contexts. It can be concluded that no real difference can be found between male and female rappers with respect to their NSL use. When differences are found, they are not very wide and can also be observed by only comparing men or only women.
{"title":"Unveiling the Myth of Mars and Venus in French rap: An analysis of the gender determinants of non-standard language use","authors":"Martin R J Verbeke","doi":"10.1386/IJFS.22.1-2.35_1","DOIUrl":"https://doi.org/10.1386/IJFS.22.1-2.35_1","url":null,"abstract":"This article studies the use of non-standard language (NSL) in a corpus of selected francophone rap tracks to see whether gender determinants have an impact on its use. This study relies on a lexicographic analysis to produce quantitative results, which are then analysed qualitatively with the help of extracts from francophone rap tracks and semi-structured interviews with francophone rappers. This article initially focuses only on male versus female rappers but the qualitative discussion takes more complex notions into account, such as gender performativity, queer linguistics or androgyny. Moreover, this research investigates unequal gender power relations in a male-dominated heterosexist industry. This study reviews how male and female artists react to and perpetuate these stereotypical gender manifestations in their lyrics. Some of the NSL use is also analysed in terms of speech acts to try and determine what the artists want to accomplish by using specific terms in certain contexts. It can be concluded that no real difference can be found between male and female rappers with respect to their NSL use. When differences are found, they are not very wide and can also be observed by only comparing men or only women.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47055182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-01DOI: 10.1386/IJFS.22.1-2.11_1
Julia Ori
Katalin Molnar, of Hungarian origin and exiled to France since 1979, wrote approximately half of her works in Hungarian and the other in French. Nevertheless, these languages are not so clearly separated in her texts as this symmetry might suggest. The author plays very often with language and languages by creating multilingual works. Close to Hungarian and French avant-garde groups, she therefore ‘used’ her translingualism as a source of innovation leading to multilingualism. This article studies how this happens, by the analysis of different manifestations of language diversity in Molnar’s works: code-switching or intra- and interphrastic language change – in particular the insertions and cases of alternation – and the different types of language interference (the influence of one language on another without change of language): grammatical, lexical and cultural.
{"title":"Plurilinguisme dans l’oeuvre de Katalin Molnár","authors":"Julia Ori","doi":"10.1386/IJFS.22.1-2.11_1","DOIUrl":"https://doi.org/10.1386/IJFS.22.1-2.11_1","url":null,"abstract":"Katalin Molnar, of Hungarian origin and exiled to France since 1979, wrote approximately half of her works in Hungarian and the other in French. Nevertheless, these languages are not so clearly separated in her texts as this symmetry might suggest. The author plays very often with language and languages by creating multilingual works. Close to Hungarian and French avant-garde groups, she therefore ‘used’ her translingualism as a source of innovation leading to multilingualism. This article studies how this happens, by the analysis of different manifestations of language diversity in Molnar’s works: code-switching or intra- and interphrastic language change – in particular the insertions and cases of alternation – and the different types of language interference (the influence of one language on another without change of language): grammatical, lexical and cultural.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43802910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-01DOI: 10.1386/IJFS.22.1-2.115_1
Vincent Nnaemeka Obidiegwu, Christiana Amaka Epundu
The condition of African women in contemporary society has become a topical issue in the field of francophone African literature. Works of some African women writers such as Carmen Toudonou and Khady Kiota among others, have demonstrated critical perception on issues concerning the lives and conditions of women in the society. The aim of this study is therefore, to analyse the conditions of African women in Presqu’une vie by Carmen Toudonou and Mutilee by Khady Kiota respectively. Specifically, these authors focus on enlightenment campaign and criticism of condition and lives of African women who are threatened by some social vices such as force marriage and domestic violence. In view of the above, this study tends to answer these questions: in spite of excellent contributions and suggestions made in recent studies in the area, why is the condition of African women continually threatened and what are prospective solutions to remedy the situation? To effectively carry out this study, the researchers adopt African womanism theory that was proposed by Chikwenye Okonjo Ogunyemi. Having observed that sensitization of women is pertinent; this study therefore, recommends that education of African women should be a priority because it is evident that the emancipation of women is possible through formal education.
{"title":"Réflexion sur la condition féminine dans Presqu’une vie de Carmen Toudonou et Mutilée de Khady Kiota","authors":"Vincent Nnaemeka Obidiegwu, Christiana Amaka Epundu","doi":"10.1386/IJFS.22.1-2.115_1","DOIUrl":"https://doi.org/10.1386/IJFS.22.1-2.115_1","url":null,"abstract":"The condition of African women in contemporary society has become a topical issue in the field of francophone African literature. Works of some African women writers such as Carmen Toudonou and Khady Kiota among others, have demonstrated critical perception on issues concerning the lives and conditions of women in the society. The aim of this study is therefore, to analyse the conditions of African women in Presqu’une vie by Carmen Toudonou and Mutilee by Khady Kiota respectively. Specifically, these authors focus on enlightenment campaign and criticism of condition and lives of African women who are threatened by some social vices such as force marriage and domestic violence. In view of the above, this study tends to answer these questions: in spite of excellent contributions and suggestions made in recent studies in the area, why is the condition of African women continually threatened and what are prospective solutions to remedy the situation? To effectively carry out this study, the researchers adopt African womanism theory that was proposed by Chikwenye Okonjo Ogunyemi. Having observed that sensitization of women is pertinent; this study therefore, recommends that education of African women should be a priority because it is evident that the emancipation of women is possible through formal education.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41993940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-01DOI: 10.1386/IJFS.22.1-2.63_1
Antje Ziethen
This article analyses francophone speculative literature and cinema and the way it mobilizes counterfactuals to challenge historical teleologies and spatial orders by exploring possible worlds and contingencies. The analysis will focus on four works of fiction from the francophone African diaspora including Bertene Juminer’s La revanche de Bozambo (2000), Boubacar Boris Diop’s Le temps de Tamango (1981), Abdourahman A. Waberi’s Aux Etats-Unis d’Afrique (2006) and Sylvestre Amoussou’s film Africa Paradis (2007). The four narratives erode conventional geographies and migration patterns through a counterfactual lens, depicting African countries either as imperial powers that have conquered European territories or as revolutionary forces that put an end to European interference. They thus create alternative versions of what Alessandra di Maio calls the black Mediterranean, an intercontinental space constituted by, and constitutive of, the cultures and histories of the African diaspora. Going beyond a purely aesthetic effect, these authors imagine a change of paradigm and intentionally cultivate an atmosphere of alienation for their readership. However, despite their disruptive potential, the speculative narratives remain limited in their world-building efforts because the African futures that they project remind readers more of what is than of what could be.
本文分析了法语思辨文学和电影，以及它如何通过探索可能的世界和偶然事件，动员反事实来挑战历史目的论和空间秩序。分析将集中在四部来自法语非洲侨民的小说作品上，包括贝尔蒂内·朱米纳的《博赞博的复仇》(2000)、布巴卡尔·鲍里斯·迪奥普的《塔曼戈的时间》(1981)、阿布杜拉赫曼·瓦贝里的《非洲联盟》(2006)和西尔维斯特·阿莫苏的电影《非洲天堂》(2007)。这四种叙事通过一种反事实的视角，侵蚀了传统的地理和移民模式，将非洲国家描绘成征服欧洲领土的帝国主义列强，或者是结束欧洲干涉的革命力量。因此，他们创造了亚历山德拉·迪·马约(Alessandra di Maio)所称的黑色地中海的另一种版本，这是一个由非洲侨民的文化和历史构成并构成的洲际空间。这些作者超越了纯粹的审美效果，他们想象范式的变化，有意为读者营造一种异化的氛围。然而，尽管具有颠覆性的潜力，这些投机叙事在构建世界方面的努力仍然有限，因为它们所描绘的非洲未来更多地提醒读者的是“现在”，而不是“可能”。
{"title":"The black Mediterranean reimagined: Counterfactual world-building in francophone speculative fiction","authors":"Antje Ziethen","doi":"10.1386/IJFS.22.1-2.63_1","DOIUrl":"https://doi.org/10.1386/IJFS.22.1-2.63_1","url":null,"abstract":"This article analyses francophone speculative literature and cinema and the way it mobilizes counterfactuals to challenge historical teleologies and spatial orders by exploring possible worlds and contingencies. The analysis will focus on four works of fiction from the francophone African diaspora including Bertene Juminer’s La revanche de Bozambo (2000), Boubacar Boris Diop’s Le temps de Tamango (1981), Abdourahman A. Waberi’s Aux Etats-Unis d’Afrique (2006) and Sylvestre Amoussou’s film Africa Paradis (2007). The four narratives erode conventional geographies and migration patterns through a counterfactual lens, depicting African countries either as imperial powers that have conquered European territories or as revolutionary forces that put an end to European interference. They thus create alternative versions of what Alessandra di Maio calls the black Mediterranean, an intercontinental space constituted by, and constitutive of, the cultures and histories of the African diaspora. Going beyond a purely aesthetic effect, these authors imagine a change of paradigm and intentionally cultivate an atmosphere of alienation for their readership. However, despite their disruptive potential, the speculative narratives remain limited in their world-building efforts because the African futures that they project remind readers more of what is than of what could be.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45734549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 10.1386/IJFS.21.3-4.209_1
D. Hassett
The past four years have seen a whole range of commemorative events around the globe to mark the centenary of the Great War. Few, however, have proved as controversial as the participation of Algerian troops in 2014s Bastille Day parade in Paris. This article examines the heated debate provoked by the Algerian presence at this act of commemoration, asking what it tells us about the complex interactions between history, memory and the practice of politics in contemporary Algeria. It traces the evolution of attitudes towards the Great War over time and asks how the dominance of the War of Independence in political discourse has shaped how politicians and public intellectuals have understood and mobilized the memory of Algeria’s involvement in the First World War. Finally, it uses this case study to explore how, in Algeria, evoking the past has simultaneously legitimized and limited opposition to the status quo.
{"title":"Contested commemoration: The Great War, memory and politics in contemporary Algeria","authors":"D. Hassett","doi":"10.1386/IJFS.21.3-4.209_1","DOIUrl":"https://doi.org/10.1386/IJFS.21.3-4.209_1","url":null,"abstract":"The past four years have seen a whole range of commemorative events around the globe to mark the centenary of the Great War. Few, however, have proved as controversial as the participation of Algerian troops in 2014s Bastille Day parade in Paris. This article examines the heated debate provoked by the Algerian presence at this act of commemoration, asking what it tells us about the complex interactions between history, memory and the practice of politics in contemporary Algeria. It traces the evolution of attitudes towards the Great War over time and asks how the dominance of the War of Independence in political discourse has shaped how politicians and public intellectuals have understood and mobilized the memory of Algeria’s involvement in the First World War. Finally, it uses this case study to explore how, in Algeria, evoking the past has simultaneously legitimized and limited opposition to the status quo.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47484649","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 10.1386/IJFS.21.3-4.255_1
Thomas E. Hunt
Late antiquity is a sub-discipline of history. It is also a particular way of representing the time and space of the past. Studies in late antiquity tend to focus on the culture and society of the late Roman world. This article argues that this way of imagining time and space and people derives from francophone debates about colonial governance that were current in the 1920s and 1930s. This colonial humanism provided the context for two francophone authors whose work heavily influenced the formation of late antiquity: Fernand Braudel and Henri Marrou. This article shows how Braudel and Marrou were influenced by colonial humanism and how this influence shaped the formation of late antiquity. Historiographical accounts of the study of late antiquity have noted a recurring preoccupation with modernity. This article argues that late antiquity is modern to the extent that it is dependent on the colony for its constitution.
{"title":"The influence of French colonial humanism on the study of late antiquity: Braudel, Marrou, Brown","authors":"Thomas E. Hunt","doi":"10.1386/IJFS.21.3-4.255_1","DOIUrl":"https://doi.org/10.1386/IJFS.21.3-4.255_1","url":null,"abstract":"Late antiquity is a sub-discipline of history. It is also a particular way of representing the time and space of the past. Studies in late antiquity tend to focus on the culture and society of the late Roman world. This article argues that this way of imagining time and space and people derives from francophone debates about colonial governance that were current in the 1920s and 1930s. This colonial humanism provided the context for two francophone authors whose work heavily influenced the formation of late antiquity: Fernand Braudel and Henri Marrou. This article shows how Braudel and Marrou were influenced by colonial humanism and how this influence shaped the formation of late antiquity. Historiographical accounts of the study of late antiquity have noted a recurring preoccupation with modernity. This article argues that late antiquity is modern to the extent that it is dependent on the colony for its constitution.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44089030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 10.1386/IJFS.21.3-4.279_1
Rachel Mihuta Grimm
Since the turn of the twenty-first century, the use of torture during the Algerian War of Independence has been the subject of renewed controversy in France, raising questions about the traumatic reverberations of France’s colonial past in the present. While scholars often address the violence of torture by analysing what it accomplishes, this article is concerned with the cognitive, discursive and ideological conditions under which torture becomes permissible. This article suggests that the systematic practice of torture is contingent on the construction of a perceptive reality in which the normative dictates of law and morality have been suspended or no longer apply. Drawing on the work of Giorgio Agamben, this article seeks to understand the progressive normalization of torture under the historical paradigm of the state of exception. Thinking paradigmatically about the past not only reveals the concealed sociopolitical coordinates underlying a specific historical experience, but also constitutes a broader historical context, producing forms of intelligibility that cut across temporal and territorial boundaries. Through a reading of Jerome Ferrari’s novel Ou j’ai laisse mon âme (2010), this article addresses the ethical and epistemological issues that arise when torture is remembered as a paradigmatic rendering of the state of exception.
{"title":"The remains of an empire in ruin: Remembering torture and the colonial state of exception in Jérôme Ferrari’s Où j’ai laissé mon âme","authors":"Rachel Mihuta Grimm","doi":"10.1386/IJFS.21.3-4.279_1","DOIUrl":"https://doi.org/10.1386/IJFS.21.3-4.279_1","url":null,"abstract":"Since the turn of the twenty-first century, the use of torture during the Algerian War of Independence has been the subject of renewed controversy in France, raising questions about the traumatic reverberations of France’s colonial past in the present. While scholars often address the violence of torture by analysing what it accomplishes, this article is concerned with the cognitive, discursive and ideological conditions under which torture becomes permissible. This article suggests that the systematic practice of torture is contingent on the construction of a perceptive reality in which the normative dictates of law and morality have been suspended or no longer apply. Drawing on the work of Giorgio Agamben, this article seeks to understand the progressive normalization of torture under the historical paradigm of the state of exception. Thinking paradigmatically about the past not only reveals the concealed sociopolitical coordinates underlying a specific historical experience, but also constitutes a broader historical context, producing forms of intelligibility that cut across temporal and territorial boundaries. Through a reading of Jerome Ferrari’s novel Ou j’ai laisse mon âme (2010), this article addresses the ethical and epistemological issues that arise when torture is remembered as a paradigmatic rendering of the state of exception.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42947420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 10.1386/IJFS.21.3-4.325_1
Beatrice Ivey
This article explores the affective and gendered transmission of ‘postmemory’ in Garcon manque (2000) and Sauvages (2010) by Nina Bouraoui. These two narratives take place at the end of the 1970s in Algiers, a transitional period in Algerian history, but also a key moment where the generation born after independence in 1962 express and create their own memories of colonialism and the Algerian Revolution. The focus of the article will be to reveal the representation of postmemorial transmission across forms of mediation that are simultaneously affective, embodied and gendered. From this perspective, it analyses generational memory as a ‘mauvais cadeau’, photographs and other affective objects, and gendered multidirectional memory to show how Bouraoui’s novels trouble singular, normative expressions of gendered and national identity. Bouraoui’s protagonists from the post-generation are thus characterized as ‘mnemonic agents’ who cross gendered and national borders.
{"title":"Affect, postmemory and gender in Nina Bouraoui’s Sauvage and Garçon manqué","authors":"Beatrice Ivey","doi":"10.1386/IJFS.21.3-4.325_1","DOIUrl":"https://doi.org/10.1386/IJFS.21.3-4.325_1","url":null,"abstract":"This article explores the affective and gendered transmission of ‘postmemory’ in Garcon manque (2000) and Sauvages (2010) by Nina Bouraoui. These two narratives take place at the end of the 1970s in Algiers, a transitional period in Algerian history, but also a key moment where the generation born after independence in 1962 express and create their own memories of colonialism and the Algerian Revolution. The focus of the article will be to reveal the representation of postmemorial transmission across forms of mediation that are simultaneously affective, embodied and gendered. From this perspective, it analyses generational memory as a ‘mauvais cadeau’, photographs and other affective objects, and gendered multidirectional memory to show how Bouraoui’s novels trouble singular, normative expressions of gendered and national identity. Bouraoui’s protagonists from the post-generation are thus characterized as ‘mnemonic agents’ who cross gendered and national borders.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48875812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 10.1386/IJFS.21.3-4.233_1
Siona Wilson
During the Algerian War of Independence (1954–62), conflicts over the meaning of appearances, particularly in relation to the bodies of Algerian women, were a major locus for political conflict, subterfuge and violence. As demonstrated in the most famous representation of the war, Gillo Pontecorvo’s widely celebrated film La bataille d’Alger (Pontecorvo, 1966), the strategic use of the veil and of unveiling was the mechanism that produced the Algerian woman as insurgent. What the eyes (or camera) saw was not always to be believed and nor was visual appearance akin, in any straightforward way, to truth. Drawing on key historical examples, including La bataille d’Alger, Marc Garanger’s Femmes algeriennes 1960 (1960) and Assia Djebar’s 1979 essay ‘Regard interdit, son coupe’, as well as Zineb Sedira’s contemporary film installation Gardiennes d’images (2010), this article proposes a theory of the documentary image in light of the political complexities over vision and appearance that have continued to haunt the historical representation of Algerian women. Placing an emphasis on the circulation of images and the mobility of meaning, the argument stresses communities of political belief rather than visual truth in establishing documentary meaning.
{"title":"Severed images: Women, the Algerian War of Independence and the mobile documentary idea","authors":"Siona Wilson","doi":"10.1386/IJFS.21.3-4.233_1","DOIUrl":"https://doi.org/10.1386/IJFS.21.3-4.233_1","url":null,"abstract":"During the Algerian War of Independence (1954–62), conflicts over the meaning of appearances, particularly in relation to the bodies of Algerian women, were a major locus for political conflict, subterfuge and violence. As demonstrated in the most famous representation of the war, Gillo Pontecorvo’s widely celebrated film La bataille d’Alger (Pontecorvo, 1966), the strategic use of the veil and of unveiling was the mechanism that produced the Algerian woman as insurgent. What the eyes (or camera) saw was not always to be believed and nor was visual appearance akin, in any straightforward way, to truth. Drawing on key historical examples, including La bataille d’Alger, Marc Garanger’s Femmes algeriennes 1960 (1960) and Assia Djebar’s 1979 essay ‘Regard interdit, son coupe’, as well as Zineb Sedira’s contemporary film installation Gardiennes d’images (2010), this article proposes a theory of the documentary image in light of the political complexities over vision and appearance that have continued to haunt the historical representation of Algerian women. Placing an emphasis on the circulation of images and the mobility of meaning, the argument stresses communities of political belief rather than visual truth in establishing documentary meaning.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42011940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 10.1386/IJFS.21.3-4.301_1
Selim Nadi
This article takes a materialist approach to the so-called ‘memory war’ over France’s colonial past especially the Algerian War of Independence, and its continuity in the present. It attempts to reinsert the ‘memory war’ within the larger context of the institutional materiality of French neo-colonial racism, in both its ideological and repressive modalities. By focusing on three specific aspects of the neo-colonial organization of the French state, the permanent state of emergency, the spatial organization of neo-colonial racism in France, and the politicization of the new French indigenes, this article argues that one cannot understand France’s Algerian past may not necessarily be understood through a debate over French ‘repentance’, and nor could today’s racism be understood solely as ‘ideological’ (in the commonplace sense of this term). It aims to show how French colonialism in Algeria, and the handling of the Algerian Revolution by the French state, have shaped the French state and its control of non-white people living in France today.
{"title":"The Algerian Revolution, the French state and the colonial counter-revolutionary strategy of the Holy Republic","authors":"Selim Nadi","doi":"10.1386/IJFS.21.3-4.301_1","DOIUrl":"https://doi.org/10.1386/IJFS.21.3-4.301_1","url":null,"abstract":"This article takes a materialist approach to the so-called ‘memory war’ over France’s colonial past especially the Algerian War of Independence, and its continuity in the present. It attempts to reinsert the ‘memory war’ within the larger context of the institutional materiality of French neo-colonial racism, in both its ideological and repressive modalities. By focusing on three specific aspects of the neo-colonial organization of the French state, the permanent state of emergency, the spatial organization of neo-colonial racism in France, and the politicization of the new French indigenes, this article argues that one cannot understand France’s Algerian past may not necessarily be understood through a debate over French ‘repentance’, and nor could today’s racism be understood solely as ‘ideological’ (in the commonplace sense of this term). It aims to show how French colonialism in Algeria, and the handling of the Algerian Revolution by the French state, have shaped the French state and its control of non-white people living in France today.","PeriodicalId":41286,"journal":{"name":"INTERNATIONAL JOURNAL OF FRANCOPHONE STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/IJFS.21.3-4.301_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49638269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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