Pub Date : 2023-01-12DOI: 10.1080/09639489.2022.2155120
Helen Abbott
rural women, as well as a good introduction to gender as a fruitful approach to Alsatian culture. The author left little out of her analysis, though in the last chapter which discusses living history and the political use of the costume, one could expect a few paragraphs on the more recent use of the dress as a form of political protest during the recent debates about the merger of Alsace into the Grand Est region. The use of the costume as a marketing tool, and notably its hypersexualisation, is another recent evolution of Alsace’s traditional dress that is not part of the author’s study. This book remains essential for readers trying to better understand how traditional dress survived and adapted to modernity, and for those studying the social and political role that traditional local dress can play within a society both on a local, national and international level.
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Pub Date : 2023-01-02DOI: 10.1080/09639489.2022.2158792
P. Morin
ABSTRACT Based on a quantitative study of 3000 young French people aged 18 to 25 and qualitative interviews conducted with grandchildren of families affected by the Algerian war, this research proposes an exploration of young people’s memory of this very controversial past in French society. It demonstrates that family history and politicization are both vectors of knowledge and interest in this history. However, if family history simply explains a greater interest in this history, the judgement on the past and its actors remains determined by young people’s political orientations. Issues of otherness and negative perceptions of Algerians, Muslims, and Arabs are at the heart of this contemporary political cleavage.
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Pub Date : 2023-01-02DOI: 10.1080/09639489.2022.2159352
Leïla Sebbar
Il écrirait une longue lettre à la femme qu’il aime, il la lancerait dans la foule au creux d’un drapeau algérien, rouge-vert-blanc, déployé sur la largeur du boulevard, des femmes avaient retrouvé le tissu secret et le bruit de la Singer à pédale. Ensemble, dans la chambre de couture et les rires joyeux de ce jour, semblable au jour de la libération du pays où on avait enveloppé, dans le drapeau national, la statue d’une jeune fille à cheval, on ne voyait plus sa cuirasse ni son habit de guerrière, elle ne portait pas de casque, seulement une coupe de jeune garçon et ses cheveux étaient blonds. Qui la connaissait ? Qui savait qu’elle avait défendu son pays, la France, contre l’occupant ennemi ? Qui savait son nom ? Sa statue serait un jour déboulonnée et rapatriée dans son village natal, « monument en exil » comme l’écrirait un natif de l’Algérie française. D’autres statues connaîtraient un sort semblable. Dans les rues, on entendait des chants patriotiques, hommes, femmes, garçons et filles chantaient. Les noms des femmes, héroïnes des maquis et de la Libération, criés d’un bout à l’autre des cortèges, résonnaient en un long ruban sonore dans le pays tout entier, depuis la côte jusqu’aux Hauts Plateaux à la limite du « Petit Désert », depuis les gorges du Rummel jusqu’au tombeau de l’étranger amoureux de Bou Saâda, il s’appelait Étienne, jusqu’à la célèbre Confrérie d’El-Hamel à Bou Saâda, désertée par le dernier héritier, il a traversé la mer, écrivain-voyageur, si loin qu’il ne reviendra pas dans la maison ancestrale, même s’il dit qu’il ne mourra pas en exil. Je veux rappeler et crier avec les femmes qui marchent dans les rues du pays natal les noms glorieux des femmes dans le Djebel en guerre, mortes ou vivantes :
{"title":"Il était une fois… le Hirak au pays natal","authors":"Leïla Sebbar","doi":"10.1080/09639489.2022.2159352","DOIUrl":"https://doi.org/10.1080/09639489.2022.2159352","url":null,"abstract":"Il écrirait une longue lettre à la femme qu’il aime, il la lancerait dans la foule au creux d’un drapeau algérien, rouge-vert-blanc, déployé sur la largeur du boulevard, des femmes avaient retrouvé le tissu secret et le bruit de la Singer à pédale. Ensemble, dans la chambre de couture et les rires joyeux de ce jour, semblable au jour de la libération du pays où on avait enveloppé, dans le drapeau national, la statue d’une jeune fille à cheval, on ne voyait plus sa cuirasse ni son habit de guerrière, elle ne portait pas de casque, seulement une coupe de jeune garçon et ses cheveux étaient blonds. Qui la connaissait ? Qui savait qu’elle avait défendu son pays, la France, contre l’occupant ennemi ? Qui savait son nom ? Sa statue serait un jour déboulonnée et rapatriée dans son village natal, « monument en exil » comme l’écrirait un natif de l’Algérie française. D’autres statues connaîtraient un sort semblable. Dans les rues, on entendait des chants patriotiques, hommes, femmes, garçons et filles chantaient. Les noms des femmes, héroïnes des maquis et de la Libération, criés d’un bout à l’autre des cortèges, résonnaient en un long ruban sonore dans le pays tout entier, depuis la côte jusqu’aux Hauts Plateaux à la limite du « Petit Désert », depuis les gorges du Rummel jusqu’au tombeau de l’étranger amoureux de Bou Saâda, il s’appelait Étienne, jusqu’à la célèbre Confrérie d’El-Hamel à Bou Saâda, désertée par le dernier héritier, il a traversé la mer, écrivain-voyageur, si loin qu’il ne reviendra pas dans la maison ancestrale, même s’il dit qu’il ne mourra pas en exil. Je veux rappeler et crier avec les femmes qui marchent dans les rues du pays natal les noms glorieux des femmes dans le Djebel en guerre, mortes ou vivantes :","PeriodicalId":44362,"journal":{"name":"Modern & Contemporary France","volume":"31 1","pages":"119 - 122"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42891414","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/09639489.2022.2160699
Mildred Mortimer
5 July 2022 marked the sixtieth anniversary of Algerian independence. Algeria’s liberation struggle, a war that France calls the Algerian War and Algeria, the war of national liberation, began in 1954 when guerrillas of the FLN (National Liberation Front) attacked military installations, police posts, communications facilities, and public utilities in various parts of the country. Fought in the cities and in the countryside, the war ended with the signing of the Evian Accords on 19 March 1962. Algeria officially became independent three months later. After 132 years of political domination, French colonialism came to an end and the new era of Algerian independence dawned. As the first successful anticolonial war in Africa and a historic struggle that influences French-Algerian relations sixty years later, Algeria’s successful fight for independence from French colonial rule continues to capture the attention of historians, writers, students, and the general public in Algeria, France, and beyond both their borders. This issue of Modern & Contemporary France proposes to examine the war and its aftermath in this particular moment, sixty years after it had ended in Algeria’s liberation. Adopting multiple analytical lenses—historical, political, sociological, and literary—the contributors posit that texts written by survivors of the conflict and their descendants as well as social scientists and writers from varying geographic, cultural and temporal spaces offer unique perspectives on the war, bringing greater clarity to the complex historical events. In this regard, all who write about the Algerian War—a war of national liberation for the colonised, a struggle to maintain the status quo for the coloniser—recognize that the trauma of that violent conflict scarred individuals and the collective psyche of both nations. As historian Benjamin Stora reminds us, neither side has really come to terms with one of the most painful conflicts of decolonisation of the twentieth century. Calling for an end to the amnesia that has plagued both nations, he writes: ‘Français et Algériens doivent regarder en face leur propre histoire intérieure, balayer mythes et chimères, démêler droits et souvenirs. On ne peut partager l’avenir en niant le passé commun conflictuel’ (Stora 1991: 320). Indeed, many writers and historians, including Stora, use the image of an unhealed wound to characterize the effects of the war on individuals and the community in France and Algeria. Revisiting a war that ended more than sixty years ago proves to be a revelatory experience. A six-decade time span grants unique historical perspectives as soldiers and civilians, former combatants and witnesses—some who were adults, and others who were
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Pub Date : 2022-12-07DOI: 10.1080/09639489.2022.2128316
Mildred Mortimer
ABSTRACT This article examines the memoirs of three former militants who, in the later years of their lives, reflect on the significance of their participation in the anticolonial struggle: Louisette Ighilahriz at 64, Zohra Drif at 79, Yamina Cherrad Bennaceur at 81. I choose these three memoirs because each recounts a remarkable journey to empowerment and when brought together they emphasize the collective nature of the liberation struggle. Drif played a prominent role in the war as a ‘poseuse de bombes’ during the Battle of Algiers, Ighilahriz was a courier for the FLN, Bennaceur a nurse in the maquis. My intent in this article is to study their memoirs as historical artefacts that depict a collective anticolonial struggle and as chronicles of personal struggle in time of war. I test the premise that the three chroniclers looking back on the past confirm that their participation in the liberation struggle was transformative. Their courage and resilience tested, the young women emerged empowered. Yet, the war experience was traumatic, and each memoir reveals the trauma endured, and by articulating that trauma, hopefully helps heal psychological wounds.
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Pub Date : 2022-11-12DOI: 10.1080/09639489.2022.2133102
J. Lane
ABSTRACT Thomas Piketty has claimed that his best-selling study of socio-economic inequality, Le Capital au XXIe siècle is significantly indebted to Pierre Bourdieu’s work on social class and distinction. This claim has not convinced a number of commentators in France who claim some allegiance to Bourdieu’s theoretical legacy. Geoffroy de Lagasnerie, Didier Eribon, and Frédéric Lordon have argued that Piketty’s work represents a betrayal of Bourdieu’s legacy in its advocacy of the myths of meritocracy and liberalism. This article argues to the contrary that Piketty’s analyses of an emerging global elite can be interpreted as developing Bourdieu’s empirical findings and theoretical approach in important ways. It shows, first, that Piketty’s formula explaining the mechanism driving inequality (r > g) is directly translatable into Bourdieu’s theoretical lexicon. Second, the article argues that Bourdieu’s analyses of ‘la nouvelle bourgeoisie’ in both La Distinction and La Noblesse d’État anticipate Piketty’s later work on the global elite that has emerged under ‘un nouveau capitalisme patrimonial’. Finally, the article demonstrates that Piketty’s enquiries have led him to question both meritocracy and liberalism, in their classic forms, and ponders the possible political significance of this abandonment.
托马斯·皮凯蒂声称，他关于社会经济不平等的畅销书《二十一世纪资本论》在很大程度上要归功于皮埃尔·布迪厄关于社会阶级和区别的著作。这一说法并没有说服法国的一些评论家，他们声称对布迪厄的理论遗产有些忠诚。Geoffroy de Lagasnerie、Didier Eribon和fracimdsamric Lordon认为，皮凯蒂的作品拥护精英政治和自由主义的神话，是对布迪厄遗产的背叛。与此相反，本文认为，皮凯蒂对新兴全球精英的分析可以被解释为在重要方面发展了布迪厄的实证发现和理论方法。这表明，首先，皮凯蒂解释不平等驱动机制的公式(r > g)可以直接翻译成布迪厄的理论词汇。其次，本文认为，布迪厄在《区分》和《贵族》État中对“新资产阶级”的分析，预示了皮凯蒂后来对“新资本主义世袭”下出现的全球精英的研究。最后，这篇文章表明，皮凯蒂的调查导致他质疑精英政治和自由主义的经典形式，并思考这种放弃可能的政治意义。
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Pub Date : 2022-11-10DOI: 10.1080/09639489.2022.2128315
Anne Donadey
ABSTRACT This article analyses the ethics of representation in Franco-Algerian filmmaker Rachid Bouchareb’s short 2019 documentaries Louisette and Annie, which highlight the participation of mujahidat (female militants) Louisette Ighilahriz and Annie Fiorio-Steiner in the 1954–1962 war of independence from the French. Given how much these women suffered (including under torture) during the war, how to convey their experiences in an ethical manner is a central concern. Bouchareb achieves an ethical balance between avoiding voyeurism and bearing testimony to these women’s suffering and active agency through using film techniques that approach his protagonists with respect, a central feature of his ethical cinema. He also relies on techniques that enhance spectatorial identification with the protagonists through triggering emotional responses. I identify and detail specific formal and thematic choices he made to highlight the past’s continuing relevance to the present and to centre women’s experiences, voices, and bodies. The films finally honour mujahidat (almost a decade after Bouchareb’s male-centred epic film Hors la loi). Seeking to both stage and remedy the difficult anamnesis of the war, they bring memories together and carry messages about the need to always fight against injustice that are relevant on both sides of the Mediterranean, sixty years later.
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