唱反调

Francospheres Pub Date : 2021-06-01 DOI:10.3828/franc.2021.2
Étienne Achille
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引用次数: 0

摘要

尽管皮埃尔·诺拉(Pierre Nora)的开创性作品集《Les Lieux de msammoire》(1984-1992)因阐述了一种开创性的范式而不断受到赞誉,但它也受到了大量批评,主要原因是“简直不可思议”,没有提及法国殖民时期的历史。然而,当翻阅这七卷5000多页的书时,很明显,即使殖民主义没有得到应有的重视,它也并非完全缺席,132个条目中至少有38个涉及这个话题。本文的目的是首先强调和反思这些文字和视觉上的殖民痕迹,然后质疑为什么一个有影响力的研究,在近三十年的时间里引起了如此多的兴趣和评论,除了查尔斯-罗伯特·阿格龙在1931年巴黎展览上的作品外,它仍然被作为一个没有任何殖民遗产参考的作品呈现。最后,本文希望探究的是学者对罗马民族的态度,同时提出重新思考在当代法国充满挑战的背景下,更广泛的后殖民敏感性可能得到加强的方式。
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Playing devil’s advocate
While Pierre Nora’s seminal collection Les Lieux de mémoire (1984-1992) has been continuously praised for the elaboration of a groundbreaking paradigm, it has also been the object of a significant amount of criticism due notably to the ‘nothing short of fantastic’ absence of references to the French colonial past. However, when sifting through the seven volumes’ 5,000+ pages, it becomes obvious that if the colonial has not been granted its due place, it is not at all absent, with at least 38 of the 132 entries broaching the topic. The objective of this article will be first to highlight and reflect upon these textual and visual colonial traces, and then question why an influential study that has elicited so much interest and commentary for almost thirty years continues to be presented as a work deprived of any reference to colonial heritage apart from Charles-Robert Ageron’s entry on the Paris 1931 exhibition. Ultimately, it is the attitude of scholars towards the roman national that this article wishes to interrogate, while proposing to rethink the ways in which a wider postcolonial sensibility may be reinforced in the challenging context of contemporary France.
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发文量
11
审稿时长
24 weeks
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