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Copyright of Revue d'Histoire Moderne & Contemporaine is the property of Societe d'Histoire Moderne et Contemporaine and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The engagement in the French army during the Algerian war condemned the harkis to a silent existence. Considered as traitors in their country of birth, and undesirable in their country of exile, they strive to remain invisible and silent. In the writings of their descendants, who decided one day to tell the traumatic Hi/story of their community, a character inevitably stands out: the father walled in silence, leading his life alone, for fear of disappointing or not being able to give the best explanations for a “shameful” past. To illustrate the different “configurations” and values of the “entrenched words” that the descendants of harkis inscribe in their literary works, we will base our analysis on the novels Mon père, ce harki (2003) by Dalila Kerchouche, Mohand, le harki (2003) by Hadjila Kemoum and L’Art de perdre (2017) by Alice Zeniter.

The engagement in the French army during the Algerian war condemned the harkis to a silent existence. Considered as traitors in their country of birth, and undesirable in their country of exile, they strive to remain invisible and silent. In the writings of their descendants, who decided one day to tell the traumatic Hi/story of their community, a character inevitably stands out: the father walled in silence, leading his life alone, for fear of disappointing or not being able to give the best explanations for a "shameful" past. To illustrate the different "configurations" and values of the "entrenched words" that the descendants of harkis inscribe in their literary works, we will base our analysis on the novels Mon père, ce harki (2003) by Dalila Kerchouche, Mohand, le harki (2003) by Hadjila Kemoum and L'Art de perdre (2017) by Alice Zeniter. [ABSTRACT FROM AUTHOR]

A great admirer of the writings of Flaubert and Julien Gracq (Laplace-Treyture, 2014), the works of geographer Armand Frémont are characterised as much by their innovative nature as by the remarkable quality of their writing. First a university lecturer, then a senior civil servant in the Ministry of Education, his life and writings were strongly influenced by his eight-month stay in Algeria during the Algerian war. From this field experience, he published numerous texts, some of which were published before the end of the conflict. They are all the more valuable in that there are very few accounts by academics who were directly involved in the conflict as conscripts. The aim of our study is therefore to contribute to the rediscovery of all the “Algerian” writings that Armand Frémont drew from this highly unusual period in his life, and which are not limited to Algérie - El Djazaïr. Les carnets de guerre et de terrain d'un géographe published in 1982.

This article studies the role of the typewriter in the Algerian War of Independence (1954–1962). When a printing press was unavailable during the war, women militants used the typewriter to process articles for El Moudjahid, the designated newspaper of the anticolonial revolutionaries. Providing a media history and theory of this event, the article argues that the typewriter—both woman and machine—was an active militant who cut texts and bodies to advance the revolutionary cause. The typewriter denaturalized assumptions about the newspaper's colonial appearance, thus bringing forth a new form for anticolonial journalism. [ABSTRACT FROM AUTHOR]

France's colonial history in Algeria has been the subject of "Memory Wars" since the end of the 1990s. Culminating in 2012 at the fiftieth anniversary of the Algerian War (1954–1962), these Memory Wars contributed to numerous publications about every aspect of Algeria. Large format coffee-table photographic books (beaux livres), as well as paperbacks full of collected memories of the colonial years and the war, from both French and Algerians, flooded French bookshops. In this article, I engage with the concepts of competitive, hoarded, and multidirectional memory to demonstrate how French memorial books that are especially photo driven appear to place war on display, but, at the same time, bury difficult and traumatic memory. The research examines three French memorial books published between 2010 and 2012, leading up to the fiftieth anniversary of Algerian independence, and addresses how traumatic memories are recuperated and still hidden within texts that attempt to fill a memorial void. Despite book titles that claim to examine the memories of war, within the books, Algeria often remains a beautiful, peaceful, and nostalgic backdrop. War is not clearly depicted in the images but emerges in accompanying descriptive texts. In light of France's establishment of the Truth and Memory Commission on the Algerian War in 2022, I examine how diverse versions of the past come into dialogue with each other, while individual memorial books continue to crowd out unspeakable violence. [ABSTRACT FROM AUTHOR]

While the massacre of peaceful Algerian demonstrators by French police on October 17, 1961, has been thoroughly studied by historians and is well known to the general public thanks to a sprawling corpus of novels, plays, songs, films, bandes dessinées, and other retrospective representations, to date there has been no careful archaeology of the event's original audiovisual archive from 1961. This article takes up that challenge in two stages: first, by identifying the photos and newsreel footage shot on the night of October 17, specifying the circumstances of their production, (non)distribution, and impact in the immediate aftermath of the massacre; second, by surveying how key elements of the original archive were recycled over the following sixty years to serve in turn as surrogates for and complements to other sources of knowledge about this infamous and long‐dissimulated crime d'état. [ABSTRACT FROM AUTHOR]

The year 1962 marked the end of the colonial occupation of Algeria by France after more than 130 years. In the wake of a bloody war of independence, nearly 700 000 former European settlers left their old homeland under dramatic circumstances. Most of them ended up in the port of Marseille to find a new livelihood in their motherland France. After their exodus from French Algeria, a state which was doomed to failure, the “Pieds-noirs” developed a multilayered culture of remembrance. Their specific food culture — La Cuisine Pied Noir — emerged as an essential part of their heritage. An interdisciplinary academic approach to this cuisine allows for a deeper understanding of culinary cultural transfer in the context of colonialism and decolonisation. “La Cuisine Pied Noir” highlights the importance of food as a cultural companion and as a guardian of social identity. The drama of the Algerian–French history is still discussed in present-day France. Finally, the archives in both countries are opened to historical studies. This article invites researchers in the field of food culture to participate in a stimulating discussion.

Taking its lead from contemporary debates about the "crisis" that is the masculinization of the Barbès-La Chapelle-Stalingrad triangle in northern Paris, this article considers the processes whereby this district has been both "southernized" ("Mediterranization") and "sexualized" while also being yoked into the modernizing, infrastructural dynamics of a "global city" (Sassen 1991). It relates these debates to the longer history of labor migration, structural inequality and the exceptionalist policing of sexual politics under colonial rule and into the period of decolonization. In so doing it establishes the context for reviewing Gramsci's southern question through the prism of his writing on "the sexual question." Where Gramsci posits "a new feminine personality," largely occluding the forms of female subaltern labor, the discussion here looks to the work of two young female artists, the photographer Randa Maroufi's 2019 series Les Intruses and the filmmaker Louise Mootz's 2019 work Jungle, to explore this terrain. In so doing, it proposes that their negotiation of and with urban form, which itself reflects the complex history of containment and porosity in this environment, displaces "the South" from a polarity with the North and situates the female body in its work, play and pleasure, but also in the confrontation with the violence of the street and of gender norms, as the locus of a radical shaping of the intersection between the southern/sexual question. [ABSTRACT FROM AUTHOR]

This article explores the lateral connections between the Algerian anticolonial struggle and other similar struggles in the colonial world. Such connections linked up Algeria to Vietnam, Black Panthers in the U.S., and Palestine, among others. Not only were these anticolonial connections crucial to the FLN's strategy, but this strategy and the Algerian struggle more generally were crucial in generating the Third Worldist momentum as Algiers became the 'Mecca of Revolution'. I examine how, although the goal of anticolonial struggles was national independence, the terrain whether logistic, ideological and even strategic was decidedly translocal. The focus on anticolonial connectivity in the Algerian War becomes a pretext for engaging with a political paradox: while the decolonization process seeks the recovery of dignity by the colonized, the nation-state becomes both the condition for the instantiation of this ideal, and the straightjacket that contains and limits its full realization. Here I re-focus the discussion from 'alternatives to nation-state' to the idea of historical necessity. I thus treat the anticolonial narrative in more complicated ways, seeing it both as a necessary tragedy and as a narrative of 'crushed hopes.' [ABSTRACT FROM AUTHOR]

Copyright of Revue Académique des Études Sociales et Humaines is the property of Hassif Benbouali University of Chlef and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

When violence is unleashed on a territory, a large part of the inhabitants hide away and seek to make themselves invisible by going behind the scenes. This is the case of the narrator of Qui se souvient de la mer, a novel by Mohammed Dib published in 1962. The novel appears as an assessment of the preceding eight-year long nightmare. Beneath a city that strongly resembles Algiers, an underground city unfolds, adjacent to the city at war, taking in all its violence, but seemingly shaped by other narrative rules. This fabulous city not only functions as a refuge, it is also a high intensity black hole where individual traumas coalesce into collective trauma that gives shape to a mysterious urban geography. The words of the invisible inhabitants, explicitly used in Mohammed Dib's novel, turn the story into a fable to spatialize the part of trauma that was born in the colonial era and continues to haunt postcolonial experience. The underground city of Mohammed Dib is a point de vie (“point of life”) on the world, both impregnable and charged with energy.

François Maspero is best known as the owner of the radical Latin Quarter bookstore La joie de lire and the founder and editor of Éditions Maspero, but he was also a writer, a translator, and a journalist. Maspero published several novels and wrote for media outlets like Le Monde and France Culture. He wrote about his travels throughout Eastern Europe, Israel-Palestine, Algeria, and the Caribbean, and published literature reviews, obituaries, and even his testimony of the events of 17 October 1961. This article is the first comprehensive analysis of his work as a print journalist for Le Monde, notably as a travel writer. While Maspero critiqued journalism in both of his novel-travelogues, Les passagers du Roissy-Express (1990) and Balkans-Transit (1997), this article argues that his journalism was a breeding ground for his novel-writing and vice versa. The intersection between journalism, novel writing, and militancy also allowed him to create a multidirectional activism, which reanimated past militancy to understand contemporary political crises. [ABSTRACT FROM AUTHOR]

The year 1962 marked the end of the colonial occupation of Algeria by France after more than 130 years. In the wake of a bloody war of independence, nearly 700 000 former European settlers left their old homeland under dramatic circumstances. Most of them ended up in the port of Marseille to find a new livelihood in their motherland France. After their exodus from French Algeria, a state which was doomed to failure, the "Pieds-noirs" developed a multilayered culture of remembrance. Their specific food culture — La Cuisine Pied Noir — emerged as an essential part of their heritage. An interdisciplinary academic approach to this cuisine allows for a deeper understanding of culinary cultural transfer in the context of colonialism and decolonisation. "La Cuisine Pied Noir" highlights the importance of food as a cultural companion and as a guardian of social identity. The drama of the Algerian–French history is still discussed in present-day France. Finally, the archives in both countries are opened to historical studies. This article invites researchers in the field of food culture to participate in a stimulating discussion. [ABSTRACT FROM AUTHOR]

Alice Zeniter’s 2017 novel The Art of Losing, translated recently by Frank Wynne from French to English, explores how buried histories resurface and haunt generations to come, despite national efforts to ignore, if not minimalize, the enduring impacts of colonialism, independence struggles and exile. Set in contemporary France in the wake of the 2015 terrorist attacks, and loosely inspired by Zeniter’s own family history, the book follows Naïma, a young woman of Algerian decent who grapples with a largely unknown and misconstrued harki heritage. Drawing on Marianne Hirsch’s concept of postmemory, this article investigates intergenerational transmission of memory, trauma, and silence around themes such as war, exile and integration.

This article focuses on French author Didier Daeninckx's 1986 crime novel Le Bourreau et son double ['The Hangman and His Double']. Daeninckx's novel challenged official narratives that minimized the use of torture during the Algerian War and highlighted the brutalization of conscripted soldiers, the conflict's hidden victims. Firstly, this article investigates Daeninckx's use of what Max Silverman (2013) terms palimpsestic memory to highlight the interconnections between France's process of decolonization throughout the 1960s, and 1980s France, which saw a rise in urban poverty and racism and a severe decline in left-leaning politics. Secondly, palimpsestic memory is closely associated with intertextuality and this article examines Daeninckx's allusions to Georges Perec's W ou le souvenir d'enfance (1975) [W, or the Memory of Childhood (1988)], which shares a similar structure and the themes of haunting and repressed memories with Le Bourreau et son double. Finally, the article emphasizes the value of popular culture, such as crime fiction, in the remembrance of hidden conflicts. [ABSTRACT FROM AUTHOR]

The Memory of War, the War of Memory: Social Memory of the War in Algeria in Relations Between France and the Algerian Immigrants The year 2012 marks the 50th anniversary of the official end of the Algerian war. The memory of this conflict and other events in France which accompanied it is still alive in French society. After many years of oblivion and lack of interest from the highest authorities, this conflict once again becomes the subject of great controversy and heated debate. The disputes focus on the four groups: the French born in Algeria, the Algerians cooperating with the French troops during the war, the other Algerian immigrants and, finally, the former military personnel serving in Algeria. Each group has its own perspective of the events, whereas the politicians try to exploit the memory of the war in the ongoing disputes concerning the integration of the immigrants and the riots in the suburbs. All of this means that even after 50 years the issue of the Algerian war is still evoking new conflicts.

This anide wants only to present an imperfect panorama on what the cinema have produced on the Algerian war (1954-1962). The cinema haven't done a great number of film on this topic, but a very interesting series of movies into 1961 and 2011. The films, above all frenchs and italians, except Les centurions (or The lost command, known in Italy as Né onore né Gloria, 1966) by Mark Robson, a French-American co-production, have reponed the methods used by the French army to reprime the Algerian rebellion of the F.L.N., including torture, but too all the French ambiguities on this vain and colonialist war in delay during the time. [ABSTRACT FROM AUTHOR]

This article demonstrates Didier Daeninckx's unique blending of historical fact and fiction, particularly the use of state archives in his breakthrough novel Meurtres pour mémoire (1984). It also examines intertextual references to nineteenth-century writers and the French New Wave cinema that expand the traditional boundaries of the genre. [ABSTRACT FROM AUTHOR]

Copyright of Hispania: Revista Española de Historia is the property of Consejo Superior de Investigaciones Cientificas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

During the Algerian war (1954-62), the French Armed Forces resorted to torture, provoking a national debate on the topic. This article focuses on Catholic military chaplains, who on the one hand had to obey their ecclesiastical superiors and on the other acted as confessors and advisors to the military personnel conducting interrogations. The complexity of their position is revealed by the public and private writings these clergymen devoted to torture, showing an ambiguous and sometimes reticent attitude. [ABSTRACT FROM AUTHOR]

The 60th anniversary of 1960, the «year of Africa», which embraces events spanning the five-year period from 1957-1962, has received only superficial attention in the media and in the academic world. This neglect applies above all, but is certainly not limited, to Italy, and is surprising for a number of reasons. That pivotal moment has become more and more significant within the context of contemporary phenomena and processes -- namely decolonisation and globalisation -- as well as the emergence of new political and institutional priorities. To these we need to add the impact of the events on the pre-1968 generations. In this light we have asked four Italian academics, with different age and research profiles, to reflect on how those events influenced their life and work choices, as well as what responses they elicit today. [ABSTRACT FROM AUTHOR]

Copyright of Historia Contemporanea is the property of Historia Contemporania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Algerian War has long been considered a “war without images”, owing to a combination of state censorship and the self-censorship of artists themselves. However, recent research has revealed numerous art works preserved thus far in the privacy of personal archives. This article follows the trajectory of a conscientious objector, member of the Non-violent Civic Action group, whose detention drawings depict his everyday life as an inmate in several prisons and camps. Pursued and arrested for illegal protest, disobedience, and desertion, this artist-objector was detained and incarcerated eleven times at various detention sites in France. Didier Poiraud’s experiences shed light on the conditions under which wartime artwork can emerge and on the detention conditions faced by conscientious objectors. By carefully observing his drawings - shown here for the first time - and by analyzing them in the context of their production, we gain a better understanding of the relentless and arbitrary repression to which conscientious objectors were subjected during the Algerian War. Through his artwork, resistance in prison can be reinscribed within a larger fight that not only contested the decolonisation war but also led to the reformation of the military service.

Broadcast online in 2011, the webdocumentaries "The Forgotten Night" (LNO) and "17.10.61" address, from various perspectives, the repression of 17 October 1961, one of the major events of the end of the Algerian war of independence in metropolitan France. This article focuses on the place of fiction within these two webdocumentaries in order to question the way in which web-native mediation formats produce a shift in the interference between fiction and reality, both in terms of the creative process and the perception that viewers have of it. In order to study how the web documentary transforms the fiction/documentary articulation, LNO and 17.10.61 are put into a historical perspective with regard to the dynamics specific to the diffusion of the event in the public space since 1961. In spite of distinct aesthetic and narrative choices, the two devices bear witness to the new documentary imaginary that is born from the crossroads between the tradition of historical documentary and digital culture.

France's colonial past and its aftermath remain an "open wound" to this day. After a long period of silence, painful issues such as the role of France in the transatlantic slave trade, colonial crimes in Africa, and the Algerian War have more and more become part of public consciousness in France. Interestingly, many French rap musicians who are the children or grandchildren of immigrants from former French colonies frequently use their songs to remind France of its colonial past. However, their messages sometimes compete with remembrance of the Holocaust. The singers' condemnation of French colonialism becomes wrapped up in the Middle East conflict and Israel is portrayed as a new "colonial power." By analyzing selected lyrics of recent French rap songs this article aims to explore the complex and sensitive intersection of post-colonial and Middle East politics and set the lyrics in the broader socio-political context of remembrance culture in France. The article argues that the musicians' approaches to France's troubled past are an important form of self-affirmation for their communities in the postcolonial context. By bringing up previously silenced topics, they contribute to a more diverse remembrance culture and contest narratives that have been predominant for a long time. [ABSTRACT FROM AUTHOR]

Copyright of Revue Historique (0035-3264) is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Djoussour El-maarefa is the property of Association of Arab Universities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Frantz Fanon (1925-1961) is principally known as a great theoretician of race relations and decolonization, in particular through the two main books he published during his lifetime Black Skin, White Masks (1952) and The Wretched of the Earth (1961). What is less known is that he was in parallel a pioneering psychiatrist and an early and recognized theoretician of ethnopsychiatry. A volume of about a thousand pages of texts either difficult to access or presumed lost was recently published, following more than a decade of research in archives located in different parts of the world. It reveals first the importance and originality of his thought as a scientist, and secondly the importance of this dimension of his work for the understanding of his political texts. This is shown on two points: 1) the role of violence in the decolonization process, when compared with Fanon’s texts on psychiatric internment, the phenomenon of agitation and the alternative model of social therapy and 2) the use of «identity» as cultural foundation for newly decolonized states, which he strongly criticised, when compared with Fanon’s systematic questioning of any personal «constitution» in his psychiatric and ethnopsychiatric work.

The journey of Michèle Firk (1937-1968), who was a journalist, film critic and activist engaged during the Algerian war, then in the liberation struggle movements in Latin America, is at the heart of a documentary film project led by two historians. They first come back to their long preparatory investigative work: collecting documents (audio and visual), capturing filmed interviews... Then, they wonder about the issues and difficulties related to the conservation and valuation of the hours of rushes they now have. [ABSTRACT FROM AUTHOR]

Alice Zeniter's 2017 novel The Art of Losing, translated recently by Frank Wynne from French to English, explores how buried histories resurface and haunt generations to come, despite national efforts to ignore, if not minimalize, the enduring impacts of colonialism, independence struggles and exile. Set in contemporary France in the wake of the 2015 terrorist attacks, and loosely inspired by Zeniter's own family history, the book follows Naïma, a young woman of Algerian decent who grapples with a largely unknown and misconstrued harki heritage. Drawing on Marianne Hirsch's concept of postmemory, this article investigates intergenerational transmission of memory, trauma, and silence around themes such as war, exile and integration. [ABSTRACT FROM AUTHOR]

L’Art de perdre (Flammarion, 2017) is the fifth and latest novel of Alice Zeniter, French novelist and dramatist. She published her first novel at the age of sixteen. In this paper I will present L’Art de perdreas a novel related to the common history of France and Algeria. My main goal is to analyze the issues of memory according to the concepts of postmemory by Marianne Hirsch and archaeological novel by Dominique Viart. The article aims also at following a comparative study of L’Art de perdre and previous novels by Alice Zeniter: Jusque dans nos bras and Juste avant l’Oubli.

On 24 July 2020, French President Emmanuel Macron commissioned historian Benjamin Stora to report on the «questions regarding the memory of colonisation and the Algerian War». This article begins with an analysis of the report and its reception in France and Algeria, and it has two objectives. On the one hand, it examines the French debate on the memory of the Algerian War and colonization more generally. However, it also intervenes in a broader theoretical debate, asking whether memory studies have not unwittingly led to a discursive shift and replaced politics - understood as conflicts inscribed in social relations - with a distorted conception of «memory» as an ideology of «capitalist realism» (Fisher). To use the provocative title of a recent study (Gensburger and Lefranc, 2017), we might ask: are memory politics really useful? Do they shape reality? [ABSTRACT FROM AUTHOR]

Frantz Fanon (1925-1961) is principally known as a great theoretician of race relations and decolonization, in particular through the two main books he published during his lifetime Black Skin, White Masks (1952) and The Wretched of the Earth (1961). What is less known is that he was in parallel a pioneering psychiatrist and an early and recognized theoretician of ethnopsychiatry. A volume of about a thousand pages of texts either difficult to access or presumed lost was recently published, following more than a decade of research in archives located in different parts of the world. It reveals first the importance and originality of his thought as a scientist, and secondly the importance of this dimension of his work for the understanding of his political texts. This is shown on two points: 1) the role of violence in the decolonization process, when compared with Fanon's texts on psychiatric internment, the phenomenon of agitation and the alternative model of social therapy and 2) the use of «identity» as cultural foundation for newly decolonized states, which he strongly criticised, when compared with Fanon's systematic questioning of any personal «constitution» in his psychiatric and ethnopsychiatric work. [ABSTRACT FROM AUTHOR]

Copyright of Outre-Mers: Revue d'Histoire is the property of Societe Francaise d'Histoire d'Outre Mer and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergies Turquie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)