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2e édition augmentée d'une postface inédite (1er édition 1981).Cet ouvrage ouvre un domaine de réflexion inédit, la représentation de l'indigène colonisé. Il y est question, preuve à l'appui, de la reconstitution d'une forfaiture, la défiguration de tout un peuple. Cet essai libre, chronique d'humeur, voire pamphlet polémique repose sur un corpus de 80 cartes postales datant des premières années 1900 et qui, durant plus d'un demi siècle, furent acheminées d'Algérie vers la France par la poste officielle.Cet ensemble iconographique montre un thème fantasmatique récurrent et à connotation lourdement sexuelle, en l'occurence celui de l'algérienne progressivement dénudée jusqu'à être exposée intégralement nue ; une production massive d'images stéréotypées à l'extrême et à la portée de toutes les bourses.Malek Alloula rétablit, ordonne et explicite la plus qu'équivoque cohérence idéologique sous-jacente qui conditionna ce vulgaire strip-tease qui s'établit alors sous le couvert de la grande peinture orientaliste du XIXeme.
Women --- Postcards --- Photography of women --- Harem --- Social conditions --- Women - Algeria - Social conditions --- Postcards - Algeria
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Women --- Photography of women. --- Harems --- Femmes --- Photographie des femmes --- Social conditions. --- Conditions sociales
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Slavic literature --- Authors, French --- Authors, Algerian --- Biography
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This provides a commentary on images, specifically on a series of French postcards depicting mainly eroticized "scenes from Algerian life" under colonial rule during the first three decades of this century (which Alloula calls the "Golden Age of the colonial postcard"). The aim is to address, to some extent create, a new audience, one capable of seeing through the immediate scene of the images in order to view the machinery of colonialism at work, behind the scene. Edward Said has cited The Colonial Harem as an "excellent example" of the kind of post-colonial text that "open[s] the [Western] culture to experiences of the Other which have remained 'outside' (and have been repressed or framed in a context of confrontational hostility) the norms manufactured by 'insiders' and that "[t]he pictorial capture of colonized people by colonizer" is made intelligible for an audience of modem European readers" ("Opponents, Audiences, Constituencies and Community"). This view, by no means unanimous,) is nonetheless roughly accurate in at least its most general point: Alloula does intend to bring the "outside" closer to the "inside" and, in doing so, to reverse the distinction by presenting not only a critique of political "capture," but a counter-image of resistance as well.
Harems --- Photography of women --- Postcards --- Women --- 77.041 --- CDL --- Harem --- Polygyny --- Cards, Postal --- Picture postcards --- Post cards --- Postal cards --- Postal stationery --- Social conditions --- Algeria --- Sociology of the family. Sociology of sexuality --- History of Africa --- anno 1900-1999
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