the metal stereotype, the exact replica used for printing. Since many stereotypes could be cast from the original plate, numerous presses could churn out identical pages. 4 The use of stereotypes and the development of mechanized steam-driven presses
Muslim Responses to Pegida and Islamophobia in Germany
a homogeneous group, thus creating the risk of inadvertently reinforcing what one seeks to combat: namely, the stereotype of a monolithic and static entity that Muslims in Germany do not in fact represent. Moreover, the perceived need to speak with
A Comedic Film between History and Memory
French bourgeois. As Rabine noted, Pivert was himself a stereotype. The Mythical Bourgeois The film historian Jean-Pierre Jeancolas lamented that the cinematic season of 1973–1974 confirmed one truth about French cinema: comedy was “a dead genre.” 36 The
Tzvetan Todorov, On Human Diversity: Nationalism, Racism, and Exoticism in French Thought (Cambridge, MA: Harvard University Press, 1993)
Sue Peabody, “There Are No Slaves in France”: The Political Culture of Race and Slavery in the Ancien Régime (New York and Oxford: Oxford University Press, 1996)
Patricia M. E. Lorcin, Imperial Identities: Stereotyping, Prejudice and Race in Colonial Algeria (London and New York: I.B. Tauris, 1995)
Maxim Silverman, Deconstructing the Nation: Immigration, Racism and Citizenship in Modern France (London and New York: Routledge, 1992)
Cet article se concentre sur le rÔle de la spatialité dans le monde des Juifs de Méditerranée orientale, qui est configuré comme un espace en réseaux. À travers le dissensusdes réceptions d’un ouvrage paru en 1925 (Joseph Pérez d’A. Navon) est mis en avant le fait que la spatialité doive être étudiée conjointement et comparativement tant du point de vue de l’observateur, que de l’observé, de façon à se départir de stéréotypes préconstruits relevantde l’opposition Orient/Occident. La parution de Joseph Pérez fut concomitante d’unegrande vogue littéraire exotique et orientaliste. Elle construisit l’image d’un juif “oriental,” qui se présente donc comme le refl et de cette opposition. L’étude du positionnement depersonnages tant chez A. Navon que dans la grande oeuvre d’Albert Cohen révèle la strate sous-jacente d’un espace articulé diffèremment tant au plan des représentations que del’espace effectif de circulation transterritoriale des acteurs sépharades.
A Generation in the Making
In the spring of 2000, the Financial Times eagerly predicted that the world would be piloted by a new global generation of managers who, having been educated at business schools, share similar ideas and values.1 To this generation belong managers in start-up companies that provide goods and services online. These e-managers work with and on the Internet, which reaches worldwide instantly and redefines our concepts of time and place. Since emanagers have the whole world as their “playground,” they are likely to replace traditional nation-based feelings of belonging with new values and identities. French magazines went even further than the Financial Times, stating that since e-managers speak English and have adopted the American way of doing business, they would eventually Americanize French society.2 Or, rather, e-managers would turn France into a society that mirrored the stereotypes of American society that have been prevalent in France.
Since the fall of the Berlin Wall, unification, and the subsequent reinvention
of the nation, German filmmakers have revisited their
country’s cinematic traditions with a view to placing themselves creatively
in the tradition of its intellectual and artistic heritage. One of
the legacies that has served as a point of a new departure has been
the Heimatfilm, or homeland film. As a genre it is renowned for its
restorative stance, as it often features dialect and the renunciation of
current topicality, advocates traditional gender roles, has antimodern
overtones of rural, pastoral, often alpine, images, and expresses
a longing for premodern times, for “the good old days” that supposedly
still exist away from the urban centres. The Nazis used Heimat
films in an effort “to idealize ‘Bauerntum’ as the site of desirable traditions
and stereotyped the foreign (most often the urban) as the
breeding ground for moral decay.”
This essay is an intimate account of my encounter with Aimé Césaire. I first met him in high school. I was seventeen years old, and I had never read any work comparable to his Notebook of a Return to the Native Land. That book left me confused. The more I read the less I understood. A student in lettres modernes at Université Charles De Gaulle, I became tormented by identity issues. My years in France introduced me to racism, to an other who observed me without seeing me—between us centuries of violence, stereotypes, misunderstanding, unrequited love, unresolved conflict, unshared suffering. How do you get rid of the cutting glance that murders the Promise of Tomorrow? Césaire gave me an answer to that question.
The Illusion of Progress in Popular Film
Vicki L. Eaklor
The film The Kids Are All Right, centered on a lesbian couple and their two teenage children, was released in 2010 following a media blitz selling it as a groundbreaking film. Many queer viewers (like this author) eagerly awaited this supposed step forward in lesbian representation, only to be disappointed once again by mainstream stereotypes and tropes. This article takes a close look at the film against the backdrop of lesbian images and themes in “Hollywood“ films, particularly in the last twenty years, and argues that continuities, while sometimes more subtle, override the illusion of progress in portraying lesbians. Finally, there is speculation about why genuine change in mainstream film may be impossible under current societal and economic systems.
As host of the 2006 soccer World Cup in June and July 2006, Germany was suddenly full of different Germans, waving millions of black-red-gold mini flags and wearing their (and others') national colors with abandon. Was this show of nationalism a new kind of trans/national patriotism? Most certainly, the national enthusiasm exhibited in Germany had nothing whatsoever to do with past demonstrations of patriotism. With the focus on the country as host to world soccer aficionados, the world also learned of a multicultural Germany that has existed for the last fifty years or so. It learned that it is not always successful with its social and economic problems, and that the desire for national unity is sometimes difficult to fulfill. Quite correctly, the national media described Germany as joyous, generous, and open-minded hosts. In the foreign press, too, the old stereotypes were broken down.