French history textbooks occupy a pivotal position in the colonial fracture. They impart difficult knowledge about the Algerian War of Independence, knowledge that impacts the relationships between the communities of memory in France today. Textbook analysis has focused on their verbal content and, recently, in the work of Jo McCormack, on corresponding teaching practices. This article highlights graphic design as one layer of visual knowledge production and primarily contributes to the methodology of textbook analysis with an exemplary multimodal analysis. It reveals a hidden narrative about the postcolonial relationship that is not expressed in words.
The Algerian War, French Textbooks and How Violence Is Remembered
This article examines representations of traumatic memory within the context of psychological and poetic domains by analyzing two films: Waltz with Bashir by Ari Folman (2008) and Cache (Hidden) by Michael Heneke (2005). These two films are coping with two events: the Sabra and Shatila's massacre that took place in Lebanon in 1982, and the 1961 massacre of Algerian demonstrators in Paris. In both events the films depict the intersection between private and collective traumatic memory. Analyzing the texts focuses especially on the arousing stage of the trauma from a long period of belatedness and is used as a model for questions referring to the act of translating the trauma concept from discourse of psychology to the poetic language of film.
Formative Experiences and Identity in Peasant Childhood
has been written about gender relations. A substantial contribution to my work is the concept of male dominance defined by Pierre Bourdieu (2000) , based on his fieldwork in Algeria. He showed how the use of technical objects, practices of rural
of [girls’] human rights” ( United Nations General Assembly 2011: 1 ). The first GSO directed by WGG members included girl activists, aged between 13 and 17, from Algeria, Burkina Faso, Guatemala, Mexico, Mozambique, and the United States. Each of