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
Der Unterrichtsfilm als neues Lehrmedium im Nationalsozialismus
wiederkehrenden visuellen Stereotype, wie das vorgestellte Motiv der tätigen Hände. Sie sind mit gesellschaftlichen Idealbildern und Erziehungswerten verbunden und zeigen Kontinuitäten zu frühen Denkweisen. Daher können aber müssen diese nicht an sich in
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
Mobility is often mentioned in African history, but rarely is it examined to its full analytical potential. This is unfortunate, in part because in the 1960s the first generation of African historians considered cultures of mobility a means of challenging stereotypes of African backwardness and simplicity. Jan Vansina, for example, used mobility to uncover “complexity” and “efficiency” in African political history—a stated goal of early Africanist historians working to debunk colonial stereotypes—and to challenge the structural-functionalist lens through which colonials and outsiders had understood African identities and social systems. In the following decades, mobility was critical to several aspects of African history—including slavery, women’s history, labor migration, and urbanization. Yet the makings of a recognizable field of African mobility have not emerged until recently.
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)
Controlling Colonial Migrants in Interwar France and Senegal
Johann Le Guelte
This article examines the politics of interwar colonial identification practices put into place by the French colonial state in order to curtail the mobility of colonial (im)migrants. I argue that photography was used as a tool of imperial control in both French West Africa (AOF) and metropolitan France, since colonial men’s inability to provide the required photographic portraits often prevented them from moving around the empire. In response, colonial subjects appropriated photography in alternative ways to subvert these administrative restrictions. Moreover, they took advantage of metropolitan racial stereotypes to contest Western identification practices.
French society is pluricultural and multireligious, and Islam is its second largest religion. For this reason, schools have to promote better understanding and greater tolerance among pupils. In this context, the history curriculum and history textbooks serve to de ne knowledge and historical memory. In this article, I will analyze the treatment of Islam and the Muslim world in a sample of French textbooks, and identify some of the bias and stereotypes they still convey. I will also explain how this depiction of Islam and the Muslim world has evolved over the last ten years.
The Woman Veteran in Iulia Drunina's Postwar Poetry
Adrienne M. Harris
The article uses Soviet poet Iuliia Drunina's deeply personal and o en autobiographical poetry as a lens through which to view the woman veteran's experience, especially during the time of the state-promoted cult of World War II and the erosion of the cult during perestroika. Gender and World War II remain consistent themes in Drunina's poetry, but in her oeuvre, one finds an evolution in how the poet-veteran relates to the war. From 1942 on, Drunina consciously assumed the role of the voice for women soldiers, but as the war receded into the past and the number of veterans dwindled, Drunina began to write more frequently on behalf of veterans of both sexes. This article details numerous war and gender-related themes: gendered otherness during the war, demobilization, stereotypes of women soldiers, the sacred nature of the war, the duty to remember, front-line friendship, and the persistence of the war in veterans' lives.
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.”