The representation of sites like Bentalha and events such as the dirty war must negotiate an impossible path between both a surfeit and absence of meaning. The hermeneutic, semantic and affective network in which the Bentalha is enmeshed and through which it discloses itself to Boudjelal in the aftermath of the massacre — even if he cannot make immediate sense of what presents to him while he is there, in the midst of the unclaimable experience — inevitably inflects the way in which the site signs to him and how he makes meaning of the site.
And yet when Boudjelal visits Bentalha, what he discovers is an incarnated negative space produced by what happened there and which now structures what remains as a potent presence in absence. Everything in Bentalha points to the event, yet the event itself remains a hole in cognition — a blind spot. Instead of indicating an object or phenomenon that caused it, and in that sense making the referent present, the traumatic index points to a necessary absence.
In this way, he severs the photographic medium from the privileged contemporaneity with which it is traditionally associated.
The photographs do not yield an unmediated encounter with Bentalha; nor do they perform a mnemonic function. In this sense, they too are oblique signs demanding interpretation. They exist, resolutely, in their own present, in which the past and future of Bentalha remain perpetually at stake. Boudjelal purchased 3 notebooks in Ghana in and has to date filled two of them with images, texts and other artefacts both found and made relating to his Algerian journeys.
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But more important than this recognition of the convoluted intersection between his own life and the broader historical relation between France and Algeria is his developing and future-oriented awareness of the political stakes of contemporary Algeria and the role he might play, within a community of intellectuals and activists, in disrupting or refusing to take part in a visual economy that is played out not only at the level of the media but also that of the nascent yet powerful and largely state-controlled art institution in Algeria.
The sense Boudjelal has of practising within a broader political landscape is reflected in the dynamic, relational construction of his own identity, a plastic and multidirectional entity — both malleable and resistive — that we see him working in the pages of his notebooks as the journeys he makes cause him to deviate from any linear, retrogressive search for the origins of selfhood or stable points of filiation.
If Jours intranquilles opens with his failure to complete a journey across Algeria, from east to west, due to the dangers posed by the escalating conflict, it closes with Boudjelal arriving finally at the Moroccan border, yet with no sense at all that he has in fact arrived, or that the circle has been closed. Rather than discovering any healing sense of recovery, recognition or reconnection, his early journeys to Algeria induce instead disorientation, loss, dispersal and fragmentation.
Creative practice, political agency in the sense of an active interpretive engagement with and attentiveness to the enfoldedness of past, present and future and autopoeisis are articulated and performed through the obliquity and resistance of a plastic present, in which the stakes of the past and future remain perpetually at stake. Community, Culture and Difference London: Lawrence and Wishart, , p.
Autograph, , non-paginated. The book will hitherto be referred to as JI. Routledge, , p. Anger of the Dispossessed New Haven and London: Yale University Press, , p.
Benjamin Stora also observes: Presses de Sciences Po, , p. Presses de Science Po, , p. Air France resumed flights in June , after a 9-year suspension triggered by the hijacking of an Air France airbus in Algiers and the murder of three hostages by the GIA in Amnesty International, , pp. Not Enabled Enhanced Typesetting: Enabled Would you like to tell us about a lower price? Share your thoughts with other customers.
Comment le socialisme s'est-il nourri du parlementarisme? Thursay 2 February Guests: Reinforced by the news media who whip up hatred and scapegoat migrants to sell a few newspapers, state hostility is further embedded in schools, universities, the NHS, homelessness charities, and housing authorities where employees are forced to act as makeshift border guards. David Dufour also known as D-track is a well-known Francophone hip hop and slam poet artist from the region of Gatineau. A chimney sweep and a shepherdess seek to escape from the clutches of a tyrannical king.
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Get to Know Us. English Choose a language for shopping. These many strange facts and events intertwine and eventually structure the story, and not only that told in the novel but also that of the whole country. This narrative, told in many different voices can appear, at first glance, to be a simple form of entertainment, an ironic depiction of post-Soviet Ukraine, but through the various symbols brought in by the writer, it soon acquires great philosophical depth.
Bunin, the Ukrainian President, has joined other heads of state in an open-air swimming pool to drink vodka and celebrate with Putin. During his rise to power Bunin has juggled formidable and eccentric political and personal challenges.
His family and women troubles combine with difficulties with corrupt businessmen and demanding international allies, but it is his recent heart transplant that worries him the most. Since the operation, he has started to develop freckles, and the mysterious widow of his heart donor appears to have moved in with him. Mais au moins sait-on une chose: Back to top Bibliography Novels: Le Laitier de nuit Liana Levi - Cosmopolitaine par Paula Jacques Saint-Malo