This article discusses the trajectory of Simone de Beauvoir’s concern with the issue of torture. It argues that Beauvoir’s interest in torture extends back at least to World War II and that her activities and writings against torture during the French-Algerian War of 1954–1962 were pivotal in prompting her to reject ethical philosophical language and to embrace, in its place, a new concept of politics based on need. It further suggests that exploring the development of Beauvoir’s ideas about torture (...) helps elucidate her belated turn to feminism and that in Beauvoir’s disarray and disillusionment regarding the use of torture by the French during the French-Algerian War and her compatriots’ complaisance with regard to this, there are lessons of sorts, though not necessarily entirely comforting ones, for Americans and others facing similar situations. (shrink)

In the Algerian War of Independence, women famously used both traditional and modern clothing as part of their revolutionary efforts against French colonialism. This paper uncovers some of the principal lessons of this historical episode through a phenomenological exploration of agency, religion, and political transformation. Part I draws primarily on the philosophical insights of Martin Heidegger and Maurice Merleau-Ponty alongside the memoirs of Zohra Drif, a young woman member of the Algerian Front de Libération Nationale, in order to (...) explore the worldly and habitual nature of human agency in contrast to the Enlightenment stress on individual rationality and autonomy. Part II turns to John Russon’s phenomenological interpretation of religion in order to argue for the ineluctable significance of religion on human existence, in contrast to the modern tendency to oppose religious tradition and secular modernity. Part III analyzes the dynamics of intercultural communication, and argues for the political power of phenomenology as a critical enterprise that enables more just and emancipatory visions of collective human life and political transformation to come to the fore. (shrink)

The aim of this article is to analyze the issue of trauma and literature in the context of the Algerian war, as presented in two novels by Algerian writers who use French in a multicultural way: Un regard blessé [Shattered vision] by Rabah Belamri and La Malédiction by Rachid Mimouni [the Malediction]. It will answer the following question:is it possible to see in the francophone Literature a tendency to de-structure the text in order to make it possible for (...) a new plurality to emerge? Literature re-members culture as it points out the dark side of the Algerian history, it makes the readers understand the current situation and the heritage of the past. (shrink)

Cet article porte sur les femmes algériennes qui, migrant à travers la méditerranée après 1947, migrent également à travers la citoyenneté : en une vie, elles ont été “indigènes”, Françaises musulmanes, Françaises à part entière (c’est-à-dire aussi dotées du droit de vote) durant quatre années (1958-1962), puis Algériennes et donc étrangères, toujours immigrées. Il examine ces parcours de femmes passées du statut de sujet colonial à celui d’autres statuts (citoyennes, étrangères, binationales). Pour cela, il repose sur une enquête orale menée (...) dans la région lyonnaise et sur des archives préfectorales (dossiers de naturalisation notamment). Dans le flou des discours, il analyse comment les Algériennes contribuent à faire naître, empiriquement, une définition de la citoyenneté, laquelle les signale en retour comme d’éternelles immigrées. (shrink)

In these original readings of Albert Camus' novels, short stories, and political essays, David Carroll concentrates on Camus' conflicted relationship with his Algerian background and finds important critical insights into questions of justice, the effects of colonial oppression, and the deadly cycle of terrorism and counterterrorism that characterized the Algerian War and continues to surface in the devastation of postcolonial wars today. During France's "dirty war" in Algeria, Camus called for an end to the violence perpetrated against civilians (...) by both France and the Algerian National Liberation Front and supported the creation of a postcolonial, multicultural, and democratic Algeria. His position was rejected by most of his contemporaries on the Left and has, ironically, earned him the title of colonialist sympathizer as well as the scorn of important postcolonial critics. Carroll rescues Camus' work from such criticism by emphasizing the Algerian dimensions of his literary and philosophical texts and by highlighting in his novels and short stories his understanding of both the injustice of colonialism and the tragic nature of Algeria's struggle for independence. By refusing to accept that the sacrifice of innocent human lives can ever be justified, even in the pursuit of noble political goals, and by rejecting simple, ideological binaries, Camus' work offers an alternative to the stark choices that characterized his troubled times and continue to define our own. "What they didn't like, was the Algerian, in him," Camus wrote of his fictional double in _The First Man_. Not only should "the Algerian" in Camus be "liked," Carroll argues, but the Algerian dimensions of his literary and political texts constitute a crucial part of their continuing interest. Carroll's reading also shows why Camus' critical perspective has much to contribute to contemporary debates stemming from the global "war on terror.". (shrink)

In these original readings of Albert Camus' novels, short stories, and political essays, David Carroll concentrates on Camus' conflicted relationship with his Algerian background and finds important critical insights into questions of justice, the effects of colonial oppression, and the deadly cycle of terrorism and counterterrorism that characterized the Algerian War and continues to surface in the devastation of postcolonial wars today. During France's "dirty war" in Algeria, Camus called for an end to the violence perpetrated against civilians (...) by both France and the Algerian National Liberation Front and supported the creation of a postcolonial, multicultural, and democratic Algeria. His position was rejected by most of his contemporaries on the Left and has, ironically, earned him the title of colonialist sympathizer as well as the scorn of important postcolonial critics. Carroll rescues Camus' work from such criticism by emphasizing the Algerian dimensions of his literary and philosophical texts and by highlighting in his novels and short stories his understanding of both the injustice of colonialism and the tragic nature of Algeria's struggle for independence. By refusing to accept that the sacrifice of innocent human lives can ever be justified, even in the pursuit of noble political goals, and by rejecting simple, ideological binaries, Camus' work offers an alternative to the stark choices that characterized his troubled times and continue to define our own. "What they didn't like, was the Algerian, in him," Camus wrote of his fictional double in _The First Man_. Not only should "the Algerian" in Camus be "liked," Carroll argues, but the Algerian dimensions of his literary and political texts constitute a crucial part of their continuing interest. Carroll's reading also shows why Camus' critical perspective has much to contribute to contemporary debates stemming from the global "war on terror.". (shrink)

This is the first book to offer a systematic comparison of the philosophies of Albert Camus and Frantz Fanon. It shows how the ethical, political, and psychological outlooks of these two influential thinkers can further our understandings of how to bring about justice in the face of deep power imbalances. The author foregrounds the bloody Algerian War of Independence in his analysis of the philosophies of Camus and Fanon. Although neither supported French colonial occupation of Algeria, they held radically (...) different views of the conflict. Fanon supported emancipation through violence, which the author argues has been uncritically romanticized. Camus, on the other hand, supported an ethics of moderation that shunned indiscriminate violence. The author argues that Camus has been unfairly accused of being an apologist for colonialism. Finally, the author draws out the common endorsement of humanist values that drive both Camus' and Fanon's thought. Camus and Fanon on the Algerian Question will appeal to scholars and advanced students interested in twentieth-century Continental philosophy, postcolonialism, existentialism, and African philosophy. (shrink)

Cet article porte sur les femmes algériennes qui, migrant à travers la méditerranée après 1947, migrent également à travers la citoyenneté : en une vie, elles ont été “indigènes”, Françaises musulmanes, Françaises à part entière (c’est-à-dire aussi dotées du droit de vote) durant quatre années (1958-1962), puis Algériennes et donc étrangères, toujours immigrées. Il examine ces parcours de femmes passées du statut de sujet colonial à celui d’autres statuts (citoyennes, étrangères, binationales). Pour cela, il repose sur une enquête orale menée (...) dans la région lyonnaise et sur des archives préfectorales (dossiers de naturalisation notamment). Dans le flou des discours, il analyse comment les Algériennes contribuent à faire naître, empiriquement, une définition de la citoyenneté, laquelle les signale en retour comme d’éternelles immigrées. (shrink)

This paper demonstrates that L'Étranger , Camus's famous novel about an outsider, had by as early as 1946 become just as much of an 'insider' in terms of its affiliation to the Parisian literary tradition. More than an insider simply by virtue of its contemporary place in the French canon, then, the novel is also intertextually bound to a tradition of oxymoronic poetics dating back to Charles Baudelaire's Paris Spleen ( Les Petits poèmes en prose ). I shall examine the (...) way in which L'Étranger performs its prose poetics, thereby establishing it as exemplary of a Parisian model of modernity. Additionally, the famous scene on the beach will be considered as a liminal space and as a literary translation of Paris into the desert, which, once a joke for Paris's relationship to provincial France, became after the Second World War a new allegory for the capital's self-alterity. (shrink)

An absorbing introductory treatment of logic, ranging from classic philosophy to the fundamental building blocks of modern electronics.

This chapter contains sections titled: The Confrontation with Sartre and the French Intellectual Left The Confrontation and the Theory‐Practice Problem Camus's Politics, The Cold War, and the Algerian War notes further reading.

The concept of apocalypse is well established in all the major religions of the world, be they Semitic religions or Hinduism. The underlying idea behind the concept in all the religions remains the same, that is, the world will come to an end. The end itself, which has been called the Judgment Day, Day of Resurrection, or the Day of Retribution or Reckoning will be preceded by some signs. It has also been called the day of Apocalypse, the day when (...) the whole world will be destroyed. One of the distinct forms of it is Muslim Apocalypse about which a lot has been written. However, the argument of the present research paper shall be to examine the concept of the Mahdi primarily from the Shi’te Muslim point of view. The premise of the argument is that Shi’te argument or concept of the Mahdi is far more substantial having a solid theoretical foundation than the other perspectives about it. No wonder, therefore, the concept of the Mahdi has manifested itself in literature across cultures and ages. There are so many poets, primarily, Muslim poets who have highlighted this concept in their poetry and thus the research paper shall make an attempt to look at some of those poets and their understanding of it. (shrink)

One of the important determinants of development during the transition to adulthood is the undertaking of social roles characteristic of adults, also in the area of finishing formal education, which usually coincides with beginning fulltime employment. In the study discussed in this paper, it has been hypothesized that continuing full-time education above the age of 26, a phenomenon rarely observed in Poland, can be considered as an unpunctual event that may be connected with difficulties in the process of identity formation. (...) Relationships between identity dimensions and identity statuses, and age and educational context were analyzed. 693 individuals aged 19-35 took part in the study. The participants attended three types of educational institutions: full-time university studies, part-time university studies, and full-time post-secondary school. Among the students of full-time university studies predictable dependencies, also in respect of highlevels of indicators of identity crisis and a high frequency of diffused identity occurrence, were observed. Such dependencies were not found in the group of full-time post-secondary school students. (shrink)

Pendant et juste après l’explosion de 1968, l’extrême droite, au moins dans ses publications, a réussi à reconvertir son obsession algérienne – de la « trahison » de l’Algérie français à la description des hommes Algériens comme une menace pour la France d’alors – dans l’élaboration de grilles d’analyse reposant sur un registre sexué et sexuel permettant de comprendre « Mai » : c’est-à-dire à la fois les événements eux-mêmes et la crise générale qui minait la France.

Frantz Fanon is principally known as a great theoretician of race relations and decolonization, in particular through the two main books he published during his lifetime Black Skin, White Masks and The Wretched of the Earth. What is less known is that he was in parallel a pioneering psychiatrist and an early and recognized theoretician of ethnopsychiatry. A volume of about a thousand pages of texts either difficult to access or presumed lost was recently published, following more than a decade (...) of research in archives located in different parts of the world. It reveals first the importance and originality of his thought as a scientist, and secondly the importance of this dimension of his work for the understanding of his political texts. This is shown on two points: 1) the role of violence in the decolonization process, when compared with Fanon’s texts on psychiatric internment, the phenomenon of agitation and the alternative model of social therapy and 2) the use of «identity» as cultural foundation for newly decolonized states, which he strongly criticised, when compared with Fanon’s systematic questioning of any personal «constitution» in his psychiatric and ethnopsychiatric work. (shrink)

Literatura e filosofia, filosofia e literatura, há tensionamentos e algumas vezesressonâncias, outras vezes um movimento de completa crítica e tentativas de separação radical. Pensa-se nos possíveis toques desses saberes e como os mesmos podem se enriquecer com seus limites. As perguntas que movem esse ensaio são: A filosofia passa pela obra de Clarice Lispector? De que forma Clarice promove uma experiência filosófica? Os argumentos são tangenciados pela filosofia francesa de Gilles Deleuze. Clarice Lispector, escritora, contudo, configura em sua obra fabulatória (...) um laboratório imaginativo para o pensamento, e se não pensa pelo conceito, faz filosofia por sua atitude, por expressar, pela literatura, a pergunta filosófica. (shrink)

New translations tracing decades of Beauvoir's leftist political engagement during the turbulent era of decolonization, from articles exposing conditions in fascist Spain and Portugal in 1945 and hard hitting attacks on right-wing intellectuals in the 1950s, to a 1962 defense of an Algerian freedom fighter, Djamila Boupacha, and a 1975 article calling for the 'two state solution' in Israel. The texts range from a surprising 1952 defense of the misogynistic 18th c. pornographer, the Marquis de Sade, to the transcription (...) of a co-written 1974 documentary film on the aged in France. (shrink)

Using the lives of the three outstanding French intellectuals of the twentieth century, renowned historian Tony Judt offers a unique look at how intellectuals can ignore political pressures and demonstrate a heroic commitment to personal integrity and moral responsibility unfettered by the difficult political exigencies of their time. Through the prism of the lives of Leon Blum, Albert Camus, and Raymond Aron, Judt examines pivotal issues in the history of contemporary French society—antisemitism and the dilemma of Jewish identity, political and (...) moral idealism in public life, the Marxist moment in French thought, the traumas of decolonization, the disaffection of the intelligentsia, and the insidious quarrels rending Right and Left. Judt focuses particularly on Blum's leadership of the Popular Front and his stern defiance of the Vichy governments, on Camus's part in the Resistance and Algerian War, and on Aron's cultural commentary and opposition to the facile acceptance by many French intellectuals of communism's utopian promise. Severely maligned by powerful critics and rivals, each of these exemplary figures stood fast in their principles and eventually won some measure of personal and public redemption. Judt constructs a compelling portrait of modern French intellectual life and politics. He challenges the conventional account of the role of intellectuals precisely because they mattered in France, because they could shape public opinion and influence policy. In Blum, Camus, and Aron, Judt finds three very different men who did not simply play the role, but evinced a courage and a responsibility in public life that far outshone their contemporaries. "An eloquent and instructive study of intellectual courage in the face of what the author persuasively describes as intellectual irresponsibility."—Richard Bernstein, _New York Times_. (shrink)

Raymond Aron is widely regarded as the most important figure in the history of twentieth-century French liberalism. Yet his status within the history of liberal thought has been more often proclaimed than explained. Though he is frequently lauded as the inheritor of France's liberal tradition, Aron's formative influences were mostly non-French and often radically anti-liberal thinkers. This book explains how, why, and with what consequences he belatedly defined and aligned himself with a French liberal tradition. It also situates Aron within (...) the larger histories of Cold War liberalism and decolonization, re-evaluating his contribution to debates over totalitarianism, the end of ideology, and the Algerian War. By exposing the enduring importance of Aron's student political engagements for the development of his thought, Iain Stewart challenges the prevailing view of Aron's early intellectual trajectory as a journey from naïve socialist idealism to mature liberal realism, offering a new critical perspective on one of the twentieth century's most influential intellectuals. (shrink)

Using the lives of the three outstanding French intellectuals of the twentieth century, renowned historian Tony Judt offers a unique look at how intellectuals can ignore political pressures and demonstrate a heroic commitment to personal integrity and moral responsibility unfettered by the difficult political exigencies of their time. Through the prism of the lives of Leon Blum, Albert Camus, and Raymond Aron, Judt examines pivotal issues in the history of contemporary French society—antisemitism and the dilemma of Jewish identity, political and (...) moral idealism in public life, the Marxist moment in French thought, the traumas of decolonization, the disaffection of the intelligentsia, and the insidious quarrels rending Right and Left. Judt focuses particularly on Blum's leadership of the Popular Front and his stern defiance of the Vichy governments, on Camus's part in the Resistance and Algerian War, and on Aron's cultural commentary and opposition to the facile acceptance by many French intellectuals of communism's utopian promise. Severely maligned by powerful critics and rivals, each of these exemplary figures stood fast in their principles and eventually won some measure of personal and public redemption. Judt constructs a compelling portrait of modern French intellectual life and politics. He challenges the conventional account of the role of intellectuals precisely because they mattered in France, because they could shape public opinion and influence policy. In Blum, Camus, and Aron, Judt finds three very different men who did not simply play the role, but evinced a courage and a responsibility in public life that far outshone their contemporaries. "An eloquent and instructive study of intellectual courage in the face of what the author persuasively describes as intellectual irresponsibility."—Richard Bernstein, _New York Times_. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pairing breaths:Rabah Ameur-Zaïmech's Terminal Sud (2019)Marion Froger (bio)Translated by David F. BellAsphyxiaNever had I felt such a sense of suffocation watching a film by Rabah Ameur-Zaïmeche.1 The poisoned atmosphere of Terminal Sud (2019) recalls the atmosphere of the Algerian War (1955-1962) and that of the decade of darkness (1991-2002) in that country. The filmmaker chose not to make a historical film, however, but rather a dystopia that fuses (...) together periods and places. The story appears to be contemporary, in a country bathed in the colors of southern France, apparently in the grip of all the violence that French and Algerian memories are nowhere near forgetting.2 Bandits wearing combat uniforms, policemen wearing outfits sporting an acronym that strangely resembles one used by Islamist Algerian groups,3 and generals evoking the French putschists of 1961 all fight against each other—ransoming, threatening, kidnapping, killing, and torturing the local population. Meanwhile, out in the countryside, guerrillas (maquisards4) try to care for their dying leader, like North African freedom fighters (fellagas) were doing before them, and this in turn evokes French Resistance fighters in the 1940s. The film's work on confused memories, which, according to Thierry Kuntzel, is related to the condensation, overdetermination, and displacement of dreamwork, transforms being out of breath into a symptom that hounds the doctor, played by Ramzy Bédia ("Inhale…Exhale…Inhale again…Hold your breath…Exhale"), a state of the world in the form of a trap that threatens to suffocate him—and launches the quest for a filmic poetics of calm through the pairing of breaths.Peeling façades with tightly closed doors, lowered metal shop shutters, narrow and tense streets: the doctor, his wife Hazia, and their family slip outside in fear of kidnapping and gunfire, climb up stairs breathing heavily, anxiously await by the window, their bodies obscured in starkly contrasting shadows cast by glaring light, hug each other with endless sighs. As they share their grief, they have barely enough breath left to sing to the memory of someone who has disappeared,5 as if after an argument, [End Page 244] when everything has been said and all that remains is a strangled sob serving as last farewell.The film opens with an attack on a minivan used for public transportation: bandits, who could be soldiers, steal everything from the passengers and driver. The doctor sees his patients in a rundown hospital, treats a woman whose breathing is raucous, her voice taut with anxiety, and who speaks about the disappearance of her husband. Back home, he finds anonymous letters containing death threats and, to calm down, he searches for his breath by taking a deep drag from a cigarette and a swig of whiskey. "I can't take it any longer, I can't even stand up, I can't do anything, I'm at the end of my rope, I'm tired […] Is that what our country has become?" he confides to a friend several hours before losing, in the emergency room, his wife's brother, a journalist assassinated in front of his house. "Stay with me," he says as he runs beside the stretcher calling for help, "Breathe, breathe."The spasmodic breathing of Ramzy Bédia, provoked by the fear, effort, and pain that define his character, intensifies as the film progresses. He barely breathes in the car taking him to treat the rebel leader; he is running out of breath beside the leader's bed as we hear the death rattle and as Bédia shouts to the leader's comrades, "Give him some air, everyone get out!" Later, one of the policemen standing guard at the entrance to the hospital will be mortally wounded by a kamikaze attack and will die on the operating table despite the doctor's exhausting reparatory manipulations. Asphyxia will ultimately directly threaten the doctor after his arrest. Tied to an old bedspring, he will be tortured by electroshock,6 will attempt one last time to justify himself to a soldier who wants to know everything about the rebel leader the doctor has treated, and will nearly suffocate in his... (shrink)

In recent critical studies, according to Gibson, a sustained and profound critique of Fanon has been launched by feminist and postcolonialist theorists over the past decade, focusing on ‘Algeria Unveiled’. By and large, this critique explores what Fanon calls the ‘historical dynamism of the veil’: the ways in which women strategically donned or removed the veil to subvert French colonialism, and the role women played in the Algerian War. Some theorists criticize Fanon for eulogizing the retrograde tradition of the (...) veil and for ‘normalizing gender inequality’. Others reproach him for his Orientalizing views. A number of critics confuse his pronouncements on the impact of the war which revolutionized the Algerian society and gender relation with the reactionary policies implemented in post-independent Algeria. To fathom the political and ethical concerns raised by Fanon, concerns which such criticism eschews, I propose to read Fanon’s ‘Algeria Unveiled’ in tandem with Bourdieu’s Algeria 1960 against the physical and symbolic violence to which Algerian women were subjected as they were coerced to remove their veil. (shrink)

In recent critical studies, according to Gibson, a sustained and profound critique of Fanon has been launched by feminist and postcolonialist theorists over the past decade, focusing on ‘Algeria Unveiled’. By and large, this critique explores what Fanon calls the ‘historical dynamism of the veil’: the ways in which women strategically donned or removed the veil to subvert French colonialism, and the role women played in the Algerian War. Some theorists criticize Fanon for eulogizing the retrograde tradition of the (...) veil and for ‘normalizing gender inequality’. Others reproach him for his Orientalizing views. A number of critics confuse his pronouncements on the impact of the war which revolutionized the Algerian society and gender relation with the reactionary policies implemented in post-independent Algeria. To fathom the political and ethical concerns raised by Fanon, concerns which such criticism eschews, I propose to read Fanon’s ‘Algeria Unveiled’ in tandem with Bourdieu’s Algeria 1960 against the physical and symbolic violence to which Algerian women were subjected as they were coerced to remove their veil. (shrink)