COLT 102 Fantasia

COLT 102 Fantasia - COLT 102 Fantasia aesthetic Imprint,...

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COLT 102 Fantasia “aesthetic” Imprint, detached portrayal o Specifically in portrayal of artists drawing dead soldiers P. 17, Major Langlois  sketches dead soldiers in “splendid weather” Sketches for painting which will go into museum, presumably Speaks/underscores to French Colonial dominance o Drawings on field to painting to lithographs Want to know views of French conquests, go to a museum Author wants to “excavate” Algerian history, specifically women Women have been twice silenced Examination of contradiction when history has been written by western powers What would be authentic form, that recognizes West o Image of plundering, after battle, occurs repeatedly Once imperialist invasion happens, cultural conflict amongst Algerian o Words that evoke theatre/plays o Words that are from letters, narratives French are very eager to write their account
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The way in which warfare is recorded, how history remembers what happens Skepticism of accounts of history Written by parties that have particular stakes in writing in a particular manner Accounts have been shaped from French (Western) point of view Il regarded la ville qui le ragarde o He looks at the city that looks at him o Indicates one sided view o Ironic, don’t see inhabitants of city “Eye witness” accounts com almost exclusively from French o To rewrite history: irony is employed Battle is called a “ballet” Interspersion of personal stories throughout to juxtapose Arab girl goes to school for first time Invasion in 1830 Both are beginnings of sorts Role of individual French view all Arabs as a collective group Collective self o What makes Assia Djebar herself relies on other aspects Arab girl attends French school in Algeria, goes back to French  invasion o Memories that may or may not be direct
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COLT 102 Fantasia - COLT 102 Fantasia aesthetic Imprint,...

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