{"title":"Musée National de l’Histoire de l’Immigration","authors":"P. Crowley","doi":"10.2307/j.ctvwvr2vr.22","DOIUrl":"https://doi.org/10.2307/j.ctvwvr2vr.22","url":null,"abstract":"When the Palais de la Porte Dorée opened on May 5 1931 it was to serve as an exhibition space for the Exposition Coloniale, the largest and most spectacular of colonial exhibitions in France. In the years that followed it served as a museum for non-European art before a section was repurposed in 2007 for what is now the Musée National de l’Histoire de l’Immigration (MNHI). For some, the presence of the MNHI effects a reversal of the building’s original colonial function, for others the MNHI is compromised by the colonial carapace that surrounds it. This entry tracks the history of the building and the controversies that surrounded the location of migrant memories and artefacts within a site of colonial memory.","PeriodicalId":291835,"journal":{"name":"Postcolonial Realms of Memory","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132680965","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Slavery Memorials","authors":"Anny-Dominique Curtius","doi":"10.2307/j.ctvwvr2vr.19","DOIUrl":"https://doi.org/10.2307/j.ctvwvr2vr.19","url":null,"abstract":"This essay focuses on the beheaded statue of Empress Joséphine along with visual and performance artist Sarah Trouche’s reappropriations of the politically motivated beheading, the Memorial Cap 110 Mémoire et Fraternité, and the traveling Memorial of the Names of Abolition. The study contends that these memorials encapsulate the entangled history and memory of the transatlantic slave trade and slavery, and interrogate the traditional definition of archives, museums and the institutionalized aesthetics of marble memorials. Hence, the statue of Joséphine is examined as a palimpsestic memorial because of the ideological repurposing of the city scape surrounding the statue, as well as Sarah Trouche’s meaningful use of her naked body as a theatrical canvass to map out cogent solidarities about the turbulent memory of slavery. The historical distinctiveness of the Cap110 Memorial is explored for its power to serve as an intangible witness to the Middle Passage and excavate from under the beauty of its natural environment traces of historical turbulence. As palimpsestic anarchives and post-museums, the Cap110 Memorial along with the Memorial of the Names of the Abolition foster post and decolonial performances of remembrance.","PeriodicalId":291835,"journal":{"name":"Postcolonial Realms of Memory","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128564107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Toys","authors":"Elizabeth Heath","doi":"10.2307/j.ctvwvr2vr.40","DOIUrl":"https://doi.org/10.2307/j.ctvwvr2vr.40","url":null,"abstract":"This article examines colonially-themed toys as historical sources that provide insight into the way that metropolitan boys and girls learned embrace the French empire in the late nineteenth and early twentieth centuries. It argues that colonially-themed toys such as drums, dolls, and games encouraged forms of play that instilled a colonial mindset and attitude among metropolitan French children. These actions provided the foundation for a cognitive framework and worldview that naturalized colonialism and racial and civilization hierarchies. The residues of these earlier practices and imaginations remain, marking toys as a particularly rich genre of material culture with which to understand the inculcation of colonialism and lingering colonial nostalgia.","PeriodicalId":291835,"journal":{"name":"Postcolonial Realms of Memory","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134206323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Jeanne Duval","authors":"M. Rosello","doi":"10.2307/j.ctvwvr2vr.31","DOIUrl":"https://doi.org/10.2307/j.ctvwvr2vr.31","url":null,"abstract":"This particular attempt at imagining a site of memory made of words may appear irreverent at first, but it has been crafted as an homage to a formidable woman: Jeanne Duval. I have taken the liberty of fictionalizing a first-person narrator who will talk about ‘herself’, at the risk of usurping her voice and her identity. Jeanne (whose name was or was not Duval) was a woman of colour and she had a long-term turbulent relationship with the enfant terrible of French nineteenth-century poetry, Charles Baudelaire. As a result, historical accounts both magnify and marginalize her. Trying to do justice to a historical character who was so much more than a muse but may not have been happy to embrace the role of exemplary black foremother, this text puts together the numerous and often incompatible portraits of Jeanne Duval. She appears and disappears in biographies (Emmanuel Richon), novels (Fabienne Pasquet), short stories (Angela Carter), academic studies (Claude Pichois). She is both present and absent, celebrated and erased in the so-called ‘Black Venus cycle’ of Baudelaire’s Flower of Evil as well as in paintings by Edouard Manet (Baudelaire’s Mistress, Reclining) and Gustave Courbet (The Painter’s Studio). The objective was to question the process of memorialization that might silence or appropriate her instead of providing her with a safe space of memory. It remains to be seen to what extent Jeanne is here celebrated or betrayed.","PeriodicalId":291835,"journal":{"name":"Postcolonial Realms of Memory","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134426956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"French Language","authors":"Cécile Van den Avenne","doi":"10.2307/j.ctvwvr2vr.33","DOIUrl":"https://doi.org/10.2307/j.ctvwvr2vr.33","url":null,"abstract":"Two strong linguistic ideologies, which could at first seem to be irreconcilable, inform the French language as an ideological notion: French as a universal language, and French as the language of the nation. Late 19th-century linguistic policy reflects this paradoxical conception as the dissemination of the national language, the medium of the ‘mission civilisatrice’, became the object of political consensus, but locally French was scarcely taught, and its actual presence in the colonies was limited and not aimed at widespread political and cultural assimilation. The overseas exportation of the French language is a legacy of French colonial expansion, but that legacy is shared unequally. Often claimed by African writers as a war booty (‘butin de guerre’, Kateb Yacine), French has become a postcolonial issue and realm of memory.","PeriodicalId":291835,"journal":{"name":"Postcolonial Realms of Memory","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133933142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Colonial Exhibitions","authors":"Nicolas Bancel, Pascal Blanchard","doi":"10.2307/j.ctvwvr2vr.28","DOIUrl":"https://doi.org/10.2307/j.ctvwvr2vr.28","url":null,"abstract":"This essay focuses on a specific aspect of colonial propaganda and on the dissemination of the ‘colonial idea’ in France, namely colonial exhibitions and their early manifestations, colonial pavilions in universal expositions. It offers a detailed analysis of France’s largest colonial exhibition, the 1931 Exposition Coloniale organized in Vincennes, through the exploration of the non-discursive, often playful mechanisms that allowed visitors to live a ‘total experience’ of the colonial empire, mobilizing all their senses and cognitive resources. The historiographic challenge to which we respond that of is determining whether these manifestations were only marginal, peripheral moments in French contemporary history or, as we suggest, they played a deciding role in bolstering support to the colonial ideal of ‘civilizing mission’ and contributed to transforming the national narrative and representations of the nation.","PeriodicalId":291835,"journal":{"name":"Postcolonial Realms of Memory","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127783733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Memorial ACTe","authors":"F. Viala","doi":"10.2307/j.ctvwvr2vr.20","DOIUrl":"https://doi.org/10.2307/j.ctvwvr2vr.20","url":null,"abstract":"This essay examines the nature, scope and consequences of the seism of memory since its eruption in 2000 in Guadeloupe, French West Indies. In particular, it questions how the context of a multifaceted appetite for collective remembrance took the form of competing strategies for memorialization in the space. As such, it focuses on the heritage of pain, resistance and pride at the local, national and regional levels. I draw on Shalini Puri’s analysis of the repressed memory of the 1983 Grenada revolution in Operation Urgent Memory to identify in the landscape of Guadeloupe submerged, residual and eruptive ‘platforms of memory’ (Puri, 2012). In the specific case of Guadeloupe, the collective efforts of the Guadeloupean people for re-appropriating their non-French and non-European heritage on the island have turned into competitive post-traumatic approaches of the history of transatlantic slave trade. This essay eventually analyses the case of the Mémorial ACTe (MACTe) – Museum of Contemporary Caribbean Art and Memorial for the History of the Slave Trade – as constituting the most successful expression of what I define as cultural marronage, in the ambivalent postcolonial environment of the French Overseas Regions.","PeriodicalId":291835,"journal":{"name":"Postcolonial Realms of Memory","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131557709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Abolition of Slavery","authors":"Sophia Khadraoui-Fortune","doi":"10.2307/j.ctvwvr2vr.21","DOIUrl":"https://doi.org/10.2307/j.ctvwvr2vr.21","url":null,"abstract":"April 24th 1998, a two-meter-high iron statue of a slave, arms raised towards the sky, breaking free from his/her chains, was erected clandestinely in Nantes, the primary French slave port of the eighteenth century. Faced with the local government’s refusal to erect a statue commemorating the 150th anniversary of the abolition of slavery, the Mémoire de l’Outre-Mer association decided, in secret, to commission a sculpture. Following the organization’s initial success of hijacking the inauguration, the statue was vandalized. It soon became a performative monument, a memorial palimpsest, and a centre stage of a symbolic combat where opponents and supporters clashed. This essay reveals the democratic praxis at the heart of this commemoration debate. With both the pressure of citizens on the political body, and the triple practice of diversion, subversion, and taking hostage of (public) space, the association thwarts the writing and power strategies of the city of Nantes and its culture of silence. Mémoire de l’Outre-Mer not only resists official discourse but subsequently imposes its own version of French history on the whitened pages of France’s colonial narrative, thus reclaiming a past, a story, an identity, by bringing to light existences and testimonies, and defining new lieux de parole.","PeriodicalId":291835,"journal":{"name":"Postcolonial Realms of Memory","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125362429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Post and the Postage Stamp","authors":"David Scott","doi":"10.2307/j.ctvwvr2vr.36","DOIUrl":"https://doi.org/10.2307/j.ctvwvr2vr.36","url":null,"abstract":"If, as this essay argues, the postage stamp is an exemplary place of memory, what is its status in ‘postcolonial’ guise? To what extent has the stamp been able to free itself from the framing devices (formal and thematic) that governed it in its colonial guise? Or is it, both as place of memory and as instrumental device, condemned to operate in the same way? This paper argues that there can be no ‘post–’ used as a prefix to Post. Although the Post was itself a pre-colonial invention, European imperialism very quickly came to instrumentalize the postage stamp and when the Empire wrote back it sent its messages in the same way, using the same envelopes and forms of legitimization as in colonial times. In this sense, the post-colonial becomes synonymous with ‘universal’ and the scope for subversion of internationally agreed practices is limited to the stamp’s thematic sphere which sometimes, by playing with the signs that conventionally signify ‘place of memory’, can mark a certain irony or signal a critique of the stamp as sign of imposed power or violence. This contribution investigates examples of such practice.","PeriodicalId":291835,"journal":{"name":"Postcolonial Realms of Memory","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114889566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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