Carte D'identité. Remediatisierungen des ethnisierten Personalausweises in der neueren frankophonen Literatur über den Genozid an den rwandischen Tutsi

A l'aide de l'explication par Kwame Anthony Appiah de la politique ethnique à partir de trois concepts (labels, normes, traitement), cette contribution souhaite proposer une lecture de quelques remédiatisations (Bolter et Grusin) dans la littérature contemporaine de la mention ethnique sur les cartes d'identité nationales qui, pendant le génocide des Tutsi au Rwanda, indiquaient l'identité de leur porteur Au lieu de construire une causalité entre l'identité ethnique et le génocide de 1994, ces remédiatisations mettent plutôt en question l'utilisation peu critique de l'antagonisme Hutu et Tutsi dans les espaces politiques, commémoratifs, artistiques et littéraires Comme on le verra, c'est par exemple le cas dans le long-métrage Sometimes in April (2005) de Raoul Peck et /ou dans le roman Murambi, le livre des ossements (2000) de Boubacar Boris Diop Gaël Faye projette le narrateur de son roman Petit Pays (2016) dans une autre variation du motif et du narratif de l'identité ethnique Il montre à la fois l'efficacité meurtrière du dispositif de la carte d'identité tout comme sa longévité qui va bien au-delà du génocide de 1994 Mais surtout, il soustrait l'attribution des victimes et des coupables de la violence à la simple logique ethnique

Baldwin’s Transatlantic Reverberations

James Baldwin’s writing, his persona, as well as his public speeches, interviews, and discussions are undergoing a renewed reception in the arts, in queer and critical race studies, and in queer of color movements. Directed by Raoul Peck, the film I Am Not Your Negro decisively contributed to the rekindled circulation of Baldwin across the Atlantic. Since 2017, screenings and commentaries on the highly acclaimed film have prompted discussions about the persistent yet variously racialized temporospatial formations of Europe and the U.S. Stemming from a roundtable that followed a screening in Zurich in February 2018, this collective essay wanders between the audio-visual and textual matter of the film and Baldwin’s essay “Stranger in the Village,” which was also adapted into a film-essay directed by Pierre Koralnik, staging Baldwin in the Swiss village of Leukerbad. Privileging Black feminist, postcolonial, and queer of color perspectives, we identify three sites of Baldwin’s transatlantic reverberations: situated knowledge, controlling images, and everyday sexual racism. In conclusion, we reflect on the implications of racialized, sexualized politics for today’s Black feminist, queer, and trans of color movements located in continental Europe—especially in Switzerland and France.

Sob o signo da travessia:

At becoming worldly known, in 2016, thanks to the success of his documentary I Am Not Your Negro, the Haitian Raoul Peck already possessed an extensive career as a filmmaker, with a first fiction film, Haitian Corner, released in 1987. The movie tells the story of na haitian poet, immigrant, who lives in Brooklyn, New York, tormented by the ghosts of torture suffered in Haiti in the Duvalier era. Himself marked by the sign of displacement – Peck lived in Haiti, in the Democratic Republic of Congo, in Germany, in the United States and France – the filmmaker starts with Haitian Corner a long list of characters displaced or on transit that would thematically shape many of your works. This article intends to revise the image of the refugee/immigrant in this inaugural piece by Peck, with enfasis on the approach of the director to subjects of memory and the trauma caused in the sphere of asylum.

Espectros de Baldwin

O artigo explora a potência crítica e narrativa do documentário I Am Not Your Negro (2016), do diretor haitiano Raoul Peck (1953-), resultante de uma pesquisa intensa do diretor nos arquivos pessoais do escritor e ensaísta afro-americano James Baldwin (1924-1987). Apontaremos de que modo Baldwin, através da manipulação imagética e textual proposta por Peck, ressuscita questões graves da história das tensões raciais nos Estados Unidos, que dividiram o país antes e após o início dos anos 1970, ou ainda, após a luta pelos direitos civis e a morte de seus três grandes amigos: Martin Luther King Jr., Medgar Evers e Malcolm X. Evidenciaremos como o documentário expõe um pano de fundo do passado que se confunde com imagens, narrativas, corpos e nomes do presente, ao destacar a importância das reflexões de Baldwin para a luta contra o racismo e a violência ainda impostos à população negra estadunidense na contemporaneidade.