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Remembering Bodies: Gender, Race, and Nationality in the French-Algerian War

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Remembering Bodies: Gender, Race, and Nationality in the French-Algerian War Remembering Bodies: Gender, Race, and Nationality in the French-Algerian War by Christine Lisa Quinan A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in French and the Designated Emphasis in Women, Gender, and Sexuality in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Michael Lucey, Chair Professor Ann Smock Professor Barbara Spackman Professor Charis Thompson Fall 2010 Abstract Remembering Bodies: Gender, Race, and Nationality in the French-Algerian War by Christine Lisa Quinan Doctor of Philosophy in French University of California, Berkeley Professor Michael Lucey, Chair This dissertation interrogates images and narratives of the body during the French- Algerian War, an eight-year conflict that began in 1954 and ended with Algerian independence in 1962. Moving between Algeria and France in my analyses and considering documents from the period in question and from later years that reflect back on it, I analyze literary works, films, memoirs, and a legal case in order to consider how physical violence and trauma produce a variety of forms of psychological and corporeal dissonance and how the repression of personal and collective memories can impact bodies and minds both destructively and productively. An investigation of the workings of the social constructs of gender and sexuality is at the center of this project, and I consistently take an approach that actively engages feminist theoretical perspectives, while also taking into account how other categories like race, class, ethnicity, nationality, and citizenship intersect with gender and sexuality to structure our understanding of embodiment and memory during the French-Algerian War. Given the unique and gendered ways in which bodies respond to violence and consequently hold memories, the French-Algerian War proves to be a compelling case study regarding the transformative and agential power of bodies during periods of resistance. Drawing on disciplines such as cultural studies, feminist sociology, postcolonial studies, social movement theory, and human rights studies, I situate my dissertation at the intersection of theories of embodiment and of memory to investigate the myriad ways in which this war of decolonization was literally and figuratively fought on the bodies of Algerian women. Conversely, through the attention it caused to be paid to the Muslim female body, the war placed the seemingly “neutral” and “unmarked” body of the French, heterosexual, Christian, white, male body in question. In analyses of my primary archive, I also uncover how the process of decolonization sparked a crisis in national identity, as “Frenchness” (what it meant to be French) was constructed, deconstructed, and reconstructed with every turn of the war, particularly as revelations of torture and brutality emerged. Additionally, I propose that this moment posed a crisis in gender and sexuality, as it became a period of reification of certain forms of masculinity and femininity and a contestation and production of others. Finally, I turn to recent works and current events 1 in order to uncover some of the ways in which the French-Algerian War goes on having an impact today. 2 TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ii INTRODUCTION iv CHAPTER 1: Veiling Unveiled: Embodiment and Action in 1 Assia Djebar’s Les enfants du nouveau monde and Les alouettes naïves CHAPTER 2: Torture, Memory, and Film: Alain Resnais’ 41 Absent “Muriel” CHAPTER 3: Technocrats and Tortured Bodies: 90 Simone de Beauvoir and the French-Algerian War CHAPTER 4: Hidden Memories: Retracing October 17, 1961 137 in Michael Haneke’s Caché and Leïla Sebbar’s La Seine était rouge CONCLUSION 183 BIBLIOGRAPHY 196 i ACKNOWLEDGEMENTS This endeavor dates back many years, even decades, and I don’t know if I will ever be able to name all the countless individuals whose feedback and guidance helped shape this project, nor will I ever be able to name all the friends and family whose love provided me with the support to make it through the arduous, yet always fulfilling, process of completing a doctorate. First and foremost, I would not be here without the support of my family and the encouragement of Prof. Mary Rice-DeFosse, my undergraduate advisor, who first suggested I pursue a Ph.D. I will always strive to be the sort of thoughtful and compassionate mentor she was to me. I will forever be grateful to the Department of French and to the Department of Gender and Women’s Studies for their generous support. My committee has provided me with invaluable guidance that has truly made me a better scholar and teacher. Michael Lucey has always offered me tremendously insightful comments and forced me to push my analysis further. I feel so fortunate to have had such an intellectual role model, and I consistently aspire to be the kind of scholar that Michael is. Ann Smock’s kindness and rigor has been profoundly inspirational, and I will forever appreciate her creative spirit, her modesty, and her generosity. Barbara Spackman’s longtime support and consistent presence has been a comfort to me throughout the ups and downs of graduate school. Charis Thompson’s encouragement, compliments (often undeserved!), and big heart have always kept me going. I could not think of a better group of scholars to work with throughout this project. Additional thanks goes to all professors with whom I have had the fortune of taking classes, including Trinh Minh-ha, Seda Chavdarian, Thomas Kavanagh, Debarati Sanyal, Minoo Moallem, Timothy Hampton, David Hult, Françoise Sorgen-Goldschmidt, Suzanne Guerlac, Susan Maslan, and Karl Britto. Special thanks goes to members of both GWS 220 Seminars I attended, especially Robin Mitchell, Laurel Westbrook, Monica Stufft, and Kelly Rafferty, as well as colleagues from the Dartmouth Institute of French Cultural Studies, particularly Caroline Gates, Michael Hoyer, and the inimitable Lawrence Kritzman. Johnny George, my first Berkeley friend who would subsequently become one of my absolute closest friends, deserves special thanks. What would I do without his loyalty, unflinching support, generosity, and always-welcome humor? Robin Mitchell, too, has been there for me in so many countless ways. It’s not easy to find someone that can help me make sense of my dissertation and make me laugh so hard I forget all worries. She is an amazing friend, scholar, and teacher. Anastasia Kayiatos is truly a force to be reckoned with, and I look forward to our future of friendship and intellectual exchange. Heartfelt thanks goes to Pamela Reaves. Sometimes I really didn’t know what I would do without Pamela, who has always believed in me and has provided me with unconditional support throughout my entire graduate career. Wherever my life leads me, I will take her with me in spirit. ii My life would feel empty without the close friends I have made during my time at Berkeley. Ellen VandenBerg, Jennifer Daubenmier, Lowry Martin, Araceli Hernández, Stephanie Green, Grégory Briegel, and Sarah Schoellkopf are gifts that I will forever cherish. I also owe a huge thank you to friends from all over the country, particularly Alicia DiPietro, Jenn Garlin, and Michael Meere, for the years and years of love and support they have given me. Many of us are in this profession for a higher calling: teaching students. When I walk into the classroom, somehow everything makes sense. I cannot thank enough the many students I have had over the years – they have truly taught me. A special thank you goes to my students in French R1A: “The Living Archive” and GWS 111: “Fractured Bodies.” These courses allowed me the opportunity to teach many of the texts in this dissertation, and the enthusiasm that these students brought to class everyday was one of the most stimulating forces in working through this project. Finally, to Tara Daly, my greatest love and my favorite paradox, you inspire me everyday. I could not ask for a better life than one I can share with you. iii INTRODUCTION I. Overview My dissertation interrogates images and narratives of the body during the French- Algerian War,1 an eight-year conflict that began in 1954 and ended in with Algerian independence in 1962. Moving between Algeria and France in my analyses and considering documents from the period in question and from later years that reflect back on it, I analyze literary works, films, memoirs, and a legal case in order to consider how physical violence and trauma produce a variety of forms of psychological and corporeal dissonance and how the repression of personal and collective memories can impact bodies and minds both destructively and productively. An investigation of the workings of the social constructs of gender and sexuality is at the center of this project, and I consistently take an approach that actively engages feminist theoretical perspectives, while also taking into account how other categories like race, class, ethnicity, nationality, and citizenship intersect with gender and sexuality to structure our understanding of embodiment and memory during the French-Algerian War. Given the unique and gendered ways in which bodies respond to violence and consequently hold memories, the French-Algerian War proves to be a compelling case study regarding the transformative and agential power of bodies during periods of resistance. Drawing on disciplines such as cultural studies, feminist sociology, postcolonial studies, social movement theory, and human rights studies, I situate my dissertation at the intersection of theories of embodiment and of memory to investigate the myriad ways in which this war of decolonization was literally and figuratively fought on the bodies of Algerian women. Conversely, through the attention it caused to be paid to the Muslim female body, the war seemed to place the seemingly “neutral” and “unmarked” body of the French, heterosexual, Christian, white, male body in question.
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