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Misère de la Kabylie
Voici le double projet – jamais encore réalisé – de cette édition : publier de façon autonome et dans son unité mots-photos « Misère de la Kabylie », enquête d’Albert Camus parue dans Alger républicain du 5 au 15 juin 1939 : onze articles du reporter, accompagnés des vingt-trois photographies qui depuis quatre-vingt ans échappent au regard du lecteur de Camus. Or, très loin de célébrer un pays pour touristes, l’iconographie de 1939 montrait l’insoutenable misère et interpellait le lecteur indifférent :
« Vois où ta politique a mené la Kabylie. Agis. Tout peut changer ! »
Notre publication souhaite donc présenter ces clichés, en dépit d’un difficile rendu, dans un format proche de l’original. Choisis, intégrés avec soin dans la composition du journal, ils apportent un point de vue inédit tant sur le texte que sur le travail de journaliste en période de censure coloniale (décret Régnier). Par ailleurs, la présente édition tente de répondre à l’interrogation du lecteur curieux d’aujourd’hui : Qui tenait l’appareil photo ?
Edition intégrale établie, présentée et annotée par François Bogliolo.
« Vois où ta politique a mené la Kabylie. Agis. Tout peut changer ! »
Notre publication souhaite donc présenter ces clichés, en dépit d’un difficile rendu, dans un format proche de l’original. Choisis, intégrés avec soin dans la composition du journal, ils apportent un point de vue inédit tant sur le texte que sur le travail de journaliste en période de censure coloniale (décret Régnier). Par ailleurs, la présente édition tente de répondre à l’interrogation du lecteur curieux d’aujourd’hui : Qui tenait l’appareil photo ?
Edition intégrale établie, présentée et annotée par François Bogliolo.
126 pages, Paperback
First published January 1, 1958
About the author
Albert Camus
783 books30.9k followersWorks, such as the novels
The Stranger
(1942) and
The Plague
(1947), of Algerian-born French writer and philosopher Albert Camus concern the absurdity of the human condition; he won the Nobel Prize of 1957 for literature.
Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work.
He also adapted plays of Pedro Calderón de la Barca, Lope de Vega, Dino Buzzati, and Requiem for a Nun of William Faulkner. One may trace his enjoyment of the theater back to his membership in l'Equipe, an Algerian group, whose "collective creation" Révolte dans les Asturies (1934) was banned for political reasons.
Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds notion of acceptance of the absurd of Camus with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction."
Meursault, central character of L'Étranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation.
Besides his fiction and essays, Camus very actively produced plays in the theater (e.g., Caligula, 1944).
The time demanded his response, chiefly in his activities, but in 1947, Camus retired from political journalism.
Doctor Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them."
People also well know La Chute (The Fall), work of Camus in 1956.
Camus authored L'Exil et le royaume (Exile and the Kingdom) in 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He styled of great purity, intense concentration, and rationality.
Camus died at the age of 46 years in a car accident near Sens in le Grand Fossard in the small town of Villeblevin.
Chinese 阿尔贝·加缪
Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work.
He also adapted plays of Pedro Calderón de la Barca, Lope de Vega, Dino Buzzati, and Requiem for a Nun of William Faulkner. One may trace his enjoyment of the theater back to his membership in l'Equipe, an Algerian group, whose "collective creation" Révolte dans les Asturies (1934) was banned for political reasons.
Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds notion of acceptance of the absurd of Camus with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction."
Meursault, central character of L'Étranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation.
Besides his fiction and essays, Camus very actively produced plays in the theater (e.g., Caligula, 1944).
The time demanded his response, chiefly in his activities, but in 1947, Camus retired from political journalism.
Doctor Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them."
People also well know La Chute (The Fall), work of Camus in 1956.
Camus authored L'Exil et le royaume (Exile and the Kingdom) in 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He styled of great purity, intense concentration, and rationality.
Camus died at the age of 46 years in a car accident near Sens in le Grand Fossard in the small town of Villeblevin.
Chinese 阿尔贝·加缪
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May 8, 2020Albert camu nous a rapporté L affreuse misere de la kabylie, on commencant par l economie, les payes qui ne se suffisaient meme pas pour acheter du blé , l injustice envers les paysans , la situation educative et sanitaire catastrophiques, malgé tous ce qu'elle possedait la kabylie comme des ressources.
Albers camus jouait le rôle du descripteur , c'est vrai qu'il etait touché de cette misere mais je ressens bien la logique d'une personne servait à integrer le peuple kabyle avec les francais, on considerant l algerie une partie de la france
في هذا الكتاب يصف لنا الكاتب معاناة الشعب القبائلي(منطقة بالجزائر)، في فترة الاستعمار الفرنسي، الظلم الذي يتعرض له الفلاحون، الاوضاع الكارثية الاقتصادية، الصحية،التعليمية.
بالقراءة الجيدة شعرت بأن الكاتب فعلا تأثر بالوضعية المزرية للشعب، لكنه يقارنها مع اوضاع الفرنسيين،وكأنه يسعى لايصال فكرة ان هذا الشعب فرنسي فلم لاتعطوه حقه؟
Albers camus jouait le rôle du descripteur , c'est vrai qu'il etait touché de cette misere mais je ressens bien la logique d'une personne servait à integrer le peuple kabyle avec les francais, on considerant l algerie une partie de la france
في هذا الكتاب يصف لنا الكاتب معاناة الشعب القبائلي(منطقة بالجزائر)، في فترة الاستعمار الفرنسي، الظلم الذي يتعرض له الفلاحون، الاوضاع الكارثية الاقتصادية، الصحية،التعليمية.
بالقراءة الجيدة شعرت بأن الكاتب فعلا تأثر بالوضعية المزرية للشعب، لكنه يقارنها مع اوضاع الفرنسيين،وكأنه يسعى لايصال فكرة ان هذا الشعب فرنسي فلم لاتعطوه حقه؟
February 19, 2023
"Perché se la conquista coloniale può mai trovare una giustificazione, é nella misura in cui aiuti i popoli conquistati a conservare la propria personalità".
Displaying 1 - 2 of 2 reviews