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Imagining Métissage: The Politics and Practice of Métissage in the French Colonial Exposition and Ousmane Socé's Mirages de Paris

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Je demeure cependant persuadé, malgré les dangers d'une possible confusion, qu'il faut 'oser la métaphoreé … C'est-à-dire entreprendre de poser une question qui est und des fondements de l'interprétation, de la critique, un des modes de la connaissance: comment un homme, une société, choisissent-ils de 'se représenter par la meétaphore', comment trouvent-ils des formes, des objets particuliers devant lesquels ils se disent dans un élan d'imagination ou de conformisme: 'je suis ça'?

[Nonetheless, I remain persuaded, in spite of the dangers of a possible confusion, that one must 'dare to take up the metaphor' … That is, to undertake asking a question which is one of the foundations of interpretation, of criticism, one of the modes of knowledge: how a man, how a society, chooses to represent itself through metaphor, how it finds forms, particular objects, before which it tells itself, in a burst of imagination or conformity, 'that is me'?]

(de Baecque, 1993, p. 15)

Aimer, c'est pouvoir s'imaginer. [To love, is to be able to imagine oneself.]

(Socé, 1964 [1937], p. 91)
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Document Type: Research Article

Affiliations: University of California, Los Angeles

Publication date: January 1, 2002

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