Le regard neutre
Since Jean-Paul Sartre’s conception of ”le regard des autres” in 1943, “the gaze” has taken on many manifestations. The male gaze, the white gaze, the imperial gaze, the postcolonial gaze. All imply a power to objectify, to define an Other, usually from a distance or even, as Donna Haraway describe...
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| Autors principals: | , , |
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| Format: | Article ou chapitre numérique |
| Idioma: | Français |
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2026
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| Accés en línia: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Sumari: | Since Jean-Paul Sartre’s conception of ”le regard des autres” in 1943, “the gaze” has taken on many manifestations. The male gaze, the white gaze, the imperial gaze, the postcolonial gaze. All imply a power to objectify, to define an Other, usually from a distance or even, as Donna Haraway described objectivity, from “nowhere.” Museums have always held the power to define Others while claiming objectivity. Today, although the myth of the neutrality of museums is all but shattered, Haraway’s “god trick” is arguably still embedded as ordinary practice in many museums. We take these concepts as our starting point to analyze how women’s experiences of Nazi concentration camps have been represented over the past thirty years in a Swedish local history museum, Kulturen in Lund. We seek to gain insight into how a supposedly “neutral” and “objective” view from nowhere — which is, in fact, always a situated perspective — has defined Holocaust history in Sweden, a nominally neutral country during World War II, through the material culture brought to the country by female former prisoners of the Nazis
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