Éric Fassin, sociologist specializing in gender, sexual and racial issues and their politicization, discusses the re-election of Donald Trump. The academic maintains that Donald Trump's outings, usually described as “excesses” during his speeches, rather than discrediting the candidate, respond precisely to the expectations of his electorate. “Making sexist speeches, but also racist ones, and, of course, xenophobic speeches, is a way of campaigning. These are not excesses, defends the academic. Ultimately, that’s why people vote for Trump.”
“The Trump vote is a vote of resentment.”
But the sociologist observes above all a “collapse of the Democratic vote”. While Trump's sexist, racist and populist speeches helped mobilize his voters, the speeches of Democratic candidate Kamala Harris failed to have this effect. The vote of women is one of the symptoms of this loss of speed of the Democratic vote at the polls, the latter having been fewer in number to vote this year than during the last presidential campaign of 2020. And this, despite the fact that the candidate Kamala Harris has “focused on the issue of abortion”who did not come to dig a “gender gap [conséquent]that is to say a gender gap in the vote, which was less compared to the previous presidential election”explains Éric Fassin. The sociologist also mentions the importance of“a masculinist vote of Republican women. Because basically, white women, as a subcategory, voted for Trump”.
The question of abstention is ultimately the “key to the major defeat of the Democrats”considers the sociologist. For him, one of the solutions available to Democrats would be a turn towards a more radical left, like the turn towards a more radical and populist right taken by the Republican Party. “One of the issues is whether the Democrats should position themselves more to the left. (…) What is happening in the United States is the reminder that we have forgotten that equality policies are had to be desirable and that it was an objective”says Éric Fassin.
Éric Fassin is also the author of the book Misery of anti-intellectualism (Idea-debate), published in October 2024.
Tout Public also pays tribute to the resistance fighter and poet Madeleine Riffaud, who died at the age of 100. Jean-David Morvan, author of the comic strip “Madeleine resistant” (Dupuis), shares his emotion on franceinfo after the disappearance of this exceptional female figure.
The new volume, which also promises to be the last in the “Nestor Burma” saga by Jacques Tardi, From Rififi to Ménilmontant, tells, through the cult character of Nestor Burma, the horror of animal suffering from the laboratories where experiments take place, to the slaughterhouses. Cartoonist Jacques Tardi explains where he got the idea for this theme. “We have all seen these monstrous images of oxen hanging, disemboweled, writhing, barely dazed. It is absolutely revolting. We have also seen these cages filled with monkeys, rabbits, etc., in laboratories. On top of that, I don’t know if these experiments really lead to anything.”
Besides that, Nestor Burma covers in this volume the 20e district of Paris, where the cartoonist lives. “Walking around Paris is a pleasure. Added to this is the fact that, living in the 20th arrondissement, it was very practical, I didn't have to cross Paris to go and scout around to reconstruct it”confides the author at the microphone of Tout Public.
From Rififi to Ménilmontant (Casterman) by Jacques Tardi, available now in bookstores.
This film, whose starting point was the experience of the director Coralie Fargeat herself and of “the way of inhabiting this world as a woman”questions the relationship that women, through the ages, have with their bodies, but also the “extreme violence” with which these bodies are confronted, which finds, according to the director, its expression in the horror film.
“For me, the genre is really this freedom of not taking oneself seriously, and a possibility of pushing all the sliders without having to worry about realism, or sometimes good taste, believes the director. This is my personal take on the genre, and what made me love it was the fact that it always flirts with the grotesque. There is always a sort of one-upmanship and a fairly fine line on which we navigate, like a tightrope walker. [Le cinéma de genre] allows us to explore things that we wouldn't experience in our real life.”
The Substance by Coralie Fargeat, available in theaters since Wednesday November 6, 2024.
