Category: Новини

The fight to make the French language kinder to women took steps forward, and back, this week.
 
Warning that the well-being of France and its future are at stake, the government banned the use in schools of a method increasingly used by some French speakers to make the language more inclusive by feminizing some words.  
 
Specifically, the education minister’s decree targets what is arguably the most contested and politicized letter in the French language — “e.” Simply put, “e” is the language’s feminine letter, used in feminine nouns and their adjectives and, sometimes, when conjugating verbs.
 
But proponents of women’s rights are also increasingly adding “e” to words that normally wouldn’t have included that letter, in a conscious — and divisive — effort to make women more visible.
 
Take the generic French word for leaders — “dirigeants” — for example. For some, that masculine spelling suggests that they are generally men and makes women leaders invisible, because it lacks a feminine “e” toward the end. For proponents of inclusive writing, a more gender-equal spelling is “dirigeant·es,” inserting the extra “e,” preceded by a middle dot, to make clear that leaders can be of both sexes.  
 
Likewise, they might write “les élu·es” — instead of the generic masculine “élus” — for the holders of elected office, again to highlight that women are elected, too. Or they might use “les idiot·es,” instead of the usual generic masculine “les idiots,” to acknowledge that stupidity isn’t the exclusive preserve of men.  
 
Proponents and opponents sometimes split down political lines. France’s conservative Republicans party uses “ élus”; the left-wing France Unbowed tends toward ”élu · es.”
“It’s a fight to make women visible in the language,” said Laurence Rossignol, a Socialist senator who uses the feminizing extra “·e.”  
 
Speaking in a telephone interview, she said its opponents “are the same activists who were against marriage for people of the same sex, medically assisted reproduction, and longer abortion windows. … It’s the new banner under which reactionaries are gathering.”  
 
But for the government of centrist President Emmanuel Macron, the use of ”·e” threatens the very fabric of France. Speaking in a Senate debate on the issue on Thursday, a deputy education minister said inclusive writing “is a danger for our country” and will “sound the death knell for the use of French in the world.”  
 
By challenging traditional norms of French usage, inclusive writing makes the language harder to learn, penalizing pupils with learning difficulties, the minister, Nathalie Elimas, argued.
 
“It dislocates words, breaks them into two,” she said. “With the spread of inclusive writing, the English language — already quasi-hegemonic across the world — would certainly and perhaps forever defeat the French language.”  
 
Arguments over gender-inclusive language are raging elsewhere in Europe, too.
A fault-line among German speakers has been how to make nouns reflect both genders. The German word for athletes, for example, could be written as “Sportlerinnen” to show that it includes both men and women, as opposed to the more usual, generic masculine “Sportler.” For critics, the addition of the feminine “innen” at the end — sometimes with the help of an asterisk, capital letter or underscore — is plain ugly.  
 
Italy has seen sporadic debate over neutralizing gendered titles for public officials, or making them feminine when they normally would remain masculine, such as “ministra” instead of “ministro” for women Cabinet members. Rome Mayor Virginia Raggi prefers to be called “sindaca” rather than “sindaco.”  
 
Inclusive language has also been a long battle for feminists and, more recently, of LGTBQ+ groups in Spain, although there is no consensus on how to make progress. Politics also play into the issue there. Members of the far-right Vox party have insisted on sticking with the traditional “presidente” when referring to Spain’s four deputy prime ministers, all of them women, rather than opting for the more progressive “presidenta,” even though the Royal Academy of the Spanish Language has accepted usage of that feminine noun.
 
The French Education Ministry circular that banished the “·e” formula from schools did, however, accept other more inclusive changes in language that highlight women.
 
They include systematically feminizing job titles for women — like “présidente,” instead of “président,” or ambassadrice” rather than “ambassadeur” for women ambassadors. It also encouraged the simultaneous use of both masculine and feminine forms to emphasize that roles are filled by both sexes. So a job posting in a school, for example, should say that it will go to “le candidat ou la candidate” — man or woman — who is best qualified to fill it.
 
Raphael Haddad, the author of a French-language guide on inclusive writing, said that section of the ministry circular represented progress for the cause of women in French.
 
“It’s a huge step forward, disguised as a ban,” he said. “What’s happening to the France language is the same thing that happened in the United States, with ‘chairman’ replaced by ‘chairperson,’ (and) ‘’fireman’ by ‘firefighter.’”  
 
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Pfizer and BioNTech will donate their COVID-19 vaccine to athletes training for the upcoming Tokyo Olympics, the International Olympic Committee said Thursday. Doses are expected to be delivered later this month, which would be in time for the athletes to be fully immunized for the games, starting July 23. “We are inviting the athletes and participating delegations of the upcoming Olympic and Paralympic Games to lead by example and accept the vaccine where and when possible,” IOC President Thomas Bach said in a statement. Last month, the IOC announced a similar deal to distribute Chinese-made coronavirus vaccines to Chinese athletes prior to both the Tokyo Summer Games and the Beijing Winter Games. Most countries have yet to approve Chinese vaccines for emergency use. How the Tokyo Games will be held is still in question as Japan is reportedly considering extending its coronavirus state of emergency, Reuters reported. 
 
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The Netflix series “Zero,” which premiered globally last month, is the first Italian TV production to feature a predominantly Black cast, a bright spot in an otherwise bleak Italian television landscape where the persistent use of racist language and imagery is sparking new protests.  
Even as “Zero” creates a breakthrough in Italian TV history, on private networks, comedy teams are asserting their right to use racial slurs and make slanty-eye gestures as satire. The main state broadcaster RAI is under fire for attempting to censor an Italian rapper’s remarks highlighting homophobia in a right-wing political party. And under outside pressure, RAI is advising against — but not outright banning — the use of blackface in variety skits.  
With cultural tensions heightened, the protagonists of “Zero” hope the series — which focuses on second-generation Black Italians and is based on a novel by the son of Angolan immigrants — will help accelerate public acceptance that Italy has become a multicultural nation.  
“I always say that Italy is a country tied to traditions, more than racist,” said Antonio Dikele Distefano, who co-wrote the series and whose six novels, including the one on which “Zero” was based, focus on the lives of the children of immigrants to Italy.  
“I am convinced that through these things — writing novels, the possibility of making a series — things can change,” he said.
“Zero” is a radical departure because it provides role models for young Black Italians who have not seen themselves reflected in the culture, and because it creates a window to changes in Italian society that swaths of the majority population have not acknowledged.  
Activists fighting racism in Italian television underline the fact that it was developed by Netflix, based in the United States and with a commitment to spend $100 million to improve diversity, and not by Italian public or private television.  
“As a Black Italian, I never saw myself represented in Italian television. Or rather, I saw examples of how Black women were hyper-sexualized,” said Sara Lemlem, an activist and journalist who is part of a group of second-generation Italians protesting racist tropes on Italian TV. “There was never a Black woman in a role of an everyday woman: a Black student, a Black nurse, a Black teacher. I never saw myself represented in the country in which I was born and raised.”
“Zero,” which premiered on April 21, landed immediately among the top 10 shows streaming on Netflix in Italy.  
Perhaps even more telling of its impact: The lead actor, Giuseppe Dave Seke, was mobbed not even a week later by Italian schoolchildren clamoring for autographs as he gave an interview in the Milan neighborhood where the series is set. Seke, a 25-year-old who grew up in Padova to parents from Congo, is not a household name in Italy. “Zero” was his first foray into acting.
“If you ask these children who is in front of them, they will never tell you: the first Black Italian actor. They will tell you, ‘a superhero,’ or they will tell you, ‘Dave’,” Dikele Distefano said, watching the scene in awe.  
In the series, Zero is the nickname of a Black Italian pizza bike deliveryman who discovers he has a superpower that allows him to become invisible. He uses it to help his friends in a mixed-race Milan neighborhood.  
It’s a direct play on the notion of invisibility that was behind the Black Lives Matter protests that erupted in Italian squares last summer following George Floyd’s murder in the United States. Black Italians rallied for changes in the country’s citizenship law and to be recognized as part of a society where they too often feel marginalized.  
“When a young person doesn’t feel seen, he feels a bit invisible,” Seke said. “Hopefully this series can help those people who felt like me or like Antonio. … There can be many people who have not found someone similar to themselves, and live still with this distress.”
The protest movement has shifted from targeting Italian fashion, where racist gaffes have highlighted the lack of Black creative workers, to Italian television, where a movement dubbing itself CambieRAI held protests last month demanding that Italian state and private TV stop using racist language and blackface in skits.  
CambieRAI plays upon the name of Italian state TV, RAI, and the Italian language command “you will change.” The movement, bringing together second-generation Italians from a range of associations, also wants RAI — which is funded by mandatory annual fees on anyone owning a TV in Italy — to set up an advisory council on diversity and inclusion.
Last week RAI last responded to an earlier request by other, longer-established groups asking that it stop broadcasting shows using blackface, citing skits where performers darkened their skin to impersonate singers like Beyonce or Ghali, an Italian rapper of Tunisian descent.  
“We said we were sorry, and we made a formal commitment to inform all of our editors to ask that they don’t use blackface anymore,” Giovanni Parapini, RAI’s director for social causes, told The Associated Press. He said that was as far as they could go due to editorial freedom.  
The associations said they viewed the commitment as positive, even if it fell short of a sought-for ban, since RAI at least recognized that the use of blackface was a problem.
Parapini, however, said the public network did not accept the criticism of the CambieRAI group “because that would mean that RAI in all these years did nothing for integration.”
He noted that the network had never been called out by regulators and listed programming that included minorities, from a Gambia-born sportscaster known as Idris in the 1990s to plans for a televised festival in July featuring second-generation Italians.  
Dikele Distefano said for him the goal is not to banish racist language, calling it “a lost battle.” He sees his art as an agent for change.  
He is working on a film now where he aims to have a 70% second-generation Italian cast and crew. “Zero” has already helped create positions in the industry for a Black hairstylist, a Black screenwriter and a director of Arab and Italian origin, he noted.
“The battle is to live in a place where we all have the same opportunity, where there are more writers who are Black, Asian, South American, where there is the possibility to tell the stories from the point of view of those who live it,” he said. 
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