12 research outputs found
السينما العربية الناطقة بالفرنسية: حالة مهدي شرف / Arab Francophone Cinema: The Case of Mehdi Charef
No full text[In Arabic Francophone literature, the writer is capable of publishing in his/her native country or in France. In general, this literature tackles Arab issues but is written in French. In cinema, however, the case is different. According to the rules of cinema, the film is identified by the producing country. Therefore, films that are directed by Arabs and produced in France are French Films. This is especially true of films directed by Algerian, Tunisian and Morrocan immigrants. The most important characteristic in this type of cinema is the country to which the creator immigrated to. Most of the stories in these films are about the new country in which the director has lived. This representation of the new setting has appeared in several films. Rarely do these films have stories connected to the directors\u27 native countries. This article, focuses on the case of Mehdi Charef as an author, screenplay writer, and film director. His first film Thé au harem d\u27archimède (1985) is an adaptation of his novel Thé au harem d\u27Archi Ahmed (1983) which revolves around the life of Algerian migrants living in poor neighborhoods in Paris. The following film he directed, Miss Mona (1987), deals with gender issues and prostitution, in which one of the protagonists is an Arab, but his ethnicity is incidental in the development of the plot. The third film Charef directed, Au pays des Juliets (1991), is entirely related to French life and concerns. But as Mehdi Charef moved away from depicting the life of his community, interest in him has waned.
Branding the 'Beur' Author Minority Writing and the Media in France
No full textThis book reconsiders authorship by the descendants of North African immigrants to France by consulting how these authors' novels have been discussed and promoted in the national audio-visual media.Cover -- Contents -- Acknowledgements -- List of Illustrations -- 1. Authorship at a Crossroads -- 2. Mehdi Charef and the Invention of Beur Writing -- 3. Competing Visions of Minority Authorship -- 4. Eyewitness Narratives and the Creation of the Beurette -- 5. Rachid Djaïdani and the Shift from Beur to Banlieue Writing -- 6. Revising the Beurette Label -- 7. Sabri Louatah and the Collectif Qui Fait la France? -- Works Cited -- IndexThis book reconsiders authorship by the descendants of North African immigrants to France by consulting how these authors' novels have been discussed and promoted in the national audio-visual media.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Selection of the best alternative for a road project to replace a section in a flood-prone area using GIS and AMC tools
No full textDecision-making involves the selection from various possible alternatives and generally implicates huge financial resources. In addition, one characteristic of a territory making it difficult to make a decision is its multi-criteria aspect. These multi-criteria generally have antagonistic effects and analytical methods are most congruent for solving this kind of difficult decision-making situation. The work presented in this article focuses on the problem of decision-making in order to identify the most favorable road alignment with regard to a series of topographical, geometric, geological and economic criteria. The main goal of this study is to select the best road alignment project to replace part of the road section of the CW 42 connecting the city of Sidi Belattar to National Road 90 (RN 90) using GIS and AMC tools. This road section has been blocked several times in recent years during rare winter flooding. The proposed approach deals with the following points: First, determination of the relevant criteria using GIS, then evaluation and classification of the various alternatives by applying the AHP method using AMC Expert-choice software and PROMETHEE-GAIA algorithms (laboratory-developed web.d-sight software, coded SMG, ULB). Four variants were recommended to replace the vulnerable section. From these four variants a classification was made, according to the two methods AHP and PROMETHEE. The calculated consistency of the results confirms the effectiveness of the proposed approach. Finally, Alternative 2 and Alternative 1 were ranked first by both AHP and PROMETHEE methods and are therefore a recommended choice. This work aims at helping decision makers to rank four road projects of the study area in order to replace the most vulnerable section
Machine learning-based prediction of toxic metals concentration in an acid mine drainage environment, northern Tunisia
No full textIn northern Tunisia, Sidi Driss sulfide ore valorization had produced a large waste amount. The long tailings exposure period and in situ minerals interactions produced an acid mine drainage (AMD) which contributed to a strong increase in the mobility and migration of huge heavy metal (HM) quantities to the surrounding soils. In this work, the soil mineral proportions, grain sizes, physicochemical properties, SO42− and S contents, and Machine Learning (ML) algorithms such as the Random Forest (RF), Support Vector Machine (SVM), and Artificial Neural Network (ANN) models were used to predict the soil HM quantities transferred from Sidi-Driss mine drainage to surrounding soils. The results showed that the HM concentrations had significantly increased with the increase of decomposition and oxidation of galena, marcasite, pyrite, and sphalerite-marcasite and Fe-oxide-hydroxides quantities and the sulfate dissolution (marked with SO42− ions increase) that produced the decreased soil pH. Compared to SVM, and ANN models outputs, the RF model that revealed higher R2val, RPD, RPIQ, and lower error indices had satisfactorily predicted the soil HM accumulation coming from the AMD environment. Graphical abstract: [Figure not available: see fulltext.] © 2022, The Author(s), under exclusive licence to Springer-Verlag GmbH Germany, part of Springer Nature
The Translation of Metaphor from Arabic to English Problems and Solutions. The Second Title of the Book "امرأة سريعة العطب" by "واسيني الاعرج" Entitled "ازرعني فيك فقط ، و دعني أكبر كما أشاء" as a Case Study
No full text64 p.; 30 cm. (+CD-Rom)Metaphors play an important role in literary texts, as they help build a radiant literary text, that make the reader contemplate, and relate to this attractive style. For this reason, the translation of metaphors is so challenging, in this context our research entitled ‘Translation of metaphors from Arabic to English: problems and solutions. the book " "امرأة سريعة العطب by "واسيني الاعرج"
entitled "ازرعني فيك فقط، ودعني أكبر كما أشاء" as a case study, intends to analyse the difficulties that we faced during our process for the seek of conveying the metaphorical effect intended by the author of the original text. Through this research, we relied on “Peter Newmark” strategies and the interpretive theory as suggested by “Marianne Lederer and Danika Seleskovitch”. The main results obtained from this research are as follows: translation of metaphor is often challenging for the Arabic translator due to the difficulty of conveying the cultural aspects and the difficulty of re-expression in the target language. The interpretive theory of translation enables us to translate metaphors with a complete freedom to reach the ultimate purpose which is creating merely the same effect through the translated one. To overcome this obstacle, the translators must enrich their cultural knowledge, and develop their information about the method of translation metaphors. At the end we recommend to work more on the novels of Waciny Laredj, because we consider him as a source of inspiration, he deserves some credi
Time Lost – Nostalgia and Trauma in Postcolonial French Film
No full textWychodząc z założenia, że kino jest środkiem przekazu pozwalającym wyrazić istotne kwestie polityczne i kulturowe, autor zajmuje się wizerunkiem mniejszości etnicznych i narodowych w kinie francuskim, zwłaszcza wpływem kolonialnej przeszłości na postkolonialną teraźniejszość. Przykładami analitycznymi są filmy z przełomu stuleci realizowane przez reżyserów pochodzących z byłych kolonii w Algierii, Maroku i Tunezji, zmagających się z podwójną tożsamością (m.in. Hassan Legzouli, Rabah Ameur-Zaïmèche, Philippe Faucon, Rachida Krim, Mehdi Charef, Thomas Gilou). Ich twórczość Loska omawia z punktu widzenia teorii postkolonialnych, zwracając uwagę na perspektywę czasową obecną w filmach na dwa sposoby: nostalgiczny – wyrażający się w tęsknocie za tym, co utracone, w pragnieniu powrotu (na przykład do opuszczonej ojczyzny), oraz traumatyczny – przejawiający się w niemożności pogodzenia się ze stratą, w nieudanych próbach wyparcia przykrych wspomnień lub przepracowania traumy.Taking as his starting point the assumption that film is a medium through which important political and cultural issues can be discussed, the author focuses on the image of ethnic and national minorities in French film, especially on the impact of the colonial past on the postcolonial present. He analyses films from the turn of the century made by directors originating in the former colonies: Algeria, Morocco and Tunisia, and struggling with their dual identity (amongst others Hassan Legzouli, Rabah Ameur-Zaïmèche, Philippe Faucon, Rachida Krim, Mehdi Charef, Thomas Gilou). Loska discusses their work from the perspective of postcolonial theories, paying particular attention to two ways in which the passage of time is presented: first nostalgic – expressing the longing for what was lost and the desire to return (for example to the homeland left behind), second one – traumatic expressed through the inability to come to terms with the loss, and in failed attempts to repress unpleasant memories and deal with the trauma
Time lost : nostalgia and trauma in postcolonial French film
No full textWychodząc z założenia, że kino jest środkiem przekazu pozwalającym wyrazić istotne kwestie polityczne i kulturowe, autor zajmuje się wizerunkiem mniejszości etnicznych i narodowych w kinie francuskim, zwłaszcza wpływem kolonialnej przeszłości na postkolonialną teraźniejszość. Przykładami analitycznymi są filmy z przełomu stuleci realizowane przez reżyserów pochodzących z byłych kolonii w Algierii, Maroku i Tunezji, zmagających się z podwójną tożsamością (m.in. Hassan Legzouli, Rabah Ameur-Zaïmèche, Philippe Faucon, Rachida Krim, Mehdi Charef, Thomas Gilou). Ich twórczość Loska omawia z punktu widzenia teorii postkolonialnych, zwracając uwagę na perspektywę czasową obecną w filmach na dwa sposoby: nostalgiczny – wyrażający się w tęsknocie za tym, co utracone, w pragnieniu powrotu (na przykład do opuszczonej ojczyzny), oraz traumatyczny - przejawiający się w niemożności pogodzenia się ze stratą, w nieudanych próbach wyparcia przykrych wspomnień lub przepracowania traumy.Taking as his starting point the assumption that film is a medium through which important political and cultural issues can be discussed, the author focuses on the image of ethnic and national minorities in French film, especially on the impact of the colonial past on the postcolonial present. He analyses films from the turn of the century made by directors originating in the former colonies: Algeria, Morocco and Tunisia, and struggling with their dual identity (amongst others Hassan Legzouli, Rabah Ameur-Zaïmèche, Philippe Faucon, Rachida Krim, Mehdi Charef, Thomas Gilou). Loska discusses their work from the perspective of postcolonial theories, paying particular attention to two ways in which the passage of time is presented: first nostalgic – expressing the longing for what was lost and the desire to return (for example to the homeland left behind), second one – traumatic expressed through the inability to come to terms with the loss, and in failed attempts to repress unpleasant memories and deal with the trauma
Algerian Paris: Place, identity, and the war
No full textMy dissertation, Algerian Paris: Place, Identity, and the War , reveals the long shadow that the Algerian war (1954–1962) cast over representations of Paris in Maghrebi, African American, and French literary, cultural, and political histories, between the 1950s and the 1990s. I coin the phrase “Algerian Paris” to describe an alternative vision of Paris that challenges hegemonic depictions of the city as a site of artistic freedom, racial liberation, and interracial romance. The novels by Moroccan author Driss Chraïbi, African American expatriate novelist William Gardner Smith, beur author Mehdi Charef, and Algerian writer Leïla Sebbar not only rewrite dominant national narratives of progress and equality by illuminating the experiences of Algerian workers in the precarious slums, the overcrowded and insalubrious Arab quarters, or those of their descendants in the neglected banlieues, but they also fashion alternative narratives and communities. In their fiction, Algerian Paris becomes a locus of power struggles for self-representation, equal rights, cultural recognition, and the emergence of an inclusive history. The transnational examination of an Algerian Paris generates an ensemble of metaphors and tropes to consider decolonization struggle and immigration, black American expatriation and the solidarities among subalterns, as well as identity formation and the legacies of colonialism in France. Algerian Paris, indeed, unearths a reservoir of alternative tropes associated with Paris such as interracial divorce, placelessness, brotherhood, and masculine domination. Crucially, my project interrogates French universalism by illuminating how identities and feelings of national membership shape, and are shaped by the politics of place
No limiar da tradução: paratextos e paratraduções de Le Gone du Chaâba de Azouz Begag
No full textDissertação(mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-graduação em Estudos da Tradução, Florianópolis, 2014O presente estudo se direciona aos paratextos e às paratraduções da literatura produzida em língua francesa pelas escritoras e escritores originários da imigração magrebina, em especial os escritos de Azouz Begag que, contendo informações sobre o autor e sobre a história desta literatura, são também responsáveis pela apresentação do tradutor. No primeiro capítulo, Analisando essa literatura ? denominada como literatura Beur, percebeu-se que a ideia de língua materna se torna mutável, pois ela é o que se entende por língua do colonizador: uma língua imposta. A literatura francófona dos autores Beurs busca transformar esta aparente hegemonia da língua francesa e, dessa forma, a utilização dos paratextos é frequente. No segundo capítulo, os paratextos foram classificados segundo Genette e sua obra Seuils, traduzida para o português por Álvaro Faleiros, Paratextos Editoriais (2009); e as paratraduções classificadas segundo o conceito de Yuste Frías e seu estudo Au seuil de la traduction: la paratraduction (2010) e segundo Marie-Hélène C Torres em seu livro Traduzir o Brasil Literário, paratexto e discurso de acompanhamento (2011). Então, no terceiro capítulo, foram analisados os paratextos de duas edições francesas do romance Le Gone du Chaâba de Azouz Begag e as paratraduções apresentadas pela tradução estadunidense, Shantytown Kid (2007), traduzido por Alec G Hargreaves e Naïma Wolf, e pela tradução espanhola, El niño de las chabolas (2011), traduzido por Elena García-Aranda. No final, o espaço destes ?epitextos? e ?peritextos? provou ser necessário para demonstrar que a paratradução é o lugar onde temos a visibilidade do tradutor e do processo da tradução, pois consiste no espaço a partir do qual o tradutor pode por sua voz em evidencia.Abstract: This study analyzes the paratexts and paratranslations of the literature produced in French by one of the writers from the Algerian immigration: Azouz Begag. These paratexts and paratranslations contain information about the author and the history of this sort of literature, and they are also responsible for the translator's presentation. In the first chapter, analyzing the literature - called Beur literature, it's possible to notice that the idea of mother language becomes mutable because it is the "colonizer's language": an imposed language. This francophone literature desires to change this visible hegemony of the French language, and the use of paratexts often takes place for that purpose. In the second chapter, the paratexts were classified according to Genette and his book Seuils, translated into Portuguese by Àlvaro Faleiros, Paratextos Editoriais (2009); and the paratranslations classified according to Yuste Frías and his study Au seuil de la traduction: la paratraduction (2010) and to Marie-Hélène C Torres in her book Traduzir o Brasil Literário, paratexto e discurso de acompanhamento (2011). Afterwards, the paratexts of two French editions of Azouz Begag's Le Gone du Chaâba were analyzed. In the third chapter, Alec G Hargreaves and Naïma Wolf's American translation, Shantytown Kid (2007), and Elena Garcia-Aranda's Spanish translation, El niño de las Chabolas (2011) were analyzed. At the end, my findings demonstrate how these "epitexts" and "peritexts" are the necessary places to show the translator and the translation process' visibility, because it consists in the locale where the translator is allowed to speak
Transnationalisation and Institutional Transformations. Collected Working Papers from the TRANS-NET Project
No full textFaist T, Pitkänen P, Gerdes J, Reisenauer E, eds. Transnationalisation and Institutional Transformations. Collected Working Papers from the TRANS-NET Project. COMCAD Arbeitspapiere - working papers. Vol 87. Bielefeld: COMCAD - Center on Migration, Citizenship and Development; 2010
