186 research outputs found
Assia Djebar : de la sève vers le sens
No full textCet article part du postulat que l’esthétique d’un auteur est liée à son éthique. Il explore plus précisément « Les Enfants du nouveau monde », « Les Alouettes naïves », « Femmes d’Alger dans leur appartement », « L’Amour, la Fantasia », et examine la façon avec laquelle s’y prend Assia Djebar pour nous faire pénétrer dans l’univers qu’elle crée pour nous et nous faire vivre une émotion bien réelle, à partir d’un monde qui, s’il n’est pas exclusivement fictif, n’en reste pas moins une construction ; c’est que l’auteure a souhaité nous communiquer par le biais de cette émotion . Enfin, elle tente de déterminer dans quelle mesure l’œuvre d’Assia Djebar traduit un système de valeurs et une recherche de la vérité.This article starts from the assumption that an author’s aesthetic is linked to his ethics. More precisely it explores “Les Enfants du nouveau monde”, “Les Alouettes naïves”, “Femmes d’Alger dans leur appartement”, “L’Amour, la Fantasia”, and examines the way in which Assia Djebar makes us penetrate in the universe that she creates for us and makes us live out a real emotion, from a world, which if not purely fictive, remains nevertheless a n arrangement, which the author wishes to communicate to us by means of this emotion. Finally it tries to determine to what extent Assia Djebar’s work translates a system of values and a research for truth.Este artículo parte del postulado que la estética de un autor está en relación con su ética ; se centra/ examina más precisamente “Los niños del nuevo mundo”, “Las alondras ingenuas”, “Mujeres de Argel en su apartamento”, “El amor, la Fantasía”, y examina cómo se apaña para hacernos penetrar en el universo que crea para nosotros y hacernos vivir una verdadera emoción, a partir de un mundo que, sin ser exclusivamente ficticio no deja de ser por ello una construcción ; es que la autora desea comunicarnos por medio de esa emoción. Finalmente, se intenta determinar en qué medida la obra de Assia Djebar desvela un sistema de valores y una búsqueda de la verdad.تنطلق صاحبة هذا المقال من الموقف القائل بأن الجمالية عند كاتب ما ترتبط بأخلاقياته. و هي تحاول الغوص بشكل محدد في "أطفال العالم الجديد"، "القنبرات الساذجة"، "نساء مدينة الجزائر في بيتهن"، "الحب، الفانتازيا"، كما تحاول معانية الطريقة التي تتبعها آسيا جبار للدخول بنا في العالم الذي تبنيه لنا. و تجعلنا نعيش أحاسيس حقيقية، انطلاقا من عالم، إن لم يكن خياليا بشكل حصري، فإنه يبقى بناءا قائما يحيل إلى الأحاسيس التي أرادت الكاتبة إيصالها لنا. و في الأخير، فإنها تسعى من خلال هذا المقال تحديد الطريقة التي تترجم من خلالها أعمال أسيا جبار نظام القيم و البحث عن الحقيقة
Impatto di codici e esplosioni di senso: la traduzione italiana de L’Amour, la Fantasia di Assia Djebar
No full textSUMMARY. This article examines some aspects of the Italian translation of the novel L’Amour, la fantasia, written by the Algerian francophone author Assia Djebar. The linguistic, cultural, semiotic codes of this complex source are compared with, and sometimes impact on, the codes of the target language. Notwithstanding, the translation’s difficulties, or even its distortions, often foster a more attentive understanding of the translated work
Regards croises sur identite et alterite feminines chez Assia Djebar
No full textWhen France invaded the city of Alger in 1830, Algeria had, for long years, been an Arabic-Barbary country under the hegemony of Arabic-Islamic culture. With the systematization of colonization, that France gave a start to in 1827, over all the regions and institutions of the country, it is clearly observed that the Arabic-Barbary culture prevailing there was forced to regress to a great extent as a result of its oppression by the Franch language and culture. In this new "French Algerian" country, it was now inevitable for a multi-lingual and multi-cultural social structure to be formed. The Algerian originated French author Assia Djebar, whose real name was Fatima Zohra Imalhayène, was born in Mitidjja, Mouzaïaville and started her education during the period when French culture was largely dominant. Due to the fact that his father was a French teacher in an Arabic school, she started having education in French language beginning from her primary school years. Yet she never cut her ties with the Arabic and Barbary languages that were constantly used in domestic and family life dominated by mostly women. The works of Assia Djebar, who wrote tens of novels as one of the most prominent representatives of women's writing in Moorish literature, occupy a rather important place in both postcolonial and Francophone fiction. Djebar has taken as themes in her works the problems of multilingual and multicultural society as well as the condition of the Muslim Arabic women whose otherness got deepened as a result of the discriminative approach that objectified them by the influence of degradating Islamic fanaticism to which teh Arabic women were subjected for long years. In this study, we will, in the light of the concepts such as colonialism, imperialism, orientalism, orientalist discourse and postcolonial literary theories, focus on the efforts of constructing a new female identity through the enlightenment of women that would free her and save her from the patriarchal oppresion in social life by bringing into attention the perspectives that otherize and oppress Arab women in the autobiographical novels by Assia Djebar.Fransa 1830 yılında Alger şehrini işgal ettiğinde Cezayir, uzun yıllar hüküm süren Arap-İslam kültürü hakimiyetindeki bir Arap-berberi ülkesiydi. Fransa'nın 1827 yılında başlattığı sömürgecilik hareketinin ülkenin tüm bölge ve kurumlarında dizgeleştirilmesiyle birlikte, burada hüküm süren Arap-berberi kültürünün Fransız dili ve kültürü tarafından baskılanması sonucunda önemli oranda gerilemeye zorlandığı açıkça görülmektedir. Bu yeni "Fransız Cezayiri" ülkesinde artık çok dilli ve çok kültürlü bir toplumsal yapının oluşması kaçınılmazdı. Gerçek adı Fatima Zohra Imalhayène olan 1936 yılında Mitidja, Mouzaïaville'de doğan Cezayir asıllı Fransız yazar Assia Djebar, işgalden sonra Fransız kültürünün oldukça hakim olduğu bir dönemde eğitim hayatına başlamıştır. Babasının bir Arap ilkokulunda Fransızca öğretmeni olması nedeniyle, ilkokuldan itibaren Fransız dilinde eğitim almaya başlamış, ancak daha çok kadınların hakim olduğu ev ve aile yaşamında kullanılmaya devam edilen Arapça ve Berberi dillerinden asla kopmamıştır. Yaşamı boyunca onlarca roman yazan ve Mağrip edebiyatında kadın yazının en önemli temsilcilerinden biri olan Assia Djebar'ın eserleri sömürgecilik sonrası edebiyat/frankofon edebiyat alanlarında oldukça önemli yer tutmaktadır. Djebar, eserlerinde çok dillilik ve çok kültürlülüğün getirdiği sorunsalların yanı sıra, Arap kadının uzun yıllar maruz kaldığı İslami fanatizm ayrıştırmasının da etkisiyle, Fransız sömürge sisteminin çarşaflı Arap kadınına uyguladığı, onu nesneleştiren ayrımcı bakışı sonucu ötekiliği derinleşen Müslüman Arap kadının durumunu da ele almıştır. Biz bu çalışmamızda sömürgecilik, emperyalizm, oryantalizm ve oryantalist söylem gibi kavramlar ve sömürgecilik sonrası edebiyat kuramları ışığında, Assia Djebar'ın özyaşamöyküsel romanlarından yola çıkarak Müslüman Arap kadının yaşamını baskılayan ve onu ötekileştiren bakış açılarını gözler önüne sererek, kadını ataerkinin boyunduruğundan kurtaracak ve toplumsal alanda onu özgür kılacak olan kadın aydınlanması yoluyla yeni bir kadın kimliği kurma çabalarına odaklanacağız
Postcolonial Herstory: The Novels of Assia Djebar (Algeria) and Oksana Zabuzhko (Ukraine): A Comparative Analysis
No full textThis work is a comparative analysis of the works of the Ukrainian author Oksana Zabuzhko (Field Work in Ukrainian Sex) and the Algerian writer Assia Djebar (Women of Algiers in Their Apartment). Although the lives of Algerian and Ukrainian women were shaped by different historical and social forces, discourses and traditions, common themes exist in their writings because of their common postcolonial background. Both authors examine the relations of women to history in the postcolonial setting, the problem of inscribing women into history, and the double oppression women experienced during colonial times (as colonized subjects and as gendered subjects).
One of their main themes in the works of Djebar and Zabuzhko is that of the body. In their writings, Assia Djebar and Oksana Zabuzhko unite the discourses of female body, pain, and history. Woman’s body, “unseen” by the Algerian and Ukrainian societies, is inscribed into the historic process through pain. The experience unacknowledged before is expressed through details of (sexual) violence and rape that the women of the colonized nation suffered from the colonizers (the French or the Soviets), because the discourse of postcolonial nationalism ascribed to women the roles of chaste patriotic icons.
In my research, I focus on the themes of the female body as a site of (colonial) violence done to a woman, as well as a site of resistance to patriarchal values. The methodology of my research consists in close reading of the texts of Assia Djebar and Oksana Zabuzhko. I analyze the texts providing historical context of women’s condition in Algeria and Ukraine and concentrating on the impacts of French and Russian/Soviet colonialism and nationalism on the lives of women. One of the issues under analysis is that of decolonization, or disengagement from the colonial trauma. I argue that the language chosen by these authors for writing (French by Assia Djebar and Ukrainian by Oksana Zabuzhko) contains a liberating potential
The discourse in Assia Djebar’s novelistic work
No full textAborder le discours dans l’œuvre romanesque d’Assia Djebar nécessite de se pencher sur les outils énonciatifs et les mécanismes de représentation que celle-ci élabore : la manière dont elle construit son ethos, les représentations des femmes qu’elle met en place à partir de leur propre discours. Car l’écrivaine algérienne a eu pour ambition de (re)donner la parole aux femmes cloîtrées de son pays. La féminisation du discours qui s’ensuit fait ressortir l’importance de préserver un fonds oral immatériel. Mais elle permet d’autre part de mettre en valeur la façon dont la langue d’écriture accueille les idiomes sous-jacents qui la travaillent en palimpseste, et montre comment naît le métissage linguistique. Les mécanismes d’intégration du patrimoine oral arabe au sein de la langue d’écriture sont au cœur de l’analyse, ainsi que l’influence des autres arts. Après son expérience au cinéma, l’auteure construit une poétique personnelle qui ressort dans ses récits par un éclatement des formes, une subversion des genres et des modalités énonciatives renouvelées, dans lesquelles le rapport au son et à l’image joue un rôle déterminant. Cette transformation esthétique qui affirme la maturation de l’œuvre s’accompagne d’une dimension polémique dans laquelle transparaît la volonté de l’écrivaine de s’impliquer davantage politiquement et socialement. Car le contexte algérien marqué par la montée de la violence islamiste déstabilise les fondements mêmes de la société et crée une urgence à témoigner. Assia Djebar va alors chercher dans la lecture de l’histoire et dans l’occultation de la langue berbère les causes de cette situation qui la contraint à l’exil. La recherche identitaire qui se poursuit dans l’acte d’écrire accompagne la maturation de l’œuvre et débouche, dans la seconde période, sur une tentative d’autobiographie qui peine à aboutir. La difficulté à s’exprimer en tant que sujet autonome reste, chez l’écrivaine algérienne une marque de son identité arabo-musulmane et son « Je » reste toujours tributaire du « Nous » de la communauté féminine. Cette étude s’attache donc à déterminer les liens qui se tissent dans la structure de l’œuvre entre l’oralité féminine, l’histoire, les langues et l’autobiographie. Elle tente également de définir la manière dont Assia Djebar parvient à conjuguer, dans le discours romanesque, une esthétique littéraire et une éthique qui la représentent en tant que femme, Algérienne, et écrivaine.Approach the discourse in Assia Djebar’s novels requires looking into enunciative tools and the mechanisms of representation that she will construct : the way in witch the writer’s ethos is elaborated, the representations of women that she workout from their own speeches. Because the Algerian author had the ambition to give voice to cloistered women of her country. The ensuing feminization enhance the importance of preserving an immaterial oral fund. But it allows, on the other hand, to highlight the way in witch work it as a palimpsest and show how linguistic interbreeding was born. The mechanisms of integration of the Arabic heritage within the language of writing are at the heart of the analysis, as well as the influence of the other arts. After her cinema experience, the author makes a personal poetics that stand out in her stories by a bursting of forms, a subversion of genders and renewed enunciation modalities in witch the relationship to sound and picture play a determining rule. The aesthetic transformation which affirms the maturation of the writing is accompanied by a polemical component in which appears the writer’s desire to get involved politically and socially. The Algerian context marked by the rise of islamist violence destabilizes the foundations of the society and creates an urgency to testify. The search of identity that continues in the act of writing accompanies the maturation of the work and lead, in the second period, to attempt at autobiography which struggled to succeed. The difficulty of expressing oneself as an autonomous subject remains, for Algerian writer, a mark of her Arab Muslim identity and her “I” always remains dependent of the ”WE” of the female community. Assia Djebar will then search in the reading of history and in the concealment of berber language the causes of this situation which forced her to exile. Finally this study analyzes the links that are woven in the structure of the literary work between female orality, history, languages and autobiography. It also tries to define the way in witch Assia Djebar manages to combine, in her romantic discourse, a literary aesthetic and an ethic that could represent her as a woman, an Algerian, and a writer
Emancipation in Buchi Emecheta’s In the Ditch(1975) and Assia Djebar’s Loin De Médine(1991).
No full text61p.;30cm.(+cd)This research paper is a comparative study between the two novels “Loin de Médine”(1991),
written by the Algerian Francophone author Assia Djebar, and “In the Ditch”(1975) of the
Nigerian Anglophone writer Buchi Emecheta. The main purpose of this study focuses on the
importance of women’s emancipation that can let them to reach a more civilized status in
their societies. In this research, the first step is to introduce the subject with a general
overview of women’s situation in the world with reference to some of their eternal actions
that marked history. In addition to this, it is necessary to have a clear idea of the two distinct
periods of time where the two stories are held. So, the historical background of the two novels
is very significant to highlight a strong basis of the study. This comparison concerns the main
female characters of both novels; for this purpose the ideas of the feminist author Simone De
Beauvoir in her book entitled “The Second Sex” (1953) are suitable to have a convincing
analysis. This feminist writer explores many aspects that lead to women’s submission and
thinks that it is up to women to get their emancipation, through mainly their access to the
working class. This principal idea is shared by the two writers. However, both Assia Djebar
and Buchi Emecheta in their novels have a different approach to deal with this main issue,
which is the importance of women emancipation. Finally, it is clear that the two African
authors seem to have the same objective, which is to correct the previous false perceptions of
women by men before the appearance of Islam, and also in the 20th century
« Écrire l’absence » selon Assia Djebar : Le Blanc de l’Algérie
No full textThe well-known French-language writer, Assia Djebar, teaches the reader to listen intently to cultural differences, inspires tolerance towards other people and touches upon the problem of the emancipation of women in the Arab-Muslim civilization.
In her work entitled Le Blanc de l’Algérie Djebar recalls deceased Algerian intellectuals, such as Albert Camus, Frantz Fanon or Kateb Yacine, as well as cruelly murdered writers and less known persons, who proved to be important for the author
herself (namely her friends) and for the history of Algeria. The author bemoans those absent figures, remembering their last minutes of life, their families’ despair, and the atrocity of death.
The article is an attempt at a reflection on the problem of absence that is in dichotomy with presence. The absence of great Algerians is unbearable; it is not silence but a cry for the memory of the tragic moments in the history of the country. Those moments, when remembered, shall help understand better the painful contemporary times. Djebar in a subtle way removes a white shroud (white is the colour of mourning in the tradition of North-African countries), thus showing the reader the moving and colourful Algerian fresco
Confidences in an autobiographical novel "Nowhere in my father’s house" by Assia DJEBAR.
No full textResumen: En este artículo, intentaremos mostrar el papel de las confidencias en la construcción y el mantenimiento de las relaciones interpersonales de Assia DJEBAR en su novela autobiográfica "Nowhere en la casa de mi padre". Esta novela íntima revela la identidad de una escritora, ansiosa por la libertad y apegada a las tradiciones, que se encuentra dividida entre Argelia y Francia.
Nuestro análisis se centra en un capítulo de la novela titulado El Pequeño Hermano, con el objetivo d’estudiar dos tipos de confidencias: provocó la confidencia y la confidencia confesional
Veremos que estas confidencias son, al mismo tiempo, un regulador de las relaciones interpersonales y una fuente de distanciamiento.Abstract: In this article, we will try through the analysis of two types of confidences (a provoked confi-dence; a confessional confidence) to unveil their role in the construction and the maintenance of Assia Djebar’s interpersonal relationships in her novel Nowhere in my father’s house. This intimate novel traces the memories and moments that marked the author’s childhood and adolescence. Our analysis focuses more on the disappearance of her brother, a painful moment that changed the course of her life, as well as that of her family members, namely: her mother, her father and her younger sister. This tra-gic event is recounted in a chapter of the novel entitled The little brother, in the form of confidences that unfolded between the father and his five-year-old daughter (the author) and the two sisters (the author and her sister). We will see later that these confidences are both pushing them apart and bringing them togethe
Feminism and the question of "woman" in Assia Djebar's 'Vaste est la prison'
No full textThis article analyzes the Algerian writer Assia Djebar's uncertain and ambiguous relationship with feminism. While her work is clearly preoccupied with women's experiences, the notion of a collective feminine identity remains a subject of contention, and female characters are frequently presented as both singular and elusive. In Vaste est la prison, the author sets out to trace a coherent genealogy of Algerian women, but the narrative at once hints at and disrupts any clear linking threads. For this reason, I argue that feminist resistance for Djebar revolves not around the uncomplicated celebration of female solidarity, but around a continual shifting between collective and singular critique. Women's resistance to patriarchal oppression in Algeria consists of a continual process of convergence and divergence. Djebar does not propose a single feminist argument but charts instead the very difficult process of creating a shared concrete cause
Assia Djebar: Algerian Images-son in Experimental Documentaries
No full textThis case study looks at French-Algerian author Assia Djebar, who made two little-known films. This chapter is an exploration of the limited but highly complex and challenging work of an important pioneering North African woman. Algeria’s particularly complex historical and political experience of independence from France, its relationship with Islam and its war-torn historical reality, have determined the lacunae in creative production. As some of the only films to ever have been made by an Algerian woman, La Nouba (1978) and La Zerda (1982) are masterpieces of feminist and anti-colonialist filmmaking. La Nouba is an explicitly feminist work, a documentary interlaced with experimental, symbolic fragments referring to international trends in feminist filmmaking in the seventies. As scholars of Algerian cinema have stated, cinema in the country is steeped in amnesia, consisting of fictional efforts that look away from reality. This chapter frames Djebar’s films differently from previous readings, and draws more challenging conclusions with regard to her transnational identity and her approach to women. More than feminist films, they reveal the filmmaker’s struggle with her own diasporic identity.</p
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