Dissertations / Theses on the topic 'Djebar, Assia (1936-2015) – Stylistique'
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Hamidou-Benkalfate, Nadia. "Le discours dans l’œuvre romanesque d’Assia Djebar." Electronic Thesis or Diss., Université Clermont Auvergne (2021-...), 2022. http://www.theses.fr/2022UCFAL023.
Full textApproach 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
Alvarado, Carlos. "Une inflexion du silence dans les textes féminins africains, Maghreb et Afrique subsaharienne." Paris 8, 2012. http://www.theses.fr/2012PA083519.
Full textThe dissertation addresses silence in Francophone literature, particularly in feminine African writings (romances and short novels) from Maghreb and Sub-Saharan Africa. Two motifs appear in the corpus, veil and FGM (female genital mutilation), allowing us to deeply silence. Divided into three parts, one about silence and veil; another about silence and stereotype; and the last one about silence and FGM. A multidisciplinary approach. Methodologically, the study follows sociocritical, psychoanalytical, and philosophical theories. The conclusion is that this eloquent silence, for all that it has to say explicitly or implicitly, constitutes the means to erase the boundaries that usually divide Maghreb from Sub-Saharan Africa, especially, when it refers to a feminine word that deals with silences and is willing to overcome them
Hamandia, Zohra. "Entre mémoire et désir : l'identité plurielle chez Assia Djebar." Besançon, 2005. http://www.theses.fr/2005BESA1009.
Full textThe writing of Assia Djebar has arised from the interbreeding of the two cultures Algerian and French. Forced to cover a multicultural identity imposed by the violence of the History, this French-Speaking writer of international fame forged a work in French language, language recognized and explored little by little in a conscious choice. Forced to exile because of the theological and political problems with shake Algeria, Assia Djebar places in the heart of her topics and her narrative writing the various aspects of a search of oneself, underlining the manufacturer role of the writing in the search for this identity. The word of the women and the female memory occupy an essential place in her works. Assia Djebar endeavours tirelessly to collect the women's words, their though fights for the conservation of life and to model the French language to register in it so much about the level of the story's structures, the interaction between past and present, here Algerian and elsewhere French, between historical story and the stream of consciousness or the autobiographical snatches, the plural identity which is outlined with the thread of the novels at the same time as lived historical and experiment of life
Karzazi, Wafae. "L'univers romanesque d'Assia Djebar." Bordeaux 3, 1987. http://www.theses.fr/1987BOR30029.
Full textRichter, Elke. "Ich-Entwürfe im hybriden Raum : das "Algerische Quartett" von Assia Djebar." Montpellier 3, 2004. http://www.theses.fr/2004MON30026.
Full textThis study explores the autobiographical work of Assia Djebar. It analyzes the three already published texts of the Algerian Quartett: L’amour, la fantasia, Ombre sultane and Vaste est la prison. These texts are considered to be typical postcolonial autobiographies. The classical concepts used to classify European autobiographies do not fully suffice to interpret the autobiographical texts of an author originating from transcultural space. This work thus proposes a new approach to define postcolonial autobiographic writing. The narratological analysis of the texts (themes, voice and mode) reveals the hybrid character of the Algerian Quartet in two respects. First, it finds the identity of the autobiographical “I” to be an identity of transition among cultures. Second, it treats hybridity as a textual characteristic in the sense that Djebar interweaves the autobiographical writing traditions of different cultural spaces
Sardier-Gouttebroze, Anne-Marie. "La femme et son corps dans l'oeuvre d'Assia Djebar." Paris 13, 1985. http://www.theses.fr/1985PA131016.
Full textHsieh, Chih-Ling. "Autoportrait littéraire ou l'Écriture de l'autre : sur les œuvres de Marguerite Duras et de Assia Djebar." Paris 8, 2005. http://www.theses.fr/2005PA082601.
Full textLabontu-Astier, Diana. "L'image du corps féminin dans l'oeuvre de Assia Djebar." Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENL020/document.
Full textAs suggested in the works of Assia Djebar about the body of the woman excluding the cleavage of the flesh and soul and of the body and personality means a vision of a united body encompasses a broad duration and space. This body is constantly connected to the environment that influences it. This has broken its unity up. The thesis puts the emphasis on its continuity, resistance and even the survival of its identity, despite the factors or contexts that have harmed it. Before giving back to the female body its lost unity, we identified the key terms of body and personality through the humanities, while taking into account the specifics of these terms related to the Arab-Muslim identity, to the Berber characteristics and to the French influence. With this starting point, we do not fall into the conventional and strictly social categorizations of the Algerian woman. In order to highlight the fundamental unity of the feminine being, we started with its physical dimension. This is the first aspect that we view and that we can describe. But it goes beyond the appearances since, supported by the language and the imagination, it drives a reflexive dimension. The Djebarien female character transitions from the stage "have a body" to the stage of "being a body" with several dimensions: physical, psychological, intellectual, linguistic and imaginary (I). But that image of unity and harmony is faced with less favorable pictures that appeared because Islam moved away from its original doctrine as presented in the book “Far from Medina”, and the valuation of certain concepts such as honor, modesty and shame. Faced with the male authority that is exercised on the Algerian female body in every moment of life, and which results in confinement, humiliation, arrest to some very well-defined roles (such as mother and wife), orders, beatings, insults, etc.., the female body develops a “micro psychology” (M. Maffesoli) that is transmitted from generation to generation and provides built-in answers to various situations. All actions are impregnated with these, but that doesn't stop preventing the emergence of hidden traces of the female personality in very specific contexts. These traces highlight the cunning, the challenge and even the hatred of women to men, designated in the Algerian female imaginary by the term "e'dou" (enemy). These feelings reveal the strength of the female body made of a silent revolt expressed or debased by shouts, murmurs, attentive listening, a need to share and support each other.(II) So we have in front of our eyes a fragmented body, which has forgotten its qualities due to the internalization of these symbolic prisons. But thanks to the female solidarity, the appreciation of the house as a place to cocoon, the relationships between women, and the return to the first language, the traces of the distant past are renewed by the actions and words of some free women. These pave the way for the release of the Algerian female body that will learn again to watch, to walk outside, to reminisce, to talk about itself and to appreciate the presence of the beloved man. (III) The analysis of body parts visible in our corpus, the feminine posture, the gestures in which the tradition is recorded, the reactions that reveal both the physical and psychic dimension, the terms used by Djebar to talk about his feminine characters, allowed us to reveal a female body with a heart, memories, feelings, personalities and roles that are outside the framework imposed by the society. The female body able to make gestures, which falls within the time and space reclaimed, acquires a performative speech which, in turn, recreates and provides it with the opportunity to perform, while maintaining contact with the origins and the "living word". So we see a body and an identity shifting, constantly trying to form and to write
Horváth, Miléna. "Entre voix, écrits et images : modalités de l'entre-deux littéraire dans la seconde partie de l'oeuvre d'Assia Djebar." Bordeaux 3, 2001. http://www.theses.fr/2002BOR30033.
Full textThe notion of in-between and its application in the second part of Assia Djebars works make up the subject of our thesis. Intertextuality is considered as a starting point, but it is enlarged on voice and image. The narrator's enunciation position does not change however : her intermediary position remains stable during the writing procedure. By transcription we mean intertextual writing in intercultural situation : it is textual rewriting and the appraisal of the subaltern's viewpoint. By indirect description the narrator elaborates her own way to create and capture images. She also assures the inscription of the female voice in the text, the link between the oral and the written. The voice of chilhood emerges in order to guide personal writing. In Djebar's works shows the essence of maghrebian culture in french and frees the expression of Algerian women
Rabaté, Mahaut. "Poétiques des voix francophones : Assia Djebar, Tahar Ben Jelloun, Abdelwahab Meddeb, Boualem Sansal." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL075.pdf.
Full textThis study examines the work of four North African writers : Assia Djebar, Tahar Ben Jelloun, Abdelwahab Meddeb and Boualem Sansal. It emphasizes the concept of literary voice in order to apprehend the conditions and theoretical background of vocal presence in the writings of these authors. By resorting to sociology of literature, this study connects the vocal aesthetics of texts to social and cultural experiences that might have affected the writers and led them to develop a sensitivity to sound. It analyses then the introduction and presence of voices in texts from a formal point of vue. It leans upon concepts of Gérard Genette’s narratology, on Mikhail Bakhtine’s analyses and criticism of vocality’s contributions. It develops an attempt to distinguish orality and voice, as well as to understand how litterary construction of voice leads to various textual levels (dialogical, enunciative, narrative, stylistic, rhythmic). This study finally tries to understand the relationships between these four writers’ poetics of voice, as well as the political and ethical meaning of voice in their writings. Leaning on Michel de Certeau and Jacques Rancière’s philosophical works, this study shows how literary voice involves ethical considerations about the world and the subject by examining the ways these writers speek about History and politics. This study tries to highlight that these four writers’ poetics of voice can be understood if considered through a referencial as well as through a semiotic dimension
Boibessot, Stéphanie. "Portraits d'écrivaines en métissage de soi : la quête de l'identité chez Colette, Leduc et Djebar." Paris 8, 2003. http://www.theses.fr/2003PA082384.
Full textIn this study we propose to examine works by Colette, Leduc and Djebar in order to throw light on the main paradigms of the quest for identity in the twentieth century, with particular emphasis on ‘feminine’ identity. Taking as our starting point a rejection of the ‘feminine myth’ that once prevailed and was used to form and manipulate the identity of women, we will suggest that these writers have contributed to the founding of a ‘myth in the feminine’ by their subversive use of the textual interface, a tendency they share with postmodernism. To support this argument, we will look at three general problems related to the formation of identity: conceptual space (to be explored through theories of psychoanalysis and existentialism); the connection between body and identity (especially in mother/daughter relationships); and the importance of the voice as a means of asserting the self and its possibilities (especially within the textual space). Each of these problems will be linked primarily to the work of one of the authors examined; thus we will explore the space of childhood for Colette, the importance of the body for Leduc and the birth of a new voice in Djebar. However, we will also show how all three paradigms of identity are connected within each text. Through comparison of these authors, a new image of a liberated (feminine) self gradually emerges: that of a self that cannot be define in terms of gender or of a particular group but reinvents itself each time it talks through the text. The work of these authors suggests, then, that representations of the self in the twentieth century are inflected by differing paradigms of identity and that the portrait of the self can only henceforth be drawn by a use of multiple perspectives on the self
Agar-Mendousse, Trudy. "La notion de contreviolence créative dans l'autobiographie postcoloniale franco-algérienne : paroles d'identité et de résistance chez Assia Djebar, Malika Mokeddem et Nina Bouraoui." Paris 13, 2004. http://www.theses.fr/2004PA131002.
Full textThe problematic of this thesis lies at the crossroads of postcolonialism and postmodernism. Investigating the poetics of six autobiographies unveils the literary strategies the writers deploy to accommodate into their writing both an experience of violence and resistance against it. An analysis of the thematics and textual functioning of the texts reveals how they transform, through textual violence, an identity inherited from colonial and patriarchal discourses in order to construct a new subjectivity that escapes existing power relations. This research, through its evaluation of the oppositional force of this intrinsically postmodern corpus, enacts a rapprochement between postcolonial and postmodern theories. The nomadic writers deterritorialise inherited ethnic and sexual identities, creating for themselves Deleuzian lines of flight towards a new conception of identity anchored in a community of origin and in female memory: the identity of a subject group, invested with becoming
Qader, Fatima. "L' écriture féminine contemporaine et les représentations de la femme dans "Feux" de Marguerite Yourcenar, "Loin de Médine" d'Assia Djebar et "Te di la vida entera" de Zoé Valdés." Clermont-Ferrand 2, 2006. http://www.theses.fr/2006CLF20013.
Full textLaghouati, Sofiane. "Ecrire : le corps comme territoire entre les langues : la "diglossie littéraire" dans l'oeuvre de Claude Ollier et d'Assia Djebar." Paris 3, 2008. http://www.theses.fr/2008PA030096.
Full textBefore being used in literature, diglossia was defined in 1928 by the philologist Jean Psichari as the “coexistence of two rival languages in a same nation”. Strengthened by the sociolinguistics, the concept of diglossia was imported in literature without being substantially transformed. In this thesis, diglossia represents the balance of power existing in the case of multilingualism as in the Maghreb. Beyond the linguistic tensions linked to some geopolitical events, diglossia shows the way some authors, as Assia Djebar and Claude Ollier, express these complex events through their works and ways of writing. It also shows the way they leave space for the Other in their works. The Other may be the stranger outside as well as the otherness into themselves, without forgetting the inaudible language of the body that the writing tries to express. The literary diglossia allows focus on fundamental cultural and ideological facts which are implied in the language. It seems to scramble our cultural references, moulding the authors’ languages into a literary language, far from the everyday speech. All the Assia Djebar’s works studied throughout this thesis belong to the Quatuor (still uncompleted) – L’amour, la Fantasia (1985), Ombre sultane (1987) and Vaste est la prison (1995) – except the novel entitled Loin de Médine (1991). Claude Ollier’s are the following: La mise en scène (1958), Marrakch Medine (1979), Une histoire illisible (1986) and Truquage en amont (1992)
Le, Duff Nadine. "Histoires labyrinthiques et littérature combinatoire : proposition de lecture comparée du Fou d’Elsa, d’Aragon, de La prise de Gibraltar, de Rachid Boudjedra et de L’amour, la fantasia d’Assia Djebar." Lyon 2, 2007. http://theses.univ-lyon2.fr/documents/lyon2/2007/leduff_n.
Full textThis comparative reading proposes a new approach to poetic studies in the areas of comparative literature and, in particular, of francophone Algerian literature. It looks at three texts with a critical view towards the notion of subject : by refuting the phenomenological view of an autonomous individual endowed with a clear awareness of his/her identity – precisely because all three selected works cast doubt on the existence of such an identity – our reading puts forth the notion of a subject evolving in and through the poetic language, forming himself through historical narration. Thus, this thesis looks at what constitutes action: the action of language in both prose and verse, along with its political and ethical consequences in as much as francophone poetic discourse transforms our view of the conquered throughout history. In order to achieve this critical comparative reading, we call upon the theory of rhythm and the poetics of relationship. This approach seems appropriate to account for the power of suggestion dispayed by each of the three works in their formal characteristics: the fragmentation of narration, the transcending of the notion of literary genre, the interplay of lexical and historiographic references, all within a constant historical re-invention of a shared Algerian-French culture
Nahlovsky-Lett, Anne-Marie. "L'Infra-discours d'une reconstruction de soi : les relais d'écriture romanesque : les écrivaines algériennes de langue française." Université Marc Bloch (Strasbourg) (1971-2008), 2008. http://www.theses.fr/2008STR20050.
Full textBehind the game of fiction and the alchemy of a new language, our research aims at defining a mere proceeding of discourse destructuration, together with a restructuration of the person. Our analysis is based on three novels in the Algerian Francophone women's literature of the second part of the twentieth century : "So Vast the prison" by Assia Djebar, "N'zid" by Malika Mokeddem and "Forbidden vision" by Nina Bouraoui. Our first goal is to demonstrate how these three works are linked in the fashion of writing relays, indicating an evolution from one narrative to the other, which reveals, behind words, an immediate subjacent discourse, going along with the story within its own logic. Our next step is to question the functioning of language and the foundations of writing, so as to study, through the prism of psychoanalysis, the secret stratagem of the language games, which brings to light unconscious mechanisms of writing. The scripturary adventure is the revealer of self-building at work and discloses the achievement of progress for the literary, creative, feminine consciousness, thus establishing the Algerian francophone female writer in a new personal and social statute of "the women with a book"
Bahsoun, Jihad. "Du sens et de l'utilité des réécritures dans la littérature comparée. Maryse Condé, Assia Djebar, Nédim Gürsel, Abdelwahab Meddeb." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040211.
Full textIn this work, we have attempted to highlight the meaning and usefulness of rewriting in comparative literature, whether this literature is European or is derived from French-speaking countries in other parts of the world. Why and how do writers seize a work or text in general (sacred text, for example) and transform it ? We recall that the French-speaking (or inhabited by French) writers of the 20th and 21st centuries are inspired by models of rewriting present in classical literature; they nevertheless bring hypotexts to a great wealth on several levels: cultural, philosophical and aesthetic. A parallel between the arts of the verb and the image is established, the latter being supposed to shed light on the first, to help better grasp the passage from one work of creation to another in continuity and rupture. Several authors - including Maryse Condé, Assia Djebar, Nedim Gürsel and Abdelwahab Meddeb - use rewriting - which can be interpretation or aesthetic work on writing itself (pastiche, parody) - to express their thoughts and pass messages that matter to them. It is these thoughts and messages that our thesis proposes to unveil and try to understand by bringing out the motives of writers
Aioanei, Otilia Maria. "Identité(s) et mémoire(s) dans l’œuvre d’Assia Djebar." Thesis, Paris Est, 2016. http://www.theses.fr/2016PESC0004.
Full textThe concepts of identity and memory are fundamental to the understanding of Francophone Maghrebian literature. For many Maghrebian writers, French represented a more accessible language than the Arabic one, allowing them to use it as an instrument of expression in their written or oral communication, facilitating at the same time the access to a wide international public. Moreover the majority of the French Maghrebian writers, such as Assia Djebar, lived in a context encompassing more than two languages, two cultures or two identities, two individual and collective consciousness. Therefore, they were always surrounded by different other languages and cultures mingling with each other and influencing their identity, their memory, their way of regarding life, their writing style. In her attempt to reveal and find out the true Maghrebian identity and memory, Assia Djebar brought new life into standard French by inserting the Berber and Arabian identities in her French writings. This practice continued until the end of her writing, representing the vivid expression of a perpetual intercultural dialogue between the cultures and the languages from the Maghrebian territory at a collective and individual level. This is the reason why the present paper aims to critically investigate and understand the concepts of identity and memory as they result from Assia Djebar fictional writings, in order to demonstrate their applicability in the present multicultural globalised society
Ameur, Souad. "Ecriture féminine : images et portraits croisés de femmes." Phd thesis, Université Paris-Est, 2013. http://tel.archives-ouvertes.fr/tel-00951346.
Full textCorvaisier, Gaëlle. "Histoire coloniale, fiction féminine : Frictions en francophonies. Étude comparative d'oeuvres de Maryse Condé et d'Assia Djebar." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00978558.
Full textHarchi, Kaoutar. "La formation de la croyance en la valeur littéraire en situation coloniale et postcoloniale : étude des trajectoires de consécration des écrivains algériens francophones Assia Djebar et Kateb Yacine, en France, entre 1950 et 2009." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030077.
Full textThe present doctoral thesis is intersestd in the formation of the belief in literary value in colonial and postcolonial situation, between 1950 and 2009, in France. For that, we made the choice to pay our attention to the paths of recognition of two Algerian authors of French language who have been the object of an objectivable literary achievment, namely Assia Djebar (1936-) and Kateb Yacine (1929-1989). Since the Algerian literary of French language core statement can’t pertinently be approached via the prism of the fields theory by Pierre Bourdieu, we made the choice to resort, through our study, to the concept of literary insitution defined by the likes of Jacques Dubois. According to what we then could have observed through a corpus made up of talks, press articles, official discourses, private correspondences, the literary phenomenon of recognition of the two Algerian authors would be modeled in the form of five stages: the discovery, the publication, the critical reception, the entry in the academic field and the entry in the universe of secondary education. The interest of this modeling is mainly based on its capacity to reveal, beyond the literary doxa, the social methods that have contributed to the formation of a belief in the quality of the given textual productions. And, at each stage of the paths of recognition of Assia Djebar and Kateb Yacine, we can observe strong relations between, on the one hand, the literary and, on the other hand, the extra-literary. In this direction, the commonly widespread idea according to which the recognition of an author would only be based on talent is strongly questionned. The French-speaking literature or, more precisely, the literary francophonie – denomination under which Assia Djebar and Kateb Yacine are regularly categorized – thus appears to be a regulated system depending on interests far from being allegedly “pure”, but driven by ideological and political logics. Engaged in relations of symbolic domination, Assia Djebar and Kateb Yacine have both, during their respective paths, set up of specific strategies in order to limit the instrumental value of their textual productions and impose their own definition of what Algerian literature of French language truly should be
Cappella, Émilie. "La Parole d'autrui : une reconstitution : une lecture des romans "Loin de Médine" d'Assia Djebar, "Solibo Magnifique" de Patrick Chamoiseau et "Traversée de la mangrove" de Maryse Condé." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEE017/document.
Full textThis dissertation casts an aesthetic light on a selection of polyphonic novels from the Francophone contemporary canon. From the forms of feminism around the prophet of islam in Far from Madina by Assia Djebar, to the multiple voices of Créolité in Solibo Magnificent by Patrick Chamoiseau, to the forms of individualism in a Guadeloupean village in Crossing the Mangrove by Maryse Condé, these novels are involved in innovative literary strategies. Nonetheless, postcolonial studies left in the shadow the work of forms that is yet the operatory mode of literary thought. To bridge this gap, we need a narratological and stylistic analysis of the techniques of representation of speech and thought. By disentangling the forms and the stakes of the fascinating relationship that is at work between the other’s speech and narrative voices, my dissertation brings a welcomed contribution to Francophone studies as well as to narrative studies.Three major thoughts foster this research: first the concept of counterpoint of Edward Said, seen in its dialogical dimension, the social approach to language in Voloshinov/Bakhtin, that presides to developments on dialogism, and the political approach to literature of Jacques Rancière, that casts a new light on now traditional benefits of “estrangement”. It is thus, without leaving the tenuous zone where esthetic forms meet social forms that my dissertation spans the most actual debates in Francophone studies
Azzouz, Esma Lamia. "Mémoire, voix resurgies, étude de la narration dans des textes représentatifs de la littérature féminine algérienne (1970-1997)." Nice, 1998. http://www.theses.fr/1998NICE2013.
Full textThis study analyzes the function of narrative in algerian women's writting published between 1970 and 1997. The internment of women is not a literary theme, but the ferment of all women's voices. Any algerian's woman's voice giving expression to this sequestered existence, will of necessity be a revolutionary and violent voice, seeking to provoke social norms. Nadia Ghalem and Nina Bouraoui represent a writing at the edge of madness, where spatial confinement and temporel stagnation push the text to seek refuge in psychoanalytic narration. The writer Hawa Djabali also uses hallucinations as means of transforming a real abhorrence; but what is of interest with this particular author is that she chooses to use a masculine first person narrator, who suffers a schizophrenic crisis. This transsexual vantage point is compared with that of the male algerian writer Rachid Boudjedra, who employs a feminine first person narration, to explore an algerian woman's nights of insomnia. For Assia Djebar, unwinding the thread of women's stories, will be the priviliged means of receving those voices witch have been the sole transmitters of the history and memories of women, in the absence of a written language
Alsheibani, Jamal. "Réécrire l'histoire au féminin : les enjeux idéologiques et poétiques de la narration dans Loin de Médine." Cergy-Pontoise, 2009. http://biblioweb.u-cergy.fr/theses/09CERG0412.pdf.
Full textOur work consists in studying Loin de Médine, a historical novel by Assia Djebar, in its relationship with History. The author is based on, and at the same time criticizes the works of Ibn Saad, Ibn Hicham and Tabari and, by selecting excerpts and resorting to fiction, aims at demonstrating that their vision of facts can be questioned. It is thus opposed to History made by men and for men. Shaking certitudes is a first step towards expressing her own version, which does not rest on the opposition between right and wrong, but between fiction and plausibility. Consequently the events related in the novel become significant in the organization of the text. History is recreated and gains meaning. The author, who situates her novel in the early period of Islam, re-reads and re-writes this period by replacing women at the heart of her story. Turning History into fiction enables her to show the women who have been close to the Prophet as heroines who paved the way for Muslim women today. Loin de Médine is thus rooted into the current events of the 80's and 90's, and also appears both as a warning to Algerians and an answer to the rise of radical Islam. In her writings AD takes a stand, since she does not shrink from dealing with topical subjects such as wearing the veil, male supremacy or women's speech
Ondounda, Ulrich. "Ecriture de la mémoire et discours postcolonial dans le roman historique contemporain : approche comparative des littératures algérienne, congolaise et haïtienne." Thesis, Limoges, 2019. http://www.theses.fr/2019LIMO0010.
Full textThe Memory has an important place, in our societies in general as well in literature, particularly where it became an unavoidable reference, an ethical and poetic requirement to have a better understanding of our past. For decades yet the questions related to our memory increasingly come back on the political and literary scene. This thesis intends to reflect on the writing of Memory considered in a postcolonial perspective through the historical contemporary novel. The title and thedebate raised put in relation the Algerian, Congolese and Haitian literature in the aim to analyse the representation of the past with the following novels The Woman without sepulcher from Assia Djebar, The Lily and Flamboyant from Henri Lopes, The Infamous Rosalie from Évelyne Trouillot and Dancing shadows or zombi, it’s me from Hans Christoph Buch. The omnipresence of the theme of memory in these four novels and the entanglement of the facts of the History and the particular draws of the characters presented invite to a comparative approach. This approach is adopted here so it canfeed a reflexive look on the cultural practices of the Algerian, Congolese and Haitian societies. This study has the goal to first display the theoretical foundations of Memory notions and concepts, from postcolonialism proceeding to their exegesis. Then, it examines the representation of the past in the African and Caribbean culturals spaces through their selected artwork. Finally, it builds a poetic of the postcolonial memory in the historical contemporary novel. Painted like a rewriting of the History, appear here the outlines of a whole series of auctorial practices entering in a permanent new twist of the Historiography texts