Relevant bibliographies by topics / Ahlam Mosteghanemi

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Ahlam Mosteghanemi'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Ahlam Mosteghanemi"

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Baaqeel, Nuha. "An Interview with Ahlam Mosteghanemi." Women: A Cultural Review 26, no. 1-2 (April 3, 2015): 143–53. http://dx.doi.org/10.1080/09574042.2015.1035055.

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Brahimi, Denise. "Ahlam Mosteghanemi, la culture et l'histoire." Expressions maghrébines 14, no. 1 (2015): 55–72. http://dx.doi.org/10.1353/exp.2015.0004.

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Twohig, Erin. "Gender, Genre, and Literary Firsts." Journal of Middle East Women's Studies 15, no. 3 (November 1, 2019): 286–306. http://dx.doi.org/10.1215/15525864-7720641.

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Abstract This article questions the conventional wisdom that Ahlam Mosteghanemi’s Dhakirat al-jasad was the first Arabic-language novel written by an Algerian woman. Published more than a decade earlier, Zhor Wanisi’s novel Min yawmiyat mudarrisa hurra received less critical attention, despite representing an important contribution to Algerian literature and women’s life writing. Rather than accepting the “first” novel as an objective category, this article shows how the accolade has obscured works like Wanisi’s from Algerian literary history, reinforced gender and genre binaries, and subjected both authors to biased evaluation. The article draws on a corpus of book reviews, scholarly articles, and monographs to describe how Wanisi’s work was discounted as not a “true” novel, and the related process that brought Mosteghanemi to world fame. The trajectories of Wanisi and Mosteghanemi, placed side by side, suggest new avenues for our understanding of gender, literary genre, and the postcolonial dynamics of world literature.
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Zeddam Hammoumi, Sara. "La obra de la autora argelina Ahlam Mosteghanemi." Revista Argelina, no. 9 (December 20, 2019): 41. http://dx.doi.org/10.14198/revargel2019.9.04.

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Para Ahlam Musteganemi, la novela es un recipiente donde cabe toda la belleza de la literatura; cuando la gente no lee la historia, se le filtra a través de la novela, también la poesía y la filosofía, por tanto, ha mantenido un lenguaje poético como modelo literario que embarca todo. La obra de la escritora representa cómo una mujer puede entender la realidad; incluso cuando el protagonista sea romántico y fácil de emocionarse, su corazón está lleno de los problemas de su patria, la libertad y la lucha…además vemos que su obra trata los problemas de la juventud como el paro y la pobreza, mientras que la tristeza y la memoria son los dos pilares de sus novelas, creando así un lenguaje que se acerca a la poesía. La autora en sus libros nos ha sorprendido con significados inesperados para salir de lo típico y así poder salvar la novela argelina de su narración simple, mostrándonos que el artista puede ser creativo para protegerse de los que controlan los acentos, las palabras y las propiedades.
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Baaqeel, Nuha Ahmad. "Decolonising Language: Towards a New Feminist Politics of Translation in the Work of Arab Women Writers, Ahlam Mosteghanemi, Nawal al Sadawim, and Assia Djebar." International Journal of Comparative Literature and Translation Studies 7, no. 3 (July 31, 2019): 39. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.3p.39.

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This paper argues that the Anglophone academy’s relative lack of appraisal of Ahlam Mosteghanemi as an Arab woman writer is not incidental. I assert that, for many Arab women writers, authorship is strategic engagement; in other words, they develop strategies that bring together formal experimentation with the social effectivity of authorship. In an attempt to present fully the aforementioned complexities at hand, this paper compares Mosteghanemi’s work with that of two other eminent women writers from the Arab world: Egyptian women’s rights activist and novelist, Nawal al Sadawi, and Algerian writer and historian, Assia Djebar. This comparative analysis is structured into three sections that take up the questions of the politics of literary form, language and decolonisation, and finally, translation. In the critical reception of their work outside their region, Arab women writers all too frequently find themselves caught up in the dynamics of a hegemonic Eurocentric feminism that already constructs them as new representatives of an Orient, one that further stubbornly refuses to dissolve under the action of rigorous critique. I argue that the underwhelming international reception to Mosteghanemi’s writing serves as a reminder that colonialism remains real, even in a world of independent nations, while decolonisation remains on the theoretical horizon in the postcolonial world. It is these two interrelated points that map the wide field of effectivity that is brought into play in the reception of Mosteghanemi as a writer.
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Tengour, Esma Hind. "Fawđā al-ħawāss (Désordre des sens), Ahlem MOSTEGHANEMI." Insaniyat / إنسانيات, no. 37 (September 30, 2007): 172–73. http://dx.doi.org/10.4000/insaniyat.4218.

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Baaqeel, Nuha. "Representation of gendered art through gendered memories in Ahlam Mosteghanemis Memory in the Flesh and Chaos of the Senses." International Journal of English and Literature 7, no. 6 (June 30, 2016): 92–103. http://dx.doi.org/10.5897/ijel2014.0652.

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السعودي, نزار جبريل. "صورة الرجل وتحولات النسق في ديوان (عليك اللهفة) لأحلام مستغانمي : قراءة ثقافية نسوية = The Image of Men and Its Patterns in Ahlam Mosteghanemi's Collection (Alik Al-Lahffah) : A Feminist Cultural Read." Scientific Journal Arab Academy in Denmark, no. 19 (July 2016): 190–206. http://dx.doi.org/10.12816/0037150.

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Khireddine, Amel. "Feminising The Literary Language In The Novels Of Ahlam Mosteghanemi." مجلة العلوم الإنسانية, 2020, 1568. http://dx.doi.org/10.35395/1728-007-003-097.

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خير الدين, أمال. "Feminist Discourse In Contemporary Arab Women's Literature:, Ahlam Mosteghanemi And Ahdaf Soueif." مجلة التراث, 2019, 302. http://dx.doi.org/10.35918/1064-009-003-019.

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Dissertations / Theses on the topic "Ahlam Mosteghanemi"

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Dib, Abir. "Étude comparée sur «l'écriture du corps» chez Calixthe Beyala et Ahlam Mosteghanemi." Thesis, Clermont-Ferrand 2, 2015. http://www.theses.fr/2015CLF20001/document.

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Le but de cette thèse est d’étudier l’écriture du corps chez deux romancières qui ont l’Afrique comme terre natale ; Ahlam Mosteghanemi de l’Algérie et Calixthe Beyala du Cameroun. Notre analyse trace l’inscription du corps dans une structure symbolique où se croisent discours sociaux et pratiques littéraires. L’écriture du corps, féminin et masculin, est étudiée dans une optique de problématisation des pratiques sociales et littéraires qui lui sont attachées. Plus qu’une simple représentation, le corps devient un travestissement esthétique par lequel les deux romancières contournent la censure pour aborder tous les tabous de leurs sociétés. Ainsi l’espace dudit corps réunit des discours de subversion et de renversement, mais aussi de négociation et d’autocensure. D’autre part le corps sujet d’écriture porte en lui un déchirement, un morcellement et une souffrance et ne semble se concevoir et se vivre que dans la douleur et dans la difficulté d’être. Ce corps textuel sentant et souffrant exprime un rapport au monde et aux autres et s’inscrit dans une quête de confirmation de soi
The goal of this thesis is the study of way tow African novelists describe the body ; Ahlam Mosteghanemi from Algéria and Calixthe Beyala from Cameroon. Our analisis traces the writings about the body to a symbolic structure where social discourses meet literary practices. The writings about the body, male or female, are studied from a perspective locked in the problematics of social and literary practices. More than a simple description, the body becomes an esthetic disguise through which the two novelists bypass censorship to tackle all their cultural taboos. Thus the sphere of the body combines discourses of subversion and reversal as well as negotiation and self censorship. What’s more, the body subject of literature bears in itself a tearing, a division and a suffering and seems to only understand and live its existence in pain and difficulty. This literal body that feels and suffers expresses a relationship to the world and to others and is part of a quest for self-affirmation
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Baaqeel, Nuha. "The kaleidoscope of gendered memory in Ahlam Mosteghanemi's 'Chaos of the Senses' and 'Memory in the Flesh'." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/68377/.

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Mahmoud, Salim. "La structure narrative dans la trilogie de ʼAḥlām Mustaġānimī, et la présence de l’Algérie dans des histoires d’amour." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE3045.

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Cette thèse est une analyse de la trilogie de ʼAḥlām Mustaġānimī, une des premières auteures algériennes en arabe avec l’analyse formelle et les travaux de Genette. L’introduction aborde la méthodologie et la problématique. Comment les romans sont-ils tissés en une trilogie et pourquoi ont-ils eu un tel succès auprès du lectorat arabophone ? Ce qui en amène un autre : comment l'histoire algérienne est-elle incluse dans la trilogie. La première partie montre que ces romans sont le reflet de la vie de Mustaġānimī et de son engagement, à travers les dédicaces et la langue arabe dont des générations ont été privées. La deuxième partie reprend les outils de l'approche formelle pour déterminer le mécanisme du suspense par le démontage du texte narratif en les éléments constitutifs du récit principal, l’histoire d’amour, et ses interruptions. Elle montre la grande sensibilité de ʼAḥlām Mustaġānimī à la place de la femme et à la politique algérienne avant et après l’indépendance. La dernière partie, avec les intertextualités et les styles linguistiques, analyse le texte, et la poésie de son écriture. Cette maitrise de la langue arabe par Mustaġānimī est une des causes de son succès dans le lectorat arabophone. Cette thèse montre l’intérêt de ces méthodes d’analyse, expliquant et objectivant les ressentis du lecteur. Enfin, Mustaġānimī se retrouve dans le protagoniste implicite de la trilogie qui est donc une « intrusion » dans la vie de l'écrivaine
This thesis is an analysis of the trilogy of ʼAḥlām Mustaġānimī, one of the first Algerian authors in Arabic with formal analysis and the works of Genette.The introduction discusses the methodology and the issue. How are the novels woven into a trilogy and why have they been so popular with the Arabic-speaking readership? Which leads to another: how Algerian history is included in the trilogy. The first part shows that these novels are a reflection of Mustaġānimī's life and his commitment, through the dedications and the Arabic language of which generations have been deprived. The second part uses the tools of the formal approach to determine the mechanism of suspense by disassembling the narrative text into the constituent elements of the main story, the love story, and its interruptions. It shows ʼAḥlām Mustaġānimī's great sensitivity to the place of women and to Algerian politics before and after independence. The last part, with intertextualities and linguistic styles, analyzes the text, and the poetry of its writing. This mastery of the Arabic language by Mustaġānimī is one of the causes of his success in the Arabic-speaking readership. This thesis shows the interest of these methods of analysis, explaining and objectifying the feelings of the reader. Finally, Mustaġānimī finds himself in the implicit protagonist of the trilogy, which is therefore an “intrusion” into the life of the writer
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Books on the topic "Ahlam Mosteghanemi"

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Fieni, David. Decadent Orientalisms. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823286409.001.0001.

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This book explores the confluence of decadence and Orientalism since the mid-nineteenth century in French and Arabic writing. It demonstrates how French Orientalism set the terms of modernity for Arab and Muslim thinkers and writers, but also how the latter responded to and transformed these terms. The book argues that Orientalism is doubly decadent: it describes the supposedly inherent degeneration of the Semitic and the “Oriental,” and in so doing Orientalism attempts to contribute to the decay of these societies. Through comparative close readings of French, Francophone, and Arabic texts, the author outlines how notions and representations of decadence and decay during the colonial and postcolonial periods have in fact produced symbolic and social disintegration in parts of the Arab world. Part 1 of the book examines the role of philology, secularism, Islamic reformism, and colonial policy in the configurations of colonial modernity during the second half of the nineteenth century, focusing on the Arab East (or Mashreq) and Algeria. Part 2 turns to Maghreb to explore the ways that loss becomes nationalized and gendered in the postcolonial era and how Maghrebi writers engage with the legacy of Orientalist decadence to find ways beyond it. In the context of these questions, it offers analyses of work by a wide range of writers, including Ernest Renan, Jamal al-Din al-Afghani, Ahmed Faris al-Shidyaq, Farah Antun, Céline, Tahar Wattar, Tahir Djaout, Ahlam Mosteghanemi, Yamina Méchakra, Assia Djebar, Hélène Cixous, Abdelwahab Meddeb, and Abdelkebir Khatibi.
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Book chapters on the topic "Ahlam Mosteghanemi"

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"Ahlam Mosteghanemi and Ahdaf Soueif: ‘Physical textures’ and ‘exceptional events’." In Contemporary Arab Women Writers, 123–44. Routledge, 2008. http://dx.doi.org/10.4324/9780203307090-11.

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Harrison, Olivia C. "Beyond France-Algeria: The Algerian Novel and the Transcolonial Imagination." In Algeria. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781786940216.003.0012.

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More than any other literary genre, the Algerian novel has been read as a response to Algeria’s colonial past and as a proving ground for the articulation of a postcolonial national identity. From Kateb Yacine’s anticolonial allegory Nedjma to Kamal Daoud’s attempt to grapple with the legacies of Orientalism in Meursault, contre-enquête, the Algerian novel seems to be caught in a dialectical relationship with the former colonizer, France. Or is it? After a brief survey of post-independence Maghrebi texts that look to other colonial sites, in particular Palestine, to actualize anticolonial critique in the postcolonial period, I examine a series of Algerian novels that activate what I call the transcolonial imagination, connecting heterogenous (post)colonial sites in a critical and comparative exploration of coloniality. Through readings of novels by Ahlam Mosteghanemi, Anouar Benmalek, Yasmina Khadra, and Rachid Boudjedra, I show that the contemporary Algerian novel continues to excavate traces of the colonial, broadly conceived, in the purportedly postcolonial present, casting the Palestinian question, the post-9/11 war on terror, and the 2010-2011 uprisings within a multidirectional and palimpsestic history of the colonial condition writ large.
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"3. The Transcolonial Exotic: Allegories of Palestine in Ahlam Mosteghanemi’s Algerian Trilogy." In Transcolonial Maghreb, 61–78. Stanford University Press, 2020. http://dx.doi.org/10.1515/9780804796859-006.

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Fieni, David. "Algerian Women and the Invention of Literary Mourning." In Decadent Orientalisms, 118–35. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823286409.003.0006.

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This chapter revisits the gendering of loss in discourses of decadence through an exploration of four texts by Algerian authors. Ahlam Mosteghanemi’s Dhakirat al-Jasad (Memory of the Body), Yamina Méchakra’s La Grotte éclatée (The Blasted Cave), Assia Djebar’s Le Blanc de l’Algérie (Algerian White), and Hélène Cixous’s Si près (So Close) each produce spontaneous, singular forms of female solidarity in the face of institutional expectations relating to language, religion, and the state that overdetermine the value of women’s social work of remembering and forgetting. The chapter explores these four texts in light of psychoanalytic theories of mourning and melancholia and also a certain injunction of postcolonial theory that would impose permanent melancholia on postcolonial writing and thought. These texts experiment with inventive modes of literary mourning, from the “female grotesque” (Mary Russo) to a range of syntactic elaborations, which propose a different cure for postcolonial melancholia and open the possibility of a “melancholia of the public sphere” (Judith Butler).
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Twohig, Erin. "Education and Violence in the Black Decade." In Contesting the Classroom, 71–88. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620214.003.0003.

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This chapter asks how literature portrays classroom scenes during times of trauma and political crisis, and whether literary depictions of historical moments of trauma can, themselves, be pedagogical. It focuses in particular of literary portraits of the Black Decade of the 1990s. a time when students and teachers inside classrooms were targets of violence. The literary classroom depicting this time became a vacant or fractured space, replaced by direct encounters outside the school between teachers and students, writers and readers. Novels depicting the 1990s feature teachers and students meeting in bars and cafés, young girls who read and teach each other at home, and former teachers writing to their students from exile. Along with two central novels, Wahiba Khiari’s Nos silences (Our silences) and Bashir Mefti’s Ghurfat al thikrayat (The room of memories), this chapter discusses Nacira Belloula’s Visa pour la haine (Visa for hatred), Boualem Sansal’s Le serment des barbares (The barbarians’ oath), and Ahlam Mosteghanemi’s Al aswad yaliq bik (Black becomes you). The portraits of education in these works are applicable beyond the context of the Black Decade, as they show how novels bear witness to and reach readers in a hostile political and educational environment.
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