Academic literature on the topic 'Algerian literature (French)'
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Journal articles on the topic "Algerian literature (French)"
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Tahir, Tayyaba Batool, Mahbloos Asad, and Wajid Akram. "From Fantasy To Fear: The Politics Of Veil During The Algerian War Of Independence." Migration Letters 21, S3 (January 19, 2024): 1834–39. http://dx.doi.org/10.59670/ml.v21is3.10781.
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Women bodies have been the site of contestation and struggle in the colonial ventures. This research article aims to discuss the opaque veil erected as a barrier between the bodies of Algerian women and French colonizers’ gaze. Rather than being an object to be seen and observed by French men, the veiled women ‘See, without being seen’. Thus, the veil evaded power dynamics between colonized and colonizers. By doing a literature search of French colonial rule in Algeria (1830-1962), this paper explores the significance of the veil by comprehending the processes of veiling, unveiling and re-veiling of the Algerian women during the c[1]olonial rule in Algeria. Drawing the theoretical framework from the works of Malek Alloula and Timothy Mitchell, this essay also examines different paradoxes associated with the veil in Algeria. This essay analyses the drastic change in the French perception of the veiled Algerian women from the erotic towards a new emphasis on the veiled Algerian women as a symbol of political danger. This paper also explores how this new political role gave the veiled Algerian women agency to act during French colonial rule in Algeria and how veiling became a symbol of colonial resistance.
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Labanieh, Aya. "Monstrosity, Masturbation, and Motherhood: Assia Djebar’s Fantasia and the Fight Over Algeria’s Body." Tulsa Studies in Women's Literature 42, no. 2 (September 2023): 257–80. http://dx.doi.org/10.1353/tsw.2023.a913023.
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ABSTRACT: This article analyzes Assia Djebar’s 1985 novel Fantasia: An Algerian Cavalcade as a counter-theory to what Marnia Lazreg calls “French revolutionary war theory,” which transformed civilian life during the Algerian War (1954–1962) into a battle front. Djebar pushes back by “de-fronting” the entire Algerian landscape; rather than protecting the pre-revolutionary binary of combat/civilian or acquiescing to the all-front of guerrilla revolutionary war, she engages in a “sexual translation” that casts Algeria as a stage for love, sex, and reproduction. Djebar offers an alternate history of somatic, maternal plenitude, rejecting the colonizer’s theory of Algeria without ejecting the colonizer from it, instead absorbing his body and the bodies of his victims as a form of enrichment of the feminized land. Djebar’s generative sexual translation thus highlights the mutual obligation of the French and Algerians towards the products of the colonial encounter: the hybrid, “monstrous” offspring (in both Homi Bhabha’s and Tarek El-Ariss’s senses of the term) that manifests new desires as a result of their combined lineage. Though these hybrid monsters speak new, colonial languages, Djebar insists on their indigeneity through the primordial language of the body, in both its masturbatory and maternal modes.
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عليوي, فاطمة, and دليلة خليفي. "الترجمة والاستشراق في الجزائ ر تحت الاحتلال الفرنسي." Traduction et Langues 11, no. 1 (August 31, 2012): 156–65. http://dx.doi.org/10.52919/translang.v11i1.567.
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During the French campaign against Algeria, Orientalism was oriented to support its colonial ambitions. Among the French soldiers who arrived in our country were a number of translators, writers and thinkers who cared about eastern society and the nature of their lives and their thinking. Orientalists aimed to explore Algerians' lives and their religious, linguistic, cultural and historical situations by translating religious texts and studying the Arabic language in its various dialects, as well as addressing Algeria's history and popular heritage...So was French orientalism in Algeria to serve the intellectual and civilizational project claimed by France or was it the facade that concealed its colonial ambitions and missionary endeavours? It is the question what we will consider in this paper by defining the concept of orientalism and addressing its beginnings first and then focusing on the French orientalism in Algeria and its relationship with translation with a particular interest given to the most important personalities in the field and their efforts to support French conquest of Algeria. We concluded through this study that Orientalism imposed itself in Algeria through the French colonial campaign and included several areas in Algerian society in order to study its thinking pattern and the nature of its living. The efforts of the Orientalists focused on studying Arabic and Berber in its various dialects, in addition to researching Algerian history, folklore and Islamic religion with diverse means, including translation, which was a vital tool for communicating with members of society and a powerful tool to activate the fields of literature, history, religion and jurisprudence. So, oriental studies, with all their inclinations and tendencies, analyzed society and revealed its ways of thinking and dealing with various social, political and religious issues under the pretext of spreading the values of civilization and culture. However, the main goal is to support the French presence in Algeria. Indeed, Orientalism was to support the colonial goals, but it left a huge amount of work in various fields, and translation was an aid in transmitting religious and historical texts and studying its linguistic and folklore heritage.
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Ghenim, Neema. "HYBRIDITY AND OTHERNESS IN ALGERIAN POSTCOLONIAL LITERATURE." Social Sciences, Humanities and Education Journal (SHE Journal) 1, no. 3 (September 14, 2020): 103. http://dx.doi.org/10.25273/she.v1i3.7615.
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<p>The paper considers the dualistic existence between the Self and the Other during the Great War. Algerian participation in the war was compulsory and many authors wrote about the event.: Albert Camus, a Frenchman who belonged to a pied-noir family, Mohamed Ben Chérif, an Arab from Djelfa, and Elissa Rhaïs, a Jewish writer from Blida. <em>The First Man </em>(1994), Camus’s book, deals with the French who were reluctant participants in war. Mohamed Ben Chérif also published his first book, <em>Ahmed Ben Mostapha Goumier</em> (1997) that represents those Algerians who sought friendship with the French. In <em>Le Café Chantant (1920)</em>, Elissa Rhaïs gives another picture of an Algerian who participated in the Great War. This paper examines the meeting with the Other that left indelible marks on the protagonists’ identities.</p>
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Rabinovitch, Simon. "The Quality of Being French versus the Quality of Being Jewish: Defining the Israelite in French Courts in Algeria and the Metropole." Law and History Review 36, no. 4 (October 30, 2018): 811–46. http://dx.doi.org/10.1017/s0738248018000408.
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As the nineteenth-century French state expanded its borders in North Africa and incorporated what came to be Algeria into France, French King Louis-Phillipe, President and then Emperor Louis Napoleon Bonaparte, and various ministers of war, governors general for Algeria, and other advisors and government officials all faced the question of how and if to naturalize the territory's inhabitants as French citizens. Recent literature on the French use of law to classify and control populations in Africa has focused on the French colonial administration. This article emphasizes instead the role courts played in sorting out the legal contradictions created by French colonialism, by using the Jews in Algeria as an example. The existing precedent of the Jews' forced de-corporation and naturalization in France made their collective religious rights in Algeria particularly problematic, and cases in the Algerian and French courts highlighting the anomalous legal status of Algerian Jews eventually led to Jewish, but not Muslim, naturalization by decree in 1870. This new interpretation of Jewish naturalization in French Algeria highlights the philosophical problem that Jewish collective rights forced the French courts and French state to confront, and the barriers to resolving it.
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Wygoda, Tsivia Frank. "(Un)Mapping the “Pied-Noir Jew”: Indeterminacy and the Representation of Pied-Noirs and Algerian Jews in Contemporary French Cinema." MLN 138, no. 4 (September 2023): 1337–60. http://dx.doi.org/10.1353/mln.2023.a920094.
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Abstract: This article offers new reflections on the articulation of Pied-Noir and Algerian Jewish memory through the figure of the “Pied-Noir Jew” in French culture. The analysis of cinematographic materials and their literary sources shows how Algerian Jewish screen and stage artists participated in the creation in France of a nostalgic cultural community of Algerian Jews and French-European ex-settlers while also navigating the tensions and differences between Pied-Noir and Jewish memory of Algeria. The aporetic figure of the “Pied-Noir Jew” as a cultural and affective concept encapsulates the afterlife of Algerian Jews’ entangled identities.
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AISSA ASSIA, Amina. "Algerian Children’s Literature: From the Labyrinth of Colonialism to the Cornucopia of Postcolonialism." Arab World English Journal For Translation and Literary Studies 6, no. 2 (May 24, 2022): 196–208. http://dx.doi.org/10.24093/awejtls/vol6no2.15.
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Non-Western children’s literature has received significant attention in the past few decades. African and Arab children’s literature is not the exception to this surge in interest. However, the countries and communities denominated as African or Arab encompass heterogeneous communities and ethnicities. African children’s literature often refers to literature in Central and Southern African countries, and Arab children’s literature is often Middle-eastern, leaving the genre underexplored in many countries part of both. This article is a precursory sketch of children’s and young adult literature in Algeria, tackling the question of the idiosyncrasies of the genre from a cultural-historical perspective. It exposes the substantial historical and linguistic factors that denied the genre of an organic metamorphosis. With 130 years of French colonization, intensive acculturation policies, and the astounding illiteracy rate among Algerians, the post-colonial Algerian government devoted efforts to tending to the wounds and the trauma deeply inflected by the French. The endeavor to restore the Algerian identity made children’s literature its first and most indispensable outlet of the process, similar to how it served as a resistance front during the colonial period. The article concludes by addressing the place of Algerian children’s literature on the international scale, the meager yet increasing scholarship interested in this research area, and recommendations for an open, ideology-free conversation between all parties involved in children’s literature production, circulation, and consumption to yield an auspicious trajectory for the future of the genre. Thus, the paper conduces to scholarship on African and Arab children’s literature.
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BENMOUSSAT, Nabil Djawad. "Assia Djebar: ‘L’Immortelle’ of the Algerian French-Speaking Literature." Revue plurilingue : Études des Langues, Littératures et Cultures 6, no. 1 (December 29, 2022): 47–54. http://dx.doi.org/10.46325/ellic.v6i1.79.
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The present article is a plea for a reconsideration of colonial and post-colonial Algerian French-speaking literature; not least Assia Djebar’s literary works in pre- and post- independence Algeria. It attempts to redraw the boundaries of Djebbar’s writings in relation to the status and role of the Algerian woman during and after French colonial rule. This two-fold issue actually represents the rationale of the movement for women’s lib in Algeria. It also expands into a discussion of the discrepancies and disparities existing between men’s rights and women’s duties in light of a newly-emerging nation. This ambivalence, all too often called into question in Djebar’s novels, imposes itself de facto in an Algerian deeply male-dominated society. Worth noting, her literary production did not go unnoticed in the Métropole and many French provinces and overseas territories, and subsequently she emerged as a powerful voice to be reckoned within French literature at large. Résumé Cet article est en fait un plaidoyer qui s’inscrit dans une perspective de reconsidération de la littérature algérienne d’expression française, et plus particulièrement les œuvres littéraires pré et postcoloniales d’Assia Djebar. Il essai de délimiter les écrits d’Assia Djebar par rapport au statut et rôle de la femme algérienne durant et après la colonisation. Cette question à double volets représente le fondement de l’émergence du mouvement relatif à l’émancipation de la femme en Algérie. L’article s’étale sur une discussion des différences et des disparités existantes entre les droits des hommes et les devoirs des femmes au sein d’une Algérie nouvelle et indépendante. Cette ambivalence, souvent remise en question dans les romans d’Assia Djebar, s’impose de facto dans une société algérienne à domination masculine. Notons aussi que la production littéraire de l’auteure a eu un écho significatif en Métropole, et dans plusieurs départements français et outre-mer. Ainsi, Assia Djebar émerge comme une voix puissante et reconnue au sein de la littérature française en général.
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Cho, Mijeung, and Great Root Woods. "Karmel Daoud's Meursault Investigation: Language and Identity of Multicultural Subjects." Academic Association of Global Cultural Contents 55 (May 31, 2023): 151–70. http://dx.doi.org/10.32611/jgcc.2023.5.55.151.
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This study examines the novel Meursault Investigation by Algerian author Kamel Daoud, focusing on the language and identity of multicultural subjects. Meursault Investigation reinterprets Albert Camus' classic French novel “The Stranger” from the perspective of an unknown Algerian man called “Arab” who was killed by the main character Meursault. The novel deals with the tools of colonialism, identity and oppression in Algeria during the French occupation. Daoud argues that French, imposed on colonial Algerians, has become a tool of oppression, and that Algerians must regain their language in order to claim their cultural and ethnic identity. It is also a strong criticism of French colonialism and its continued influence on Algeria, and raises important questions about language and identity related to other post- colonial societies as well as Algeria.
Algeria's historical background, which had been under long colonial rule, also had a profound influence on literature, resulting in a triple structure of the literary expression language of Arabic, French, and Berber. Under French colonial rule, writers had no choice of language due to the implementation of French language assimilation policies. French was a forced language and a language of oppression. So why did Kamel Daoud choose French, the language of the enemy, to write his work in 2014, 70 years after Kamel Daoud's Stranger was published? Daoud has two reasons for choosing French, the language of the enemy, as an expression tool for literary works. First, it is to restore the name of ‘Arab’ (‘Moussa’) that was not even given a name under colonial rule. This means the restoration of national identity. Second, after his brother's death, he had to represent the mother's voice, who did not possess the ruler's language, and his eyes were always separated from the mother's delusion and protected himself. This is reminiscent of Algeria, which remains under French influence, and means separation and independence from it. For Dowd, French, the language of the colonial state, is the language of recovery, the language of independence, the language of creation and order, and the language of subversion that summons past situations and events.
In Daoud's work, the unknown “Arab” and “Harun” are multicultural subjects of the times. Multiculturalism has be- come a downgraded expression of our society for strangers and migrants. Rather than accepting diversity that is distinct from mainstream Koreans, we evaluate them from the perspective of discrimination and exclusion. Why should they be called “multicultural” that excludes personal identity, including their own ethnicity, historicality, and cultural diversity? Since the situation of “Arabians” and “Moussa” in Kamel Daoud's work resembles the existence of multicultural subjects coexisting in our time, we would like to examine their language and identity, diagnose the present of multicultural sub- jects, and predict the future.
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LOUIZA, Hachani. "AUTHENTICITY AND ORIGINALITY IN THE FIRE OF MOHAMMED DIB." International Journal of Humanities and Educational Research 03, no. 04 (August 1, 2021): 286–93. http://dx.doi.org/10.47832/2757-5403.4-3.25.
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French-speaking Algerian writers find themselves forced to situate themselves in relation to French literature and their representation of Algerian reality. They are writers who have been specific in their distinction from the literature of the West because they have allowed the reader to discover the national heritage as well as the culture of their country. In order to highlight the richness and the multiplicity of the romantic forms of Africa, our major concern will be center on the sociocritical study of the novel of Dib "The Fire" with the aim of highlighting the social anchoring of the text and extract traces of Algerian culture. This cultural richness is manifested through the anchoring of Islam, the use of expressions referring to the culture of Algerians. Originality is also reflected in the picture he paints of his society in his daily life. The structure of Dib's work reveals close relations with Algerian culture, on the one hand, on the other hand, this orientation of the writing gives it an aesthetic particularity, The return to the sources and the valuation of its identity gives to the Dibien text its authenticity and originality.
Dissertations / Theses on the topic "Algerian literature (French)"
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Dine, Philip Douglas. "French literary images of the Algerian war : an ideological analysis." Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/3544.
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The Algerian war of 1954 to 1962 is generally acknowledged to have been the apogee of France's uniquely traumatic retreat from overseas empire. Yet, despite the war's rapid establishment as the focus for a vast body of literature in the broadest sense, the experience of those years is only now beginning to be acknowledged by the French nation in anything like a balanced way. The present study seeks to contribute to the continuing elucidation of this historical failure of assimilation by considering the specific role played by prose fiction in contemporary and subsequent perceptions of the relevant events. Previous research into this aspect of the Franco-Algerian relationship has tended either to approach it as a minor element in a larger conceptual whole or to attach insufficient importance to its fundamentally political nature. This thesis is conceived as an analysis of the images of the Algerian war communicated in a representative sample of French literature produced both during and after the conflict itself. The method adopted is an ideological one, with particular attention being given in each of the seven constituent chapters to the selected texts' depiction of one of the principal parties to the conflict, together with their attendant political mythologies. This reading is primarily informed by the Barthesian model of semiosis, which is drawn upon to explain the linguistic foundations of the systematic literary obfuscation of this period of colonial history. By analysing points of ideological tension in the fictional imaging of the war, we are able to identify and to evaluate examples of both artistic mystification and demystifying art. It is argued in conclusion that the former category of narrative has never ceased to predominate, thus enabling French public opinion to continue to avoid its ultimate responsibility for the war and its conduct.
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Howell, Jennifer Therese. "Popularizing historical taboos, transmitting postmemory: the French-Algerian War in the bande dessinée." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/683.
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In addition to proposing a survey and subsequent analysis of the French-Algerian War in French-language comics, also known as bandes dessinées, published in Algeria, France, and Belgium since the 1960s, my dissertation investigates the ways in which this medium re-appropriates textual and iconographic source materials. I argue that the integration or citation of various sources by artists functions to confer a measure of historical accuracy on their representation of history, to constitute a collective memory as well as personal postmemories of the war, and to re-contextualize problematic images so that they and the hegemonic discourses they reinforce may be deconstructed. Moreover, the bande dessinée mimics secondary schoolbook representations of the war in both Algeria and France in its recycling of problematic images such as Orientalist painting, colonial postcards, and iconic images of war. The recycling of textbook images has the double advantage of ensuring reader familiarity with these images and of inviting critical interpretations of them. By exploring how the bande dessinée reuses colonial images as well as critical histories in predominantly anti-colonialist narratives, I seek to explain how this popular medium uniquely problematizes questions of history, memory, and postcolonial identity related to French Algeria and its decolonization. It is my contention that, because historical bandes dessinées frequently include or reference authentic textual and iconographic source material documenting the repercussions of the French-Algerian war on various communities, they represent a valuable resource to middle and high school teachers looking to enrich the state-mandated history curriculum. By using the bande dessinée in this capacity, educators exploit this medium as both a historical document (whose objective is to transmit knowledge of the past) and a document of history (which allows scholars to retrace the evolution of public opinion).
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Longou, Schahrazède Ungar Steven. "Violence et rebellion chez trois romancières de l'Algérie contemporaine Maissa Bey, Malika Mokeddem et Leila Marouane /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/401.
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Lhote, Florence. "Poétique de la distance: la guerre d'Algérie et les lettres françaises, 1987-2010." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209009.
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Notre thèse a pour enjeu la poétique de la distance dans les fictions de dix écrivains français et francophones de la seconde génération de la guerre d'Algérie (1954-1962), c'est à dire à distance de cet événement. Leurs fictions, publiées entre 1987 et 2010, interrogent la transmission et la filiation.Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Yataghene, Mayumi. "Mémoire et Ecriture romanesque de Rachid Boudjedra." Thesis, Cergy-Pontoise, 2011. http://www.theses.fr/2011CERG0541/document.
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L'importance de l'Histoire dans l'œuvre de Rachid Boudjedra fait l'unanimité des critiques. En s'appuyant sur la narratologie et plus particulièrement sur la théorie du langage performatif de John Langshow Austin, le présent travail tâche de démontrer que la construction de ses romans est mobilisée dans l'objectif de faire émerger l'histoire de l'Algérie et du monde arabe tout en se distinguant de l'écriture de l'historien. Sans s'arrêter à la simple mention des événements historiques, l'Histoire dans l'écriture romanesque de Boudjedra les retrace en tant que mémoire individuelle. Cette posture amène l'écrivain à manipuler les faits et les textes historiques et ainsi à brouiller la frontière entre la fiction et l'histoire. Cette approche constitue, pour l'auteur, un acte d'appropriation d'une Histoire dépossédée par le colonialisme puis occultée par les autorités algériennes. L'écrivain participe ainsi à la réinvention, rendue nécessaire par l'acculturation consécutive à la période coloniale, de l'écriture algérienneCritics are unanimous regarding the importance of History in Rachid Boudjedra's work. Based on narratology and especially on the performative theory of John Langshow Austin, the present study tries to enlighten the fact that the construction of his novels aims to bring out history of Algeria and of the Arab world while distinguishing itself from an historian work. Without stopping at the mere mention of historical events, History in Boudjedra fictional writings introduces them as individual memory. This posture leads this author to manipulate historical facts and texts and thus to blur the line between fiction and history. This approach is, for the author, an act of appropriation of a History dispossessed by colonialism and then overshadowed by the Algerian authorities. The writer thus contributes to the reinvention, made necessary by the acculturation resulting from the colonial period, of writing in Algeria
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Ivey, Beatrice Amelia. "Performing gender, performing the past : memories of French colonialism in French and Algerian literatures post-1962." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/19652/.
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This thesis examines examples of post-1962 cultural production in French (literature, theatre, film) from France and Algeria which contribute to the cultural memory of French colonialism in Algeria and its various transnational legacies. It develops recent theories of the transnational and transcultural nature of memory, that I call 'connective' memory, to define the ways in which memories are not simply discrete or self-contained but can forge connections with other histories and remembering subjects. The major focus of the thesis will be to show how 'connective' cultural memory, as an act of cultural imagination, is gendered. Although memory studies and gender theory have both undergone 'performative turns' in the last three decades, there has been no sustained effort to consider the intersecting performativity of gender and memory. The thesis is divided into five chapters. After an introduction to the historical and theoretical background to this thesis, each chapter is a case study and detailed narrative analysis which explores how the interactions of memory and gender in French and Algerian cultural production are inflected in different ways with various transnational dynamics and political outcomes. The first chapter analyses Assia Djebar's cinematic and written works to demonstrate performative strategies for articulating Algerian women's memories outside nationalist forms of commemoration. The second chapter shifts the focus onto how gender can be a framework for the transcolonial movement of memory, in this case through an analysis of Hélène Cixous's transposition of colonial memory from Algeria to India. The third chapter draws attention to the implicit naturalisation of masculine perspectives in certain 'connective' narratives of memory via a close literary analysis of biographical and fictional works by Ahmed Kalouaz. The fourth chapter examines Malika Mokeddem's performative reinvention of gendered norms in her novels set in the Mediterranean, where memory is gendered but plays a role in highlighting political responsibility in the present. The final chapter analyses three novels by Nina Bouraoui in which memory, as an affective engagement with the past, can be acquired and produced through performative articulations of masculinity and femininity. Overall, this thesis suggests that performative gender is central, not additional, to our understandings of 'connective' forms of cultural memory.
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Merolla, Daniela. "Gender and community in the Kabyle literary space : cultural strategies in the oral and in the written /." Leiden : Research School CNWS, School of Asian, African, and Amerindian studies, 1996. http://catalogue.bnf.fr/ark:/12148/cb37557909h.
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Ågerup, Karl. "Didafictions : Littérarité, didacticité et interdiscursivité dans douze romans de Robert Bober, Michel Houellebecq et Yasmina Khadra." Doctoral thesis, Stockholms universitet, Romanska och klassiska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-94770.
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Using as example twelve novels by Robert Bober, Michel Houellebecq and Yasmina Khadra, the dissertation discusses the aesthetic and pragmatic implications of integrating didactically historical reference in fictional narrative and personal theme. Rather than reducing the works of Bober, Houellebecq and Khadra to tendency novels sculptured to pass on a predetermined message, the study discusses the aesthetic values created by didactical play. Not only does historical reference form the setting of the novels but the feelings and ideas expressed by the characters also point outwards, challenging journalistic discourse and historical fact. After underlining the obvious heritage from social realism, littérature engagée and Tendenzliteratur, the study points to the possibility of a reading mode that uncannily marries self forgetting imaginary and historical learning. Finding no comprehensive description within existing theories of genre, the thesis proposes the neologism “didafiction” for a subcategory to the novel that, by systematic interdiscursive play, call for engagement without subscribing to pre-existent doctrines. The lessons given by this literature, rather than operating through a traditionally pedagogic rhetoric, work through sophisticated artistic procedures that integrate encyclopaedia and ethics in a personal theme structure.
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Leal, Rebecca Erin. "Mon pere, l'etranger : stereotypes et representations des immigres Algeriens en France." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2926.
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For nearly two hundred years, France has been home to more immigrants than any other European country. The literatures that come out of twentieth-century immigrations represent a living and fluid genre, one that is constantly being transformed and transforming itself by the lived experience of immigrants. My dissertation analyzes the representations of first generation North African immigrants from the nineteen-fifties and sixties by their children in Arabo-French immigration cultural productions. The structure of this study is that of a comparative analysis, examining the representations of immigrants in film and literature and specifically analyzing the points of convergence and divergence in the development and perpetuation of stereotypical discourse. The "Beur generation" paved the way for dialogue about and representation of post-World War II North African migrant labor through the opening of a polyphonic discourse concerning colonial and post-colonial history. Beur authors and cinematographers have broken the long-standing collective pact of silence surrounding the first generation of North African immigrants, a silence which has led to an incomplete and therefore partly imagined history of a generation that is spoken of, but who does not speak. In filling the void concerning North African parents, these works often result in filtered representation and history as they reproduce the very stereotypes about first generation immigrants that are so rampant in dominant French culture; the "reconstruction" of history and the representation of its actors that takes place through Beur cultural productions are thereby strongly influenced by dominant French institutions. The Beur generation in France, inheritors of their Algerian immigrant parents' past, reconstruct and reinterpret their history with the filters of their own experiences and the subversive presence of French institutions. It is in these margins that history is constructed but also filtered through the gaze of others.
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Sparks, Benjamin J. "The War Without a Name: The Use of Propaganda in the Decolonization War of Algeria." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2921.
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The Algerian war for independence, 1954-1962, also known as the War Without a Name due to its lack of recognition as a war by the French government, remains an indelible scar on the face of France. The Algerian war represents one of the most critical moments in modern French history since the French Revolution (Le Sueur 256), putting into question the motto of the French republic, "liberté, égalité, fraternité". This thesis will show that although the French won the war militarily they lost the war of ideas, that of propaganda and persuasion. Thus, this thesis will demonstrate that propaganda by the French for the aims of maintaining a French Algeria should have played a larger role than is evident. The use of propaganda and persuasion dates from the beginning of Greek analysis of rhetoric and has been used in various environments and circumstances throughout the ages in order to persuade the masses of the opinions and ideals of the propagandist. In Algeria, the message presented by the French through propaganda did not attain the desired result: maintaining a French Algeria. The combination of the Algerian determination for independence and the ineffective propaganda by the French resulted in a humiliating loss for the French forces and the loss of territory deemed integral to French society. After over 130 years of colonial rule, and eight grueling years of revolutionary war, Algeria received its independence.
Books on the topic "Algerian literature (French)"
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al-Qadir, Ghaliyah Abd. Qiyam al-dawlah al-'Uthmaniyah wa-sira'iha ma'a al-duwal al-Gharbiyah fi Shamal Afriqya. al-Jazāʼir: Enag Éditions, 2018.
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Hadj, Miliani. Une littérature en sursis?: Le champ littéraire de langue française en Algérie. Paris: L'Harmattan, 2002.
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Lebdaï, Benaouda. Chroniques littéraires (1990-1993). Alger: Office des publications universitaires, 1994.
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Centre national du livre (France), ed. Treize écrivains algériens. La Tour d'Aigues: l'Aube, 2003.
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Centre national du livre (France), ed. Treize écrivains algériens. La Tour d'Aigues: l'Aube, 2003.
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Yamilé, Ghebalou-Haraoui, ed. L'anniversaire: Nouvelles. Alger: Chihab éditions, 2009.
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Maschino, Maurice T. L'Algérie toujours: Chronique d'une vie. Alger: Éditions Dalimen, 2012.
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Salhi, Zahia Smail. Politics, poetics, and the Algerian novel. Lewiston, N.Y: E. Mellen Press, 1999.
Find full textBook chapters on the topic "Algerian literature (French)"
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Mehta, Brinda J. "Teaching francophone Algerian women’s literature in a bilingual French-English context." In Arabic Literature for the Classroom, 54–71. Abingdon, Oxon; New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315451657-4.
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Brett, Michael. "The Algerian War through the Prism of Anglo-Saxon Literature, 1954–66." In The Algerian War and the French Army, 1954–62, 164–73. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230500952_10.
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Twohig, Erin. "Decolonizing the Classroom." In Contesting the Classroom, 47–70. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620214.003.0002.
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The second chapter examines novels that cast Arabization as a new colonialism: both by arguing that Standard Arabic was a “foreign” language in Algeria, and by discussing foreign teachers as a colonizing force bent on shaping a multilingual Algerian people into an “Arab” nation. Karima Berger’s l’Enfant des deux mondes (The child of two worlds) argues that studying Arabic after independence made her French-educated protagonist feel like a colonial subject in her own country. Haydar Haydar’s Walimah li-aʻshaab al-bahr (A banquet for seaweed), written by a Syrian who taught in Algeria in the 1970s, tells the story of a young Iraqi teacher who falls in love with an Algerian student, and must fight society’s impression that he is a sexually “colonizing” threat. Despite different approaches, both novels use colonialism as a metaphor to understand Algeria’s assumed “otherness” to the Arab world. This otherness is reflected, and indeed reproduced, in official textbooks, which often present modern Algerian literature as the lesser other of metropolitan French or Middle Eastern canons. This chapter explores the problems and limits of the colonial as metaphor, along with pedagogical theories of “decolonizing the classroom.”
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Twohig, Erin. "Troubling Memories of Colonialism." In Contesting the Classroom, 26–46. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620214.003.0001.
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This chapter considers a transformational moment in Algerian history: the first days of the independent school, when students could look forward to studying their own national history and literature. One of the primary preoccupations of novels in French and Arabic that depict this moment was how the school would contend with the memory of the most controversial and taboo aspects of colonialism. Official governmental discourse depicted the Arabized school as a “clean slate” that would fully reject French influence, yet many novels argue for the classroom as a space to renegotiate, rather than erase, the history of French education in Algeria. Maïssa Bey’s Bleu blanc vert (Blue white green) describes the deleterious effects of memory erasure on a generation of young French-educated students, while Abdelhamid Benhedouga’s Nihayat al-ams (The End of Yesterday) features the debate over harkis (Algerians who collaborated with the French) and their place in the classroom. The discussion of memory in these novels forms part of a larger debate about the role of literature in preserving the memories suppressed by the school.
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McILVANNEY, SIOBHÁN, and GILLIAN NI CHEALLAIGH. "Viewing the Algerian Cityscape in Nina Bouraoui’s La Voyeuse interdite and Leïla Sebbar’s ‘La Jeune Fille au balcon’." In Women and the City in French Literature and Culture, 180–204. University of Wales Press, 2019. http://dx.doi.org/10.2307/jj.14491671.14.
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El Shakry, Hoda. "Apocalyptic Aftershocks in al-Ṭāhir Waṭṭār’s Al-zilzāl." In The Literary Qur'an, 83–99. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286362.003.0004.
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Chapter 3 explores the use of Qurʾanic imagery and intertextuality in al-Ṭāhir Waṭṭār’s (1936–2010) apocalyptic 1974 novel al-Zilzāl [the Earthquake]. The novel follows the misanthropic Shaykh ʿAbd al-Majīd Bū al-Arwāḥ as his capitalist aspirations are thwarted by Algerian socialist reforms and increasingly prescient images of the earthquake of the Day of Resurrection. Its satirical portrayal of Bū al-Arwāḥ calls attention to the complicity of the religious elite with French colonialism. By reworking the symbols and mythology of Islamic eschatology, al-Zilzāl challenges hegemonic discourses of Arabism and Islamism in Algerian nationalist discourse. The chapter reads the novel against the grain of Waṭṭār’s own false binary of Arabic (national) and Francophone (non-national) literature. It does so by examining the work’s generic hybridity, conscious manipulation of narrative time and space, as well as its incorporation of the Qurʾan alongside various registers of the Arabic language.
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Laronde, Michel. "Narrativizing foreclosed history in ‘postmemorial’ fiction of the Algerian War in France: October 17, 1961, a case in point." In Reimagining North African immigration, 134–52. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9780719099489.003.0009.
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This chapter presents the resistance against the erasure of institutional violence from collective history during the Algerian War in France with the example of the 17 October 1961 massacre of North Africans in Paris. The political foreclosure of the event resulting in a collective trauma tied to the war resurfaces in beur literature and mainstream French fiction from the 1980s onward as memorial fragments naturalized in the novels. The traces of the October 17 event narrativized in postcolonial writing signal a postmemorial mentality where the past bears on the present of the nation’s postcolonial process of correcting the distortions of silenced history. The next section of the chapter briefly outlines ways to generate the reparative potential of postmemorial writing reflected in the ekphrases of the event present in more than twenty novels. The last section explains how this situation of repressed memory spanning more than one generation and repeated in literature resonates with Marianne Hirsch’s concept of postmemory, as a call to revisit the official history of the traumas of the Algerian War in an unending process of healing and repair of the colonial past. .
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May, Adrian. "The Communism of Thought." In From Bataille to Badiou, 60–93. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786940438.003.0003.
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Several important Lignes dossiers in the 1990s retraced the political activities of Robert Antelme, Dionys Mascolo and Maurice Blanchot in the 1950s and 1960s. This chapter restores the narrative of intellectual engagement traced by these significant collections and demonstrates the influence of these figures on the cultural politics and intellectual community of Lignes. Following their radicalisation during the French resistance, Antelme and Mascolo joined the French Communist Party after World War Two, participated in anti-colonial initiatives, recruited Maurice Blanchot to protest the return of Charles de Gaulle to power and the continuing Algerian War, and participated in the events of May 1968. Between Blanchot and Mascolo, two differing vectors of intellectual engagement, one more theoretical and literary and the other more stridently Marxist and materialist, are expounded. Lastly, the influence of Mascolo’s Le 14 Juillet, Blanchot’s Revue internationale and Philippe Sollers’ Tel Quel on Lignes is examined, and Michel Surya’s theorisation of the relationship between literature and politics is described with reference to Bernard Noël.
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Balbuena, Monique R. "Minor Literatures and Major Laments." In Homeless Tongues, 19–58. Stanford University Press, 2016. http://dx.doi.org/10.11126/stanford/9780804760119.003.0002.
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This chapter presents Sadia Lévy, an Algerian poet who attempted to inscribe himself in the gallery of French Symbolists while writing in a French enriched by infusions of Hebrew and Judeo-Spanish, activating biblical and Kabbalistic genres in his poems. Lévy allows us to look at the development of modernism from a different angle, and serves as an example that will prompt changes in Jewish historical narrative, destabilizing certain views of Jewish culture, more specifically about Sephardi and North African Jews. Writing in French in colonial Algeria, Lévy makes us rethink the boundaries that define a French and a Francophone author. Having written one of the first Maghrebi novels in French, his precedence has gone unrecognized because as a Jew, he is considered French—an ideological exclusionary act that misses his ambivalent position and does not recognize that the privilege of his French citizenship is more artificial than ever.
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Jack, Belinda. "Tunisia." In Francophone Literatures: An Introductory Survey, 196–206. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198715078.003.0012.
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Abstract By comparison with francophone Moroccan and particularly francophone Algerian writing, Tunisian writing in French is relatively marginal in terms of the country’s literary production. The tradition of writing in Arabic was little disrupted by the French presence in Tunisia and, as a French Protectorate, teaching in Arabic continued alongside the introduction of French educational structures. Some schools, the College Sadiki most notably, taught in both languages; many, on the other hand, continued to use only Arabic.
Conference papers on the topic "Algerian literature (French)"
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Abidi, K., and K. Smaili. "Creating Multi-Scripts Sentiment Analysis Lexicons for Algerian, Moroccan and Tunisian Dialects." In 2nd International Conference on Machine Learning Techniques and NLP (MLNLP 2021). Academy and Industry Research Collaboration Center (AIRCC), 2021. http://dx.doi.org/10.5121/csit.2021.111413.
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In this article, we tackle the issue of sentiment analysis in three Maghrebi dialects used in social networks. More precisely, we are interested by analysing sentiments in Algerian, Moroccan and Tunisian corpora. To do this, we built automatically three lexicons of sentiments, one for each dialect. Each lexicon is composed of words with their polarities, a dialect word could be written in Arabic or in Latin scripts. These lexicons may include French or English words as well as words in Arabic dialect and standard Arabic. The semantic orientation of a word represented by an embedding vector is determined automatically by calculating its distance with several embedding seed words. The embedding vectors are trained on three large corpora collected from YouTube. The proposed approach is evaluated by using few existing annotated corpora in Tunisian and Moroccan dialects. For the Algerian dialect, in addition to a small corpus we found in the literature, we collected and annotated one composed of 10k comments extracted from Youtube. This corpus represents a valuable resource which is proposed for free.
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BAYA, Abdelaziz. "Reformation literature in Morocco during the era of the French protectorate - Synthetic attempt -." In V. International Congress of Humanities and Educational Research. Rimar Academy, 2022. http://dx.doi.org/10.47832/ijhercongress5-8.
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This paper will attempt to shed light on the reformist aspects that characterized the writings of the period from the second half of the 19th century to the end of the first half of the 20th century in the Kingdom of Morocco. These aspects, which became clear after the occupation of Algeria by France and the defeat of Morocco at the Battle of Asli and Tetouan, constituted a kind of call to organize the army and to structure it according to the European system. Then they expanded to include most areas