Academic literature on the topic 'Algerian Women authors'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Algerian Women authors.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Algerian Women authors"
1
Sarnou, Dalel. "Translated Arab Woman Writings The Translation of What an Arab Woman Can Be: A case study H. Barakat’s The Stone of Laughter [الضحك حجر ]." Traduction et Langues 11, no. 1 (August 31, 2012): 128–35. http://dx.doi.org/10.52919/translang.v11i1.554.
Full textAbstract:
Arab women writers have proved themselves to the West and to each other. Reading for an Arab woman novelist translated works of significant literary creativity may contribute to the change of the western ‘misrepresentation’ of the Arab Woman. Such suggestions are speculative and reflective at the same time, but they offer readers an opportunity to introduce new curricula in Algerian education. This paper aims to investigate the significance of some translated literary works by Arab women authors by selecting a translated version of a bestselling Arabic novel (Hajarou Dhahik). In line with the introduction of the LMD system in Algerian English departments, the objective is also to emphasize the relevance of incorporating and adopting such works into the English literature curriculum at university.
2
Mourad, Zamoum, and Chaouch Athmane. "Sural nerve conduction study: Reference values in the Algerian population." Journal of Neuroscience and Neurological Disorders 6, no. 2 (September 20, 2022): 040–44. http://dx.doi.org/10.29328/journal.jnnd.1001067.
Full textAbstract:
Objectives: The sural nerve is the most tested sensory nerve in the lower extremities in the electrodiagnostic assessment of peripheral neuropathies. This study presents the reference values of the sural nerve conduction study (NCS) from a significant sample of the Algerian population. Methods: This is a prospective study of right sural NCS in healthy subjects based on the later recommendations of AANEM-NDTF. The nature of the distribution of each electrophysiological parameter was therefore determined. The lower and upper limits were calculated by using the 5th and 95th percentiles respectively and a logarithmic transformation was performed for Sensory Nerve Action Potential (SNAP) amplitude distribution. Results: 115 subjects aged between 20 and 60 years were selected, including 58 women and 57 men. Unlike Sensory Nerve Conduction Velocity (SNCV), the distribution of SNAP amplitude is not Gaussian. The lower limit of SNAP amplitude was 7.70 µV when using the 5th percentile and 6.80 µV by using the Standard Deviation (SD) method after log transformation. Similarly, the lower limit of SNCV was 43 m/s. The SNAP amplitude was greater in women and decreased with age, height and BMI. Conclusion: The values found in this study are comparable to those published in the literature. It may be more appropriate to determine the reference values using percentiles as recently recommended by several authors.
3
Kholoussi, Samia. "Not So Dangerous Liaisons: Interstitial Subjectivities and the Autobiography of Arab Women." English Language and Literature Studies 7, no. 4 (November 2, 2017): 11. http://dx.doi.org/10.5539/ells.v7n4p11.
Full textAbstract:
This research re-examines “cultural hybridity” from an Arab female standpoint. The concept is widely researched in post-colonial discourse, and in texts of bi-cultural Arab women, it is re-envisioned in the light of the specificity of their experience. Amidst a maze of proliferating theories, the study utilizes critical discussions in post-colonial discourse pertinent to the central argument namely; what does it mean to be hybrid for Arab women, and how do they perform cultural hybridity in their autobiographical writing? This study sets itself is to formulate a framework that allows us to talk about Arab women’s autobiography in this context. It explores a space that would take into account ethnic and gender linked issues to investigate alternatives for Arab female self-identification in cultural hybrid contexts. For case study, I use Assia Djebar’s Fantasia: An Algerian Cavalcade (1985) and Ahdaf Soueif’s In the Eye of the Sun (1992) as texts as growing out of, and emerging against the culturally hybrid reality in which the autobiographical persona finds herself; a reality from which these self -representations evolve and authors begin to tell their stories. The study yields inferences regarding the potential of interstitial subjectivities as catalyst for agency, and a site of resistance and subversion. Cultural hybrid reality, for Arab women, is a site of contested and complex identities. It opens up a playing field of performative contestation in which identity thrives in ongoing endeavor to reformulate the debates on assimilation, integration, and identity politics within such a discursive territory.
4
Toorawa, Shawkat M. "The Modern Literary (After)lives of al-Khiḍr." Journal of Qur'anic Studies 16, no. 3 (October 2014): 174–95. http://dx.doi.org/10.3366/jqs.2014.0172.
Full textAbstract:
Prominent examples of major Qur'anic characters in modern world literature include Joseph (and Zulaykha) -like characters in the 1984 Arabic novel, al-Rahīna (The Hostage) by the Yemeni writer Zayd Muṭīʿ Dammāj (d. 2000) and the fictionalised portrayal of the women around the Prophet Muḥammad in Algerian filmmaker and novelist Assia Djebar's 1991 French novel, Loin de Médine (Far from Medina). In this article I focus, rather, on a ‘minor’ Qur'anic character, al-Khiḍr (cf. Q. 18:65–82). I begin by looking briefly at the evolution of al-Khiḍr in Islamic literatures generally and then focus on his deployment in several short fictional accounts, viz. the 1995 French novella L'homme du livre (Muhammad, A Novel) by Moroccan author Driss Chraïbi (d. 2007); Victor Pelevin's 1994 Russian short story, ‘Prints Gosplana’ (Prince of Gosplan); the 1998 short story, ‘The Mapmakers of Spitalfields’, by Bangladeshi-British writer Manzu Islam; and Reza Daneshvar's 2004 Persian tale, ‘Mahboobeh va-Āl’ (‘Mahboobeh and Ahl’). I characterise the ways in which these modern authors draw on the al-Khiḍr type, persona, and legend, and go on to suggest how and why the use of al-Khiḍr in modern literature is productive and versatile.
5
BAGHLI BERBAR, Souad. "Female Trauma in Toni Morrison’s The Bluest Eye and Lynda Chouiten’s Une Valse." Revue plurilingue : Études des Langues, Littératures et Cultures 6, no. 1 (December 29, 2022): 7–14. http://dx.doi.org/10.46325/ellic.v6i1.80.
Full textAbstract:
African-American giant Toni Morrison and Algerian scholar and novelist Lynda Chouiten seem to be galaxies away but they happen to have so much in common. Both are feminist intellectuals who began as university teachers before embarking on a literary career. Storytelling, songs and folktales are similarly embedded in their lives and writings and both are concerned with issues of discrimination and violence. The present paper purports to focus on the issue of female trauma that pervades their novels The Bluest Eye (1970) and Une Valse (2019) respectively, and examine the two women authors’ treatment of this theme. Drawing on a comparative approach and a psychoanalytical study of the two main female characters, it aims at exploring the numerous similarities and the few differences between Pecola, the victimized Black adolescent who is so conditioned by white standards of beauty that she obsessively yearns to have blue eyes and the mature Algerian seamstress Chahira who tries to cope with her mental distress and schizophrenic bouts in a frustrating patriarchal environment. Résumé: De prime abord, rien ne semble relier l’écrivaine noire-américaine Toni Morrison et l’universitaire et romancière algérienne Lynda Chouiten qui ont cependant bien des points communs. Toutes deux des féministes, elles ont commencé par enseigner à l’université avant d’entamer une carrière littéraire basée sur les récits, les chants et autres contes populaires tout en traitant de discrimination et de violence. Le présent article examine donc la question du trauma féminin dans leurs romans respectifs, L’œil le plus bleu (1970) et Une Valse (2019), en adoptant une approche comparative et une étude psychanalytique des deux principaux personnages féminins. Il met l’accent sur les innombrables similarités et les rares différences entre Pecola, l’adolescente noire victimisée dont l’obsession par les normes de beauté imposées par les blancs lui font halluciner d’avoir des yeux bleus, et Chahira, la couturière algérienne mure qui peine à s’accommoder de sa détresse mentale et de ses crises de schizophrénie dans son environnement patriarcal frustrant.
6
Spadaro, Enrico. "Entendre ces silences : traduire, transmettre et refléter Entendez-vous dans les montagnes… de Maïssa Bey, en italien et en anglais." Traduction et Langues 22, no. 1 (June 30, 2023): 16–39. http://dx.doi.org/10.52919/translang.v22i1.927.
Full textAbstract:
Listen to those silences: translating, communicating and reflecting Entendez-vous dans les montagnes…by Maïssa Bey, in Italian and English
Maïssa Bey is a French-speaking Algerian writer whose first works were published in the 1990s, during the "black decade" of the civil war that ravaged Algeria. Algerian people, especially women, of whom the author is an integral part, are the protagonists of her stories and novels that aim to break the silences and censorship, to explore the small stories hidden behind the big story. This article aims to analyse the Italian and English translations of Entendez-vous dans les montagnes..., a novel published in France in 2002 and in Algeria in 2007. The Italian translation, published by Astarte in 2020, is by Barbara Sommovigo, who had already translated Bey’s Puisque mon coeur est mort in 2013, initiating an almost paradigmatic author-translator relationship that allows for an effective approach to a short but complex text like Entendez- vous dans les montagnes... The English translation is by the American Erin Lamm, and is the result of her doctoral thesis, with a clearly more academic intention than the Italian text, whose publishing house Astarte aims to communicate voices from the shores of the Mediterranean. In fact, Bey's work travels between two languages and therefore between two cultures, the French and the Algerian, which intersect in the pages of the story like the lives of the three protagonists. An Algerian woman, an elderly Frenchman and Marie, a young blond woman, meet in the same compartment of a train to evoke memories and thoughts, which lead them to the past and recent history of Algeria, through painful pages among which is evoked the loss of the author's father, killed in 1957 by French soldiers. It is a difficult task for the translators to render this multiplicity of themes and languages from the title: for a French-speaking reader, there is a strong reference to both a line from the Marseillaise and an Algerian patriotic song (Min Djibalina). The Italian title is therefore changed to Dietro quei silenzi…, while the English title is purely literal, Do You Hear in the Mountains... This is just one of the translation choices that will be analysed in this paper, in which the comparison between the strategies and techniques used in the two translation works will be constant, creating a perpetual dialogue with the original text, in the image of the friendship that now exists between the author Maïssa Bey and the two translators.
7
Sabet, Amr G. E. "Europe and the Arab World." American Journal of Islam and Society 23, no. 2 (April 1, 2006): 106–8. http://dx.doi.org/10.35632/ajis.v23i2.1627.
Full textAbstract:
Concise, succinct, and informative, this book skillfully elucidates andassesses the patterns, prospects, and complexities of Arab-European relationscontextualized in a globalizing (read “Americanizing”) world. It alsoidentifies the ambiguities and limitations of social movements and struggleswithin the Arab world, as well as their implications for mutual relationships(p. vi). The authors’ main thesis is that both global capitalism and theAmerican determination to construct a “new” Middle East in its own imagehave undermined the possibilities of domestic reforms and external realignmentsin most Arab countries. American hegemonic influence, together withthe growing sway of politicized Islam on public life, have added more limitationsand constraints to other failures to transform the underlying economicand political structures defining the relations between members onboth sides of the Mediterranean.The book comprises four chapters: three written by Amin (chapters 1, 2,and 4), and one (chapter 3) by El Kenz. The first chapter is a critical surveyof conditions in the Arab world in general and that of the Arab “state” in particular.Amin designates the latter structure as a manifestation of “mamelukepower,” reflecting a complex traditional system that has merged the personalizedpower of warlords, businessmen, and men of religion (p. 3). The Arabstate, he argues, has never really embraced or understood modernity. Egypt,Syria, and the Ottoman Empire underwent a first phase of ineffective modernizationduring the nineteenth and early twentieth centuries. The secondphase was associated with the populist nationalism of Nasserism, Baathism,and the Algerian revolution between the 1950s and 1970s. With the end ofthis phase, a multiparty system gave way to a paradoxical regression into themameluke type of autocracy (pp. 10-12). Whereas Europe broke with itspast, which allowed for its modern progress, the Arabs have not. Amin identifiesmodernity with such a historical break as well as with secularism, thedifferentiation of religion and politics, the emancipation of women, and therest of the term’s conventional elements (pp. 2-3).He criticizes currents “claiming to be Islamic” (p. 6), particularly thoseof the Wahhabi type, viewing Islamic militant groups as manifestations of arevolt against “destructive” capitalism and “deceptive” modernity (p. 6),more interested in sociopolitical issues than in matters of theology. Amin dismissesIran as being no different, although he provides no details (p. 8), and ...
8
Steenekamp, Carina. "The power of exclusion in the works of André Brink and Assia Djebar." Tydskrif vir Letterkunde 59, no. 3 (September 18, 2022): 131–47. http://dx.doi.org/10.17159/tl.v59i3.13304.
Full textAbstract:
South African author André Brink and the Algerian Assia Djebar have been described as a uo of literature and struggle. Various parallels exist between the authors’ oeuvres: both authors strive to create a chain of voices for those who have been ignored or silenced; they attempt to re-evaluate the colonial experience while problematising the complexities of present-day South Africa and Algeria; their narratives foreground language, space, and power struggles between coloniser and colonised, master and slave, man and woman. Their characters represent a desire for freedom and the need for resistance in the quest for liberation. In this article I focus on the comparable role of space, and more specifically spaces of exclusion, in a selection of the authors’ works. Postcolonial theories serve as a framework for establishing Brink and Djebar’s similar stance regarding the notion of exclusion. Amongst others, Homi Bhabha’s concept of the ‘beyond’ and Édouard Glissant’s notion of ‘relation’ are employed to strengthen arguments made concerning the characters’ desire for movement which results from them being excluded from certain spaces. In this article I demonstrate how their characters feel attracted to cross borders that exclude in a quest for inclusion. An endless, open, and powerful movement is the result of the opposing forces of exclusion and attraction their characters experience.
9
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.
Full textAbstract:
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.
10
Rice, Alison. "Activistes féministes: Francophone Women Writers and International Human Rights." French Cultural Studies 31, no. 4 (October 21, 2020): 318–28. http://dx.doi.org/10.1177/0957155820961639.
Full textAbstract:
Several prominent contemporary Francophone women writers have embraced activism in compelling forms. In her written creations, Maïssa Bey from Algeria has continually called attention to the lack of women’s rights in her homeland; she has also initiated writing workshops for women to reflect and express themselves. Fatou Diome, who left Senegal for Strasbourg, has shed light in her work on racism and sexism that African immigrants often face in Europe, and she has created an association in her homeland to help individuals become financially solvent. Yanick Lahens from Haiti has similarly devoted herself to activist endeavours on her island, including co-founding a library and working with youth after the earthquake. As these authors seek to create compassion through writing, they also promote empathy through their engagement outside the text, empowering people of various backgrounds by providing them with literacy skills, business acumen, and a sense that their story matters.
Dissertations / Theses on the topic "Algerian Women authors"
1
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.
Full text
2
Schleppe, Beatriz Eugenia. "Empowering new identities in postcolonial literature by Francophone women writers." Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116178.
Full text
3
Masters, Karen Beth. "Women adrift : familial and cultural alienation in the personal narratives of Francophone women." Thesis, 2015. http://hdl.handle.net/10500/21017.
Full textAbstract:
This study analyzes the experience of alienation from family and culture as portrayed in the personal narratives of francophone women. The authors appearing in this study are Assia Djebar and Marie Cardinal, from Algeria, Mariama Bâ and Ken Bugul, from Senegal, Marguerite Duras and Kim Lefèvre, from Vietnam, Calixthe Beyala, from Cameroon, Gabrielle Roy, from Canada, and Maryse Condé, from Guadeloupe. Alienation is deconstructed into the domains of blood, money, land, religion, education and history. The authors’ experiences of alienation in each domain are classified according to severity and cultural normativity. The study seeks to determine the manner in which alienation manifests in each domain, and to identify factors which aid or hinder recovery.
Alienation in the domain of blood occurs as a result of warfare, illness, racism, ancestral trauma, and the rites of passage of menarche, loss of virginity, and menopause. Money-related alienation is linked to endemic classism, often caused by colonial influence. The authors experienced varying degrees of economic vulnerability to men, depending upon cultural and familial norms. Colonialism, warfare and environmental depending upon cultural and familial norms. Colonialism, warfare and environmental degradation all contribute to alienation in the domain of land. Women were found to be more susceptible to alienation in the domain of religion due to patriarchal religious constructs. In the domain of education, it was found that some alienation is inevitable for all students. Despite its inherent drawbacks, education provides tools for empowerment which are crucial for overcoming alienation. Alienation in the domain of history was found to hinder recovery due to infiltration of past trauma into the present, while empowerment in this domain fosters optimism and future-oriented thinking.
Each domain offers opportunities for empowerment, and it is necessary to work within the domains to create a safe haven for recovery. Eight of the nine authors experienced at least a partial recovery from alienation. This was accomplished via cathartic release of negative emotions. Catharsis is achieved by shedding tears, talking, or writing about the negative experiences. The personal narrative was found to be especially helpful in promoting healing both for the author and the reading audience.Classics and World Languages
D. Litt. et Phil. (French)
Books on the topic "Algerian Women authors"
1
Attouche, Kheira Sid Larbi. Paroles de femmes: 21 cléfs [sic] pour comprendre la littérature féminine en Algérie : essai. [Algiers]: ENAG, 2001.
Find full text
2
Kateb, Yacine. Parce que c'est une femme: Entretien ; La Kahina ou Dihya ; Saout Ennissa, la voix des femmes ; Louise Michel et la Nouvelle-Calédonie : théâtre. Paris: Des femmes, 2004.
Find full text
3
Kateb, Yacine. Parce que c'est une femme: Entretien ; La Kahina ou Dihya ; Saout Ennissa, la voix des femmes ; Louise Michel et la Nouvelle-Calédonie : théâtre. Paris: Des femmes, 2004.
Find full text
5
Balghūl, Shahrah. Āsiyā Jabbār wa-qirāʼatuhā lil-tārīkh al-Islāmī. al-Jazāʼir: Dār Qurṭubah lil-Nashr wa-al-Tawzīʻ, 2015.
Find full text
6
Messaadi, Sakina. Les romancières coloniales et la femme colonisee: Contribution à une étude de la littérature coloniale en Algérie dans la première moitié du XXe siècle. Algeria: Entreprises nationale du livre, 1990.
Find full text
7
editor, Bilʻalī Āminah, and Universite Mouloud Mammeri de Tizi-Ouzou. Laboratoire d'analyse du discours, eds. Assia Djebar: Entre les contraintes de l'écriture dans la langue de l'autre et l'emprise de la mémoire et de l'histoire : Actes du colloque international Expérience créative de Assia Djebar (2013) = Āsiyā Jabbār : bayna ikrāhāt al-kitābah bi-lughat al-ākhar wa-sulṭān al-dhākirah wa-al-tārīkh : ashghāl al-multaqá al-ʻālamī ḥawla tajribat al-kitābah ladá Āsiyā Jabbār (2013). [Tizi-Ouzou]: Editions Elamel, 2015.
Find full text
8
Eysel, Anne Caroline Quignolot. Voyeuses, voyantes et visionnaires: Farida Belghoul, Nina Bouraoui, Bharati Mukherjee - Les révoltées de l'image. Lille: A.N.R.T., Université de Lille III, 2000.
Find full text
9
author, Ray Marie-Christine, ed. Toi, ma soeur étrangère: Algérie-France, sans guerre et sans tabou. Alger: El Ibriz Editions, 2016.
Find full text
10
Belloula, Nacéra. De la pensée vers le papier: Soixante ans d'écriture féminine algérienne : essai. Alger: ENAG editions, 2009.
Find full textBook chapters on the topic "Algerian Women authors"
1
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.
Full textAbstract:
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).
2
Smail Salhi, Zahia. "The New Maghrebi Woman and the Occident: From Occidentophilia to Ambivalence." In Occidentalism, 154–87. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9780748645800.003.0007.
Full textAbstract:
As a reaction to European women’s campaign to save native women from their own men, Algerian authors debated the condition of native women and called for their emancipation through education. Questions around whether French education would divert them from their prime role as the guardians of national culture, whether too much Occidental culture would contaminate and alienate them from their own people, and whether exposure to French ways would incite them to rebel against their traditions and customs were debated at length. These questions and many others were echoed in the work of Djamila Débêche as the first Maghrebi feminist novelist whose novels illustrate the emergence of the French educated native woman, who is active in the public sphere and who, like her male counterparts, she engages with the Occident. Her novels and articles denote a total shift from the image of the silent and secluded native woman to that of the active feminist agent. In order to gain a better understanding of Débêche’s novels this chapter situates them in their feminist context and investigates the influence of French feminism and the emergent Algerian feminist movement on their author’s viewpoints.
3
Bentouir, Naima, Mohammed El Amine Abdelli, and Akinyo Feyisayo Ola. "Driving Economic Development." In The Importance of Entrepreneurship in Fostering Economic Progress, 38–59. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-7127-2.ch003.
Full textAbstract:
This chapter aims to provide insights into the importance of empowering women in entrepreneurship and its potential impact on economic growth. In this study, the authors analyze the influence of women's entrepreneurship on economic growth with a particular focus on Algeria's environment. The research highlights the significant role played by Algerian women in contributing to the country's economic development. To conduct this empirical investigation, they employed five variables: GDP, businesswomen ownership, women in the industrial sector, force labor women, and women's unemployment. The findings shed light on the crucial need to empower women in entrepreneurship and its potential benefits to economic growth 1990 to 2019 using annual data. According to the Johansen test, they found a long-run association between the GDP and the rest of the variables based on the vector error correction model and the co-integration test. The outputs of the VECM model confirmed the first results with a significant and negative coefficient, which means a long-run relationship between the variables.
4
Van de Peer, Stefanie. "Assia Djebar: Algerian Images-son in Experimental Documentaries." In Negotiating Dissidence. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696062.003.0005.
Full textAbstract:
This case study looks at French-Algerian author Assia Djebar, who made two little-known films. This chapter is an exploration of the limited but highly complex and challenging work of an important pioneering North African woman. Algeria’s particularly complex historical and political experience of independence from France, its relationship with Islam and its war-torn historical reality, have determined the lacunae in creative production. As some of the only films to ever have been made by an Algerian woman, La Nouba (1978) and La Zerda (1982) are masterpieces of feminist and anti-colonialist filmmaking. La Nouba is an explicitly feminist work, a documentary interlaced with experimental, symbolic fragments referring to international trends in feminist filmmaking in the seventies. As scholars of Algerian cinema have stated, cinema in the country is steeped in amnesia, consisting of fictional efforts that look away from reality. This chapter frames Djebar’s films differently from previous readings, and draws more challenging conclusions with regard to her transnational identity and her approach to women. More than feminist films, they reveal the filmmaker’s struggle with her own diasporic identity.
5
McGonagle, Joseph. "Shaping spaces: representing people of Algerian heritage." In Representing Ethnicity in Contemporary French Visual Culture. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719079559.003.0003.
Full textAbstract:
This chapter builds on existing studies of how Algerian heritage has been represented across cinema by considering a range of case studies taken from different media, including visual arts, a TV film franchise by the director Yamina Benguigui and autobiographical trilogy by the author Leïla Sebbar. It pays particular attention to how gender and ethnicity interact in this area by focusing on works that have probed the role of women among Algerian diasporas and people of Algerian heritage more generally. As such it additionally aims to counteract the implicit focus on men and masculinity that has characterised many cinematic representations of people of Algerian heritage.
6
Worthen, John. "The First “Women in Love”." In D. H. L Awrence’s Women in Love, 51–77. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195170269.003.0003.
Full textAbstract:
Abstract On 1 October 1998, Cambridge University Press published a book which should have been published more than eighty years before, in the spring of 1917. It had been finished in November 1916, sent to the author’s agent, and from there had gone to the publisher who had a contract to publish it. But the author was D. H. Lawrence, the agent J. B. Pinker, the book the first version of Women in Love, and the publisher Algernon Methuen, who, just twelve months earlier, had been roundly criticized at Bow Street Magistrates Court for publishing the book’s immediate predecessor, The Rainbow. The Magistrate, Sir John Dickinson, had then commented:
7
Walker, Dominic. "Beckett’s Safe Words: Normalising Torture in How It Is." In Beckett Beyond the Normal, 117–32. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474460460.003.0009.
Full textAbstract:
Samuel Beckett excused himself from his affair with Pamela Mitchell with a syntactically evocative phrase: ‘It is I the hurter of the two’. The definite article is telling: How it is (1964 [1961]) universalises one cruel, asymmetric, pseudo-amorous relationship, deducing from it ‘billions’ of similarly helpless, prostrate, mud-bound ‘creatures’, exchanging roles as torturers and victims in a leniently egalitarian distribution of suffering. Titled ‘Pim’ from 1958 until its publication, Beckett’s last, long, prose-like work happened to coincide with the Algerian War of Independence, during which the French authorities tortured captured revolutionary fighters with scant concern for the European Convention on Human Rights. Their pretext was semantic: a novel legal category was invented, ‘pris les armes à la main’, or PAM—a likely homophone both of How it is’s protagonist and of Beckett’s recent ex. Using contemporaneous news reports and recent feminist historical scholarship, ‘Safe Words’ argues that the author’s biographic reminiscences have been transposed onto documented examples of state-sanctioned torture of Algerian women in particular. The essay tentatively concludes that everyday, prosaic acts of gendered domination might not be quite as qualitatively different from official violence as certain readers would wish to believe.
8
Bodenheimer, Rosemarie. "In the Mud." In Samuel Beckett, 94—C4.P51. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192858733.003.0005.
Full textAbstract:
Abstract After the radical experiment of The Unnamable, Beckett struggled depressively for years to conceive and compose another long story in French. Chapter 4 takes on Beckett’s most unlikable fiction, How It Is (1961), which imagines a world of nothing but mud, in which naked male bodies torture one another by way of trying to love them. It describes the author’s struggle to come to terms with this dark view of the violence that lurks in love, by linking it to the Algerian War and to Beckett’s troubled involvement with two women, his life partner Suzanne Descheveux-Dumesnil and his British colleague Barbara Bray. How It Is does, finally, attest to the stark human need for others, as partners or as listeners and recorders who recognize and validate the truth of their subject’s existence.