Journal articles: 'Assia Djebar'

1

Shewmake, Antoinette. "ASSIA DJEBAR." Contemporary French Civilization 11, no. 1 (October 1987): 140–41. http://dx.doi.org/10.3828/cfc.1987.11.1.027.

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Celestin, Roger. "An Interview with Assia Djebar: Un entretien avec Assia Djebar." Contemporary French and Francophone Studies 6, no. 2 (2002): 256–58. http://dx.doi.org/10.1080/718591969.

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Gunaratne, Anjuli I., and Jill M. Jarvis. "Introduction: Inheriting Assia Djebar." Publications of the Modern Language Association of America 131, no. 1 (January 2016): 116–24. http://dx.doi.org/10.1632/pmla.2016.131.1.116.

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4

Bekkat, Amina. "Assia Djebar (1935 - 2015)." Expressions maghrébines 14, no. 2 (2015): 135–38. http://dx.doi.org/10.1353/exp.2015.0023.

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Spivak, Gayatri Chakravorty. "Assia Djebar: In Memoriam." Romanic Review 106, no. 1-4 (January 1, 2015): 7–12. http://dx.doi.org/10.1215/26885220-106.1-4.7.

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Moore, Lindsey. "Assia Djebar (1936–2015)." Journal of Commonwealth Literature 50, no. 2 (May 14, 2015): 251–55. http://dx.doi.org/10.1177/0021989415582126.

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Melić, Katarina V. "Hearing Silent Voices: Women and History in Assia Djebar's Novels." Issues in Ethnology and Anthropology 12, no. 1 (March 31, 2017): 219. http://dx.doi.org/10.21301/eap.v12i1.10.

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Silence in the universe of women in the Maghreb is a common topic in theFrancophone literature. The main topic in Assia Djebar’s writings in what hasbeen called the second period of her literary production (1980–1990) is resurrecting the silent voices of women in history. By breaking the silence imposed on women and giving them a voice and a memory, Assia Djebar unveils the silences of the Algerian history (past and contemporary). We intend to examine in this paper the silences unveiled by Assia Djebar in her novels of this period – Femmes d’Alger dans leur appartement, L’amour, la fantasia, Ombre sultane and Loin de Médine – in order to show how Assia Djebar (re)builds another critical view of history and restores the hidden voices of women and places for them in history, thus bringing into question the relationship between fiction and history, women and history. To this end, we will rely on theories of postmodern historiography and on the Derridean concept of phenomenological voice identified as a “third space” in which the woman exists as a subject.

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Jiménez Morell, Inmaculada. "Assia Djebar, la lengua del enemigo." Arbor 185, A1 (June 29, 2009): 147–59. http://dx.doi.org/10.3989/arbor.2009.ia1.798.

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9

Gallagher, Mary. "Assia Djebar: littérature et transmission." Irish Journal of French Studies 8, no. 1 (December 1, 2008): 130–32. http://dx.doi.org/10.7173/164913308818438427.

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10

de Medeiros, Ana. "An Interview with Assia Djebar." Wasafiri 23, no. 4 (December 2008): 25–28. http://dx.doi.org/10.1080/02690050802407888.

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Dobie, Madeleine. "Assia Djebar: Patterns of Resistance." Romanic Review 106, no. 1-4 (January 1, 2015): 1–5. http://dx.doi.org/10.1215/26885220-106.1-4.1.

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12

Frischmuth, Barbara, and William Riggan. "A Letter to Assia Djebar." World Literature Today 70, no. 4 (1996): 778. http://dx.doi.org/10.2307/40152296.

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13

Kelley, David. "Assia Djebar: Parallels and Paradoxes." World Literature Today 70, no. 4 (1996): 844. http://dx.doi.org/10.2307/40152311.

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14

Donadey, A. "Assia Djebar: Out of Algeria." French Studies 62, no. 1 (January 1, 2008): 106. http://dx.doi.org/10.1093/fs/knm269.

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15

Bekhechi, Amine. "Assia Djebar (review)." Nouvelles Études Francophones 25, no. 2 (2010): 250–52. http://dx.doi.org/10.1353/nef.2010.0053.

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16

Ménager, S.-D. "Assia Djebar, de l'écriture au cinéma." Literator 21, no. 3 (April 26, 2000): 109–22. http://dx.doi.org/10.4102/lit.v21i3.502.

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Assia Djebar, from writing to filming In 1978 Assia Djebar was already a well established Francophone Algerian woman writer. It was during that year that her first film La nouba des femmes du mont Chenoua was shown in Algerian cinemas. This first attempt was followed by a second film La Zerda ou les chants de I’oubli. These concurrent creative processes show how, for Djebar, writing and filming are two closely linked activities.

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17

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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18

Ferraroni, Roberto. "Traduire Assia Djebar, dir. A. Chaouati." Studi Francesi, no. 192 (LXIV | III) (December 1, 2020): 708–9. http://dx.doi.org/10.4000/studifrancesi.43091.

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19

Donadey, Anne. "In Memoriam: Assia Djebar, 1936-2015." Publications of the Modern Language Association of America 131, no. 1 (January 2016): 147–52. http://dx.doi.org/10.1632/pmla.2016.131.1.147.

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20

Klapisch-Zuber, Christiane. "Hommage à Assia Djebar (1936-2015)." Clio, no. 41 (June 10, 2015): 239–41. http://dx.doi.org/10.4000/clio.12446.

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21

Simon, Daniel, and Assia Djebar. "A Brief Conversation with Assia Djebar." World Literature Today 80, no. 4 (2006): 15. http://dx.doi.org/10.2307/40159127.

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22

Ahnouch, Fatima, and Pamela A. Genova. "Assia Djebar: The Song of Writing." World Literature Today 70, no. 4 (1996): 795. http://dx.doi.org/10.2307/40152304.

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23

Hiddleston, J. "The Specific Plurality of Assia Djebar." French Studies 58, no. 3 (July 1, 2004): 371–84. http://dx.doi.org/10.1093/fs/58.3.371.

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24

Hiddleston, Jane. "Assia Djebar: In Dialogue with Feminisms." French Studies 61, no. 2 (January 1, 2007): 248–49. http://dx.doi.org/10.1093/fs/knm041.

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25

Chatti, Mounira. "Assia Djebar, la voix des autres." Nouvelles Études Francophones 30, no. 1 (2015): 1–10. http://dx.doi.org/10.1353/nef.2015.0033.

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26

Stabile, Valeria. "Velar las palabras, callar las heridas. La memoria de la Guerra franco-argelina en la producción de Assia Djebar = Veiling voices, silencing wounds. The memory of the French Algerian War in Assia Djebar’s production." Estudios Humanísticos. Filología, no. 39 (December 15, 2017): 107. http://dx.doi.org/10.18002/ehf.v0i39.5097.

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Con el presente ensayo es mi intención explorar las técnicas narrativas que han permitido a Assia Djebar crear su peculiar estilo de escritura; un estilo que ha permitido a la autora argelina superar los límites del silencio y de la segregación impuestos a las mujeres argelinas en el periodo colonial y post-colonial de la historia de Argelia.In this paper, I would like to explore the narrative strategies that allow Assia Djebar to create her peculiar style of writing. Thanks to this style, Assia Djebar was able to overcome women’s silence and segregation that they were forced to respect during the Algerian colonial and postcolonial history.

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27

Hiddleston, Jane. "Imprisonment, freedom, and literary opacity in the work of Nawal El Saadawi and Assia Djebar." Feminist Theory 11, no. 2 (August 2010): 171–87. http://dx.doi.org/10.1177/1464700110366815.

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In her astute study of contemporary Arab women writers, Anastasia Valassopoulos begins by noting the pitfalls of much existing criticism of writers such as El Saadawi and Djebar in the West. Citing Amal Amireh’s article on the fraught history of the reception of El Saadawi in Egypt and in Europe, Valassopoulos comments that Arab women’s literature tends to be seen as ‘documentary’, and this obscures the ‘core issue of representation’ as it is explored and challenged by women writers. In the face of this omission, the present article explores a selection of works by El Saadawi and Djebar from an aesthetic perspective. El Saadawi and Djebar use literary writing as a means to escape the constraints placed upon them by patriarchy, as well as by colonialism, and uphold creativity and poetry as a possible release from imprisonment. This article also uses Glissant’s and Bhabha’s concepts of literary opacity and the right to narrate as a partial framework for a reading of the relation between writing, freedom and aesthetic form in the works of El Saadawi and Djebar. El Saadawi and Djebar purposefully deploy a form of self-effacement, both in their autobiographical representations and in their portraits of female characters, also akin to Trinh Minh-ha’s strategy in Woman, Native, Other. Minh-ha’s dissemination of the writing voice, and the affirmation of collective solidarity between multiple but internally fragmentary feminist positions, serves, then, as a further theoretical backdrop for El Saadawi’s and Djebar’s use of opacity and the right to narrate as tools in an active feminist resistance to sexist and racist discourses. Both El Saadawi and Djebar use their writing to conceive women’s liberation from various forms of imprisonment, and they figure women’s fractured, convoluted and at times opaque self-expression as a direct form of resistance to both patriarchal and colonial oppression.

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28

Cazenave, Odile. "Retracing Assia Djebar's Steps." Publications of the Modern Language Association of America 131, no. 1 (January 2016): 140–46. http://dx.doi.org/10.1632/pmla.2016.131.1.140.

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There is something daunting about writing an homage to an artist who just died. One is faced with questions of proximity, expertise, and knowledge: questions on how to evoke the person and oeuvre without giving oneself too much prominence, questions on the intended audience and adequate tonality as well as the standpoint one is speaking from. This is especially true with the Algerian writer, filmmaker, historian, and playwright Assia Djebar: “As a Moslem woman, educated in the French system while her country was still under de-facto colonial rule and witness to eight years of brutal war while still in her twenties, Djebar is the only writer of her sex and her generation who has managed an impressive output both before and after her country's accession to independence” (Zimra, Afterword 163). As Clarisse Zimra further reminds us in “A Daughter's Call,” “By the time of her death, Assia Djebar had been writing for nearly sixty years.” The range of her training, her professional experience on three continents (Africa, Europe, North America), and her practice of different genres are just as impressive. She received several prestigious awards, including the FIPRESCI Prize at the Venice Film Festival in 1979 for her film La nouba des femmes du mont Chenoua (1978; “The Nouba of the Women of Mount Chenoua”) and the Neustadt Prize (1996), often considered a gateway to the Nobel Prize (for which she was short-listed twice). Elected to the Académie Française in 2005, she is, as Zimra remarks, “une immortelle.”

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29

Vitali, Ilaria. "Beïda Chikhi, Assia Djebar. Histoires et fantaisies." Studi Francesi, no. 155 (LII | II) (October 1, 2008): 498–99. http://dx.doi.org/10.4000/studifrancesi.9057.

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30

Dobie, Madeleine. "Assia Djebar: Writing between Land and Language." Publications of the Modern Language Association of America 131, no. 1 (January 2016): 128–33. http://dx.doi.org/10.1632/pmla.2016.131.1.128.

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The death of assia djebar on 7 february 2015 marks the end of an era in literary and world history. The last survivor of the generation of Algerian writers who took up the pen in the mid-1950s as their country embarked on its historic struggle for independence from France, Djebar continued writing long after the deaths of Mouloud Feraoun (1962), Kateb Yacine (1989), Mouloud Mammeri (1989), and Mohammed Dib (2003). With her death, the age of decolonization and African revolution as it resonated in literature seems truly to have come to a close. Djebar was the only woman among the Algerian literary pioneers, and her work, which includes novels, essays, documentary films, and plays, explores, above all, the experience of Algerian women. Challenging official nationalism, these counternarratives tell stories about women's roles in war in which the political doesn't efface the personal and victory doesn't signal the end of suffering or the fading of loss. This oppositional stance was carried even into the rituals observed in the aftermath of her death. Official services conducted at the airport and the Palais de la Culture in Algiers were shadowed and indeed overshadowed by less-formal ceremonies in which family, friends, and members of Algerian women's movements recited poetry and chanted Berber songs.

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31

Zimra, Clarisse. "Writing Woman: The Novels of Assia Djebar." SubStance 21, no. 3 (1992): 68. http://dx.doi.org/10.2307/3685116.

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32

Schmidt, Johanne Gormsen. "Tavshedens terror - Assia Djebar, Derrida og Algeriet." K&K - Kultur og Klasse 43, no. 119 (September 29, 2015): 127–46. http://dx.doi.org/10.7146/kok.v43i119.22248.

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Born in Algeria, but educated in the French educational system, Derrida and Djebar both write from a slippery position of in-betweenness, explicitly relating their understanding of language and culture to their problematic, French-Algerian identity.Djebar’s novel, So Vast the Prison, is driven by a desire to hear the beloved, silenced voices of her ancestors, but nevertheless radically opposes the idea of a self-sufficient Algerian identity that has been lost and needs to be salvaged. In Djebar, to track down history is rather like exposing a wound; to realize that the break with the past is unmendable. In keeping with Derrida’s Monolingualism of the Other, the retrospection of So Vast never reaches behind the bilingual condition, suggesting that the colonized is always already entangled in the colonizer.Paradoxically, So Vast presents the colonizer’s silencing of the Algerian people not as the hindrance to, but as the very precondition for liberation, as traces of a Derridean, radically other language resonate from the muffled voices trapped inside the French. Gaining their strength precisely by having no voice and no place, they terrorize the official culture from within, indefatigably destabilizing those phantasms and ideologies that claim to inhabit an unsplit tongue. The Franco-Maghrebian position thus offers a welcome chance of revealing the arbitrariness of the existing law, potentially deconstructing the truth claim of any system.

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33

Clézio, Marguerite Le. "ASSIA DJEBAR: ÉCRIRE DANS LA LANGUE ADVERSE." Contemporary French Civilization 9, no. 2 (July 1985): 230–44. http://dx.doi.org/10.3828/cfc.1985.9.2.007.

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34

Klapisch-Zuber, Christiane. "A Tribute to Assia Djebar (1936-2015)." Clio, no. 41 (May 31, 2015): 239–41. http://dx.doi.org/10.4000/cliowgh.982.

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35

Ishikawa, Kiyoko. "Lire et Traduire Assia Djebar au Japon." الخطاب, no. 16 (June 2013): 83–96. http://dx.doi.org/10.12816/0008788.

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36

Dib, Mohammed, and Pamela A. Genova. "Assia Djebar, or Eve in Her Garden." World Literature Today 70, no. 4 (1996): 788. http://dx.doi.org/10.2307/40152302.

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37

Tomlinson, Emily. "Assia Djebar: Speaking to the Living Dead." Paragraph 26, no. 3 (November 2003): 34–50. http://dx.doi.org/10.3366/para.2003.26.3.34.

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38

Nkealah, Naomi. "Reconciling Arabo-Islamic culture and feminist consciousness in North African women’s writing: Silence and voice in the short stories of Alifa Rifaat and Assia Djebar." Tydskrif vir Letterkunde 45, no. 1 (February 15, 2018): 19–41. http://dx.doi.org/10.17159/2309-9070/tvl.v.45i1.4459.

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This article sets out to explore the theme of silence and voice in selected short stories by two North African women writers, Alifa Rifaat and Assia Djebar. In their representations of women’s lives in Egypt and Algeria, respectively, both Rifaat and Djebar present different strategies employed by women to counter gender oppression. Although the female characters portrayed by both writers encounter diverse, and sometimes opposing, circumstances, they tend to share a common plight – the need to break free from the constricting fetters of patriarchy. A comparative reading of selected stories reveals that Rifaat’s characters resort to silence as a means of self-preservation, while Djebar’s characters, on the other hand, use techniques ranging from writing to outright protest to show their rejection of gender-based segregation. In spite of this difference in approach, it can be said that both Rifaat and Djebar have made a great contribution to feminist literary creativity in North Africa.

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39

Hazel, Alexa. "The Politics of Form in Assia Djebar’s L’Amour, la fantasia." Cambridge Journal of Postcolonial Literary Inquiry 6, no. 03 (September 2019): 347–65. http://dx.doi.org/10.1017/pli.2019.4.

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This article calls attention to the categorical confinement of Algerian novelist, historian, and feminist Assia Djebar (1936–2015), and argues that the politicization of Djebar’s text has contributed to the relative obscurity of her work. Following a call by Françoise Lionnet to reimagine the relationship between politics and aesthetics in critical response, I analyze modified repetition—rhyme, recall, echo, imitation, and mirror—as a formal device in L’Amour, la fantasia. In its third section, this paper, drawing from Rita Felski’s discussion of the four types of activities in which academics engage, argues for the importance of formal comparison in postcolonial scholarship. In attending to the particulars of Djebar’s text, so as to privilege connection, postcolonial scholars might increase her exposure and broaden the reach of postcolonial theory.

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40

El Guabli, Brahim. "Writing against Mourning: Memory in Assia Djebar’s Franco-graphie." Cambridge Journal of Postcolonial Literary Inquiry 6, no. 1 (January 2019): 14–29. http://dx.doi.org/10.1017/pli.2018.27.

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In this article, I provide a new reading of Djebar’s Le Blanc de l’Algérie as being antimourning. I argue that in the face of institutionalized amnesia and excessive commemoration, Djebar’s refusal to mourn her dead friends institutes a politics of antimourning that seeks to reckon with the larger memory and history of silenced political murders in Algeria. Rejection of mourning enables remembering and empowers feminist engagements with the past. Rather than being another al-Khansā’—the Arab dirge poet who composed elegies for her slain brother, Ṣakhr—Djebar sees herself in Polybe’s footsteps. In offering this new argument, I aim to steer scholarly conversations to antimourning as a condition for healing in postcolonial contexts. Conscious of the centrality of language in Djebar’s writings and in her larger Maghrebi context, I have developed the undertheorized concept of Franco-graphie, which I propose opens up a new space to conceptualize violence and amnesia in writings that emerge from postcolonial, multilingual contexts, and their contested legacies.

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41

Tête, Martin. "Wolfgang Asholt et Lise Gauvin, dir. Assia Djebar et la transgression des limites linguistiques, littéraires et culturelles." Voix Plurielles 15, no. 2 (December 9, 2018): 268. http://dx.doi.org/10.26522/vp.v15i2.2102.

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Brun, Catherine. "Assia Djebar : jalons pour l’itinéraire d’un « je-nous »." Revue d'histoire littéraire de la France 116, no. 4 (2016): 915. http://dx.doi.org/10.3917/rhlf.164.0915.

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Mortimer, Mildred. "Edward Said and Assia Djebar: A Contrapuntal Reading." Research in African Literatures 36, no. 3 (September 2005): 53–67. http://dx.doi.org/10.2979/ral.2005.36.3.53.

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44

Smith, Sophie. "Assia Djebar: Out of Algeria by Jane Hiddleston." Modern Language Review 103, no. 1 (2008): 247–48. http://dx.doi.org/10.1353/mlr.2008.0055.

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45

Desaulniers Martineau, Lyne. "Assia Djebar : de la sève vers le sens." Insaniyat / إنسانيات, no. 50 (December 30, 2010): 2334. http://dx.doi.org/10.4000/insaniyat.5109.

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46

Valat, Colette. "Assia Djebar : faire entendre des voix de femmes." Horizons Maghrébins - Le droit à la mémoire 60, no. 1 (2009): 78–83. http://dx.doi.org/10.3406/horma.2009.2708.

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47

Steadman, Jennifer Bernhardt. "A Global Feminist Travels: Assia Djebar and Fantasia." Meridians: feminism, race, transnationalism 4, no. 1 (2003): 173–99. http://dx.doi.org/10.1353/mer.2004.0014.

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48

Gracki, Katherine. "Assia Djebar et l'écriture de l'autobiographie au pluriel." Women in French Studies 2, no. 1 (1994): 55–66. http://dx.doi.org/10.1353/wfs.1994.0007.

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49

Mortimer, Mildred P. "Edward Said and Assia Djebar: A Contrapuntal Reading." Research in African Literatures 36, no. 3 (2005): 53–67. http://dx.doi.org/10.1353/ral.2005.0154.

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50

Jimia Boutouba. "Assia Djebar: Out of Algeria (review)." French Forum 33, no. 1-2 (2008): 279–82. http://dx.doi.org/10.1353/frf.0.0031.

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Journal articles on the topic 'Assia Djebar'

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