Relevant bibliographies by topics / Djebar, Assia, Women in literature

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Academic literature on the topic 'Djebar, Assia, Women in literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Djebar, Assia, Women in literature"

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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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Faulkner, Rita A. "Assia Djebar, Frantz Fanon, Women, Veils, and Land." World Literature Today 70, no. 4 (1996): 847. http://dx.doi.org/10.2307/40152312.

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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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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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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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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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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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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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Mortimer, Mildred. "Zoulikha, the Martyr of Cherchell, in Film and Fiction." Publications of the Modern Language Association of America 131, no. 1 (January 2016): 134–39. http://dx.doi.org/10.1632/pmla.2016.131.1.134.

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Readers of assia djebar's oeuvre are well aware of her commitment to restoring algerian women to their proper place in the history of their nation's anticolonial struggle. Beginning with her third novel, Les enfants du nouveau monde (1965; Children of the New World), a text offering a panoramic view of women's participation in the Algerian War, Djebar signaled her intent to chart women's political and psychological awakening during the anticolonial struggle. In contrast to this early text, Djebar's penultimate work, La femme sans sépulture (2002; “Woman without a Tomb”), focuses on one revolutionary figure: Yamina Echaïb Oudaï, known as Zoulikha, the martyr of Cherchell.
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Nkealah, Naomi. "The Postcolonial Writings of Assia Djebar: Re-imagining Women in ‘Women of Algiers in their Apartment’." English Academy Review 35, no. 2 (July 3, 2018): 8–23. http://dx.doi.org/10.1080/10131752.2018.1538006.

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Dissertations / Theses on the topic "Djebar, Assia, Women in literature"

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Bouaissi, Zahia. "Femmes aux frontiéres de l'interdit étude des premiers romans d'Assia Djebar (1957-1969) /." Göteborg: Göteborgs Universitet, 2009. http://catalog.hathitrust.org/api/volumes/oclc/369310231.html.

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Ivantcheva-Merjanska, Irene. "Assia Djebar et Julia Kristeva: choisir le français comme langue d'écriture." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307104630.

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Harsh, Mary Anne. "From muse to militant francophone women novelists and surrealist aesthetics /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1199254932.

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Still, Edward. "Representing the Algerian woman in Francophone literature of the late-colonial period : une dissymétrie s'évoque." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:15de2de5-ef05-4e08-8508-5da1da4d6973.

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This thesis seeks to discuss the ways in which canonical Francophone Algerian authors, writing in the late-colonial period (1945 - 1962), namely Kateb Yacine, Mohammed Dib, Mouloud Feraoun, Mouloud Mammeri and Assia Djebar, approached the representation of Algerian women through literature. The thesis, divided into five chapters, each focusing on the late-colonial oeuvre of one writer, initially makes use of Bourdieusian conceptions relating to a gendered "dissymétrie fondementale" and concomitant Spivakian notions of representation, to argue that a masculine domination of public fields of representation contributed to, if not ensured, a post-colonial marginalization of women and a reduction of their public role. However, it is the principal argument of this thesis that the canonical writers of the period, who were mostly male, both textually acknowledge their inability to articulate the experiences and subjectivity of the feminine Other, to represent women, and deploy a remarkable variety of formal and conceptual innovations in an attempt to tentatively produce evocations of Algerian femininity that seek to upset or highlight the structural imbalance of masculine symbolic hegemony in literary and socio-political milieux. Though this thesis does not shy from investigating those aspects of its corpus that produce ideologically conditioned masculinist representations, it chiefly seeks to articulate a shared reluctance concerning representativity and an omnipresent literary subversion of a masculine subject pole. It deploys formal narrative analysis, Lacanian psychoanalytical frameworks and a conceptualisation of "pessimistic" form to achieve these ends and to argue that the texts of its corpus discreetly militate for a communal feminine self-representation to be inaugurated, before outlining in its conclusion a post-colonial Algerian feminine literary tradition, in particular contemporary symbolic conduits such as la bande dessinée that might serve as effective motors for progression in gender relations.
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Weber-Fève, Stacey A. "There's no place like home: homemaking, making home, and femininity in contemporary women's filmmaking and the literature of the MÉTROPOL and the MAGHREB." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1148746370.

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Weber-Fève, Stacey A. "There's no place like home homemaking, making home, and femininity in contemporary women's filmmaking and the literature of the Métropol and the Maghreb /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148746370.

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Newbold, Marianne Goncalo. "L'exil des mots dans Le blanc de l'Algerie d'Assia Djebar." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1218565745.

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Nickenig, Annika. "Diskurse der Gewalt : Spiegelung von Machtstrukturen im Werk von Elfriede Jelinek und Assia Djebar /." Marburg : Tectum-Verl, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2908897&prov=M&dok_var=1&dok_ext=htm.

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Praud, Julia Marie. "Nationalism's discontents postcolonial contestations in the writings of Mariama Ba, Assia Djebar, Henri Lopes, and Ousmane Sembene /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117566472.

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Lameirinha, Cristianne Aparecida de Brito. "Língua, Exílio e Memória: uma leitura comparativa de Le Premier Homme, de Albert Camus e La disparition de la langue française, de Assia Djebar." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-08012014-153130/.

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Este estudo propõe uma análise comparativa entre Le Premier Homme, de Albert Camus, e La disparition de la langue française, de Assia Djebar, tendo como contexto os impasses que cercaram a colonização francesa da Argélia, bem como o período posterior à sua independência, a partir da reflexão sobre as inter-relações língua, exílio e memória. Albert Camus é um escritor de origem francesa, nascido na Argélia. Assia Djebar é uma argelina de origem árabe, que escreve em francês. Nos romances em questão, parte-se da perspectiva da vida privada dos protagonistas para alcançar o espaço da memória coletiva tanto de franceses pobres quanto de árabes. Jacques Cormery e Berkane constituem-se como porta-vozes de seus antepassados, restituindo-lhes o direito a uma memória esfacelada e vista como desimportante pelo poder colonial. A fim de estabelecer essa leitura comparativa, procura-se compreender a relevância da literatura magrebina de língua francesa, com destaque para a produção da Argélia, em paralelo aos princípios ético-culturais da École dAlger, movimento ao qual se associava Albert Camus. A seguir, refletimos sobre as relações entre os conceitos de literatura e história, ficção e autobiografia, fundamentais à análise propriamente dita de ambos os romances.
The aim of this study is to develop a comparative analysis of Albert Camus Le Premier Homme and La disparition de la langue française, by Algerian writer Assia Djebar, having as backdrop the context of French colonization deadlocks in Algeria, as well as in the period after independence. Our starting point is based around reflection on the relations between language, exile and memory. Albert Camus, of French origin, was born in Algeria, while Assia Djebar, of Arab descent, writes in French. The analysis of both novels begins from the perspective of the private lives of the main characters, to establish a space of collective memory of both poor people of French origin and people of Arab descent. Jacques Cormery and Berkane became spokesmen of their ancestors, thus restoring to them the right to a shattered memory, seen as unimportant by the colonial power. To achieve this comparative reading, it is necessary to understand the relevance of Maghrebian literature in French, with emphasis on the production of Algeria, in parallel to the ethical-cultural École dAlger, movement to which Albert Camus was associated. Next, we reflect upon the relationship between the concepts of literature and history, fiction and autobiography, fundamental to the analysis of both novels.
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Books on the topic "Djebar, Assia, Women in literature"

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Assia Djebar. Paris: ADPF, Ministère des affaires étrangères, 2006.

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Assia Djebar: Histoires et fantaisies. Paris: PUPS, 2007.

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Chikhi, Beïda. Assia Djebar: Histoires et fantaisies. Paris: Presses de l'Université de Paris-Sorbonne, 2007.

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Rocca, Anna. Assia Djebar, le corps invisible: Voir sans être vue. Paris: L'Harmattan, 2004.

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Rocca, Anna. Assia Djebar, le corps invisible: Voir sans être vue. Paris: L'Harmattan, 2004.

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Assia Djebar, le corps invisible: Voir sans etre vue. Paris: L'Harmattan, 2004.

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Soares, Vera Lucia. A escritura dos silêncios: Assia Djebar e o discurso do colonizado no feminino. Niterói, RJ: Editora da Universidade Federal Fluminense, 1998.

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Hagars Töchter: Der Islam im Werk Assia Djebars. Ostfildern: Grünewald, 2011.

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Two major Francophone women writers, Assia Djébar and Leila Sebbar: A thematic study of their works. New York: P. Lang, 1999.

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Les écrivaines francophones en liberté: Farida Belghoul, Maryse Condé, Assia Djebar, Calixthe Beyala : écritures de l'hybridité postcoloniale et métaphores cognitives. Paris: Harmattan, 2007.

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Book chapters on the topic "Djebar, Assia, Women in literature"

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Hiddleston, Jane. "Feminism and Women’s Identity." In Assia Djebar, 80–119. Liverpool University Press, 2006. http://dx.doi.org/10.5949/liverpool/9781846310317.003.0004.

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‘Feminism and Women’s Identity’ discusses Djebar’s representation of womanhood and femininity in her work. It attempts to locate her position on feminism by comparing the writer’s disassociation from women’s writing movements with the re-telling of the history of women in Algeria. The chapter also notes Djebar’s transcendence of conventional gender distinctions and labels, as well as her depiction of the political position of women in Algeria.
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Hiddleston, Jane. "The Early Years." In Assia Djebar, 21–52. Liverpool University Press, 2006. http://dx.doi.org/10.5949/liverpool/9781846310317.003.0002.

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This first chapter studies Djebar’s works published during the early years of her career, from her first novel La Soif to the last of her novels written in the early period, Les Alouettes naïves. The chapter explores Djebar’s notions of identity construction, the role of women, including their subordination and revolt, social convention, political thought, and Algerian identity.
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"6. Assia Djebar – Movements Towards Self-reflexive Representation." In Representing Algerian Women, 167–99. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110586107-008.

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"Literary Language and the Translated Self of Assia Djebar." In Transcultural Identities in Contemporary Literature, 201–21. Brill | Rodopi, 2013. http://dx.doi.org/10.1163/9789401209878_011.

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Nasser, Tahia Abdel. "Revolutionary Memoirs: Assia Djebar and Latifa al-Zayyat." In Literary Autobiography and Arab National Struggles. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474420228.003.0003.

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This chapter focuses on the autobiographical novels and memoirs of two important twentieth-century Arab women writers who provide models for the adaptation of the genre in colonial and postcolonial cultures: Fantasia: An Algerian Cavalcade and Nowhere in My Father’s House, two Francophone autobiographical novels by Algerian writer Assia Djebar, and The Search: Personal Papers, a memoir in Arabic by Egyptian writer Latifa al-Zayyat. By framing autobiographical production in anticolonial national movements, Djebar and al-Zayyat rework the genre to comment on postcolonial cultures. Both writers contest colonial formations and offer revolutionary representations of solitude in the postcolonial nation: the Francophone Algerian writer’s challenge to the French archive of the Algerian War of Independence and the Egyptian writer’s reexamination of national culture and the history of the 1940s student movement. In the chapter, solitude is read as an emancipatory opportunity when the writers rethink the language of the new nation through autobiography.
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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.

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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.
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Lachman, Kathryn. "Edward Said and Assia Djebar Counterpoint and the Practice of Comparative Literature." In Borrowed Forms, 59–88. Liverpool University Press, 2014. http://dx.doi.org/10.5949/liverpool/9781781380307.003.0003.

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Walonen, Michael K. "Sedimented Colonizations in the Maghrebine Writings of Kateb Yacine, Assia Djebar, and Paul Bowles." In Biopolitics and Memory in Postcolonial Literature and Culture, 165–78. Routledge, 2017. http://dx.doi.org/10.4324/9781315563060-9.

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El Shakry, Hoda. "The Polyphonic Hermeneutics of Assia Djebar’s L’amour, la fantasia." In The Literary Qur'an, 100–116. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286362.003.0005.

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Chapter 4 examines Assia Djebar’s (1936–2015) celebrated 1985 novel L’amour, la fantasia [translated as Fantasia: An Algerian Cavalcade]. The work is a palimpsest of texts that weaves together: French archival records and eyewitness accounts of the occupation of Algeria in the 1830s, oral histories recorded in Algerian dialect and Tamazight by women involved in the war of independence from 1954 through 1962, as well as Djebar’s personal memories and reflections. The chapter argues that Djebar models a practice of ethical reading [ijtihād] in her re-narration of official histories and archives—colonial, national, as well as Islamic. It resituates L’amour, la fantasia, outside of the postcolonial, feminist, and Francophone critical paradigms that dominate the copious scholarship on her work. However, rather than reading gender and language as external to Qurʾanic intertextuality, the chapter emphasizes how they inform and shape Djebar’s narrative ethics—largely through the novel’s insistence on orality and embodiment.
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El Shakry, Hoda. "Politics, Poetics, Piety." In The Literary Qur'an, 159–66. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286362.003.0008.

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The Epilogue returns to novelist and critic Maḥmud Al-Masʿadī, to discuss his 1957 epistolary exchange with the Egyptian critic and writer Ṭāhā Ḥusayn—the figurehead par excellence of the nahḍa [Arab ‘Renaissance’] and Arab Modernist movement. Ḥusayn transposed al-Masʿadī’s fiction into the politically charged debates on literary commitment [engagement] and existentialism that preoccupied intellectuals across the decolonizing world. The exchange sheds light on the ways in which the elision of cultural production from the Maghreb in critical literature on the nahḍa works in concert with the framing of Arab modernity as a secular project. The chapter argues that al-Masʿadī’s literary and critical writings—like those of Abdelwahab Meddeb, al-Ṭāhir Waṭṭār, Assia Djebar, Driss Chraïbi, and Muḥammad Barrāda—invite us to reimagine the relationship between culture, politics, and ethics. Their works envision the public intellectual as an ethical subject engaged in narrative acts of creation.
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