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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Donadey, Anne. "Two Major Francophone Women Writers, Assia Djebar and Leila Sebbar: A Thematic Study of Their Works (review)." Research in African Literatures 33, no. 1 (2002): 194–95. http://dx.doi.org/10.1353/ral.2002.0015.

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12

Mortimer. "Tortured Bodies, Resilient Souls: Algeria's Women Combatants Depicted by Danièèle Djamila Amrane-Minne, Louisette Ighilahriz, and Assia Djebar." Research in African Literatures 43, no. 1 (2012): 101. http://dx.doi.org/10.2979/reseafrilite.43.1.101.

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13

Gafaiti, Hafid. "The Blood of Writing: Assia Djebar's Unveiling of Women and History." World Literature Today 70, no. 4 (1996): 813. http://dx.doi.org/10.2307/40152308.

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14

Boubayaa Naciera, Belfar. "Le prix de la célébrité acquise par la transgression." Voix Plurielles 12, no. 2 (December 12, 2015): 297–309. http://dx.doi.org/10.26522/vp.v12i2.1289.

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Transgresser est un terme très intéressant qui peut prendre différentes dimensions dans des contextes distincts. Dans le monde de la littérature, la transgression est souvent suggérée par une échappée de normes. Ces normes peuvent découler des règles du genre dans lequel un écrivain s’inscrit. En même temps, ces normes peuvent être le reflet d’institutions à respecter avec des codes de vie bien précis. Nous proposons dans notre article de nous pencher sur deux écrivaines. En effet, Assia Djebar et Charlotte Brontë ont transgressé le genre du roman dans une écriture merveilleusement attirante, réaliste et inspiratrice qui réclame une ouverture sur bien des domaines. Comment ont-elles procédé ? Quels sont les éléments qui leur ont permis d’écrire ? En même temps, thématiquement, ce qui est exposé dans les romans de ces deux écrivaines représente une transgression des normes du code de vie à une époque où peu de femmes pouvaient être porteuses de témoignages à travers l’écriture. En effet pour le dix-neuvième siècle en Angleterre et le vingtième siècle en Algérie, les quêtes des écrivaines vont bien au delà des normes à respecter. Ce qui peut paraitre en 2013 comme normal, ne l’a pas toujours été. Quelles sont les exigences que ces écrivaines ont du braver ? Quels sont les obstacles et les interdits communs aux deux écrivaines dans des époques et des pays bien différents ? Quelles sont les normes, reflétées dans leurs romans, qu’elles se devaient de transgresser ? Notre article propose d’illustrer comment ces deux écrivaines sont parvenues à faire reconnaitre et accepter leurs romans dans des sociétés dominées par des productions masculines. Le prix de la célébrité n’a pas été acquis facilement. The price of fame acquired by transgression Abstract: To transgress is a very interesting term which can take different dimensions in different contexts. In the world of literature, transgression is often suggested by a by a breakaway of standards. These standards may arise from rules of the genre in which a writer falls. At the same time, these standards may reflect institutions to comply with specific codes of conduct. This article proposes to look at two women writers. Indeed, Assia Djebar and Charlotte Brontë transgressed the genre of the novel in a wonderfully attractive writing, realistic and inspiring, claiming an opening on many areas. How did they do it? What are the elements that have allowed them to write? At the same time, thematically, what is stated in the novels of these writers is a transgression of the code of living standards at a time when few women could be carriers of testimony through writing. Indeed for the nineteenth century in England and the twentieth century in Algeria, women writers’ quests go well beyond the standards to be met. What may seem as normal in 2013, has not always been so. What are the requirements that these writers were to brave? What are the obstacles and the banned aspects which are common to both writers in different times and different countries? What are the standards they reflect in their novels and which they had to break? This article is to illustrate how these two women writers have managed to be recognized and to have their novels accepted in societies dominated by male productions. The price of fame was not acquired easily.

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15

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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16

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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17

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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18

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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19

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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20

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.

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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.

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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

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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24

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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25

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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26

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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27

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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28

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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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

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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31

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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32

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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33

Gass, William. "Encomium for Assia Djebar, 1996 Neustadt Prize Laureate." World Literature Today 70, no. 4 (1996): 781. http://dx.doi.org/10.2307/40152297.

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34

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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35

Mary Jean Green. "Assia Djebar: Out of Algeria (review)." South Central Review 25, no. 3 (2008): 126–27. http://dx.doi.org/10.1353/scr.0.0032.

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36

Gubińska, Maria. "« Écrire l’absence » selon Assia Djebar : Le Blanc de l’Algérie." Quêtes littéraires, no. 2 (December 30, 2012): 144–51. http://dx.doi.org/10.31743/ql.4635.

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The well-known French-language writer, Assia Djebar, teaches the reader to listen intently to cultural differences, inspires tolerance towards other people and touches upon the problem of the emancipation of women in the Arab-Muslim civilization. In her work entitled Le Blanc de l’Algérie Djebar recalls deceased Algerian intellectuals, such as Albert Camus, Frantz Fanon or Kateb Yacine, as well as cruelly murdered writers and less known persons, who proved to be important for the author herself (namely her friends) and for the history of Algeria. The author bemoans those absent figures, remembering their last minutes of life, their families’ despair, and the atrocity of death. The article is an attempt at a reflection on the problem of absence that is in dichotomy with presence. The absence of great Algerians is unbearable; it is not silence but a cry for the memory of the tragic moments in the history of the country. Those moments, when remembered, shall help understand better the painful contemporary times. Djebar in a subtle way removes a white shroud (white is the colour of mourning in the tradition of North-African countries), thus showing the reader the moving and colourful Algerian fresco.

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37

Soares, Vera Lucia. "Violência, gênero e poder na literatura de Assia Djebar e Leïla Sebbar." Alea : Estudos Neolatinos 5, no. 1 (July 2003): 71–82. http://dx.doi.org/10.1590/s1517-106x2003000100006.

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Este artigo estuda as representações da relação entre violência, gênero e poder na escrita literária de Assia Djebar e Leïla Sebbar, que desconstroem a imagem de fanatismo e barbárie que o Ocidente faz do Oriente árabe-muçulmano.

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38

Khodja, Soumya Ammar, and Pamela A. Genova. "For Assia Djebar, Inspired by Her Book L'amour, la fantasia." World Literature Today 70, no. 4 (1996): 793. http://dx.doi.org/10.2307/40152303.

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39

Vitali, Ilaria. "Assia Djebar, Queste voci che mi assediano. Scrivere nella lingua dell’Altro." Studi Francesi, no. 148 (XLX | I) (April 1, 2006): 200. http://dx.doi.org/10.4000/studifrancesi.30878.

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40

Nagy, Silvia. "Tradition and Transgression in the Novels of Assia Djebar and Aicha Lemsine." Research in African Literatures 33, no. 3 (2002): 1–13. http://dx.doi.org/10.1353/ral.2002.0079.

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41

Zimra, Clarisse. "Not so Far from Medina: Assia Djebar Charts Islam's "Insupportable Feminist Revolution"." World Literature Today 70, no. 4 (1996): 823. http://dx.doi.org/10.2307/40152309.

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42

Mireille Calle-Gruber. "Écrire de main morte ou l’art de la césure chez Assia Djebar." L'Esprit Créateur 48, no. 4 (2008): 5–14. http://dx.doi.org/10.1353/esp.0.0038.

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43

Bentahar, Ziad. "Beyond Harem Walls: Redefining Women's Space in Works by Assia Djebar, Malek Alloula and Fatima Mernissi." Hawwa 7, no. 1 (2009): 25–38. http://dx.doi.org/10.1163/156920809x449526.

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AbstractOrientalist and colonial representations of harems have resulted in the association of North African women with domestic confinement. North African authors such as Assia Djebar (1980), Malek Alloula (1981) and Fatima Mernissi (1994), however, suggest that this view is biased. While focusing largely on Fatima Mernissi's memoir, Dreams of Trespass, this article builds on these authors' exploration of the various ways in which women of the Maghreb are portrayed, in order to provide a clearer understanding of the dynamics of women's space in the context of colonial North Africa.

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44

Roded, Ruth. "Recreating Fatima, Aisha and Marginalized Women in the Early Years of Islam: Assia Djebar's Far from Medina (1991)." Hawwa 6, no. 3 (2008): 225–53. http://dx.doi.org/10.1163/156920808x381667.

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AbstractWhen Francophone creative artist Assia Djebar decided to write a semi-fictional work on the early years of Islam, she brought to this endeavor her life experience in the context of Algerian history and French colonial influence. Her writing reveals changing attitudes towards Algerian women and Islam, in response to ongoing events.Far from Medina was influenced by the chain of modern biographies of the Prophet Muhammad produced in English, French and Arabic. Early Islamic feminist endeavors also informed her work. Most fascinating is the dialogue that Djebar seems to have carried out with classical Islamic texts, revealed in the format and style of the book.Djebar proposes that the death of Muhammad, and to a greater extent the death of his daughter Fatima six months later, were turning points in women's roles in Islamic society—taking the Muslims "Far From Medina," where women were strong and stood up for their rights.

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45

Hulstyn, Michaela. "Theory of Mind and Experimental Autobiography: Alain Robbe-Grillet and Assia Djebar." Philosophy and Literature 45, no. 1 (2021): 185–98. http://dx.doi.org/10.1353/phl.2021.0012.

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46

Nagy-Zekmi, Silvia. "Tradition and Transgression in the Novels of Assia Djebar and A�cha Lemsine." Research in African Literatures 33, no. 3 (September 2002): 1–13. http://dx.doi.org/10.2979/ral.2002.33.3.1.

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47

Yilancioglu, S. Seza. "Simonian Writing According to Mireille Calle-Gruber." Human and Social Studies 3, no. 3 (October 1, 2014): 59–66. http://dx.doi.org/10.2478/hssr-2013-0038.

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Abstract Mireille Calle-Gruber is not only a university professor and a writer, but also a leading scholar and critic of French literature and contemporary Francophone literature. Her works on Michel Butor, Claude Simon, Assia Djebar, Derrida and other contemporary writers (as well as those dealing with the history of the twentieth century literature) fill gaps in the contemporary literary history of the twentieth century. Her books not only scrutinize and analyze the writing of Claude Simon; they also shed new light on the analysis of the novel and autobiography in contemporary literature, through the memory of experience and perception

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48

Jordan, Shirley. "Approaches to Teaching the Works of Assia Djebar. Edited by Anne Donadey." French Studies 73, no. 1 (November 21, 2018): 155–56. http://dx.doi.org/10.1093/fs/kny299.

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Rita A. Faulkner. "Psychoanalysis and Anamnesis in the National Allegory of Nawal El Saadawi and Assia Djebar." L'Esprit Créateur 48, no. 4 (2008): 69–80. http://dx.doi.org/10.1353/esp.0.0039.

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Donadey, Anne. "Overlapping and Interlocking Frames for Humanities Literary Studies: Assia Djebar, Tsitsi Dangarembga, Gloria Anzaldúa." College Literature 34, no. 4 (2007): 22–42. http://dx.doi.org/10.1353/lit.2007.0043.

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