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Écriture d'une identité hétérogène chez Fatima Daas: Le 'je' de la départenance et de l'ubiquité dans La petite dernière
À travers une lecture approfondie de La petite dernière et de ses stratégies narratives, cet article se propose d'envisager l'autofiction de Fatima Daas comme une métonymie du processus de construction d'une subjectivité hétérogène qui se matérialisera dans un double mécanisme: celui de la départenance et de l'ubiquité. S'éloignant des espaces discursifs hégémoniques, cette subjectivité ne résidera ni dans un \"ni x, ni y,\" corolaire de l'entre-deux, ni dans un \"tantôt x, tantôt y,\" écho du bipolarisme, mais dans un \"à la fois x et y,\" avatar de l'ubiquité qui autorisera le \"je\" à être tout et partout à la fois.
Journal Article
The theocrat
\"The Theocrat takes as its subject one of Arab and Islamic history's most perplexing figures, al-Hakim bi-Amr Illah (\"the ruler by order of God\"), the Fatimid caliph who ruled Egypt during the tenth century and whose career was a direct reflection of both the tensions within the Islamic dominions as a whole and of the conflicts within his own mind. In this remarkable novel Bensalem Himmich explores these tensions and conflicts and their disastrous consequences on an individual ruler and on his people. Himmich does not spare his readers the full horror and tragedy of al-Hakim's reign, but in employing a variety of textual styles-including quotations from some of the best known medieval Arab historians; vivid historical narratives; a series of extraordinary decrees issued by the caliph; and, most remarkably, the inspirational utterances of al-Hakim during his ecstatic visions, recorded by his devotees and subsequently a basis for the foundation of the Druze community-he succeeds brilliantly in painting a portrait of a character whose sheer unpredictability throws into relief the qualities of those who find themselves forced to cajole, confront, or oppose him.\"--Publisher description.
BOOK
Au-Delà De L'auto-Fiction: Écriture Et Réécriture De Soi Chez Malika Mokeddem
After recording aspects of her life as a woman in her first autofictional piece of writing, Men Who Walk (1990/1997), performing an act of memory, Malika Mokeddem composed two major fictional works that constitute a new type of writing-the-self, starting from acts of forgetting and absence/disappearance. With N'zid (2001), she goes beyond the memory of personal experience to re-create/re-invent the story of a woman whose rhizomic identity illustrates a profound authenticity through self-fictionalization. With The Desiring One (2011) she rewrites N'zid, taking forgetting to the point of disappearance/absence which she treats in all its forms. Considered together, the two novels represent the fictional work in which Mokeddem reveals herself to the greatest degree. Through her protagonists, Mokeddem reinvents her own origins, freeing herself from fixed and rigid definitions of identity and belonging. With her fictional writing she inscribes herself within a poetics of relation to the other, in a movement of ceaseless self-becoming that celebrates her presence to herself and to the world. This thesis studies in detail the stunning evolution of Mokeddem's writing/rewriting-the-self in the three works mentioned. The study is followed by fragments of my own creative writing, composed in dialogue with Mokeddem. Keywords: Malika Mokeddem. Men Who Walk . N’zid. The Desiring One. Maghrebi women writers. Memory and forgetting. Disappearance. Autofiction. Rewriting. Hypertextuality. Deterritorialisation. Third space. Becoming. Rewriting. Desedimentation. Orality and writing. Creolisation. Identity. Algerian Black Decade. Myths.
Dissertation
Assia Djebar. Le Corps Invisible: Voir Sans Être Vue
This thesis traces the evolution of attitudes towards the body, desire, autobiography, and self-affirmation, in three novels of Assia Djebar: L'amour, la fantasia, Vaste est la prison, and Les nuits de Strasbourg. The three novels share a common trait: the narrators' will to express their body and their desires. This body, which is simultaneously anonymous and concealed, is at the very center of a contradiction; it is often relegated to representation as a ghost without any corporeal reality. It is been our objective to follow the narrators' introspective reflection on the multiple relationships between Algerian women and public space, designated as a masculine dominion controlled by the male gaze. The narrators move from a symbolic aphasia in L'amour, la fantasia, in which they are incapable of experiencing and expressing emotions to the definition of a private space of desire in Vaste est la prison, and ultimately, in Les nuits de Strasbourg, to the possibility of mastering space and time which they themselves define in their relationships to men. In order to subvert the patriarchal system, the narrators develop strategies of camouflage and disguise as means of manipulating the notion of the incorporeal feminine body. In this progression from passive to active invisibility, they render conscious the unconscious dimension of their attitude towards themselves and towards men. In the context of Algerian society, the presence of woman in the public space is unacceptable. The gesture of making public space accessible to women requires a collaboration between the newly conscious Algerian woman and a male partner who embraces both her and his evolved identity.
Dissertation