Thesis (M.A.)--Miami University, Dept. of French and Italian, 2008. / Title from first page of PDF document. Includes bibliographical references.

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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.

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.

L’écriture des femmes a évolué d’une manière spectaculaire depuis le début du 20ème siècle. La création féminine a connu un essor remarquable. Ecrivaines occidentales et orientales, en position de défense ont pris une place prépondérante dans la littérature de leur temps. Leurs écrits ont tellement de points communs et si peu de divergences qu’il est possible d’en conclure qu’elles ont donné naissance à une expression littéraire nouvelle qui se distingue de l’écriture masculine. Le féminin émerge de la quête de soi et laisse apparaître des aspirations inédites. Les femmes s’expriment sous des formes créatrices et esthétiques spécifiques. Leur littérature révèle une omniprésence du corps et de la sexualité en lien étroit avec la société. Duras, Aleramo, Djebar et Mernissi, romancières brillantes ont reçu prix et honneurs venus du monde entier. Les critiques ont enfin remarqué leur talent d’auteure, poète, dramaturge alors que la société ne reconnaissait depuis longtemps que l’écriture masculine. L’écriture féminine ne cesse de gagner du terrain et s’impose désormais dans le milieu littéraire. Ces excellentes romancières se permettent d’aborder leur intimité et celle de leurs semblables. La plupart d’entre elles ont publié à l’âge de la maturité. Leurs biographies respectives montrent le lien qui les unit. Le sentiment d’injustice est le socle de leurs récits, injustice à l’égard du colonisé, à l égard de la femme dans le couple, et de la femme en général. Le fait féminin influence leur écriture qui exprime les malaises sociaux, l’isolement, la solitude, la violence et en imprègne le système scriptuel. L’étude de cette écriture est inséparable du contexte social et historique des textes, personnages et thèmes. Un rapprochement des œuvres de ces romancières est non seulement plausible mais indispensable pour comprendre l’essor de la littérature féminine. Au-delà de la langue, ces auteures, de pays, cultures et générations différents ont pris le chemin de l’écriture autobiographique, amorçant les traits distinctifs de l’écriture féminine. Elles ont en commun le choix essentiel de personnages féminins dont certains iront jusqu’au suicide pour échapper à l’aliénation. Il s’agit de mettre en exergue la quête identitaire des femmes dans une société donnée. Cette thèse centre son étude sur 4 romans : Una Donna, L’Amant de la Chine du Nord, Femmes d’Alger dans leur appartement, et Dreams of Trespass. L’être- femme est représenté dans un rapport à la violence masculine mais aussi à sa propre violence sur arrière-plan d’aliénation sociale et culturelle. / Women’s writing has developed in a spectacular way since the beginning of the 20th century. Feminine creation has known a remarkable growth .Western and eastern she-writers have then stood defensively and predominantly in the literature of their time. Their narrations have so many common points and so few divergences that it’s easy to conclude they’ve given birth to a new literary expression differing from men’s writing. The feminine aspect emerges from the self-quest and let original aspirations appear. Women express themselves under creative and specific aesthetic forms. Their literature reveals an omnipresence of the body and sexuality closely connected with society. Duras, Aleramo, Djebar and Mernissi, very gifted novelists have been granted awards and honours from the whole world. Critics have at last noticed their talent as authoress or poet in a society which had only recognized masculine writing for ages. Women’s writing is gaining more and more ground, imposing itself in the world of literature. These excellent novelists allow themselves to approach their intimacy as well as other women’s. Most of them have published at mature age. Their respective biographies do show the link connecting the one with the other. The feeling of injustice is the basis of their narrations, injustice towards the colonized, towards the woman in the couple, or women in general. The feminine fact influences their writing which expresses social uneasiness, isolation, solitude, violence thus soaking their scriptural system. Studying their writing goes necessarily with considering the social historic context of the characters, themes and texts. Connecting the four novelists’works is not only plausible but indispensable to understand the growth of feminine literature which is increasing and increasing. Beyond the language, these novelists of different countries, cultures and generations have taken the same road of autobiography, creating the distinctive features of feminine writing. They have in common the essential choice of female characters, some of whom will touch suicide to escape from alienation. It’s all about underlining women’s quest for identity. This thesis focuses its study on four novels: Una Donna, L’Amant de la Chine du Nord, Femmes d’Alger dans leur appartement, and Dreams of Trespass. The female-being is represented in her relation to male violence, but also to her own violence on a social and cultural background of alienation.

Parler du corps féminin dans l'œuvre de Assia Djebar, tout en dépassant le clivage chair/âme ou corps/personnalité, signifie l'inscrire dans une vision unitaire, dans une durée et un espace élargis et totalisants. Ce corps est constamment en relation avec le milieu qui l'influence, ce qui conduit à un éclatement de son unité. Nous avons voulu insister sur sa continuité, sa résistance et même la survie de l'identité, malgré les facteurs ou les contextes qui l'ont mis à mal. Avant de conférer l'unité perdue au corps féminin, nous avons essayé de définir les termes clé de corps et de personnalité grâce aux sciences humaines, tout en tenant compte de leur spécificité liée à l'identité arabo-musulmane, aux particularités berbères et à l'influence française. Ce point de départ multiple nous a permis de ne pas tomber dans les catégorisations classiques, strictement sociales, de la femme algérienne. En voulant mettre en lumière l'unité fondamentale de cet être féminin, nous nous sommes intéressée tout d'abord à son aspect physique, le premier qui s'offre à notre vue et qui nous permet une description. Mais celui-ci dépasse les apparences car, prise en charge par le langage et l'imaginaire, il conduit à la manifestation de la dimension réflexive. Le personnage féminin djebarien passe du stade «avoir un corps» à celui d'«être un corps» doté de plusieurs dimensions, physique, psychique, intellectuelle, langagière et imaginaire (I). Mais cette image corporelle unie et heureuse est confrontée à des époques moins favorables qui sont apparues à cause de l'éloignement de la doctrine islamique initiale, telle qu'elle est présentée dans Loin de Médine, de la valorisation de certains concepts comme l'honneur, la pudeur, la honte. Confronté à l'autorité masculine qui s'exerce sur la femme algérienne dans tous les moments de la vie, et qui se traduit par l'enfermement, l'humiliation, l'assignation à certains rôles très bien définis (comme celui de mère et d'épouse), les ordres, les coups, les insultes, etc., ce corps féminin développe une «micropsychologie» (M. Maffesoli) qui se transmet de génération en génération et qui offre des réponses toutes faites à des situations diverses. Tous les gestes en sont imprégnés, mais cela n'empêche pas le réveil et le surgissement des traces cachées de la personnalité féminine dans des contextes très particuliers. Ces traces mettront en lumière la ruse, le défi et même la haine de la femme lancés à l'homme, désigné déjà dans l'imaginaire féminin algérien par le terme de «e'dou» (ennemi). Ces sentiments révèlent donc la résistance du corps féminin, faite à la fois d'une révolte muette, de cris ravalés, de murmures, d'une écoute attentive, d'un besoin de partager et de se soutenir (II). Nous avons donc devant nos yeux un corps morcelé, qui a oublié ses qualités à cause de l'intériorisation des prisons symboliques. Mais grâce à la solidarité féminine, à la valorisation de la maison vue comme espace cocon et des relations entre femmes, au retour à la langue première, les traces de liberté et de plénitude du passé éloigné sont réactualisées par les gestes et les paroles de certaines femmes libres. Celles-ci ouvrent la voie de la libération du corps féminin algérien qui réapprendra à regarder, à marcher dehors, à raconter ses souvenirs, à parler de lui et à apprécier la présence de l'homme aimé (III). L'analyse des parties corporelles visibles, de la posture féminine, des gestes dans lesquels la tradition s'est inscrite, des réactions qui dévoilent à la fois la dimension corporelle et psychique, des termes utilisés par Djebar pour parler de ses personnages féminins, nous a permis de dévoiler un corps féminin doté d'un cœur, de souvenirs, de sentiments, une personnalité et des rôles qui sortent du cadre imposé par la société. Ce corps féminin, capable de faire des gestes qui l'inscrivent dans la durée et dans l'espace reconquis, acquiert une parole performative qui le recrée et lui donne la possibilité de s'accomplir. / As suggested in the works of Assia Djebar about the body of the woman excluding the cleavage of the flesh and soul and of the body and personality means a vision of a united body encompasses a broad duration and space. This body is constantly connected to the environment that influences it. This has broken its unity up. The thesis puts the emphasis on its continuity, resistance and even the survival of its identity, despite the factors or contexts that have harmed it. Before giving back to the female body its lost unity, we identified the key terms of body and personality through the humanities, while taking into account the specifics of these terms related to the Arab-Muslim identity, to the Berber characteristics and to the French influence. With this starting point, we do not fall into the conventional and strictly social categorizations of the Algerian woman. In order to highlight the fundamental unity of the feminine being, we started with its physical dimension. This is the first aspect that we view and that we can describe. But it goes beyond the appearances since, supported by the language and the imagination, it drives a reflexive dimension. The Djebarien female character transitions from the stage "have a body" to the stage of "being a body" with several dimensions: physical, psychological, intellectual, linguistic and imaginary (I). But that image of unity and harmony is faced with less favorable pictures that appeared because Islam moved away from its original doctrine as presented in the book “Far from Medina”, and the valuation of certain concepts such as honor, modesty and shame. Faced with the male authority that is exercised on the Algerian female body in every moment of life, and which results in confinement, humiliation, arrest to some very well-defined roles (such as mother and wife), orders, beatings, insults, etc.., the female body develops a “micro psychology” (M. Maffesoli) that is transmitted from generation to generation and provides built-in answers to various situations. All actions are impregnated with these, but that doesn't stop preventing the emergence of hidden traces of the female personality in very specific contexts. These traces highlight the cunning, the challenge and even the hatred of women to men, designated in the Algerian female imaginary by the term "e'dou" (enemy). These feelings reveal the strength of the female body made of a silent revolt expressed or debased by shouts, murmurs, attentive listening, a need to share and support each other.(II) So we have in front of our eyes a fragmented body, which has forgotten its qualities due to the internalization of these symbolic prisons. But thanks to the female solidarity, the appreciation of the house as a place to cocoon, the relationships between women, and the return to the first language, the traces of the distant past are renewed by the actions and words of some free women. These pave the way for the release of the Algerian female body that will learn again to watch, to walk outside, to reminisce, to talk about itself and to appreciate the presence of the beloved man. (III) The analysis of body parts visible in our corpus, the feminine posture, the gestures in which the tradition is recorded, the reactions that reveal both the physical and psychic dimension, the terms used by Djebar to talk about his feminine characters, allowed us to reveal a female body with a heart, memories, feelings, personalities and roles that are outside the framework imposed by the society. The female body able to make gestures, which falls within the time and space reclaimed, acquires a performative speech which, in turn, recreates and provides it with the opportunity to perform, while maintaining contact with the origins and the "living word". So we see a body and an identity shifting, constantly trying to form and to write.

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<p>Ce mémoire est consacré au roman djebarien <em>Ombre sultane, </em>qui raconte l’histoire de deux femmes : Isma et sa coépouse Hajila, entre lesquelles se développe une sorte de sororité. À partir de la thématique de la sororité le mémoire cherche à analyser l’interaction du contenu et des trois aspects de la forme : la voix narrative, la focalisation et le temps narratif ; pour réaliser l’analyse nous utilisons une méthode narratologique, celle de Gérard Genette.</p>

Assia Djebar’s Far from Madina retells the stories of the women who appear on the margins of the earliest sources of Islamic history from a contemporary Muslim feminist’s perspective. Djebar uses formal elements of early Islamic historiography and relies upon classical Sunni sources. These techniques place her novel in conversation with classical Islamic tradition and bring legitimacy to her subversive project which aims to shift the boundaries of that canon. Though crafted in relation to classical sources, Djebar’s critique of gender identity is also addressed to the discourses and institutions of Islamic authority that evolved over the centuries and that continue to delineate narrow roles for women, up to and including contemporary regimes. In chapter one I argue that by grounding her critique of circulating discourses on Muslim women within a project that appropriates canonical Sunni historiography, Djebar refuses the disjunction between feminism and Islam, critiquing normative Islamic discourse on women in contemporary Algeria without framing the conflict in terms of an East/West or a religious/secular binary. Chapter two examines Djebar’s treatment of Fatima in particular. I consider Djebar’s selection of classical sources and compare the earliest canonical Sunni renderings of Fatima and those found in the novel. I argue that the vision of empowered women in the first Muslim community posited in Far from Madina destabilizes the ideal of gender identity constructed in early Islamic historiography. Far from Madina focuses on the moment after the death of Muhammad when Muslims were left to interpret their scripture and recall their Prophet’s words and deeds. Djebar constructs the novel around the question of what role Muslim women would play in this process, a move which foregrounds her own choice to write the novel and embrace her role as witness and transmitter of the stories of these early women. Chapter three examines the reflexive character of Far from Madina and considers how Djebar’s narrative strategies and hermeneutical approach facilitate the articulation of identity through difference. I argue that the narrative is Djebar’s performance of contemporary Muslim identity and an example of “lived Islam.” / text

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Comparative Literature. / Includes bibliographical references.