Au départ, l’art dramatique algérien, politisé, s’est orienté vers des thèmes appelant au soulèvement et à la lutte contre l’occupation coloniale. Qu’il s’agisse du théâtre d’expression dialectale, arabe littéraire ou française, le dénominateur commun a été l’engagement. Après l’indépendance cet art connaîtra un autre engagement : il contribuera, à sa façon, à la construction des institutions de l’État et de la société nouvelle. À partir de 1968, il sera traversé par des mouvements de contestation, malgré l’omnipotence de l’État et de la censure. [...] / Initially, the Algerian dramatic art was politicized, then moved towards themes calling for a revolt and fight against colonial occupation. Whether the dialectal expression theater, Arabic or French literary, the common denominator was the commitment. After independence, this art experience another commitment: it will contribute in its own way, to building the institutions of the state and of the new society. From 1968 it will be crossed by protest movements, despite the omnipotence of the state and censorship. [...]

Notre travail propose un double état de lieu tout en cherchant à placer le roman algérien dans le champ critique théorique. Il s’agit de démontrer comment la qualification du roman algérien comme [francophone] et/ou [postcolonial] impose des lectures-analyses qui échappent à la littérarité du texte, qui lui imposent des codes d’interprétation biaisés et ne permettent pas démontrer la poétique et l’esthétique des textes. Pour cela, il s’agira de dé-lire la critique théorique du roman algérien contemporain, afin de sortir des apories, des lieux communs et des réflexions enjointes à ce dernier qui souvent sont passéistes et datés. Il s’agira de faire l’état des lieux du roman algérien dans un double mouvement, l’état des lieux de ses œuvres et de ses lectures. Le dernier mouvement se veut réflexion clairement libre et subjective qui sera conclusion de notre proposition assumée d’une nouvelle conceptualisation de la production littéraire. L’algérianité littéraire comme nouvelle approche du roman algérien contemporain propose un roman qui ne s’attache plus à faire plaisir à son lecteur en lui racontant ce qu’il connait déjà ou à flatter son égo en lui laissant une béquille pour suivre un récit…L’algérianité littéraire serait une réflexion idéale de l’auteur avec son livre, avec son texte et ses personnages. Le roman algérien contemporain se meut entre une fabula et une utopie, entre mémoire et silence. Et surtout, il est ce qu’il reste à écrire / Our work offers a double state of place while seeking to place the Algerian novel in the field of critical theory. This is to demonstrate how the qualification of the Algerian as novel [francophone] and/or [postcolonial] imposes readings-analyses that are beyond the literacy of the text, which impose biased interpretations codes and do not demonstrate the poetics and aesthetics of the texts. To do this, it will “dé-lire” theory of the contemporary Algerian novel criticism, in order to get out of the aporias, commonplaces and required latter reflections which are often outdated and dated. The second movement will be reading. It’s to the state of affairs of the Algerian novel in a double movement, the state of affairs of his works and his readings. The last movement is clearly free and subjective reflection that will be conclusion of our proposal assumed of a new conceptualization of literary production. The contemporary literary algerianity as a new approach to the Algerian novel offers a novel which attaches no more to please the reader by telling him what he already knows or to flatter his ego leaving it a crutch to follow a story… The literary algerianite would be a perfect reflection of the author with his book, with its text and its characters. The contemporary Algerian novel moves between fabula and utopia, between memory and silence. And above all, it is what’s left to write

My thesis maps a genealogy of patriarchal structures that underpin Algerian history, culture, and institutions between the war of independence and the 1991-2001 civil war. More specifically, I contextualize the ways in which patriarchal lineages and origin stories—and thus the symbolic and structural promises of the family—underpin political struggle. In mapping these symbolic lineages found at work in the promise of independence, and the ways in which they underpin political struggle, I demonstrate how the war of independence reified and redefined familial and patriarchal kinships within political and social structures. I suggest that historical and social conditionings found at work at these different historical moments have legitimated, to a certain extent, the domination over women and a normalization of violence against them. My thesis examines social and political discourses at four central moments in Algerian history. Firstly, in the constructions of the Algerian nation-state post independence in 1962; secondly, in the Islamic Renaissance of the 1980s and the creation of the Family Code; and in a third moment, I draw connections between the Family Code, violent political clashes of 1990s and the civil war that ensued. Finally, I analyze laws and discourses created after the civil war and the resistance movements that have continuously contested power and oppression throughout these different periods. / Thesis (Master, Gender Studies) -- Queen's University, 2014-01-30 10:39:01.867

Le présent travail de recherche se propose d’explorer un aspect méconnu de l’histoire des migrations post-coloniales : la politique migratoire de l’Algérie de 1962 à 1988. Pour ce faire, l’ensemble des sources imprimées produites en Algérie durant la période a été consultée afin de saisir non seulement les grandes articulations de cette politique mais également la perception et les représentations que l’État, ses relais et citoyens pouvaient nourrir à l’endroit des Algériens ayant quitté leur pays d’origine mais conservant des liens étroits avec ce dernier. Après avoir retracé les contours précis - qualitatifs et quantitatifs - de l’émigration algérienne dans un contexte juridique, diplomatique et territorial, ce travail s’intéresse aux structures assurant le lien entre pays de départ et d’accueil, autour des notions essentielles d’intégration et d’identité, qui façonnent les mentalités tant dans l’exil que dans le pays de départ. / The study focuses on an neglected field of research in the history of post-colonial migrations : Algerian emigration policy during the period from 1962 to 1988. To this end, all material published in Algeria during this period was consulted with the aim of ascertaining, not only the essential structure of this policy, but also the attitude of the State, its citizens and representatives towards the Algerians who had left - but maintained close ties with - their country of origin. Having identified the nature of Algerian émigration within a legal, diplomatic and territorial context, this study aims to define the structures that maintain the link with the mother country, encompassing the essential notions of integration and identity, that shape attitudes, both in exile ans in the country of origin.

In addition to proposing a survey and subsequent analysis of the French-Algerian War in French-language comics, also known as bandes dessinées, published in Algeria, France, and Belgium since the 1960s, my dissertation investigates the ways in which this medium re-appropriates textual and iconographic source materials. I argue that the integration or citation of various sources by artists functions to confer a measure of historical accuracy on their representation of history, to constitute a collective memory as well as personal postmemories of the war, and to re-contextualize problematic images so that they and the hegemonic discourses they reinforce may be deconstructed. Moreover, the bande dessinée mimics secondary schoolbook representations of the war in both Algeria and France in its recycling of problematic images such as Orientalist painting, colonial postcards, and iconic images of war. The recycling of textbook images has the double advantage of ensuring reader familiarity with these images and of inviting critical interpretations of them. By exploring how the bande dessinée reuses colonial images as well as critical histories in predominantly anti-colonialist narratives, I seek to explain how this popular medium uniquely problematizes questions of history, memory, and postcolonial identity related to French Algeria and its decolonization. It is my contention that, because historical bandes dessinées frequently include or reference authentic textual and iconographic source material documenting the repercussions of the French-Algerian war on various communities, they represent a valuable resource to middle and high school teachers looking to enrich the state-mandated history curriculum. By using the bande dessinée in this capacity, educators exploit this medium as both a historical document (whose objective is to transmit knowledge of the past) and a document of history (which allows scholars to retrace the evolution of public opinion).

The desire and need for historical representation in postmodernism are coupled with the self-reflexive acknowledgement of our inability to faithfully represent the past. This dissertation examines the ways in which certain historical events are represented in postmodern fiction. More specifically, it introduces the term ‘distortion’ to designate various ways that postmodern authors have attempted to convey traumatic and violent histories through intentional permutations of historical facts. In this study, I analyse six texts, representative works that present the multi-faceted nature of what I call ‘distorted’ historical fiction. Each text is devoted to one of three historical events: the Holocaust in Martin Amis’s Time’s Arrow and Art Spiegelman’s Maus; the Chilean dictatorship in Diamela Eltit’s Lumpérica and Isabel Allende’s La Casa de los espíritus; and finally, the Algerian War of Independence in Kateb Yacine’s Nedjma and Mohammed Dib’s Qui se souvient de la mer. The analyses of each text are guided by three main questions: How is the depicted history distorted in the narrative? Why is the historical reality distorted? And lastly, what are the hermeneutical effects for the reader of engaging with the distorted historical text? I contend that these historical fictions apply various modes of distortion to create a specific and often peculiar effect on the reader. These include distortions of narrative form and voice, as well as distortions of temporality and space. I argue that the reader’s encounter with distorted historical fiction creates a peculiar hermeneutical effect of ‘defamiliarisation,’ which has affinities with Viktor Shklovsky’s use of the term and Bertolt Brecht’s ‘V-effekt.’ The sense of defamiliarisation creates a conflict in readers, in which their foreknowledge of a past event clashes with the event's distorted depiction. This conflict demands that the reader be responsible, implying that the reader should not be ‘swept away’ by the distorted narrative. Instead the responsible reader is encouraged to interact with the text, apply previous historical knowledge to correct said distortions, and through this interaction gain a greater intimacy with the past.

The desire and need for historical representation in postmodernism are coupled with the self-reflexive acknowledgement of our inability to faithfully represent the past. This dissertation examines the ways in which certain historical events are represented in postmodern fiction. More specifically, it introduces the term ‘distortion’ to designate various ways that postmodern authors have attempted to convey traumatic and violent histories through intentional permutations of historical facts. In this study, I analyse six texts, representative works that present the multi-faceted nature of what I call ‘distorted’ historical fiction. Each text is devoted to one of three historical events: the Holocaust in Martin Amis’s Time’s Arrow and Art Spiegelman’s Maus; the Chilean dictatorship in Diamela Eltit’s Lumpérica and Isabel Allende’s La Casa de los espíritus; and finally, the Algerian War of Independence in Kateb Yacine’s Nedjma and Mohammed Dib’s Qui se souvient de la mer. The analyses of each text are guided by three main questions: How is the depicted history distorted in the narrative? Why is the historical reality distorted? And lastly, what are the hermeneutical effects for the reader of engaging with the distorted historical text? I contend that these historical fictions apply various modes of distortion to create a specific and often peculiar effect on the reader. These include distortions of narrative form and voice, as well as distortions of temporality and space. I argue that the reader’s encounter with distorted historical fiction creates a peculiar hermeneutical effect of ‘defamiliarisation,’ which has affinities with Viktor Shklovsky’s use of the term and Bertolt Brecht’s ‘V-effekt.’ The sense of defamiliarisation creates a conflict in readers, in which their foreknowledge of a past event clashes with the event's distorted depiction. This conflict demands that the reader be responsible, implying that the reader should not be ‘swept away’ by the distorted narrative. Instead the responsible reader is encouraged to interact with the text, apply previous historical knowledge to correct said distortions, and through this interaction gain a greater intimacy with the past.

This thesis is concerned with the development and use of a macroeconometric model for the Algerian economy between 1963 and 1984. The model was built because of a systematic lack of applied econometric studies pertaining to Algeria at both the macroeconomic and microeconomic level. It is hoped that the model will fill a gap in this area and will contribute to the much neglected field of applied econometric research with regard to Algeria. This lack of applied econometric studies for Algeria meant that the modelling exercise described here has had to rely on an extensive specification search based on evidence relating to Algeria's economic structure and policy, economic theory, and the experience of Less Developed Countries in the area of macroeconomic model-building. The lack of data was a major constraint in this area and part of this study consisted of collecting and compiling a large database. After the country's independence in 1962, Algerian macroeconomic policy aimed to create a strong industrial system and to satisfy the population's basic needs. It relied on heavy industrialisation to modernise the economy, oil revenues to finance development, and central planning as the major tool of macroeconomic regulation. The accumulation rate was high and the growth record was generally good. However high unemployment and inflation, considerable disequilibrium, low productivity, a vulnerable balance of payments and unsustainable external debt are the major macroeconomic problems that policy-makers have had to face. The model's equations were first estimated using the OLS method and were subjected to stringent statistical tests. The degree of test significance and parameter correspondence to a priori views on the economy was good. when the model was constructed, it was estimated using a 2SLS principal component method. The OLD results were found to be reasonably feasible. The equations were collected into a system of 63 equations and solved using dynamic simulation technique. The model was solved successfully and its tracking of historical data was reasonably good. Further tests were carried out to study its dynamic features. Having constructed the model, it was then used extensively to perform simulation analysis. The experiments ranged from those concerning the goverment's current expenditure to its monetary policy. In all, nine simulation exercises were carried out. These were revealing on the workings of the Algerian economy. The model was further used in scenario analysis. First the model was used to develop an ex ante forecast employing a linear trend model for the exogenous variables. The forecast database was used to generate multipliers. The policy analysis was constructed to coincide with the implementation of the Second Five Year Plan (1985-1989). The feasibility of the plan was examined by varying the price of oil according to three hypotheses. The aim of this test was to develop a realistic framework for applied macroeconomic analysis.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

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