Thesis--Princeton University. / Includes bibliographical references.

La popularisation d'un discours nationaliste puis islamiste en Algérie, prônant le retour à une stricte identité arabo-musulmane à la suite de l'indépendance du pays en 1962, a créé un climat de tensions ayant éclaté, de 1991 à 2002, en une guerre civile à laquelle on se réfère aujourd'hui par l'expression « la décennie noire » ou « les années noires ». C'est dans un tel contexte, particulièrement néfaste pour les intellectuels, pour les artistes et pour les femmes, que Maïssa Bey est venue à l'écriture. Le roman Cette fille-là (2001) a été publié pendant cette période, tandis que Surtout ne te retourne pas le fut quelques années plus tard (2005). Les deux œuvres mettent en scène des femmes qui reviennent sur leur passé dans une prise de conscience d'abord individuelle, puis collective, et qui dévoilent ainsi une autre manière de faire l'Histoire qui prend en compte leur vécu. Cela leur permet notamment de contester certaines croyances et certains discours qui affectent directement leur subjectivité. Maïssa Bey cherche ainsi par son écriture à donner à voir une nouvelle réalité. En plus d'une approche féministe, qui nous permettra de mettre en relief les retombées des rapports sociaux de sexe sur la prise de parole, nous ferons appel aux concepts de l'Histoire, de l'agentivité et de l'autorité discursive afin de mener à bien notre analyse. Le premier nous servira à comprendre différents processus d'historicisation du passé et à saisir comment la fiction peut remettre en question l'Histoire et combler ses lacunes; le deuxième nous permettra de rendre compte de la capacité à être autonome des protagonistes et le troisième de leur habileté à manier le langage de manière à défendre un discours qui leur soit propre. Nous voulons ainsi démontrer que les deux protagonistes mettent le passé en récit afin d'écrire l'Histoire de manière à ce qu'elles n'en soient pas écartées, comme c'est le cas pour elles avec sa version officielle. Leur prise de parole leur permet ainsi de s'afficher en tant que sujet de leur propre existence et de dénoncer le regard patriarcal qui brime leur liberté tant psychique que physique. Cette analyse est la première du Québec à s'attarder aux écrits de Maïssa Bey. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Maïssa Bey, Cette fille-là, Surtout ne te retourne pas, femmes, littérature algérienne, féminisme, Histoire, agentivité, autorité discursive.

No description available.

Tez (Yüksek Lisans) - Süleyman Demirel Üniversitesi, Sosyal Bilimler Enstitüsü, Felsefe ve Din Bilimleri Anabilim Dalı, 2009. / Kaynakça var.

Dans le contexte algérien contemporain, la femme a activement participé aux guerres pour l'indépendance, eu accès à l'école de la République et a imposé sa présence dans un milieu dominé par les hommes. Sous la décennie noire, le tragique historique a fait de la femme- intellectuelle de surcroit- la première cible des extrémistes religieux. Les auteures algériennes avaient le choix de se taire, elles ont préféré écrire, parcourant comme c'est le cas pour Bey, l'histoire de l'Algérie contemporaine. Maïssa Bey fait partie de cette génération d'auteures qui ont dit l'horreur de l'Histoire, qui se sont senti dépositaires d’une Histoire collective à laquelle elles assistent en tant que femmes d'abord, intellectuelles ensuite.Mais si les romans beyens se posent comme support intellectuel pour la lutte contre les dérives de la violence historique, sociale, religieuse, etc., il n’en demeure pas moins que l’individualité de Bey cède la place à la parole de la collectivité, chaque lecteur pouvant reconnaître dans le portrait d’une victime la figure de toute personne acculée arbitrairement au silence.C'est justement à la charnière de toutes ces transformations qui ont touché l'Histoire de l'Algérie, la société algérienne et la création romanesque résultant d'un séisme identitaire que se situe l'œuvre de Maïssa Bey et que nous comptons explorer dans ce travail.Mots-clés : Maïssa Bey, littérature algérienne francophone, fictionnalisation de l'histoire, idéntité individuelle, identité collective. / In the contemporary Algerian context, the woman actively participated in wars for independence, had access to the school of the Republic and imposed her presence in a male-dominated environment. Under the Algerian Civil War, the tragic history has made the intellectual woman moreover the first target of religious extremists. The Algerian authors had the choice to be quiet, they preferred to write, browsing as is the case for Bey, the history of contemporary Algeria. Maïssa Bey is part of this generation of writers who have said the horror of history, who felt they were the depositary of a collective history that they attend as women first, then intellectual.But if Bey novels arise as intellectual support for the fight against the excesses of historical, social, religious violence, etc., the fact remains that Bey's individuality gives way to the word of the collectivity , each reader can recognize in the portrait of a victim the figure of any person arbitrarily driven to silence.It is precisely at the turning point of all these transformations that have touched the history of Algeria, the Algerian society and the romantic creation resulting from an identity crisis that the work of Maïssa Bey is located and that’s what we intend to explore in this work.Key-words : Maïssa Bey, algerian francophone literature, fictionnalisation of the history, individual identity, collective idendity.

The nineteenth century is a period, when great transformations were experienced in the Ottoman Empire. Besides the political, economical and judicial changes, with the impact of the westernization process, important leaps about two important components of cultural life, museology and archeology, were realized in terms of both collecting and protecting the ancient monuments / and their exposition. As two interrelated fields of culture and sciences originated from Europe, museology and archeology were incorporated in the cultural life of the Ottoman Empire in the nineteenth century. The Ottoman Empire was acquainted with these two scientific fields through the impacts of both the museological studies in Europe and the excavations of the foreign researchers and archeologists, conducted within the imperial territories. This study aims to observe the emergence of museological and archeological studies in the Ottoman Empire and its development by the impacts of the West. In this study, the origins of the museological and archeological studies, the first attempts in the Ottoman Empire and the development in the continuing process and the judicial acts about the mentioned fields composed in the 19th century are examined chronologically. In this process of development, the works of Osman Hamdi Bey were forming an important part of this thesis.

Culture and all of its aspects are best reflected in the home environments. Home is not only a house which is a shelter but a place with social, psychological and emotional associations, and manifests in the continous use of a house. Continuity of use in the home environments is both conceptual and physical, and this can be observed in traditional or historical domestic contexts, to which the Ottoman vernacular house is an example. This study introduces the village of MenteSbey and its 19th century vernacular home environments within their socio-cultural context. MenteSbey was once a prominent center for kadis, Ottoman state officials and judges. The profession of kadilik played an important role in the social development of the village that in turn affected the domestic architecture, which can be grouped into two as kadi and standard houses. MenteSbey houses constitute a good example for tracing &quot / home&quot / , &quot / continuity of use&quot / and &quot / status&quot / in the Ottoman house as some are still inhabited by the families descending both from the lineage of kadis and other families of the 19th century. Seventeen of these houses are documented with their plans, photographs and inhabitants in the study. This study is also an initial step for the possible cultural, architectural and historical studies in and around MenteSbey in the future, and most of all for preserving MenteSbey and its houses for the coming generations.

Sungur Bey Mosque and the Tomb adjacent to it were built in Nigde in the first half of the 14th century. In many respects, the Mosque is a traditional Anatolian building in terms of its architecture and decoration. Nevertheless, some of the architectural forms observed on the Mosque point to possible foreign interactions. The aim of this thesis is to take a critical look at the sources of the foreign architectural forms observed on the Sungur Bey Mosque and to question how such interactions could be possible in the 14th century Anatolia. In this context, the foreign architectural elements of the Mosque are compared vis-a-vis contemporary examples from Europe, Eastern Crusader States, Cyprus, Armenia and Anatolia. In addition, Crusades, trade relations and traveling artists are considered among possible interactions which could be influential in the transmission of these architectural forms. Thus, Sungur Bey Mosque is evaluated in a different viewpoint, which considers historical events and a number of possible interactions.

The Ottoman Empire initiated a serious attempt in the archaeological exploration of ancient sites lying in its territory during the Hamidian period. By claiming ownership over the heritage of past civilizations, it aimed to counterbalance the European hegemony over its antiquities while constructing a new, “civilized” identity as part of its modernization programme. Adopting European archaeological practices, it became an active participant in the scholarly scene. Despite being latecomers and lacking sufficient resources and expertise, Ottoman archaeologists pioneered and promoted archaeology so successfully that, they were able to achieve the disciplinary criteria in archaeological practice established by their Western counterparts. However, due to ideological factors, their names are absent from the standard account of early history of archaeology while their accomplishments are yet to be recognized in historiography. This dissertation examines two excavation campaigns undertaken at Raqqa by Theodore Macridy and Haydar Bey on behalf of the Imperial Museum in 1905-6 and 1908 respectively and their finds collection housed within the Museum of Turkish and Islamic Arts in İstanbul. While documenting these two excavations and their corresponding finds thoroughly for the first time, this study also reveals the contributions of such key figures of Ottoman archaeology to the development of archaeology during its formative years. The history of Ottoman archaeology is yet to be written. Analyzing the field methods, collection strategies, and restoration practices of the two Ottoman archaeologists working at Raqqa within a historical and disciplinary context, this study offers insights into the practice and the conceptualization of archaeology as a discipline in the Ottoman Empire, a subject that has been overlooked in scholarship. Moreover, this study demonstrates the importance of the Raqqa excavations as exceptional cases in targeting mainly ceramic finds with no interest in the architectural remains of the site, a practice contrasting with contemporaneous excavations. Besides, a collection of fairly modest components, the Raqqa finds indicate an emerging interest in the potential of artifacts as sources of information rather than being merely objects for museum display, thus representing a key milestone in the newly emerging discipline of Islamic archaeology. / Graduate / 0377 / 0324 / 0333 / 0730

This dissertation comprises a critical edition of the Algerian author Maïssa Bey’s 2002 autofictional work in French, Entendez-vous dans les montagnes…, including: a translator’s introduction, a critical introduction, the translation, and an afterword. The translator’s introduction presents my translation methodology, which adapts Jacqueline Guillemin-Flescher’s theories in Syntaxe comparée du français et de l’anglais: problèmes de traduction (1981). I rework her communicative approach to convey the complexities of Franco-Algerian “coprésences,” or the coexistence of two cultures. I pose the question: Do readers need the same cultural capital to appreciate Entendez-vous dans les montagnes… as they do to read a standard French to English translation? This specificity explains my changes to Guillemin-Flescher’s theories. The critical introduction presents Entendez-vous dans les montagnes..., which stages an exiled Algerian woman’s physical journey through Provence to Marseilles. The three protagonists also metaphorically travel to understand their singular memories and the multiple truths behind the Franco-Algerian colonial legacy (1830-1962). I pinpoint the dualities in: the Algerian woman, a French Army veteran turned doctor, Jean, and Marie, the young granddaughter of a pied-noir. An analysis of their dualities, between conformity and rebellion, enhances the book’s political statements. I accent how a knowledge of Bey’s “traces” or multiple connotations of euphemisms, such as “soigner,” which means “to take care of the sick” or “to execute,” underscore these dualisms. Finally, I highlight Marie’s comparatively small role. The afterword presents how the translation process impacts Entendez-vous dans les montagnes…. I contemplate how to maintain the distinctiveness of Bey’s book, in which the figurative and literal senses of every French word communicate political and personal content. This style conveys politics in a simple, highly relatable fashion, partially due to the deep personal commitment underneath. Translation frames a text. It is a complex, rewarding challenge to provide this frame when the original exposes the volatile cultural politics behind the Franco-Algerian colonial legacy.