By Priscilla Ringrose
What are the political implications of an Arab feminist writing perform? How do the works of Assia Djebar, Algeria’s the world over acclaimed francophone author, relate to the priorities and views of either Western and Arab feminist politics? Does Djebar achieve her objective of reclaiming the heritage of her place of birth, and of her faith, Islam, for girls? In Assia Djebar: In discussion with Feminisms, Priscilla Ringrose uncovers the mechanisms of Djebar’s revisionary feminism and examines the echoes and dissonances among what Djebar has termed her “own form of feminism” and the taking into consideration French feminist writers Kristeva, Cixous and Irigaray and Arab students Mernissi and Ahmed. Arguing that Djebar’s paintings is in consistent discussion with different feminisms, she assesses the strengths and weaknesses of its revisionist beliefs, and identifies its personal specific intervention into present political and cultural debates. This ebook will attraction not just to students engaged on Djebar, but additionally to scholars of colonial background, women’s stories and cultural politics. desk of Contents advent In discussion with Kristeva: L’Amour, l. a. fantasia In discussion with Cixous : Vaste est l. a. legal In discussion with Irigaray: Ombre sultane In discussion with Feminisms: Loin de M?dine end Bibliography
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Extra resources for Assia Djebar: In Dialogue with Feminisms (Francopolyphonies 3) (Francopolyphonies)
This shadow-woman who has been trapped within the narrator-woman’s consciousness (and has no consciousness of her own) is eventually released into the outside world. The shadow finally become form, as Hajila acquires a materiality and subjectivity of her own. Once this release or separation has occurred, the way is then left open for the two women, Isma and Hajila, to relate to each other as two differentiated or separate subjectivities. The positive change in the relation between the two women is thus conditional on the release of the repressed shadow-woman.
Une alternance constante entre le temps et sa ‘vérité’, l’identité et sa perte, l’histoire et ce qui la produit hors-temps, hors-phénomène. Dialectique impossible des deux termes, alternance permanente: 1 Assia Djebar, L’Amour, la fantasia (Casablanca: EDDIF, 1992), trans. Dorothy S. Blair, Fantasia: An Algerian Cavalcade (London/New York: Quartet, 1988). This quotation is taken from Blair’s introduction (effectively fourth page, no page numbers cited). Unless stated otherwise, all subsequent quotations in English of L’Amour, la fantasia are drawn from Blair’s translation.
P. 19. 54 Assia Djebar: In Dialogue with Feminisms take over: “J’imagine les détails du tableau nocturne” [I imagine the details of this nocturnal tableau] (pp. ’” [the fumigation has wiped out the entire Ouled Riah tribe – 1,500 men, some of them elderly, women, children, flocks by the hundred and all their horses…] (pp. 89; 72). We now relive the full horror of the tragedy with the help of two eyewitnesses, one French, the other Spanish, both of whom entered the caves on the day after the tragedy occurred, and recounted the tragedy in all its graphic symbolic reality: J’ai vu un homme mort, le genou à terre, la main crispée sur la corne d’un boeuf.