Représentations culturelles et écriture: le cas d’Assia DJEBARCorpus d’étude L’Amour, la fantasiaLoin de MédineLes Nuits de StrasbourgLa Femme sans sépulture

الموضوعات

علوم اللغة

روابط وملفات

التعريف والنوع

رقم الوثيقة

06447284-8a22-4253-99be-a6e2293b1a23

رقم العقد

0

نوع الوسائط

Crawler

نوع المحتوى

الرسائل العلمية

صيغة المصدر

رسائل دكتوراة

نوع الملف

pdf text

أسماء الملفات

794856_1.pdf

بيانات النشر

ألقاب المؤلفين

[{"name_ar":" Said Saidi","title_ar":"اشراف","title_en":"Supervision"},{"name_ar":"Achour Hambli","title_ar":"اعداد","title_en":"Preparation"},{"name_ar":"Monique Carcaud-Macaire","title_ar":"اشراف","title_en":"Supervision"}]

اللغة

French

المصدر والدورية

اسم المصدر

Représentations culturelles et écriture: le cas d’Assia DJEBARCorpus d’étude L’Amour, la fantasiaLoin de MédineLes Nuits de StrasbourgLa Femme sans sépulture

المحتوى والصفحات

عدد الصفحات

0

ترجمة الملخص

The pretext of the Arab-Muslim woman potentially founds djebariennecreation. The complexity of the novel constellation artistically combines the mantle ofthe great history, the will of an individual destiny, thematic writing, transmission of thegel between the sexes, the dance desire to sunlight, the body pleasures to the body thatare not without injury. The expression djebarienne never ceases to issue its charms,tying and untying the arabesques of his flickering syntactic, lexical, idiomatic, brushingthe fresco of Algeria, since the whispering voice-grandmothers. The sound revived bythe language of the Other brand and reflects the narrative by both registration anddeletion. The author was then inhabited by the desire of unveiling, of affirmation ofquestioning. His writing indeed bears the mark of an explicit predominance Intermedial:intertextual references and interdiscursive allied with characteristic expression ofprocesses of film, painting, music, photography and mosaics singled aesthetics a writerfor multidisciplinary training. The phrase djebarienne pulse, wobbles, ... irradiated lives:the enunciation game at work since the Arab grandmothers contaminates the writeFrench. Algerian women, from the pen of Assia DJEBAR inhabit the French textualbody. A female phrasing and a minus body, suffocated, oppressed befall the voice of thesequestered. Keyword witnesses articulate the story and the great game by theinterruption and resumption, orchestrating another text: ""ijtihad"" to far from Medina,""the e'dou"" Vast is for the prison, ""Derra ""Shadow for sultana,"" homeland ""for theDisappearance of the French language,"" tzarl-rit ""L'Amour, la fantasia. These carrierswords sit Baroque architecture deployed by the author in a heterogeneous French fordriving the narrative. The combination of djebarien text reflects the circularity of thestory by raising the exchange from the hand of the teacher father hand cut a pulsed withanonymous Algerian Eugene FROMENTIN whose narrator of Love grabs is thefantasia in him by grabbing ""the qalam"".Based on these sporadic references artistically arranged in a specificarcheology Djebar’s story, we hypothesize a cultural bold determination that defines hispoetics. For the linguistic identity of a work is constructed through linguistic awarenessof its author. An indispensable linguistic consciousness in literary communication, for itis she who, on the one hand, participates in the construction of structures of the workand, secondly, ensuring the argument.The women's leitmotif is now ostensibly defying the inertia of tradition, ofseclusion and silence. Speech, the look and the female body are reclaiming public spaceand an imposing celebrate empowerment acclaimed literary and artistic orthodoxy. Thewomen's writing is affirmed by a profusion of competing products recognized in thevarious directions.

إشراف وإعداد

الإشراف

Said Saidi, Monique Carcaud-Macaire

الإعداد

Achour Hambli

الاقتباسات الببليوغرافية