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 target of reclaiming the historical past of her fatherland, and of her faith, Islam, for ladies? 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 type 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 allure 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, los angeles fantasia In discussion with Cixous : Vaste est l. a. felony 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)
201. 25 Julia Kristeva, Polylogue, pp. 43-44. 26 This final part is divided into 5 movements, highlighting its musical associations. Here the displacement of subjects continues at a dizzying pace as the text moves faster, more fluidly, back and forth, from autobiographical incidents from the life of “Djebar-enfant” and “Djebar-femme” to the voices of “les femmes d’Algérie”, “Mères de la Révolution” – the women who took part in the struggle for independence. 27 The simplicity and terseness of these transliterated oral testimonies provide a sharp and deliberate contrast not only to the written testimonies of the colonisers, incorporated in Parts 1 and 2, but also to the richness of Djebar’s own virtuoso use of the French language.
33 JanMohamed divides colonialist literature into two broad categories, the ‘imaginary’, and the ‘symbolic’, drawing on Lacanian interpretation of the terms: The emotive as well as the cognitive intentionalities of the ‘imaginary’ text are structured by objectification and aggression. … The ‘imaginary’ representation of indigenous people tends to coalesce the signifier with the signified. In describing the attributes or actions of the native, issues such as intention, causality, extenuating circumstances, and so forth, are completely ignored; in the ‘imaginary’ colonialist realm, to say ‘native’ is automatically to say ‘evil’, and to evoke immediately the economy of the Manichean allegory.
38 In the second section, Djebar creates another and very different jigsaw picture – one that tells the same story, but that uses different pieces. ”39 At this stage, Djebar also inserts herself directly into the narration: “Je reconstitue, à mon tour, cette nuit” [I, in turn, piece together a picture of that night] (pp. 88; 70) in order to retell the story, now her story, from the perspective of the colonialist’s “Other”. The jigsaw now becomes three-dimensional, as the people of Nacmaria appear graphically in the full horror of their asphyxiated bodies.
Assia Djebar: In Dialogue with Feminisms (Francopolyphonies 3) (Francopolyphonies) by Priscilla Ringrose