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 reach her objective of reclaiming the historical past of her fatherland, 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 type of feminism” and the considering 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 booklet will charm 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. criminal 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)
My emphasis] A dynamic is reinscribed into the relationship between “la France” and l’Alger/ie-femme”, a symbol of the woman who will not be possessed, who will not be penetrated and who silently resists the intruder with her stubborn gaze: “Des milliers de spectateurs, là-bas, dénombrent sans doute les vaisseaux” [Thousand of watchful eyes there are doubtless estimating the number of vessels] (pp. 19; 7). As the equation “les Français/spectateurs, les Algériens/spectacle” [Frenchmen/spectators, Algerians/spectacle] is now reversed, the eye of the beholder is now the Algerian eye that possesses the French army in its gaze.
30 The opening paragraphs bring the on-coming ships into view with a strikingly visual, cinematic impact. A series of 28 29 Julia Kristeva, Des Chinoises, p. 39. This is in fact the second chapter of the novel. In Part 1, the autobiographical chapters (one of which opens the book), are titled, while the historical chapters (of which this is the first) are numbered. This feature is reversed in Part 2. 30 David Lodge, The Modes of Modern Writing (London: Edward Arnold, 1977), p. 83. In Dialogue with Kristeva: L’Amour, la fantasia 45 panoramic long shots suffused by muted colours and sounds create a sense of presence, an illusion of history happening before our very eyes.
20; 7-8) I, in my turn, write, using his language, but more than one hundred and fifty years later … As this day dawns when the two sides will come face to face, what are the women of the town saying to each other? What dreams of romance are lit in their hearts or are extinguished forever, as they gaze on the proud fleet tracing the figures of a mysterious ballet? … I muse on this brief respite; I slip into the antechamber of this recent past, like an importunate visitor, removing my sandals according to the accustomed ritual, holding my breath in an attempt to overhear everything… As “les femmes” look back at the French fleet and as Djebar writes back or over the plain prose of Matterer, the object of desire is transformed into the desiring subject.