Représentations culturelles et écriture

Abstract

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