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Item Poetry and secularism wallace stevenss "supreme fiction(2006) Benamzal, FaridWallace Stevens offered poetry that he called the "supreme fiction" as a substitute for Christianity. The credibility of the "supreme fiction" as a subject of belief is conditioned by its adherence to reality: abstractness, change and pleasure. Our attempt in this dissertation is to look more closely to Stevens’s "supreme fiction" by analyzing these conditions. The first chapter consists of a historical glimpse of the loss of belief . It also deals with the different reactions of the modernists, including Stevens, to the sense of meaninglessness and aimlessness caused by the loss of belief. In the second chapter, I discuss the idea that the credibility of the "supreme fiction" depends on its adherence to reality where it springs. The third chapter is devoted to abstraction as a condition for the supremacy of the "supreme fiction". Abstraction means the rejection of classical myths, Christianity, Rationalism and Romanticism. The fourth chapter deals with Stevens’s notion of change. Change for Stevens is the power of the mind to transform reality. Change also means the ability of the poet to incessantly make new "supreme fiction". The fifth chapter is an attempt to show whether the pleasure the "supreme fiction" can offer is to the detriment of its commitment. In my conclusion I have tried to sum up the results of my investigation by insisting on the secular character of the "supreme fiction." I also insist on the fact that the " supreme fiction" is an attempt to cover reality with aesthetics to make it bearable rather than to escape itItem Kenyan and Algerian literary connections : dissertation submittedin partial fulfilment of the requirements(2006) Gada, NadiaThe Following dissertation is a comparison of two outstanding authors in modern African literature; Ngugi Wa Thiong’O from Kenya, East Africa and Kateb Yacine from Algeria, North Africa. At the basis of the research is a belief that a commonality of experience and interests can lead writers belonging to different cultural backgrounds and geographic areas to write in a similar way and about similar themes. Indeed, colonial policies are such that contacts between East Africa and North Africa were scarce if not totally impossible during the Colonial Period. In the literary field, these contacts were short-circuited by a colonialist criticism that has continued to deal with African literature within “zones of influence” marked off during the Colonial Period. We have attempted to break away from these “zones of influence” by establishing linkages between a North African writing in French and an East African writing in English. This dissertation contains four chapters; the first chapter deals with the similarities of the contexts. The second treats personal histories that gave birth to literary affinities between Ngugi and Kateb the novelists. In the third chapter, we have carried further our analysis by drawing parallels between the two novels in terms of their narrative structure, characterisation, plot and themes. One of our conclusions is that these novels are modernist in the sense that both writers are involved in a quest for a personal style, a style that is most evident in the deployment of some modernist techniques such as flashbacks and interior monologues. In addition, the two novels contain some elements from the oral tradition. The fourth chapter is devoted to the analysis of Ngugi’s and Kateb’s shift to drama. Two stages are distinguished in the careers of Ngugi and Kateb as playwrights. In the first stage, Kateb and Ngugi abided to some extent by the principles of the Aristotelian tragedy but they also introduced new elements that made of Kateb’s Le Cacdavre encerclé, a lyrical tragedy, and Ngugi’s The Trial of Dedan Kimathi, a heroic tragedy. In the second stage of their dramatic careers, Ngugi and Kateb moved to Brechtian epic theatre still in response to the need to keep in touch with the people. The two works studied in this part of our dissertation are Ngugi’s I Will Marry When I Want and Kateb’s Mohamed, prends ta valise. The final conclusion that can be drawn from this comparison is that “zones of influence” that Eurocentric literary criticism has maintained after the departure of colonial powers should be blasted. We hope that this dissertation has contributed in a way to this breaking of literary barricadesItem Chinua achebe, robert penn warren, joseph conrad and henrik ibsen : literary affinities and influences(2008) Maidi, NaïmaThe following dissertation is a comparison of one of the most outstanding authors in modern African literature, Chinua Achebe and three other writers of world-wide acclaim; the American Robert Penn Warren, the British Joseph Conrad and the Norwegian Henrik Ibsen. At the basis of the research is a belief that a commonality of experience and interests can lead writers belonging to different cultural backgrounds and disparate geographic areas to write in a similar way and develop similar themes. A number of literary critics, inspired mainly by the ideologies of Negritude, the Black Arts movement and the notions allied to them, and convinced of the uniqueness of the African experience and the specific context of African writings, have very often compared Chinua Achebe’s novels with other works by African and Afro-American writers. Dwelling on these concepts (Negritude, the Black Arts movement) has blurred for them the cultural affinities that may exist between African and western writings. We have attempted to avoid the pitfalls of previous comparative criticism by establishing linkages between West African writing and Wstern literary traditions. This dissertation contains three chapters; the first chapter deals with the affinities between Achebe’s A Man of the People and Robert Penn Warren’s All the King’s Men in terms of their characterisation, narrative structure, themes and mode of writing. The second treats the intertextual relationships between Achebe’s A Man of the People and Conrad’s Nostromo. In the third chapter, we have further carried our analysis by drawing parallels between Achebe’s A Man of the People and Ibsen’s play An Enemy of the People. This chapter has considered the similarities in terms of characterisation, imagery and themes. The final conclusion that can be drawn from this comparison is that Achebe’s work can be read in the light of three distinct literary traditions: The American Southern literature, the Edwardian Literature of the turn of the 20th century and the Norwegian (Victorian) literature of the second half of the Nineteenth Century. This assumption has been more or less demonstrated in the present dissertation. The intertexts of Achebe’s A Man of the People are of three orders: literary affinity, influence difference and impactItem O'casey's the plough and the stars and dib's mille hourras pour une gueuse : the lure of revolution(2008) Hateb, AhmedThis dissertation is a comparative study of two writers Sean O'casey from ireland and Mohammed Dib from Algeria whose plays exemplify what is called littérature engagée , a literature characterised by the exposition of oppressive political and social realities and the advocacy of change. The focus will be on the disillusionment felt by the irish and the Algerians with their respective revolutions as brought forth in the plough and the stars (1926) and mille hourras pour une gueuse (1980). On the Algerian side, this literary disillusionment has been highlighted by critics, among whom charles bonn, jean déjeux, naget khadda, fewzia sari. On the irish side, one may cite ronald ayling saros cowasjee, gabriel fallon, jules koslow and john o'riordanItem Modernism in james joyce's ulysses and wole soyinka's the interpreters : a comparative study(2008) Bourahla, DjelloulThe purpose of this dissertation is to challenge the orthodox view of Modernism as an art dismissive of politics, history and social commitment and as exclusively oriented towards style, technique and cosmopolitanism. By comparing James Joyce's Ulysses and Wole Soyinka's The Interpreters, we aim at redefining European and African modernism through taking the colonial and postcolonial contexts into account and employing a neo-Marxist critical approach to assess the political implications of the Modernist mode of writing. The first chapter is a review of the traditional and contemporary perspectives on Modernism as a mode of writing and as a worldview. The second chapter deals with the historical, social, cultural and personal backgrounds of James Joyce and Wole Soyinka. In the third chapter, we discuss the form of Joyce's Ulysses. We find that the different innovative techniques in the novel evince a subversive political vision. The fourth chapter studies the content of Joyce's Ulysses. We discuss those aspects of Ulysses that can be read as a diagnosis and critique of the social ills brought to Ireland by British imperialism, capitalism and the Catholic Church. The fifth chapter is concerned with the form of Soyinka's The Interpreters. We contend the salient features of Soyinka's style are motivated by context. We explore Soyinka's language as part of his critique of 'late capitalism' and neo-colonialism in Africa. In the sixth chapter, we analyse the content of The Interpreters. We find that Soyinka is highly concerned with the socio-historical background of post-independence Nigeria, essentially through capturing the state of disillusionment that characterizes his society. In the conclusion, we find that the Modernist mode of writing is quite capable of producing powerful subversive political statements through its form and content, but that this subversion can have its limitations and little political impact as the ordinary reader is not equipped to appreciate it and as the two writers fail to suggest alternatives to the order they undermine.Item Imperialism in kipling's kim and forster's a passage to India(2008) Kechida, NawalItem The representation of the intellectual in seven Of edgar allan poe's tales(2010) Mahdjoub Araibi, HichemItem Otherness and the absurd in joseph conrad's and albert camus's fictional works : a comparative study(2012) Mameche, FadhilaIn my research work I have chosen to look at four texts by two writers with a worldwide readership: Joseph Conrad and Albert Camus. Both Conrad and Camus are considered revisionist imperialists because they are caught in the contradiction between the orthodox Eurocentric view of Empire and their own –rather liberal-humanist. Their malaise lies in their intellectual predicament as well as in their spiritual instability both stemming from their civic status (one is an adopted Briton and the other is a reclaimed Frenchman). I have followed in this comparative study a Postcolonial and a neo-Marxist (Macherey) approach; two approaches that have revealed the political stands of Conrad and Camus. My comparative study is concerned with two of each writer’s fictional works: Heart of Darkness and L’Etranger on the one hand, and Lord Jim and La Chute on the other. In my thesis, I insist on the fact that Conrad and Camus were both fully aware of the negative impact of imperialism. Yet owing to historical and personal circumstances, they were caught in ambivalent stances. In order to resolve this dilemma, Conrad and Camus resorted to flight into metaphysics (the absurd in particular) yet without much conviction. I therefore attempt to shed light on the essential ambiguity that pervades their (unwitting) colonial discourses, laying emphasis on the ideological ‘strife’ within their minds. My outline comprises five chapters. The first chapter examines the socio-political background of both authors. It investigates their resemblances and differences in terms of biography and ideology. In the second chapter, I investigate Conrad’s and Camus’s stereotypical representation of the other in Heart of Darkness and L’Etranger respectively. At the same time I argue that their texts owe much to the colonial discourse, a discourse fraught with containment and condescension. In the third chapter, I attempt to show that Conrad’s and Camus’s discourses are characteristically ambivalent. This chapter further explores the tortuous complexity of the two writers’ worldviews through the analysis of some formal fictional aspects. Chapter four is concerned with Conrad’s and Camus’s escapism as appears in Lord Jim and La Chute. It also focuses on the ideological quandary faced by the two authors. Chapter five stresses the narrative strategies deployed by Conrad and Camus in their attempt to resolve the dilemma of the colonizer-colonized binary opposition. In the conclusion I argue that the kinship between Conrad and Camus can be accounted for by thematic similarities which, in a sense, are determined by nearly identical backgrounds. More explicitly, Conrad’s and Camus’s refusal to recognize –against their intellectual grain– the other as an equal, led them to adopt diversionary schemes. In other words, by escaping history, Conrad and Camus turn a blind eye on the struggle for recognition of the colonized as full-fledged human beings. As a result of their ideological muddle, Conrad and Camus fall back on artistic expressiveness, a saving grace which makes their readers overlook their political shortcomings. It is precisely their esthetic achievements which postcolonial critics and writers use as a stepping stone in their re-appraisal of Conrad’s and Camus’s worksItem Existentialism as humanism in philip larkin’s poetry(2012) Omar, KamelThis study explores the notions of Existentialism and Humanism in Philip Larkin's poetry. Relying on Jean Paul Sartre's idea that "Existentialism is Humanism", it aims at demonstrating that Larkin incorporated existentialist thought in his poems, which contributed to reinforce the humanist perspective in his poetry. Existentialism and Humanism are thus discussed in the light of Larkin's supposed negativist view of life. Consequently, his pessimism is taken as the starting point of the argument to show that beyond his potentially pessimistic view lies the belief in humanity's potential for transcendence and regeneration. This binary perception of life, which is only one aspect of Larkin's dualistic perspective, is rendered here through the discussion of existentialism, first, and then of humanism. This dichotomous structure of this thesis stems from --but is also intended to shed more light on-- the tension that characterizes Larkin's texts. Larkin employed thus existentialism to show that in order to be 'human', Man needs to confront difficulties, his flaws, his contradictions, his predicament, and even his barbarity. This work assumes that Larkin's dwelling on the negative side of life in general, contributes to highlight what is positive in it. Consequently, pessimism and optimism are examined together in order to allow the exploration of the philosophical view behind this dualistic perceptionItem Tragic disruptions and subversive discourse in late victorian fiction : jude the obscure, the picture of dorian gray, and heart of darkness(2012) Haddouche, HassinaThe main concern of this dissertation is a study of ideological subversion and containment in three late Victorian novels, i.e. in Thomas Hardy's Jude the Obscure, Oscar Wilde's The Picture of Dorian Gray, and Joseph Conrad's Heart of Darkness. This study shows how subversive thrusts are contained in three main scenes: social in Thomas Hardy's Jude the Obscure, cultural in Oscar Wilde's The Picture of Dorian Gray, and economic and political in Joseph Conrad's Heart of Darkness. Our purpose is thus to bring out the tragic disruptions resulting from such discursive clash in the light of three poetics: Raymond Williams's theory of Cultural Materialism and his theory of Modern Tragedy, and Michael Bakhtin's theory of Dialogism. The theory of Cultural Materialism and that of Dialogism are mainly used to underpin discursive practices. Cultural Materialism helps us identify and assess the subversive strategies employed in these novels. The dialogues and events of the novels reveal the degree to which Victorian power is based on predation, deceit, and hypocrisy; however, this power is subject to undermining by dissident and subversive voices within Victorian society; yet this subversion is soon contained. The triumph of containment over the forces of subversion is more a mark of the late Victorian pessimism than a reinforcement of the Victorian power. The subversion-containment dialectic will show this at the level of themes, plot, and setting. Bakhtin's Dialogism will shed light on subversion at the level of language; in other words, the analysis of language in the light of Bakhtin's dialogism shows a subversive discourse which places the protagonists in a position of social antagonism to the Victorian power. As for the theory of Modern Tragedy, it is used to bring out how the containment of subversion is effected. Through characterization, we shall show the conflict of the tragic protagonists (anti-heroes) with their society. In the last analysis, the subversion of social issues in Jude the Obscure, of aesthetics in The Picture of Dorian Gray, and of politics in Heart of Darkness-whose initial aim is to effect drastic social changes-result in a consolidation of the Establishment's values at the expense of the pioneers of progress. Their ultimate failure takes on tragic tonesItem Robert frost's quest for style in the nature writing tradition : an investigation into his stand on romantics and modernists(2012) Abdllatif, Schems EdhiafItem The theme of exile in James Joyce's a portrait of the artist as a young man (1916) and Frank McCourt's angela's ashes (1996)(2012) Guedouari, LamiaIrish writers, James Joyce and Frank McCourt, have long been considered "voluntary exiles". From a different approach, the present research work is an attempt to argue that the theme of exile in James Joyce's A Portrait of the Artist as a Young Man (1916) and Frank McCourt's Angela's Ashes (1996) is, first and foremost, "involuntary and unhappy", and culturally coded. The study is tackled from two perspectives: historic (Kerby A. Miller), and literary (Edward Said and Hegel). Drawing on Miller's theory, we shall argue that Irish emigration has always been thought as "involuntary and unhappy exile". urthermore, the concept is deeply rooted in Irish History, culture, and particularly Irish Catholic culture. It goes as far back as early Christian Ireland. Exile, as "involuntary and unhappy", attained unbearable degrees in post-famine Ireland, and worsened in post-colonial Ireland because of inflexible Irish authoritarian practices. Gaelic Ireland with its three pillars, Catholicism, Nationalism, and social conventions, has done much to embitter Joyce's, McCourt's, and the majority of Irish writers' lives. Each of these institutions demanded absolute conformity, and any kind of deviations led directly to exile, physical or spiritual. By studying Joyce's A Portrait (1916) and McCourt's Angela's Ashes (1996), we shall also emphasize the continuity of 'exile' as a literary theme and fate in post-colonial Ireland till the 1950s. Both Joyce/Dedalus and McCourt/McCourt share many similarities (process of maturation, reasons behind departure, and fate) which are far from being a mere coincidence. On a different but connected level, we shall also throw light on positive aspects of the condition of exile. Edward Said's perience-based theory about exile stipulates that "involuntary exile" and "defensive nationalism" are directly proportional to each other. Said argued that exile empowers the feeling of belonging and nationalism. The exile acquires 'new eyes' with which to see the history of his country. From exile, Joyce and McCourt dedicated themselves to invent a "New Ireland" by recalling the brilliance of Irish culture through their autobiographical writings. A Portrait and Angela's Ashes are full of Irish myths, legends, songs, and nature beauty that make the process of reading very much appealing and attractive. Studying the positive aspects in A Portrait and Angela's Ashes, we shall in the process, highlight the central characteristic of exilic writing, dialectics. Joyce's and McCourt's relationships with Ireland as reflected in their autobiographical novels are one of a love-hate. Other exilic literary characteristics that can be mentioned at this level include: the autobiography genre as "the text of the oppressed", a quest for a home, and Irish history and Irish Catholicism as prerequisites for the understanding of Irish Literature. As a conclusion, conceived differently from exile, Joyce and McCourt succeeded in creating a 'fashionable' image about Ireland through their writing. Key word: Irish studies; the Irish tradition of exile; Ireland, exile, and nationalism; Ireland, exile, and autobiographies/memoirs; Ireland, exile, and globalisation; James Joyce and Frank McCourtItem George Bernard shaw's feminist vision in Mrs. Warren's profession, man and superman and pygmalion(2012) Temouh, OuahibaThe purpose of this dissertation is to assess the development, consistency and comprehensiveness of George Bernard Shaw's feminist vision. To this end, this study proposes to explore the playwright's feminist stance in three plays which represent different periods in his dramatic career: Mrs. Warren's Profession, Man and Superman and Pygmalion. Such works are analysed in the light of three poetics: the Marxist Feminist Theory, The Gynoecocentric Theory and the Socialist Feminist Theory. This research work is divided into five chapters. The first two set the scene for a better understanding of the dramatist's feminist thinking as they shed light on the social, cultural and literary backgrounds of the plays discussed. The first chapter in particular examines the social, economic, legal and political status of Victorian women. It highlights the central role played by the feminist movement in the struggle for the dismantling of the patriarchal system. The second chapter surveys the representation of the woman question by Shaw's predecessors and contemporaries. Furthermore, it discusses the position of Victorian women in the theatre as dramatists, actresses and actor manageresses. It also marks the role they played in the emergence of an English feminist drama by the late- nineteenth and the early twentieth centuries. The chapters that follow are devoted to a thematic and textual study of the plays. The third provides a Marxist feminist analysis of Mrs. Warren's Profession. It reveals that, by the early 1890s, as a Fabian feminist, Bernard Shaw was concerned mainly with the economic dimension of woman's oppression. His feminist comitment was part of his reformist socialist project. The fourth chapter offers a feminist reading of Man and Superman in the light of L. F. Ward's Gynoecocentric Theory. The study of this play underscores the development of the Shavian feminist vision. It shows how, by the early twentieth century, apart from his interest in woman's economic independence, the playwright asserted her superiority over man, a superiority which stems from her reproductive power. This power is, in his view, the prime mover of creative evolution. Therefore the chapter explains how Shaw's vitalist philosophy was centred on his feminist convictions. Pygmalion, the last play in this dissertation, is discussed from a Socialist Feminist standpoint in the fifth chapter. The study of this work brings to light Shaw's ability to provide a more comprehensive analysis of the woman question by the second decade of the twentieth century. By this time, he argued that the overthrow of patriarchal dominance would result, not only from outer reforms such as the establishment of Socialism, but from women's inner revolt against oppression as well; in other words, from their psychological development. Hence the analysis of Pygmalion highlights the fact that in this period Shaw's feminist engagement transcended his socialist concern. Finally, in the conclusion I assert that the three plays, i.e. Mrs. Warren's Profession, Man and Superman and Pygmalion, dramatise a comprehensive, consistent, and developing feminist vision. Such characteristic features confirm Shaw's longstanding commitment to the cause of woman's liberation and his repudiation of the dominant phallocentric theatrical traditionItem Nature and nurture in Daniel Defoe's Robinson Crusoe, H. G. Wells's the island of doctor Moreau and William Golding's lord of the flies(2012) Lameche, ZohraThis dissertation looks at how the theme of 'nature vs. nurture' is treated in three English novels written in three different periods: Daniel Defoe's Robinson Crusoe, H. G. Wells's The Island of Doctor Moreau and William Golding's Lord of the Flies. A comparison of these novels allows us to survey the move from an ardent belief in the ability of nurtured man to tame nature and thus establish a 'utopia'; to a skeptical vision that doubts the ability of nurture (science) to improve la condition humaine and tame nature, the result of which being 'anti-utopia'; finally to a pessimistic view that sees nurture as helpless in transforming man and his environment for the better, thus resulting in 'dystopia'. What caused writers to despair of the ability of a well-nurtured man to achieve supremacy over the natural world is the main question this dissertation addresses. This research stems from the conviction that, through the analysis of this theme, we bring out the interactions between the authors and their times, between texts and contexts. To this end, we shall rely essentially, but not exclusively, on the theory of Cultural Materialism. This dissertation contains six chapters. The Enlightenment, as I show in the first chapter, was characterized by civilized man's confidence in his ability to tame wild nature. The second chapter is devoted to the analysis of Daniel Defoe's Robinson Crusoe which reflects the spirit of progress that dominated the late-seventeenth and the beginning of the eighteenth centuries. The third chapter is concerned with the atmosphere of the late-nineteenth century doubts as to man's ability to successfully tame nature. This mood of skepticism and uncertainty is enhanced by man's fear of the misuse of science. H. G. Wells's The Island of Doctor Moreau which is the concern of the fourth chapter epitomizes this spirit of doubt. The fifth chapter is an investigation into the twentieth century sense of hopelessness caused mainly by the disastrous results of the First and Second World Wars; the latter witnessed the dropping of the first atom bomb. In the sixth chapter, we discuss William Golding's Lord of the Flies which exemplifies the spirit of despair of the mid-twentieth century. In the conclusion, we find that the answer to the question of whether nurture enables man to tame wild nature depends on the writer's viewpoint which is, for its part, shaped by both the historical and literary ideology/ies of his/her timeItem The quest for identity in richard wright's native son and ralph ellison's invisible man(2012) Djellouli, IsmailItem Prospero and caliban in robinson crusoe, kim, heart of darkness, and a passage to India(2014) Boulfekhar, SaidaTaking Shakespeare's Prospero and Caliban as a paradigmatic binary and basing its theoretical approach on cultural materialism and postcoloniality, the present study attempts to address the issue of the coloniser-colonised relationship in four canonical novels in English literature, namely Daniel Defoe's Robinson Crusoe, Rudyard Kipling's Kim, Joseph Conrad's Heart of Darkness, and Edward Morgan Forster's A Passage to India. The study is conducted in the light of the British Empire's development starting from its incipiency up till its downfall in the twentieth century. This study examines the way in which the changing historical context of British colonialism bears on each writer's vision of colonial relations as reflected in his narrative through his characterisation and his dramatisation of the colonial encounter and, at the same time, attempts to track signs of consistency in the four writers' conceptions of colonial relationships so as to verify the hypothesis that despite the varying writers' views and despite the unquestionable influence of the changing colonial context, the colonial encounter is consistently conceived as a strong to weak and superior to inferior relationship; a core that proves immune to the historical changes of British expansionismItem Du contact aux conflits dans la gestion du plurilinguisme au sein des entreprises algériennes : cas de l'entreprise ENIEM(2019) Mokrani, LylaNotre travail s’inscrit dans le cadre de la sociolinguistique. Il s’inscrit précisément dans le cadre de la sociolinguistique urbaine qui décrit la relation entre les langues et les villes ainsi que l’effet qu’ont les unes sur les autres. De ce fait, nous avons ambitionné d’analyser les pratiques langagières des employés de l’ENIEM de Tizi-Ouzou, afin de comprendre la gestion du plurilinguisme et les conflits de langues au sein de cette entreprise. Pour ce faire, nous avons posé la question centrale suivante : Quels contact et conflits de langues, les employés de l’ENIEM ont-ils dans la gestion de leur plurilinguisme au sein de leur entreprise ? Pour répondre à cette question, nous avons supposé que dans la gestion de leur plurilinguisme, les employés de l’ENIEM ont des contacts de langues qui conduisent aux conflits de langues. Notre étude a adopté une approche qualitative étant donné que nous avons recouru à une étude de contenu en analysant les données des enregistrements récoltés lors des entretiens non directifs et des questions ouvertes du questionnaire. Nous avons également fait appel à une approche quantitative pour analyser les données du questionnaire notamment les questions fermées et mi-ouvertes. Notre corpus est donc constitué de cent vingt questionnaires remplis par les employés de la direction générale de l’entreprise ENIEM de Tizi-Ouzou, cinq entretiens non directifs et de deux grilles d’observations : Une est destinée pour les directeurs et les dirigeants, et une autre pour les employés. Après vérification des résultats, nous sommes parvenue à conclure que, dans la gestion de leur plurilinguisme, les employés de l’ENIEM (ceux de notre échantillon) recourent à la langue première (appelée le zeddi mouh) et au français même en contexte formel. Ce qui exclut et minorise l’arabe standard (pourtant langue nationale et officiellement utilisé dans les administrations algériennes)Item Gender and the nation in the novels of ahlam mosteghanemi and ahdaf soueif(2019) Khireddine, Amel"Arab Nationalism" and "National Identity" have long been chief concerns in the Arab world. It goes without doubt that Western colonisation, which plagued most Arab nation-states, has the greatest impact on bolstering Arabs' nationalist sentiments and reformulation of national and communal identity. Although every Arab nation-state sets its own denominators for its foundation, shared history, religious moral values, and the Arabic language remain the indisputably revered national unifiers and signifiers of the Arab identity. Arab national discourse, outstandingly male-dominated, applauds these constituents which are supposed to stand for a homogeneous authentic Arab identity. Yet, while projecting man as the unsurpassed national hero, this discourse looks at women merely as the nation's boundary markers, as symbols or, at best, bearers and transmitters of national culture. However, with the advent of a feminist trend in the Arab world- a trend which coincided with the rise of nationalist resistance movements- iconic female figures staggeringly inscribed their names in the contemporary male-led Arab literary agenda. While being concerned with giving a voice to the silenced subaltern women, some of those postcolonial feminist Arab women writers go further towards reimagining a new construction of the national identity and community which undoubtedly disrupts the conventional definition of an Arab "imagined community". On those grounds, the present thesis, entitled Gender and the Nation in the Novels of Ahlam Mosteghanemi and Ahdaf Soueif, attempts to offer two different alternative feminist narrations of the nation which, in a way or another, counteract the Arab hegemonic patriarchal national discourses. By comparing and contrasting the writers' novels: Dhakirat al-Jasad and Fawda al-Hawas by the Algerian writer Ahlam Mosteghanemi and In the Eye of the Sun and The Map of Love by the Egyptian writer Ahdaf Soueif, I aim at demonstrating the extent to which those writers are conformists or not to the Arab conventional conception of national identity and community in its relation to gender politics. Though in her novels, Mosteghanemi seeks to reclaim a pure Algerian Muslim Arab national identity, she is certainly intent to speak out her heroine's female-self and cultural agency and hence her conformism is partial. Conversely, Soueif, in her artistic output, pushes aside all historical, moral and linguistic frontiers deemed to mark Arab national identity. Unlike her Algerian contemporary, Soueif's national map incorporates the Western Other while her pen draws unconventional scenes relating to Arab woman's sexuality
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