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Item Les pratiques langagières des enseignants de français du cycle primaire diplômés de l'université d'El-Oued(2019) Miloudi, MounirCette étude met l'accent sur les conjonctures sociolinguistiques ayant un impact sur les pratiques langagières des enseignants de français du cycle primaire diplômés de l'université d'El-Oued exerçant dans la même région. Pour ce faire, nous nous sommes basés sur le questionnaire, la biographie langagière et l'entretien semi-directif comme outils d'investigations auprès dudit public enquêté. De cette étude, il s'est avéré que notre terrain d'enquête est un conglomérat de facteurs très hétérogènes et d'ordres divers : historique, géographique, culturel, psychologique, etc. Ces conjonctures sont intervenues et interviennent encore dans la structuration des pratiques langagières dans ledit milieu caractérisé essentiellement par une domination de l'arabe dialectal ; ce qui ne favorise pas une pratique langagière correcte en français et ce même pour les enseignants de cette langue dont les pratiques sont marquées par la valorisation d'une langue et la dévalorisation d'une autreItem 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 sexualityItem 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 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 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 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 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 representation of the intellectual in seven Of edgar allan poe's tales(2010) Mahdjoub Araibi, HichemItem The quest for identity in richard wright's native son and ralph ellison's invisible man(2012) Djellouli, Ismail
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