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Abstract
In women’s writing, Assia Djebar raises questions about the feminine condition in Algeria, in the different historical, social, political contexts. As the first lady to have introduced “insurrection” in her writing about Algeria, she creates words of liberation to substantiate Algerian women’s experience, so that in their turn, they might bring about a new generation of free and solidary women as the fictional world of Djebar does not cease to claim. This article examines Assia Djebar’s novel, L’Amour, la Fantasia (1985) from the perspective of the feminine thought elaborated in Helene Cixous’ article The Laugh of the Medusa (1975). Djebar incarnates the model of ecriture feminine , and incorporates its practices in her narrative, in the way Cixous considers them in her article.
Highlights
In women’s writing, Assia Djebar raises questions about the feminine condition in Algeria, in the different historical, social, political contexts
As the first lady to have introduced “insurrection” in her writing about Algeria, she creates words of liberation to substantiate Algerian women’s experience, so that in their turn, they might bring about a new generation of free and solidary women as the fictional world of Djebar does not cease to claim
This article examines Assia Djebar’s novel, L’Amour, la Fantasia (1985) from the perspective of the feminine thought elaborated in Hélène Cixous’ article The Laugh of the Medusa (1975)
Summary
In women’s writing, Assia Djebar raises questions about the feminine condition in Algeria, in the different historical, social, political contexts. Le modèle d’écriture féminine qu’elle conçoit est une écriture qui nécessiterait surtout un acte révolutionnaire de l’écriture qui soit propre à la femme et surtout qui marquera la prise de la parole par elle dans des contextes qui défieront les lois du genre et qui maintiendront l’opposition à l’idéologie masculine allant à l’encontre du progrès de la femme.
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