Djebar- 'Femmes d'Alger' Flashcards

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1
Q

Language politics; something Ali has not been able to do, retrain in Arabic

A

se recycler dans la langue nationale

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2
Q

Leila points at injustice of women having fought but are now not listened to

A

Il me faut parler, Sarah! Ils ont honte de moi!

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3
Q

Leila questions where the women who helped in the independence efforts are now

A

Où êtes-vous, les porteuses de feu, vous mes soeurs qui aurez dû libérer la ville

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4
Q

elusion to electrocution torture in Ali’s dream scene

A

gégenne

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5
Q

start of Ali’s dream scene

A

Tête de jeune femme aux yeux bandés, cou renversé, cheveux tirés

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6
Q

hazab’s wife expected to return to her duty of reproduction once the war ended

A

Elle avait repris le rythme des accouchements “au lendemain de l’indépendance’ (beaucoup de récits plus nobles commencent encore par cette expression oratoire…)

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7
Q

Nazim ashamed of his father’s answer about killing fleas when asked about his experience of the war

A

De ses cinq ans de maquis, que m’a-t-il raconté?…Et de la vie de maquis, un seul détail “miserable”: terrés dans des grottes, ils tuaient leur poux l’hiver.

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8
Q

Sarah asks Nazim if he would rather Ali made up a more heroic past for himself

A

Serait-il préférable qu’Ali, comme tant de pères, fignolât à ton usage une auréole héroïque bien commode?

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9
Q

advocating the need for women to have a voice (Sarah)

A

Je ne vois pour les femmes arabes qu’un seul moyen de tour débloquer: parler, parler sans cesse d’hier et d’aujourd’hui…Parler entre nous et regarder…regarder hors des murs et des prisons!

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10
Q

Sarah’s voice fails her when she tries to communicate with Ali

A

Ma voix ne les atteint pas. Elle reste intérieure.

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11
Q

MALEK HADDAD on the French language being the national language of Algeria

A

Il n’y a qu’une correspondance approximative entre notre pensée d’Arabes et notre vocabulaire de Français.

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12
Q

DJEBAR IN Ces voix qui m’assiègent…en marge de ma francophonie

A

j’ai ressenti enfin combien la langue française que j’écris s’appuie sur la mort des miens

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13
Q

describes Delacroix’s vision in the Postface as being between dream and reality

A

traces onirique

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14
Q

Postface- visibility of women in Algeria subject to strict sanctions, fetishisation of purity

A

L’image de la femme n’est pas perçue autrement par le père, par l’époux et, d’une façon plus trouble, par le frère et le fils

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15
Q

Postface- reduction of women’s voices to a small ‘yes’ in submission to arranged marriage

A

Terrible substitution d’une parole à une autre, et qui, de plus, ouvre la voie à la pratique illégale du mariage forcé…“oui” à la soumission

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16
Q

Postface- view of Picasso’s new version

A

‘nous guider’ ‘Picasso renverse la malédiction’, ‘une renaissance des femmes à leur corps’, ‘libération glorieuse de l’espace’

17
Q

Postface- way forward is conversation between women, sense of a threshold again

A

La porte ouverte en plein soleil

18
Q

Postface- anxiety about speaking for more than one woman

A

trop tôt…pour parler au pluriel?

19
Q

Ouverture- idea of translation into French;but what from?

A

nouvelles traduites de…arabe populaire, arabe féminin, arabe souterrain

20
Q

Ouverture- journey of listening and orality, fragmented conversation (echoes structure of novella)

A

un trajet d’écoute

21
Q

Ouverture- sense of women’s emotions, being passed from one to the other

A

‘d’échos et de soupirs’ ‘chaînes’

22
Q

Ouverture- anxiety about speaking ‘for’ people

A

Ne pas prétendre “parler pour”, ou pis, “parler sur”, à peine parler près de, et si possible tout contre

23
Q

Ouverture- threshold of fiction

A

ce seuil

24
Q

Ouverture- plural, act of solidarity

A

notre survie

25
Q

Mother must have lived in fear

A

Elle a dû vivre dans la peur, je suppose!

26
Q

Understanding of why she was giving an education, her father values it because he can now compare her to a son

A

J’ai compris ainsi pourquoi j’étais partie, à seize ans, de la maison, du lycée (et mon père qui sentait si fier: une fille bachelière…

27
Q

Resentment that she found what happened normal at the time for women

A

Je ne pensais rien. Jamais, jamais, ne me suis dit que ce soit. A l’époque devais-je trouver la scène normale.

28
Q

Resolved that she would never be a woman like that

A

Je ne me suis jamais levée pour renverser la bassine, pour dire au couple calme et serein “Allez au diable, vous deux!” Je savais pourtant que moi je ne laverais jamais rien comme cela.

29
Q

sense of women being imprisoned within their houses generation after generation

A

des prisons cernant haut chaque rue, chaque femme vit elle pour son propre compte, ou d’abord pour la chaîne des femmes autrefois enfermées, génération après génération.

30
Q

woman having to face a second war because they were never really liberated

A

nous nous sommes precipités pour la libération d’abord, nous n’avons eu que la guerre après.

31
Q

sense of women being in the dark, silenced and hidden

A

Tard dans la nuit, elle se délivra

32
Q

mother described as being unable to ever speak, express herself

A

mère…morte…silencieuse

33
Q

Anne listening to the experience of Sarah, respecting her voice

A

Anne écoutait. Dans les pauses, elle n’intervenait pas, se gardait même de bouger.

34
Q

JANE HIDDLESTON ‘ASSIA DJEBAR: OUT OF ALGERIA’: relationship with native land

A

at once preoccupied with and severed from her native land, Djebar writes from within this tension

35
Q

DEBRA KELLY ‘AUTOBIOGRAPHY AND INDEPENDENCE’: missing women

A

restores the missing women in the analysis of the colonial situation

36
Q

DEBRA KELLY ‘AUTOBIOGRAPHY AND INDEPENDENCE’: finding a space for the exiled and neglected

A

seeks to provide a time and a space that secure a place for the exiled of history in the here and now…through a reinvented relationship to language, to history, to other, to self.

37
Q

DEBRA KELLY ‘AUTOBIOGRAPHY AND INDEPENDENCE’: silence theme

A

silence haunts all of Assia Djebar’s writing

38
Q

DEBRA KELLY ‘AUTOBIOGRAPHY AND INDEPENDENCE’: ambivalent attitude towards the French language

A

does not deny that the language of the oppressor, which in turn became the gift of her father, is also the language of her individual liberation

39
Q

DEBRA KELLY ‘AUTOBIOGRAPHY AND INDEPENDENCE’: idea of representing voices but not speaking for them

A

aware of the dangers of being seen as ‘speaking on behalf of’ women whose experience is so different from her own.