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Assia Djebar algériai

1936. június 30. (Cherchell, Algéria) – 2015. február 6. (Párizs)

Teljes névFatima Zohra Imalayène
KatalógusnévDjebar, Assia
Nem

Képek 1

Könyvei 5

Assia Djebar: L' Amour, La Fantasia
Assia Djebar: Femmes d'Alger dans leur appartement
Assia Djebar: La Femme sans sépulture
Assia Djebar: Fantasia
Assia Djebar: Das verlorene Wort

Antológiák 1

Chinua Achebe – C. L. Innes (szerk.): Contemporary African Short Stories

Népszerű idézetek

cher1s>!

« Elle lit », c'est-à-dire, en langue arabe, « elle étudie ». Maintenant je me dis que ce verbe « lire » ne fut pas par hasard l'ordre lancé par l'archange Gabriel, dans la grotte, pour la révélation coranique… « Elle lit », autant dire que l'écriture à lire, y compris celle des mécréants, est toujours source de révélation : de la mobilité du corps dans mon cas, et donc ma future liberté.

L'école coranique, 254. oldal (Le Livre de Poche, 2001)

cher1s>!

Je cohabite avec la langue française : mes querelles, mes élans, mes soudains ou violents mutismes forment incidents d'une ordinaire vie de ménage. Si sciemment je provoque des éclats, c'est moins pour rompre la monotonie qui m'insupporte, que par conscience vague d'avoir fait trop tôt un mariage forcé, un peu comme les fillettes de ma ville « promises » dès l'enfance.

La tunique de Nessus, 297-298. oldal (Le Livre de Poche, 2001)

Agatha_Emrys>!

And now I too seek out the rich vocabulary of love of my mother tongue – milk of which I had been previously deprived. In contrast to the segregation I inherited, words expressing love-in-the-present become for me like one token swallow heralding summer.

Assia Djebar: Fantasia An Algerian Cavalcade

1 hozzászólás
Agatha_Emrys>!

I seemed to feel, as soon as I heard it – all too soon – that a love affair, that love itself ought not to give rise to meretricious words, ostentatious demonstrations of affection, so making a spectacle of oneself and arousing envy in frustrated women . . . I decided that love must necessarily reside elsewhere and not in public words and gestures.

Assia Djebar: Fantasia An Algerian Cavalcade

Agatha_Emrys>!

Even when the native seems submissive, he is not vanquished. Does not raise his eyes to gaze on his vanquisher. Does not 'recognize' him. Does not name him. What is a victory if it is not named?

Assia Djebar: Fantasia An Algerian Cavalcade

Agatha_Emrys>!

Whenever my mother spoke of my father, she, in common with all the women in her town, simply used the personal pronoun in Arabic corresponding to 'him'. Thus, every time she used a verb in the third person singular which didn't have a noun subject, she was naturally referring to her husband. This form of speech was characteristic of every married woman, from fifteen to sixty, with the proviso that in later years, if the husband had undertaken the pilgrimage to Mecca, he could be given the title of 'Hajj'.

Assia Djebar: Fantasia An Algerian Cavalcade

Agatha_Emrys>!

French – formerly the language of the law courts, used alike by judges and convicted. Words of accusation, legal procedure, violence – that is the oral source of the colonized people's French.

Assia Djebar: Fantasia An Algerian Cavalcade

Agatha_Emrys>!

French for secret missives; Arabic for our stifled aspirations towards God-the-Father, the God of the religions of the Book; Lybico-Berber which takes us back to the pagan idols – mother-gods – of pre-Islamic Mecca. The fourth language, for all females, young or old, cloistered or half-emancipated, remains that of the body: the body which male neighbours' and cousins' eyes require to be deaf and blind, since they cannot completely incarcerate it; the body which, in trances, dances or vociferations, in fits of hope or despair, rebels, and unable to read or write, seeks some unknown shore as destination for its message of love.

Assia Djebar: Fantasia An Algerian Cavalcade

Agatha_Emrys>!

The city, a vista of crenelated roofs and pastel hues, makes her first appearance in the role of 'Oriental Woman', motionless, mysterious. At first light the French Armada starts its slow glide past, continuing its stately ballet until noon spills its spangled radiance over the scene. No sound accompanies this transformation – this solemn moment of anticipation, breathless with
suspense, the moment before the overture strikes up.

Assia Djebar: Fantasia An Algerian Cavalcade