...Ferial J. Ghazoul 120  JOURNAL OF MIDDLE EAST WOMEN’S STUDIES Children of the New World: A Novel of the Algerian War Assia Djebar. Translated from the French by Marjolijn de Jager. Aft erword by Cla- risse Zimra. New York: Th e Feminist Press...

... . “ The Other Language, the Language of the Other in the Work of Assia Djebar and Hélène Cixous .” MLN 129 , no. 4 : 812 – 28 . Djebar Assia . 1993 . Fantasia: An Algerian Cavalcade , translated by Blair Dorothy S. . Portsmouth, NH : Heinemann . Fernea Elizabeth Warnock...

...Rachel Rothendler Copyright © 2016 by the Association for Middle East Women’s Studies 2016 This essay examines Assia Djebar’s approach to language as a temporal, physical, and imagined space. In L’amour, la fantasia ( 1995 ), the first volume of her “autobiographical quartet,” Djebar...

... cover portrays four women—an arrangement that El Sadda says she never tires of reproducing, which evokes an Egyptian reconfiguration of Eugène Delacroix’s (four) Women of Algiers in Their Apartment in ways suggested by Assia Djebar. Djebar critiqued Delacroix’s objectification of Algerian women shown...

... of age in the early 1950s, the writer Assia Djebar ( 2010 : 203), found this freedom on the basketball court of her school: “The stadium, above all. There, me alone. Alone in the sun, wearing shorts or, sometimes, a skirt, I jump, I bounce. In this stadium, my freedom is flowing through me, body and soul...

... interventions, whether Assia Djebar’s Fantasia: An Algerian Cavalcade (French 1985; English 1993 ) or Leila Ahmed’s A Border Passage: From Cairo to America—A Woman’s Journey ( 1999 ). Djebar’s novel is earlier, more experimental, fragmented, and sustained by the dualities of (post)colonial contradiction...

... book claims that it “analyzes the links between creative dissidence and inscriptions of violence in the writings of a selected group of postcolonial Arab women,” including Assia Djebar, Leïla Sebbar, and Maïssa Bey (Algeria and France); Aïcha Ech-Chenna and Laila Lalami (Morocco and the United States...

... Revolution, carried guns, were guerrilla fighters, but once the revolution was won—once Algeria got its independence from France—the women’s cause was betrayed. Women were, as Assia Djebar [ 1980 , 1985 ] describes them, back in their apartments, cooking and cleaning. They didn’t get the freedoms...

...Ranjana Khanna References Bâ Mariama . 1987 . Une si longue lettre . Dakar : Nouvelles Éditions Africaines . Djebar Assia . 1987 . Ombre sultane: Roman . Paris : Lattès . El Saadawi Nawal . 1983 . Woman at Point Zero , translated by Hetata Sherif...

... El Amrani, and Assia Djebar, among others, have claimed their inbetweenness as transnational “Arab Mezzaterrans” (Soueif 2004 , 7) in their language, creative expression, geography, social location, religion, and political activism. Cheref cites a 1970s study when he accuses me of being “unaware...

... Djebar on the Algeria war of liberation. The Libya chapter shows sympathy for the “revolutionaries,” although she cites survey data on the subsequent entrenchment of sex segregation and the exceedingly conservative nature of Libyan society on such issues as the hijab and the role of the state...

... BOOK REVIEWS  109 constructs. Zahia Smail Salhi explores stereotypic depictions of Maghrebi women in colonial imagery and the ripostes to them by fi lmmakers like Assia Djebar and Moufi da Tlatli, who give voice to women’s struggles and aspirations through the paradoxical use of silence...

...  109 constructs. Zahia Smail Salhi explores stereotypic depictions of Maghrebi women in colonial imagery and the ripostes to them by fi lmmakers like Assia Djebar and Moufi da Tlatli, who give voice to women’s struggles and aspirations through the paradoxical use of silence as a motif. Lina...

... in the recurrence of motifs and coun- terpoints. Th e reader is as startled by the death of Saidi as by the death of Touma, although there were indications that such fatalities would occur. Djebar weaves the diff erent strands and the various characters into a colorful tapestry. Th e translator...

... , translated by Kraus Cynthia . Paris : Découverte . Canadé Sautman Francesca . 1994 . “ Gynosociabilité et la femme-homme: Politique d’un espace érotique féminin dans cinq œuvres de Ben Jelloun, Djebar et Emna Bel Haj Yahia .” Congrès Mondial du Conseil International d’Etudes Francophones...

..., the book offers a reading of three major novels from the postcolonial Maghrib with no restriction of geographic origin or lan- guage: ‘Am al-Fayl (Year of the Elephant) by Moroccan Leila Abouzeid, Ombre Sultane (A Sister to Scheherazade) by Algerian Assia Djebar, and La Vie Simple...

... . Djebar Assia . 1980 . “ Regard interdit, son coupé .” In Femmes d’Alger dans leur appartement , 167 – 92 . Paris : Des Femmes . El Guabli Brahim , and Jarvis Jill , eds. 2017 . “ Violence and the Politics of Aesthetics: A Postcolonial Maghreb without Borders .” Special issue...

... to speculate on what can arise from such moments, she engages in political intervention. In just the past four years, for example, I have had the opportunity to contribute to events she has organized on the work of Assia Djebar and on the latest refugee crisis. She has been instrumental in gathering people...

... Egyptian, Palestinian, Syrian, and Emirati women scholars think and write more fluently in English than in Arabic—that is a legacy of colonial subject-making (Adnan 1990, Djebar 1993). Arab women were constructed as Arab women subjects in rela...

... by the work of Algerian Assia Djebar and Horria Saihi despite multiple death threats on their lives. Novelist and essayist Djebar turned to filmmaking with La Nouba des Femmes du Mont Chenoua to docu- ment women’s cultural histories and roles in Algerian society (Ellerson nd; Salhi 2004). Her work...