This item:Fantasia: An Algerian Cavalcade by Assia Djebar Paperback $ L’amour, la fantasia, translated as Fantasia: an Algerian Cavalcade was. Fatima-Zohra Imalayen (30 June – 6 February ), known by her pen name Assia In , Djebar published L’Amour, la fantasia (translated as Fantasia: An Algerian Cavalcade, Heinemann, ), in which she “repeatedly states. One of the interesting features of L’amour, la fantasia by Assia Djebar is that it tries to combine historiography and autobiography by confronting both genres with.
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On the occasion of the publication of L’amour, la fantasiathe first translation in Slovene of a novel by Assia Djebar, the publishing house Mladinska knjiga and City of Women present the work of the Algerian author, film-director and academic.
Besides a presentation dkebar the book we will screen her film La Nouba, des femmes du Mont Chenoua at Slovenska kinoteka. She is a prolific artist and has written numerous novels, poetry, plays, short stories, and directed two films.
In her widely honoured work she explores the struggle for social emancipation and the Muslim woman’s world in all its complexities.
She revises traditional Algerian history-writing by de-centering the French coloniser’s official version and writing the silenced voices of Algerian women back into history. Djenar film mingles narrative and documentary styles to document the creation of women’s personal and cultural histories.
L’Amour, La fantasia, Assia Djebar
Returning to her native region 15 years after the end of the Algerian war, Lila is obsessed by memories of the war for independence that defined her childhood.
In dialogue with other Algerian women, she reflects on the differences between her life and theirs.
In lyrical footage she contemplates the power of grandmothers who pass down traditions of anti-colonial resistance to their heirs. Reading the history of her country as written in the stories of women’s lives, Assia Djebar’s La Nouba des Femmes du Mont-Chenoua is an engrossing portrait of speech and silence, memory and creation, and a tradition where the past and present coexist.
L’amour, la Fantasia is closely linked to La Nouba, and both are in many respects representative of Djebar’s entire work.
The novel mixes the personal story of an unnamed female narrator and Algeria’s history since the beginning of French colonisation in The film’s testimonies are incorporated into the third part of the novel.
Many parallels can be drawn between film and novel: Especially by means of this technique Djebar gives her work a “palimpsestic structure”. But as complete erasure is impossible, there always remain traces, even if it may require a special light in order to decipher them.
Assia Djebar, L’amour, la fantasia
Djebar provides this special light, a deeper gaze on Algerian history, to decipher the traces of her people ammour the witness of the violence used especially against Algerian women. Although Djebar creates a female Algerian counter-history, she foregrounds at the same time the difficulty of such a project.
Colonial history can never completely be bypassed, and the silenced voices can never be heard unmediated or untranslated. Assia Djebar, distinguished professor and director of the Center for French and Francophone Studies at Louisiana State University, has received numerous honours and awards, including: Last year she won the prestigious Peace Prize at the world’s biggest book-fair in Frankfurt: For a more comprehensive biography, which also places Djebar’s work within the context of Maghreb and francophone literature we refer to the detailed essay by the translator, Suzana Koncut-Verdellis published in the Slovene translation of the novel L’amour, la fantasia.