Le blanc de l'Algerie

Djebar, Assia

doi:10.1080/02690050008589678

Cited by 44 publications

(6 citation statements)

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“…Here the colonial returns in full force. Without giving an overly reductive reading of the complexities of the Algerian civil war, this conflict has often been represented as an extreme rendering, revision or reaction to the colonial violence that afflicted Algeria for over a century (Benmalek 2009;Djebar 1995). In this light it is hard not to see Muhammad's apparently senseless murder as an allegory for the return of the colonial and postcolonial repressed.…”

Section: Staging Palestinementioning

confidence: 96%

Performing Palestine in Contemporary France: Mohamed Rouabhi's TranscolonialBanlieue

Harrison¹

2014

Modern & Contemporary France

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Section: Staging Palestinementioning

confidence: 96%

Performing Palestine in Contemporary France: Mohamed Rouabhi's TranscolonialBanlieue

Harrison¹

2014

Modern & Contemporary France

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“…Assia Djebar's (1995) Le Blanc de l'Algérie is foregrounded in memorializing the dead of and/or during the time of the Algerian Civil War, and could be read next to Sansal's novel in productive ways. (Mufti 2007: 252).…”

Section: See Henrimentioning

confidence: 98%

Lacunae, erasure, and the impossibility of bearing witness in Boualem Sansal's Le Village de l'Allemand (2008)

MacDonald

2011

International Journal of Francophone Studies

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Le Village de l'Allemand ou Le journal des frères Schiller (2008), the prizewinning Algerian author Boualem Sansal's fifth novel originally published in France, confronts major historical events of the twentieth century: the French occupation of Algeria, the Holocaust, the Algerian War of Independence and Civil War in the 1990s, as well as the banlieues in modern day France. Taking the form of two diaries written by half-German, half-Algerian brothers in the aftermath of discovering their father was a Nazi, the novel sets up testimonies and witnessing by proxy. Putting 'Islamism' and Nazism in contact with one another, Sansal's novel finds a wide audience in translation. Called The German Mujahid and marketed in the United States as 'The first Arab novel to confront the Holocaust', the novel brings together guilt, collaboration, and atonement in a way that ultimately reveals the dangers of history and testimony under erasure, and the impossibility of bearing witness. RésuméPublié en France (2008), le cinquième roman de l'écrivain algérien Boualem Sansal, Le Village de l'Allemand, met en relation les grands événements historiques du XXe siècle: la colonisation française en Algérie, l'Holocauste, la guerre d'indépendance algérienne et la guerre civile algérienne des années 1990s, ainsi que les conditions de vie dans les banlieues françaises. Construit comme deux journaux intimes de deux frères d'origine germano-algérienne, le roman met en scène une série de témoignages en 'proxy', après que les frères decouvrent que leur père était Nazi. En créant un parallèle entre islamisme et nazisme, Le Village de l'Allemand connaît un grand succès en version traduite. Cet article examine comment le roman intègre la culpabilité, la collaboration et l'expiation d'une manière qui révèle, finalement, les dangers de l'histoire et du témoignange 'sous rature': l'impossibilité de témoignage.

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“…34 Ferradj, on the other hand, resigned to die like a human being and failed to "die like an 'authentic' Algerian! ": 35 "He didn't know how to die, alas, poor man: he screamed, he shouted, he fought, they dragged him like Aïd's sheep; in the end, he fell silent when they managed to get him out into the main courtyard. What a shame!"…”

Section: Le Blanc De L'algérie: No Mourning No Amnesiamentioning

confidence: 99%

Writing against Mourning: Memory in Assia Djebar’s Franco-graphie

Guabli¹

2019

Postcolon. Lit. inq

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In this article, I provide a new reading of Djebar’s Le Blanc de l’Algérie as being antimourning. I argue that in the face of institutionalized amnesia and excessive commemoration, Djebar’s refusal to mourn her dead friends institutes a politics of antimourning that seeks to reckon with the larger memory and history of silenced political murders in Algeria. Rejection of mourning enables remembering and empowers feminist engagements with the past. Rather than being another al-Khansā’—the Arab dirge poet who composed elegies for her slain brother, Ṣakhr—Djebar sees herself in Polybe’s footsteps. In offering this new argument, I aim to steer scholarly conversations to antimourning as a condition for healing in postcolonial contexts. Conscious of the centrality of language in Djebar’s writings and in her larger Maghrebi context, I have developed the undertheorized concept of Franco-graphie, which I propose opens up a new space to conceptualize violence and amnesia in writings that emerge from postcolonial, multilingual contexts, and their contested legacies.

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Le blanc de l'Algerie

Cited by 44 publications

References 0 publications

Performing Palestine in Contemporary France: Mohamed Rouabhi's TranscolonialBanlieue

Performing Palestine in Contemporary France: Mohamed Rouabhi's TranscolonialBanlieue

Lacunae, erasure, and the impossibility of bearing witness in Boualem Sansal's Le Village de l'Allemand (2008)

Writing against Mourning: Memory in Assia Djebar’s Franco-graphie

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