LETTRES et LANGUES
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Item The Agony And Resilience Of Afghan Women In Yasmina Khedra’s The Swallows Of Kabul And Khaled Hosseini’s A Thousand Splendid Suns(Faculté des Langues Etrangères. Université d'Alger 2 Abu Al-Qasim Saadallah, 2022-12-30) Allouache, ZinebThis article attempts to compare Yasmina Khadra's, The Swallows of Kabul (2002) with Khaled Hosseini’s A Thousand Splendid Suns (2007). To do so, both Postcolonial Feminism and Trauma theory have been applied in order to explore the female protagonists’ oppression by their male counterparts and the traumatic experiences they endure, starting with loss and violence, to total marginalization and invisibility. This trauma appears on the female characters under different shapes such as nightmares and flashbacks. Ultimately, it concludes that both Yasmina Khedra and Khaled Hosseini aim at denouncing the violence endured by the Afghan women under the Taliban regime which uses religion as a mean to oppress them, and portraying the resilience of women despite all odds. Through a thematic study of the two novels, this article will shed light on the brutality of the environment under which the Afghan women live in a male-dominant society, supported by a strong political fanaticism. That is, women suffer twice: first because they live under the weight of traditional Afghan society, and second because they live in the midst of a strong radical Islamic system. Women become invisible beings , excluded from any social activity and facing all sorts of injustice.Item Once Upon A Time Women And Weapons: Ideology Dynamics Behind Armed Heroines In The Fairy-tale Films Snow White And The Huntsman And Hansel & Gretel(Faculté des Langues Etrangères. Université d'Alger 2 Abu Al-Qasim Saadallah, 2022-09-16) Mouchène, SamiaThis paper draws attention to a twenty-first-century Hollywood tendency of weaponizing the fairy-tale female characters and involving them in armed and deadly but “just” conflicts. It evaluates the ideological implications of this trend, in both their patriarchal and capitalist dimensions. The films Snow White and the Huntsman (2012) and Hansel & Gretel: Witch Hunters (2013) serve as samples of a larger bulk of recent fairy-tale cinematic adaptations that put forwards the unorthodox association of fairy-tale heroines and weapons. The cinema industry claims to offer new, “feminist-friendly” representations away from the stereotypes in the fairy tales and the “damsels-in-distress” of the Disney Studios’ adaptations. Putting this claim aside, the positions of the films within or against the dominant ideology backgrounds of patriarchy and capitalism are the centre of this study, which is thus theoretically framed within feminist (Laura Mulvey’s) and Marxist (Louis Althusser’s) thoughts. The suggestion of female empowerment through handling weapons and immersion in violence is here evaluated in its efficacy. It is argued that complacency to the male gaze expectations and patriarchy persists, but also that the association of fairy-tale heroines and weapons creates an inharmonious hybridization of femininity and some masculinity aspects. It is reasoned that the combination of fairy-tale heroines and weapons serves another facet of dominant ideology that is capitalism by promoting gun use among the rather pro-gun-control women. Overall, the research details one example of the mechanics through which dominant ideology maintains itself by subtly countering oppositional thoughts.Item Voicing The Unvoiced: Women Haragas Between The Wretchedness Of The Earth And The Fantasies Of The Sea In Laila Lalami’s Hope And Other Dangerous Pursuits(Faculté des Langues Etrangères. Université d'Alger 2 Abu Al-Qasim Saadallah, 2022-09-16) Nouioua, WahibaWhen the issue of illegal immigration, popularly known as El Harga , is specifically addressed, it tends to be stereotypically approached as a male phenomenon. The sex role socialization along with the domestic /public sphere polarization may account for this generic image of the male harag who burns borders to provide financially for his family. Women as heroines of the domestic harem, socialized to succumb spatially and behaviorally to patriarchal normativity, are rendered alien to this phenomenon. Accordingly, their unfamiliar experience with illegal crossing has remained quite invisible within the fields of migration and gender studies. Using Laila Lalami’sHope and Other Dangerous Pursuits (2005), the present article seeks to give a discursive space to women as border burners, and transgressors of sexual and cultural barriers. Female Haragas as a subaltern social category will be explored in light of a postcolonial feminist perspective to analyze how the plight of these women is intrinsically linked to the historical, political, and cultural realities of their Third World realities. A spotlight on the existential conditions of Lalami’s female characters, Faten and Halima, would reveal that their Otherness as a second sex, combined with their socioeconomic precariousness contribute significantly to their illegal departure. Unable to cope with the physical assaults and masculine surveillance inflicted on them, both heroines turn to channel their emancipation via illegal crossing whereby they can attain a European paradise of both gender and social equality. The paper will show that even though Europe turns out to be a paradise lost wherein hegemonic practices are sustained against Haragas, it lets the resurrection of dissident female figures who are no longer willing to bow down to phallocentric rules. In the selected narrative, Faten’s migratory experience as a self-employed prostitute helps her comprehend that her gender is a congenital weakness that may just vary cross culturally. In her new diasporic positioning , she finds herself called to succumb to the whims of the Orientalist agendas requiring her to incarnate the myth of passivity and docility that the neologism Muslim Women stereotypically embodies. Aware of her double oppression both as a woman and as a Muslim, Faten decides to free herself from her sexual exploitation. In the same vein, Halima’s aborted haraga project allows her to reconsider her condition, and cease play the game of sex role imposed on her . Her transgression of sexual and cultural barriers granted her the divorce she was looking for, and thus freed her from patriarchal bondage.