اللغات الأجنبية
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Item Towards Centralizing The Periphery In Jean Rhys’ Wide Sargasso Sea(1966) As A Counter Narrative To Charlotte Brontë’s Jane Eyre(1847)(Faculté des Langues Etrangères. Université d'Alger 2 Abu Al-Qasim Saadallah, 2022-12-30) Ezzine, ChahinezThe binary opposition between the centre and the periphery has received great attentions in postcolonial studies, among themliterature of writing back to the empire. The latter aims at comparing, revisiting and correcting the misleading portrayal ofcolonized people by the West. The present paper examines colonial traces in Charlotte Brontë‟sJaneEyre (1847) and Jean Rhys‟ Wide Sargasso Sea (1966) by looking closely atthe equivocal commonalities between the two works and the way they dialogize.In her response to the Victorian writer, Rhys forgesa prequel counter-narrative as well as builds a clean portrait of the „mad woman in the attic‟: Bertha Mason, who appears dehumanized in Brontë‟s novel. Owing to the nature of the study, the analysispivots thoroughly on comparative approach with reliance on postcolonial theory. To a lesser degree, the arguments fall implicitly in line with Julia Kristeva‟s concept of Intertextuality. The paper argues that „decolonizing the mind‟ from the fixity of stereotyped images is necessary in that the idea of „moving the centre‟is possible. To this end, centralizing the centre and marginalizing the periphery is but an illusion that is induced in some people's minds in the same way as of the notion of the centre and the periphery colonize their thoughts. The findings suggest that the Orient subaltern can speak for herself without the need to be (mis)represented by the Occident.Item Interfigural And Intertextual Relationships Between Tayebsalih’s Season Of Migration Tothe North And William Shakespeare’s Othello(Faculté des Langues Etrangères. Université d'Alger 2 Abu Al-Qasim Saadallah, 2023-12-23) Azzoug, FatimaTayeb Salih‟s character, Mustafa Sa‟eed refers to Shakespeare‟s Othello saying „I am Othello‟. „Like Othello‟, „I am not Othello‟. This declaration to look like and differ from Othello creates a literary interfigural and intertextual link between Mustafa Sa‟eed and Othello. This link indeed goes further to include Hasna, Mustafa Sa‟eed‟s widow and Desdemona, Othello‟ white wife. Thus, this article will highlight the interfigural and intertextual relationship between TayebSalih‟s and William Shakespeare‟s characters to defend the idea that such a literary relationship implies the persistence in the twentieth century of the institution of Otherness that oppresses the Black, the African and the woman who find ease only in death.Item L’intertextualité, élément Pour Une écriture De Soi(مجلة لغات ، تحليل الخطاب، والتداخل لكلية اللغات الأجنبية جامعة الجزائر 2 أبو القاسم سعد الله, 2023-12-31) Benslimane, RadiaL’intertextualité peut dissimuler tout un pan caché d’écriture de soi. Elle apparaît ainsi comme l'espace le plus improbable dans lequel la pensée intime ou l'autobiographie peut venir se loger. Seulement, si une réflexion sur l'intertextualité fait pénétrer dans l’univers romanesque et intime des romanciers, ce n'est en aucun cas pour délivrer le sens caché; c'est bien plutôt pour remettre en cause l'idée même du sens simple et simplifiée. D’ailleurs la pratique de l'intertextualité chez les deux auteurs qui font l’objet de cet article, soit Assia Djebar et Rachid Boudjedra, y est si abondante et si diversifiée, et surtout, si subtilement présentée pour brouiller toutes les pistes au lecteur. Ce que montre l’œuvre de ces romanciers c'est que l'écriture du roman littéraire procède par réécriture et transformation des textes, les leurs et ceux des autres, par refus de la hiérarchie des discours, pour une liberté de créativité. : Intertextuality can conceal a whole hidden pan of self-writing. It thus appears as the most unlikely space in which intimate thought or autobiography can come to settle. Only, if a reflection on intertextualit y makes it penetrate the romantic and intimate universe of novelists, it is in no way to release the hidden meaning; it is rather to question the very idea of the simple and simplified meaning. Moreover, the practice of intertextuality in the two authors that are the subject of this article, namely Assia Djebar and Rachid Boudjedra, is so abundant and so diverse, and above all, so subtly presented to confuse all the clues to the reader. What the work of these novelists shows is that the writing of the literary novel proceeds by rewriting and transforming the texts, theirs and those of others, by refusing the hierarchy of speeches, for a freedom of creativity.