About the theme highlighted in Assia Djebar's “l'amour, la fantasia”

Аннотация

The history of female References: in Algeria is studied by many writers. They studied female References: at all levels, as well as in romantic genres: both general and thematic, from a critical point of view. They also promoted topics that reveal the realities of Algeria's cultural and social life. Creativity for these writers was also a field of struggle with a closed society, which did not stop humiliating and degrading the dignity of women. In this article we tried to consider the topic covered in the works, one of the most famous women writers of the East and, possibly, the first Algerian writer known for his complex creative style, Assia Djebar. Keywords: Algerian women's References:, creativity, creative style, “L'Amour, la fantasia” Assia Djebar is Algeria’s favorite writer and has long been known as “one of the most important figures in North African References:” . On February 7, 2015, the French Academy announced the death of Assia Djebar in Paris. Djebar was born in Churchill, Algeria, in 1936. She lived in Algeria, France, Tunisia, and the United States for seventy-eight years, spending her life as a writer, historian, director, and professor. Although Djebar's literary works are dedicated to women in the Islamic world, where men dominate, she is best known for her many works, which reflect Arab-barbarian, Muslim and French views and feelings. In honor of Jébar, on the day he was declared dead in Figaro, President Francois Hollande expressed the following: «cette 160 Scientific research results in pandemic conditions (COVID-19) femme de conviction, aux identités multiples et fertiles qui nourrissaient son œuvre, entre l’Algerie et la France, entre le berbère, l’arabe et le français». Entering the French Academy in June 2005, Djebar was the first North African woman writer recognized by the French. She was also the first Algerian student and first Muslim to be admitted to the “Ecole Normale Supérieure de Sèvres” in 1955. Although Djebar condemned the patriarchal and colonial system in Algeria in her works, she was respected by the academics living in Algeria, she achieved the respect she wrote about the freedom of Algerian Muslim women and the colonial system. Djebar said that his literary work is based on the Arabic and Berber culture “foi musulmane” (“Muslim faith”), “langue de souche... la langue berbère” (“native language ... Berber language”), thus dwelling on the achievements achieved during sixty years of French colonial rule, and trying to explain why she writes in French, in fact, many of Djebar’s works are related to her attitude to the language, since she speaks Algerian languages, in particular French, Arabic and barbaric languages, which speaks of how important it is for her personally. Algerian References: describes not only the oppression of French colonialism, but also the struggle for the independence of ideological spaces that have not yet been formed and not regulated; at the same time, Assia Djebar’s work is an ideal presentation of a centuries-old attempt to change the ideology of Algerian women from the ideas of the existing social system. After publishing her first novel «La Soif » (1957), Djebar published a series of works, including «Les Impatients» (1958), «Les Enfants du Nouveau Monde» (1962) and «Les Alouettes Naives» 1967), «La Nouba des Femmes du mont Chenoua» (1977) and «Femmes d'Alger dans leur Appartement» (1980). But by the end of the 1960s, she couldn’t meet with her compatriot women from a sociological point of view and decided to retreat creatively. In Algeria, an Islamic country, women are less literate than men; an occupied country is less likely to speak the language of a colonial country. As a result, the work of Djebar did not reach the desired audience (a limited number of Algerian women). During this “quiet decade” that Djebar did not write, she traveled around the country and collected oral evidence from Algerian women. This evidence became the material for his most complex work, L'Amour, la fantasia . The novel explores the extent to which Djebar was able to shed light on the history of Algerian women’s lifestyles, and in the course of this her talent has been explored in various sources. Her historical preparation was noticeable in the play, thereby documenting oral stories as evidence of women's struggle to hear the voices of women in a colonized country, using data from French archives. Djebar’s work is seen as an attempt to solve the problem of exclusion of women from Algerian history, devoting his work to counteracting liberated, illiterate Algerian 161 Scientific research results in pandemic conditions (COVID-19) women. In addition, “L'Amour, La fantasia” seeks to recognize the role of women in national and historical debates, shedding light on the issue of ending women's silence after the war on violence. In L'Amour, la fantasia, the struggle of modern Algerian women to create an icon for themselves is studied, in which they strive to determine