Touria Nakkouch | IBN ZOHR UNIVERSITY (original) (raw)

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Papers by Touria Nakkouch

Nous habitons nos vies en être humains sexué(e)s : enfants, nous sommes des garçons ou des filles... more Nous habitons nos vies en être humains sexué(e)s : enfants, nous sommes des garçons ou des filles ; adultes, nous sommes des femmes ou des hommes. Nous emportons notre « genre » avec nous à l'école, dans la rue, au sein de l'entreprise ou dans d'autres sphères de la vie publique; nous réalisons alors que le « genre » détermine aussi bien notre vision des autres que la vision que les autres ont de nous. Ces visions de « l'autre genre » sont des constructions sociales, culturelles ou économiques. Le but de la présente communication est d'articuler le genre à l'emploi et à interroger les aspects paradigmatiques de cette relation à savoir :

Francosphères, vol. 2, no. 1 (2013)

In the long-standing and divisive debate on Comparative Literature, comparatist scholars from bot... more In the long-standing and divisive debate on Comparative Literature, comparatist scholars from both the Great European Tradition and the Southern Hemisphere agree on the importance of two elements: first , the definition of Comparative Literature and the historical role it has with regard to the Human Sciences; secondly, the position of theory in this essentially Eurocentric discipline, and the impact that recent cross-cultural scholarship on Postcolonialism, Women Studies, Translation and Cultural Studies may have on the project of its re-conceptualisation. The present paper deals briefly with the first element, providing elements of focus rather than a finished portrait; then, it takes up the significant moments of the theoretical debate in Comparative Literature between Literary Studies on the one hand and Translation & Cultural Studies on the other. Through the comparative scholarly research extending from the 1990’s to the first decade of the 21st century, I describe the shifts of focus in literary studies that emerged in the 1990’s, and which resulted in the creation of a more politicised Cultural Studies and new configurations of main vs. subsidiary between Comparative Literature and the disciplines contiguous to it: Translation and Cultural Studies. With these realignments, I argue, Comparative Literature has faced the challenge to restructure itself and its agenda. In this, I finally maintain, it gives 21st century lessons to the other Human Sciences on the commensurability of angst, survival and regeneration.

The present paper addresses ‘otherness’ in sexist and propagandist art discourses and locates it ... more The present paper addresses ‘otherness’ in sexist and propagandist art discourses and locates it at the intersection between visual art, postcolonial theory and gender analysis. Through my reading of two paintings of women figures , one by the 19th century French Orientalist painter Eugene Delacroix and the other by the 17th century French painter of religious themes George de La Tour, I demonstrate that visual art culture has been at different periods of human history one of the important mass media used by the Establishment within which it operates to institutionalize modes of perceiving and defining the ‘self; and the ‘other’ that serve the ideological interests of that Establishment. In this interdisciplinary framing of visual literacy, I start on the premise that ‘Otherness’ is a notion that trespasses the limits of postcolonial studies and finds a place in all non-egalitarian, non-democratic discourses such as colonial discourse, sexist discourse or propagandist discourse. Equally noteworthy is that the processes of ‘othering’ that ‘otherness’ (a more descriptive term) may give rise to have specific debilitating implications as they are used to dis-empower and neutralize certain individuals or groups, or to deny them their identity. I use as corpus two meditations on paintings: Assia Djebars’s Postface to Femmes d’ Alger dans leur appartement, a reflection on the paintings by Delacroix and Picasso bearing the same title as Djebar’s short fiction collection (1980); and Angela Carter’s Impressions: The Wrightsman Magdalene (1993), a reading of different plastic representations of the Mary Magdalene figure in Christian art. My aim is to demonstrate that whether from a postcolonial or from a feminist perspective, late 20th century women writers showed acute awareness of the gendered politics of visual representation and managed to write back to and deconstruct this politics through subversive literary strategies, mainly the trope of intertextuality.

Francosphères, 2012

«Qu'est ce qu'on attend à Paris d'une romancière Algérienne? Qu'elle raconte une histoire plus ou... more «Qu'est ce qu'on attend à Paris d'une romancière Algérienne? Qu'elle raconte une histoire plus ou moins exotique, un point c'est tout.'1 Assia Djebar raised this question during an interview in 2008, implying that the stories she writes about the Maghreb do not sit well with the French desire for «exotic literature». These stories, she insists, are all marked by dissonances, asymmetrical movements between past and present, different perspectives, and different ways of linking languages and identities. In choosing to ‘deterritorialise’ both her linguistic heritage and the great adventure of writing the Maghreb, Assia Djebar has become the North African Francophone woman writer who has written most powerfully about the North African experience of migrancy and displacement. In doing so, she has not only had an impact on Maghrebi cultural studies and challenged Maghrebi cultural politics with regard to its movement back and forth between post-traditionalism and modernity; she has also opened up new spheres for the French language, with a view to negotiating a new form of French that is always in flux, moving away from the tyranny of the current, dominant paradigms and the fierce constraints of syntax.

« Qu'est qu'on attend à Paris d'une romancière algérienne ? Qu'elle raconte une histoire plus ou moins exotique, un point c'est tout ». Assia Djebar soulève cette question dans une interview réalisée en 2008, sous-entendant que les histoires du Maghreb qu'elle écrit sont loin d'être conformes au goût des Français pour l'exotisme. Ces histoires, selon elle, sont toutes imprégnées de dissonances, de mouvements asymétriques entre le passé et le présent, de différentes perspectives, et différentes façons de relier langues et identités. En choisissant de déterritorialiser à la fois son héritage linguistique et la grande aventure de l'écriture maghrébine, Assia Djebar devient l'écrivaine nord-africaine francophone qui a le plus intensément écrit l'expérience maghrébine de la migration et du déracinement. En cela, elle a non seulement impacté les études culturelles au Maghreb et mis en question la politique culturelle au Maghreb dans son flottement actuel entre le post-traditionalisme et la modernité, elle dégage également de nouveaux horizons pour la langue française, en vue de négocier une langue française en mouvement, loin de la tyrannie du paradigme dominant et de la violence de la syntaxe.

nd de er r S Sc ce ep pt ti ic ci is sm m" ": : w wh he er re e d do o w we e

Représentations de la féminité dans l’espace culturel francophone(4 (12), 2010

Taking its start from la beauté de Joseph, a novella by Algerian francophone writer Assia Djebar,... more Taking its start from la beauté de Joseph, a novella by Algerian francophone writer Assia Djebar, and from the gender-sensitive account Djebar makes of the archetype of St. Joseph and his temptress Zuleikha, the present paper defends the following claim: religious studies have a lot to gain from the epistemological questions and gender analyses that were formulated by feminist religious scholars in the eighties and nineties of the twentieth century, especially with regard to the representation of femininity. I proceed further to comparing the three monotheist versions of the story of Joseph. Focus will be laid on the scene of seduction in which Joseph and Zuleikha are protagonists, and on such questions as moral responsibility, the naming of religious concepts and the gendering of religious symbols. I hope to shed light on the contribution to religious studies of both new-historicist thought (Mohamed Arkoun) , hermeneutics (Paul Ricoeur)and feminist religious thought ( Ursula King, Valerie Savings and June O’Connor). All question the authenticity of religious concepts and they all call for a new hermeneutics in the study of religious texts. Their insights help bring to the fore certain details which have been deliberately omitted from or ignored in the accounts that religious orthodoxies made accessible to the world monotheist imaginary.

Actes du colloque: comprendre les inégalités hommes- …, Jan 1, 2004

'g ge en nr re e' ' : : O Où ù e en n s so om mm me es s--n no ou us s p pa ar r r ra ap pp po or... more 'g ge en nr re e' ' : : O Où ù e en n s so om mm me es s--n no ou us s p pa ar r r ra ap pp po or rt t a au ux x a au ut tr re es s ? ?

Nous habitons nos vies en être humains sexué(e)s : enfants, nous sommes des garçons ou des filles... more Nous habitons nos vies en être humains sexué(e)s : enfants, nous sommes des garçons ou des filles ; adultes, nous sommes des femmes ou des hommes. Nous emportons notre « genre » avec nous à l'école, dans la rue, au sein de l'entreprise ou dans d'autres sphères de la vie publique; nous réalisons alors que le « genre » détermine aussi bien notre vision des autres que la vision que les autres ont de nous. Ces visions de « l'autre genre » sont des constructions sociales, culturelles ou économiques. Le but de la présente communication est d'articuler le genre à l'emploi et à interroger les aspects paradigmatiques de cette relation à savoir :

Francosphères, vol. 2, no. 1 (2013)

In the long-standing and divisive debate on Comparative Literature, comparatist scholars from bot... more In the long-standing and divisive debate on Comparative Literature, comparatist scholars from both the Great European Tradition and the Southern Hemisphere agree on the importance of two elements: first , the definition of Comparative Literature and the historical role it has with regard to the Human Sciences; secondly, the position of theory in this essentially Eurocentric discipline, and the impact that recent cross-cultural scholarship on Postcolonialism, Women Studies, Translation and Cultural Studies may have on the project of its re-conceptualisation. The present paper deals briefly with the first element, providing elements of focus rather than a finished portrait; then, it takes up the significant moments of the theoretical debate in Comparative Literature between Literary Studies on the one hand and Translation & Cultural Studies on the other. Through the comparative scholarly research extending from the 1990’s to the first decade of the 21st century, I describe the shifts of focus in literary studies that emerged in the 1990’s, and which resulted in the creation of a more politicised Cultural Studies and new configurations of main vs. subsidiary between Comparative Literature and the disciplines contiguous to it: Translation and Cultural Studies. With these realignments, I argue, Comparative Literature has faced the challenge to restructure itself and its agenda. In this, I finally maintain, it gives 21st century lessons to the other Human Sciences on the commensurability of angst, survival and regeneration.

The present paper addresses ‘otherness’ in sexist and propagandist art discourses and locates it ... more The present paper addresses ‘otherness’ in sexist and propagandist art discourses and locates it at the intersection between visual art, postcolonial theory and gender analysis. Through my reading of two paintings of women figures , one by the 19th century French Orientalist painter Eugene Delacroix and the other by the 17th century French painter of religious themes George de La Tour, I demonstrate that visual art culture has been at different periods of human history one of the important mass media used by the Establishment within which it operates to institutionalize modes of perceiving and defining the ‘self; and the ‘other’ that serve the ideological interests of that Establishment. In this interdisciplinary framing of visual literacy, I start on the premise that ‘Otherness’ is a notion that trespasses the limits of postcolonial studies and finds a place in all non-egalitarian, non-democratic discourses such as colonial discourse, sexist discourse or propagandist discourse. Equally noteworthy is that the processes of ‘othering’ that ‘otherness’ (a more descriptive term) may give rise to have specific debilitating implications as they are used to dis-empower and neutralize certain individuals or groups, or to deny them their identity. I use as corpus two meditations on paintings: Assia Djebars’s Postface to Femmes d’ Alger dans leur appartement, a reflection on the paintings by Delacroix and Picasso bearing the same title as Djebar’s short fiction collection (1980); and Angela Carter’s Impressions: The Wrightsman Magdalene (1993), a reading of different plastic representations of the Mary Magdalene figure in Christian art. My aim is to demonstrate that whether from a postcolonial or from a feminist perspective, late 20th century women writers showed acute awareness of the gendered politics of visual representation and managed to write back to and deconstruct this politics through subversive literary strategies, mainly the trope of intertextuality.

Francosphères, 2012

«Qu'est ce qu'on attend à Paris d'une romancière Algérienne? Qu'elle raconte une histoire plus ou... more «Qu'est ce qu'on attend à Paris d'une romancière Algérienne? Qu'elle raconte une histoire plus ou moins exotique, un point c'est tout.'1 Assia Djebar raised this question during an interview in 2008, implying that the stories she writes about the Maghreb do not sit well with the French desire for «exotic literature». These stories, she insists, are all marked by dissonances, asymmetrical movements between past and present, different perspectives, and different ways of linking languages and identities. In choosing to ‘deterritorialise’ both her linguistic heritage and the great adventure of writing the Maghreb, Assia Djebar has become the North African Francophone woman writer who has written most powerfully about the North African experience of migrancy and displacement. In doing so, she has not only had an impact on Maghrebi cultural studies and challenged Maghrebi cultural politics with regard to its movement back and forth between post-traditionalism and modernity; she has also opened up new spheres for the French language, with a view to negotiating a new form of French that is always in flux, moving away from the tyranny of the current, dominant paradigms and the fierce constraints of syntax.

« Qu'est qu'on attend à Paris d'une romancière algérienne ? Qu'elle raconte une histoire plus ou moins exotique, un point c'est tout ». Assia Djebar soulève cette question dans une interview réalisée en 2008, sous-entendant que les histoires du Maghreb qu'elle écrit sont loin d'être conformes au goût des Français pour l'exotisme. Ces histoires, selon elle, sont toutes imprégnées de dissonances, de mouvements asymétriques entre le passé et le présent, de différentes perspectives, et différentes façons de relier langues et identités. En choisissant de déterritorialiser à la fois son héritage linguistique et la grande aventure de l'écriture maghrébine, Assia Djebar devient l'écrivaine nord-africaine francophone qui a le plus intensément écrit l'expérience maghrébine de la migration et du déracinement. En cela, elle a non seulement impacté les études culturelles au Maghreb et mis en question la politique culturelle au Maghreb dans son flottement actuel entre le post-traditionalisme et la modernité, elle dégage également de nouveaux horizons pour la langue française, en vue de négocier une langue française en mouvement, loin de la tyrannie du paradigme dominant et de la violence de la syntaxe.

nd de er r S Sc ce ep pt ti ic ci is sm m" ": : w wh he er re e d do o w we e

Représentations de la féminité dans l’espace culturel francophone(4 (12), 2010

Taking its start from la beauté de Joseph, a novella by Algerian francophone writer Assia Djebar,... more Taking its start from la beauté de Joseph, a novella by Algerian francophone writer Assia Djebar, and from the gender-sensitive account Djebar makes of the archetype of St. Joseph and his temptress Zuleikha, the present paper defends the following claim: religious studies have a lot to gain from the epistemological questions and gender analyses that were formulated by feminist religious scholars in the eighties and nineties of the twentieth century, especially with regard to the representation of femininity. I proceed further to comparing the three monotheist versions of the story of Joseph. Focus will be laid on the scene of seduction in which Joseph and Zuleikha are protagonists, and on such questions as moral responsibility, the naming of religious concepts and the gendering of religious symbols. I hope to shed light on the contribution to religious studies of both new-historicist thought (Mohamed Arkoun) , hermeneutics (Paul Ricoeur)and feminist religious thought ( Ursula King, Valerie Savings and June O’Connor). All question the authenticity of religious concepts and they all call for a new hermeneutics in the study of religious texts. Their insights help bring to the fore certain details which have been deliberately omitted from or ignored in the accounts that religious orthodoxies made accessible to the world monotheist imaginary.

Actes du colloque: comprendre les inégalités hommes- …, Jan 1, 2004

'g ge en nr re e' ' : : O Où ù e en n s so om mm me es s--n no ou us s p pa ar r r ra ap pp po or... more 'g ge en nr re e' ' : : O Où ù e en n s so om mm me es s--n no ou us s p pa ar r r ra ap pp po or rt t a au ux x a au ut tr re es s ? ?