Writers and professors specialized in the field of literature, translation, sociology, and cinema affirmed, today, Saturday in Algiers, that the literary biography of the late Algerian writer Assia Djebar is an open gateway to the human, artistic and intellectual dimension of the Algerian personality, and that she is an accomplished pen with multiple disciplines and hobbies that expresses important topics.
During a symposium organized by the National Corporation for Communication, Publishing and Publicity, in honor of the novelist Fatima Zahraa Imilhayn, known by the literary name Asia Jabbar (1936-2015), Mrs. Fatima Zahraa Mabtoush Ngai, a specialist in social linguistics and a professor at the School of Fine Arts in the capital, said that Jabbar “had the courage to highlight The value of the human being in all his situations, by giving both men and women the language that suits them and the most suitable speech for them to show their superiority in life and prove their effects in it.
Nagai presented models, through some of Asia Jabbar’s texts, such as the novel “Thirst” (1957), “The Naive Larks” (1967) and “I Have No Place in My Father’s House” (2007), about the female characters that the deceased Jabbar narrated some of their lives and how they showed Strength and ability to resist during and after the liberation revolution.
Ms. Ngai talked about Jabbar’s ability to anticipate the future and how she expressed her concept of the state through the individuals who gathered enthusiastically around the liberation revolution and rose up against French colonialism.
The specialist in linguistics and the head of the jury for the sixth edition of the “Grand Prix Asia Jabbar for Novel”, Abdel Hamid Borayo, believes in this section as well, that Jabbar’s literature “expressed aspects of private life as a writer and thinker and the life of her society and its cause with the other, so that important topics were raised that can be be the subject of wide discussion.
We find in the work of the late, according to the speaker, the sense of self, as it shows collective repressions, the psychological aspect, and the stages of transformation from a rural society to a rural society, then to a city society, and he indicated in this regard that Jabbar “expressed the suffering of man who yearns for emancipation.”
This writer, who received several honors and awards and was nominated for the Nobel Prize in 2009, went beyond, in Borayo’s opinion, “the usual stereotypes in artistic productions, because it raised important questions that need contemplation because it did not provide ready answers.”
For his part, the journalist writer Mohamed Belhi raised the problem of translating the Algerian novel written in French into Arabic, including the novels of Assia Djebar, which he says deserves to be supervised by Algerians because they understand the linguistic connotations used by our writers, especially those inspired by the Algerian dialect, which cannot be understood only in its social and historical context.
As for Ahmed Bedjawi, an academic, producer and film critic, he shed light on Assia Jabbar’s cinematic experience through her films “The Nuba of the Women of Mount Shinwa” (1977) and “Zarda and Songs of Oblivion” (1978), adding that she was “a lover of cinema and one of the most interested and admired in philosophy and feelings.” Writers, filmmakers and artists Ingmar Bergman and Pierre Paolo Pasolini, and I was impressed by their ability to make the novel a space for cinematography and theatrical photography.
That is why her discovery of cinema was “full of images and imagination,” Bedjaoui added, and she was enriched with her knowledge of her private life, her local culture, and her desire to narrate part of the collective memory in a new language, inlaid with her delicate artistic sense and her knowledge of the origins of Andalusian music.
Ms. Najat Khadda also said that Assia Djebar had a wide plastic culture and the ability to delve into exciting details, as she did in her short story collection “Algerian Women in Their Apartments” (1980), where she proposed a dialogue between image and text based on the famous Delacroix painting.
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