DOCSLIB.ORG

Pdf?Expires=1208505918& Id=43696735&Titleid=6490&Accname=Guest+User&Checksum=4BEF1B389308D5FC7CB9CCA5C3ED0A 30, Page Consultée Le 25 Janvier 2006

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pdf?Expires=1208505918& Id=43696735&Titleid=6490&Accname=Guest+User&Checksum=4BEF1B389308D5FC7CB9CCA5C3ED0A 30, Page Consultée Le 25 Janvier 2006 UNIVERSITÉ DE LA SORBONNE NOUVELLE – PARIS III ECOLE DOCTORALE : LITTERATURE FRANÇAISE ET COMPAREE THÈSE pour obtenir le grade de DOCTEUR DE L’UNIVERSITÉ DE PARIS III Discipline : Littérature française et comparée présentée et soutenue publiquement par Touriya FILI-TULLON janvier 2009 Figures de la subversion dans les littératures francophone et d’expression arabe au Maghreb et au Proche-Orient, des années 1970 à 2000 (R. Boudjedra, A. Cossery, E. A. El Maleh, É. Habibi et P. Smaïl) Directeur de thèse : Professeur Dominique COMBE JURY : Pr Charles BONN, Université de Lyon II, rapporteur Pre Mireille CALLE-GRUBER, Université de Paris III Pr Dominique COMBE, Université de Paris III, directeur Pre Samia KASSAB-CHARFI, Université de Tunis Pr Salah MEJRI, Université de Paris XIII, rapporteur 2 À Hubert et Mehdi Remerciements Je tiens à remercier, pour la bienveillante patience avec laquelle il a suivi et dirigé ce travail, le Professeur Dominique Combe. Ma gratitude va également à toutes les personnes qui m’ont soutenue, jusque dans les moments de doute : le Professeur Charles Bonn, mes collègues tunisiens qui m’ont accueillie avec cette hospitalité inégalable, mes collègues marocains et français qui n’ont jamais cessé de m’encourager avec tact et discrétion. La banque de données LIMAG (Littératures maghrébines), animée par le Professeur Charles Bonn, a été, tout au long de ce travail, une ressource précieuse. Mes remerciements vont aussi aux membres de mon entourage, proche et éloigné, famille et amis, qui ont supporté avec indulgence et compréhension, pendant plusieurs années, mon manque de disponibilité. 3 4 Table des matières Remerciements .................................................................................................................... 3 Table des matières .............................................................................................. ........... ...... 5 Transcription de l’arabe ..................................................................................................... 7 Abréviations courantes ....................................................................................................... 9 Introduction ...................................................................................................................... 11 1. Autour d’une notion fourre-tout ................................................................................ 13 2. Problématique et corpus ............................................................................................. 14 3. Méthodologie et justification du projet ...................................................................... 25 4. Définition des concepts .............................................................................................. 30 4.1. Figure(s) .............................................................................................................. 30 4.2. Subversion et fiction ........................................................................................... 33 Première partie : De la langue « propre » à la langue « figurée » ................................. 37 1. Mots déplacés ............................................................................................................ 40 1.1. Les mots de l’autre : emprunts et xénismes ........................................................ 41 1.2. La langue qui fourche ......................................................................................... 71 1.3. La tentation « néologique » ( ?) .......................................................................... 84 2. Cette langue à traces .................................................................................................. 94 2.1. L’esprit de la lettre .............................................................................................. 95 2.2. Innover, « charabiaïser » ................................................................................... 105 3. Conclusion de la première partie ............................................................................. 120 Deuxième partie : Vox poetica, vox politica ................................................................. 125 1. La notion de voix ..................................................................................................... 129 2. Orchestration de la subversion ................................................................................. 131 2.1. Les voi(x / es) de la séduction .......................................................................... 133 2.1.1. Une narration subjective ............................................................................ 133 2.1.2. La gestion des autres voix .......................................................................... 139 2.2. La voix qui transite ou le ruban de Möbius ...................................................... 142 2.2.1. Brouillages… ............................................................................................. 142 2.2.2. … et digressions ......................................................................................... 151 2.3. Les jeux du « je » .............................................................................................. 159 2.4. Voix en [lā] mineur ........................................................................................... 164 2.5. Le témoin et le truchement ............................................................................... 169 3. Voix de la dissonance / voix de la dissidence .......................................................... 184 3.1. Voix « hashashines » ........................................................................................ 185 3.2. Ironie digressive ................................................................................................ 197 3.3. La « parole discordante » .................................................................................. 204 3.4. La voix d’achoppement .................................................................................... 212 3.5. La stéréotypie à l’épreuve de l’ironie ............................................................... 221 4. Conclusion de la deuxième partie ............................................................................ 226 5 Troisième partie : De la fable subversive à la fable pervertie ....................................... 229 1. Fiction ou l’ironie réversible .................................................................................... 232 1.1. L’art de la fable ................................................................................................. 233 1.1.1. La fable satirique ........................................................................................ 234 1.1.2. La noukta .................................................................................................... 239 1.1.3. La tentation de l’utopie .............................................................................. 246 1.2. [ʾaṣ-ṣidqu l-munfalit] ou la vérité incontrôlée .................................................... 250 1.2.1. Le merveilleux et l’extraordinaire, [ʾal-ʿaǧāʾibī ʾawi l-ġarāʾibī] ? ................ 250 1.2.2. L’optique satirique, malgré tout… ............................................................. 255 1.3. Délirature .......................................................................................................... 265 1.3.1. Le poids du référent ................................................................................... 266 1.3.2. L’histoire à l’épreuve de la subjectivité ..................................................... 270 1.4. Le récit impossible ............................................................................................ 278 1.4.1. Sous le signe de la rupture : la mémoire et l’oubli ..................................... 278 1.4.2. Tissage arachnéen d’une doublure étoilée ................................................. 286 1.5. Roman beur : prétexte au pamphlet .................................................................. 293 1.5.1. Le roman d’apprentissage : le bon beur et la racaille ................................ 293 1.5.2. Exercice de style et distorsion parodique ................................................... 298 2. Mémoire de textes .................................................................................................... 301 2.1. Bonnes et mauvaises lectures ............................................................................ 306 2.2. Détours et détournements ................................................................................. 314 2.2.1. Pastiches ou parodies ? .............................................................................. 316 2.2.2. L’auctorialité menacée ? ............................................................................ 326 3. L’aventure ambiguë d’une réception ....................................................................... 339 3.1. La trahison obligée ............................................................................................ 341 3.1.1. L’épreuve de l’étranger .............................................................................. 343 3.1.2. L’auto-traduction processus génésique de l’œuvre .................................... 350 3.2. Figures d’auteurs, postures et impostures ......................................................... 357 3.2.1. L’ambiguïté posturale ...............................................................................
Load more

Recommended publications
  • Des Lieux De Culture ALTÉRITÉS CROISÉES, MOBILITÉS
    Sous la direction de HASSAN MOUSTIR JAMAL EDDINE EL HANI MOURAD ALI-KHODJA Des lieux de culture ALTÉRITÉS CROISÉES, MOBILITÉS Sous la direction de ET MÉMOIRES IDENTITAIRES Hassan Moustir, Jamal Eddine El Hani et Mourad Ali-Khodja El Eddine Hani et Mourad Jamal Hassan Moustir, Des lieux de culture 30 € DES LIEUX DE CULTURE ALTÉRITÉS CROISÉES, MOBILITÉS ET MÉMOIRES IDENTITAIRES DES LIEUX DE CULTURE ALTÉRITÉS CROISÉES, MOBILITÉS ET MÉMOIRES IDENTITAIRES Sous la direction de HASSAN MOUSTIR JAMAL EDDINE EL HANI MOURAD ALI-KHODJA Les Presses de l’Université Laval reçoivent chaque année du Conseil des Arts du Canada et de la Société de développement des entreprises culturelles du Québec une aide financière pour l’ensemble de leur programme de publication. Nous reconnaissons l’aide financière du gouvernement du Canada par l’entremise du Fonds du livre du Canada pour nos activités d’édition. Mise en pages : Maquette de couverture : Diane Trottier Illustration de la couverture: Lionel Cormier, Composition no 271- Acrylique et graphite, 2004, reproduite avec l’aimable autorisation de l’artiste. © Presses de l’Université Laval. Tous droits réservés. Dépôt légal 3e trimestre 2016 ISBN : 978-2-7637-2856-8 PDF : 9782763728575 Les Presses de l’Université Laval www.pulaval.com Toute reproduction ou diffusion en tout ou en partie de ce livre par quelque moyen que ce soit est interdite sans l’autorisation écrite des Presses de l’Université Laval. TABLE DES MATIÈRES Remerciements .............................................................................. IX Avant-propos .................................................................................. XI CHAPITRE 1 Toposcopies .................................................................................... 1 Pour une étude de l’espace dans son rapport à l’altérité et à l’écologie des dépouilles Daniel Castillo Durante CHAPITRE 2 La migration comme alternative au lieu .......................................
    [Show full text]
  • Ciclim Etudes Litteraires Maghrebines
    CICLIM _____________________________________________________________________ Coordination Internationale des Chercheurs sur les Littératures Maghrébines ETUDES LITTERAIRES MAGHREBINES [ - Tableau de Noureddine El Hani - ] BULLETIN DE LIAISON NO 10 1O semestre 1995 réalisé par Le Centre d'Etudes littéraires francophones et comparées (Université Paris-Nord) & La Faculté des Lettres de la Manouba (Université Tunis I) & L'Institut de Traducteurs et Interprètes (Université Heidelberg) Cérès Productions CICLIM _____________________________________________________________________ Coordination Internationale des Chercheurs sur les Littératures Maghrébines ETUDES LITTERAIRES MAGHREBINES BULLETIN DE LIAISON NO 10 1O semestre 1995 réalisé par Le Centre d'Etudes littéraires francophones et comparées (Université Paris-Nord) & La Faculté des Lettres de la Manouba (Université Tunis I) & L'Institut de Traducteurs et Interprètes (Université Heidelberg) Cérès Productions CICLIM _____________________________________________________________________ Coordination Internationale des Chercheurs sur les Littératures Maghrébines PRESIDENT D'HONNEUR Charles Bonn Paris PRESIDENTE Regina Keil Heidelberg VICE-PRESIDENT(E)S Monique Calinon Habib Salha Paris Tunis SECRETAIRES GENERALES Afifa Bererhi Anna Maria Mangia Alger/Grenoble Bologna TRESORIERS Samira DouiderBernard Urbani Casablanca Avignon DIRECTRICES DE PUBLICATION Afifa Bererhi, Regina Keil SIEGE DE LA REDACTION Regina Keil Institut für Übersetzen und Dolmetschen Universität Heidelberg Plöck 57a D-69117 Heidelberg
    [Show full text]
  • The Literaryworld of the North African Taghrība
    Journal of World Literature 4 (2019) 188–214 brill.com/jwl The Literary World of the North African Taghrība Novelization, Locatedness and World Literature Karima Laachir SOAS, University of London [email protected] Abstract The novels by North African novelists Waciny Laredj, Majid Toubia and Abdelrahim Lahbibi that refashioned the traditional Arabic genre of the taghrība inspired by the medieval epic of Taghrība of Banū Hilāl, still a living oral tradition in the region, offer an interesting case study of location in world literature. They circulate both within national (Algerian, Egyptian and Moroccan) literary systems and the pan-Arab literary field while maintaining a distinct aesthetic and political locality. In these novels, the literary life of the North African taghrība takes forms and meanings that are geograph- ically and historically located, and that are shaped by the positionality of the authors. This paper intervenes in the discussion on location in world literature from the per- spective of Arabic novelistic traditions by showing that the pan-Arabic literary field itself is far from homogenous but is marked by a diversity of narrative styles and tech- niques that can be both local/localised and transregional at the same time. Therefore, we need to shift our understanding of world literature beyond macro-models of “world- system” that assume a universally-shared set of literary values and tastes. Keywords Taghrība – North African novel – Arabic literature – Waciny Laredj – Majid Toubia – Abdelrahim Lahbibi 1 Introduction Taking its cue from David Damrosch’s recent realisation that world literature cannot be a homogeneous canon but is shaped by its location, this paper argues through a close reading of recent North African Arabic novels that the world © karima laachir, 2019 | doi:10.1163/24056480-00402004 This is an open access article distributed under the terms of the prevailing CC-BY-NC-ND license at the time of publication.
    [Show full text]
  • Histoire, Mémoire Et Diaspora Dans La Littérature Marocaine D'expression Espagnole 1951-2009
    UvA-DARE (Digital Academic Repository) Le patrimoine revisité: Histoire, mémoire et diaspora dans la littérature marocaine d’expression espagnole 1951-2009 el Haddad, Y. Publication date 2013 Link to publication Citation for published version (APA): el Haddad, Y. (2013). Le patrimoine revisité: Histoire, mémoire et diaspora dans la littérature marocaine d’expression espagnole 1951-2009. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:27 Sep 2021 8. LES ÉCRITURES DE L’EXIL : LA MÉMOIRE JUDÉO-MAROCAINE 8.1 Les départs des Marocains-Juifs Dans cette introduction je tenterai de donner un bref aperçu de l’histoire des Juifs marocains à partir de l’année 1948. 545 Ce précis servira de cadre historique aux chapitres consacrés à la littérature judéo-marocaine contemporaine qui clôtureront cette étude.
    [Show full text]
  • Karima LAACHIR University of London
    25 Beyond Language Determinism: Multilingual Literary Traditions in Morocco Karima LAACHIR University of London Linguistic and cultural diversity in the Maghreb have not been explored adequately in the field of literary and cultural studies. This paper raises the problematic separation of the Moroccan novel written in Arabic and French in literary and critical studies. It provides a critique of the way Moroccan novels in French have been excluded from the literary field of Arabic literature despite their strong affiliation with the cultural history of Arabic literature. In the field of Francophone studies, the focus on Moroccan novel in French has completely excluded Moroccan novels in Arabic which has resulted in a shallow conception of the transmitted cultural heritage and in obscuring the cultural histories from which these texts emerge. It also obscures the “cohabitation” of French with other languages in the region (Dobie 2003: 33). This paper argues against these dominant reading practices that are based on linguistic determinism as they have contributed to the marginalisation of Moroccan literary traditions within dominant literary systems such as the Francophone/French or Arabic traditions and therefore, have obscured the cultural, linguistic and historical entanglement of these multilingual literary traditions. Morocco’s complex multilingual scene predated French and Spanish colonialism (1912- 1956) as languages such as Darija or spoken Moroccan Arabic, Fusha or standard Arabic and various spoken dialects of Amazigh, as well as Judeo-Arabic and Judeo-Spanish shaped the oral and written cultures of Morocco. The arrival of French and Spanish languages further complicated the picture, particularly as the French pursued a colonial policy of imposing French as the sole language of education and administration.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms international A Bell & Howell Information Company 3 0 0 North Z e eb Roaa. Ann Arbor. Ml 48106-1346 USA 313 761-4700 800 521-0600 Order Number 0201662 Writing the decolonized self: Autobiographical narrative from the Maghreb Geesey, Patricia A., Ph.D. The Ohio State University, 1991 UMI 300 N.
    [Show full text]
  • Consulter Le Programme
    DOSSIER DE PRESSE Littératures, Migrations, Méditerranée Salon international de l’édition et du livre de Casablanca – SIEL 2011 www.ccme-siel.com www.ccme.org.ma www.maisonartisan.ma Contact presse : CCME : Hanane Mazili - 06 69 01 65 02 - [email protected] Artisanat du Maroc : Yasmina Aouad - 05 37 68 60 08 - [email protected] Facebook : Le CCME et l'Artisanat du Maroc au Salon du livre de Casablanca (SIEL) SOMMAIRE Quelques repères .............................................................................................. 3 Edito de Monsieur Driss El Yazami .................................................................................... 4 Edito de Monsieur Anis Birou ............................................................................................... 5 Le communiqué de presse ............................................................................... 6 Le programme .................................................................................................. 7 Les publications .............................................................................................. 14 La bibliothèque de l’immigration .................................................................. 14 Les hommages ................................................................................................ 15 La nuit de l’immigration ................................................................................ 17 Les soirées de la Sqala* - Le café des lettres et du monde .......................... 18 La programmation jeunesse
    [Show full text]
  • Dissertation Final
    UCLA UCLA Electronic Theses and Dissertations Title LIterature, Representation, and the Image of the Francophone City: Casablanca, Montreal, Marseille Permalink https://escholarship.org/uc/item/9nj845hz Author Jones, Ruth Elizabeth Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Literature, Representation, and the Image of the Francophone City: Casablanca, Montreal, Marseille A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in French and Francophone Studies by Ruth Elizabeth Jones 2014 © Copyright by Ruth Elizabeth Jones 2014 ABSTRACT OF THE DISSERTATION Literature, Representation, and the Image of the Francophone City: Casablanca, Montreal, Marseille by Ruth Elizabeth Jones Doctor of Philosophy in French and Francophone Studies University of California, Los Angeles, 2014 Professor Patrick Coleman, Chair This dissertation is concerned with the construction of the image of the city in twentieth- century Francophone writing that takes as its primary objects the representation of the city in the work of Driss Chraïbi and Abdelkebir Khatibi (Casablanca), Francine Noël (Montreal), and Jean-Claude Izzo (Marseille). The different stylistic iterations of the post Second World War novel offered by these writers, from Khatibi’s experimental autobiography to Izzo’s noir fiction, provide the basis of an analysis of the connections between literary representation and the changing urban environments of Casablanca, Montreal, and Marseille. Relying on planning documents, historical analyses, and urban theory, as well as architectural, political, and literary discourse, to understand the fabric of the cities that surround novels’ representations, the dissertation argues that the perceptual descriptions that enrich these narratives of urban life help to characterize new ways of seeing and knowing the complex spaces of each of the cities.
    [Show full text]
  • Contemporary Dārija Writings in Morocco: Ideology and Practices Catherine Miller
    Contemporary dārija writings in Morocco: ideology and practices Catherine Miller To cite this version: Catherine Miller. Contemporary dārija writings in Morocco: ideology and practices. Jacob Høigilt and Gunvor Mejdell The Politics of written language in the Arab world Written Changes, Brill, 2017, Studies in Semitic Languages and Linguistics, 9789004346161. halshs-01544593 HAL Id: halshs-01544593 https://halshs.archives-ouvertes.fr/halshs-01544593 Submitted on 21 Jun 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Contemporary dārija writings in Morocco: ideology and practices Catherine Miller Final draft 27 01 2017 To appear in Jacob Høigilt and Gunvor Mejdell (ed) The Politics of written languages in the Arab world, Written Changes, Leiden, Brill Introduction Starting from the mid 1990s a new political, social and economical context has favored the coming out of a public discourse praising cultural and linguistic plurality as intangible parts of Moroccan identity and Moroccan heritage. The first signs of change occurred at the end of King Hassan II’s reign, setting the first steps towards political and economic liberalization. But the arrival of King Mohamed VI in 1999 definitely accelerated the trend toward economic liberalism, development of private media, emergence of a strong civil society, call for democratization and modernization, and the emergence of new urban artistic movements.
    [Show full text]
  • Bavures and Shibboleths: the Changing Ecology of Language and Culture in Morocco
    The Challenge of North Africa Bavures and Shibboleths: The Changing Ecology of Language and Culture in Morocco Martin Rose The Moroccan writer Tahar Ben Jelloun recently addressed an open letter to the President of France about the state of French-Moroccan relations.1 ‘No French politician,’ he begins, ‘would have dared to compare Algeria to an old mistress whom one no longer loves, but with whom one is obliged to sleep. Nor would a magistrate ever have sent to the residence of the Algerian ambassador a court summons for a senior representative of that state.’ Nor, he might have added, would the Algerian Foreign Minister have been subjected to a body search (whatever that really meant) at Charles de Gaulle airport. Yet these are only three of the catalogue of perceived insults to which Morocco has been subjected in recent months. Even as I write this, another shock wave ripples the newspapers: General Bennani, gravely ill in a Paris military hospital, has been insulted in his bed by a Moroccan intruder — and this too has been added to the catalogue of insults that France is supposed to have permitted, or facilitated, or failed to prevent.2 In Ben Jelloun’s view, Algeria snarls and is respected, but Morocco is altogether too indulgent, and gets only disrespect in return. He writes of ‘a lack of sensitivity, a sort of casual taking-for-granted, and above all a misunderstanding of the Moroccan soul’. Morocco is not, he says, ‘the sort of country that one can treat with offhand scorn (qu’on traite dessus la jambe)’.
    [Show full text]
  • Resistance to the Linear in Two Postcolonial Moroccan Texts
    Bard College Bard Digital Commons Senior Projects Spring 2020 Bard Undergraduate Senior Projects Spring 2020 (M)other Lands, (M)other Tongues: Resistance to the Linear in Two Postcolonial Moroccan Texts Julia Charra Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2020 Part of the Arabic Language and Literature Commons, Arabic Studies Commons, and the European Languages and Societies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Charra, Julia, "(M)other Lands, (M)other Tongues: Resistance to the Linear in Two Postcolonial Moroccan Texts" (2020). Senior Projects Spring 2020. 325. https://digitalcommons.bard.edu/senproj_s2020/325 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. (M)other Lands, (M)other Tongues: Resistance to the Linear in Two Postcolonial Moroccan Texts Senior Project Submitted to The Division of Languages and Literature of Bard College by Julia Charra Annandale-on-Hudson, New York May 2020 To Muszka Acknowledgements I’d first of all like to thank my two wonderful advisors, Professor Ziad Dallal and Professor Marina Van Zuylen, for their intellectual guidance and their support throughout this journey.
    [Show full text]
  • Moroccan Francophone Literature in Translation: Abdellatif Laâbi's In
    5/11/2017 Africa at LSE – Moroccan Francophone Literature in Translation: Abdellatif Laâbi’s In Praise of Defeat & Abdelkebir Khatibi’s Tattooed Memory Moroccan Francophone Literature in Translation: Abdellatif Laâbi’s In Praise of Defeat & Abdelkebir Khatibi’s Tattooed Memory As works of Morocco’s most famed writers are being translated for English readers to discover, Khalid Lyamlahy explores how translators have sought to capture the full range of nuance and diversity in their volumes, offering a new perspective on Moroccan identity and culture. What can an Anglophone reader learn from Moroccan Francophone literature? At a time when multilingualism is threatened by the resurgence of identitarian discourses, to what extent can English translation open new perspectives for (re)reading Moroccan history, culture and politics? These questions seem to be increasingly topical given the surge in the number of translations of Moroccan Francophone literature into English. If, as recently outlined by Matthew Reynolds, translation “is in some respects the enemy of languages, a flattening and homogenizing power”, it is also “the lover of languages: it discerns and values difference, and spurs linguistic innovation” (p.119). In the Moroccan context, where the linguistic landscape combines and spans Berber and Bedouin languages, “Darija” or Moroccan Arabic, Classical Arabic, as well as French, Spanish, and English, translation is an everyday practice. For an Anglophone audience, reading English translations of Moroccan literary works could be seen as just another way to inhabit the vibrant and creative multilingual space of Moroccan culture. In Morocco, where the very idea of diversity is enshrined in linguistic and cultural practice, translation could only provide an interesting lens through which to (re)examine the role of literature and the position of writers.
    [Show full text]