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Reckoning with Gender in Literature and Film from Algeria, Morocco, and Tunisia

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Reckoning with Gender in Literature and Film from Algeria, Morocco, and Tunisia Untranslating the Maghreb: Reckoning with Gender in Literature and Film from Algeria, Morocco, and Tunisia A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Greta K. Bliss IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Judith E. Preckshot, Adviser Hakim Abderrezak, Co-Adviser April 2014 © Greta K. Bliss, 2014 i Acknowledgements I want to begin by thanking the University of Minnesota faculty members who served as my thesis advisers and committee members. Thank you, first and foremost, to Judith Preckshot, my adviser from the first day of graduate school to the most recent installment of feedback on the dissertation. Judith guided me through the entire process with indefatigable patience, ever generous in cultivating my thinking and finessing my prose. She is a wonderful mentor, teacher, and friend. Thank you to my adviser Hakim Abderrezak for his important contributions to my work. Through his teaching and scholarship, he helped me to appreciate the multiple ways in which Maghrebi texts convey meanings across national and cultural borders. I am grateful for his kindness and encouragement during this project and others. Thank you to Mária Brewer for her guidance over the years as I learned to engage with critical theory. Leading by example and suggestion, Mária helped me to find and refine my critical voice. I truly appreciate the care with which she has always responded to my work. Last but not least, thank you to Shaden Tageldin for playing a vital role in helping me to shape my project. Shaden’s seminar in (Post)Colonial Translation and her generous engagements with my thinking have had a profound impact on me as a scholar and person. One could not ask for a better or kinder interdepartmental reviewer. The Department of French and Italian provided a welcoming academic home throughout my studies at Minnesota. It is an intellectually stimulating place animated by lively people, faculty and staff alike. For their insights and support, I should single out ii Daniel Brewer and Juliette Cherbuliez. Elsewhere on campus, I wish to thank Patricia Lorcin and J.B. Shank (History), Michael Gaudio (Art History), Ann Waltner and Susannah Smith (Institute for Advanced Study), Simona Sawhney (Asian Languages and Literatures), and Bruce Braun (Geography). These interlocutors offered new angles on my research and reaffirmed the usefulness of interdisciplinary collaboration. It is a truism of academic life that students learn not only from faculty. I am grateful to belong to an extended community of friends and colleagues who have done much to inspire the present work. At Minnesota, special thanks go to Michelle Baroody, Rebecca Halat, Mira Reinberg, Anna Rosensweig, Adair Rounthwaite, Kari Smalkoski, and Sara Wellman for their enduring friendship, humor, and support. Beyond Minnesota, I wish to thank Gwenola Caradec, Jieun Kang, Claire Moisan, and Philippe Moisan (all at Grinnell College) and Carolyn Robinson (at the University of North Carolina Wilmington) for providing much in the way of wit, warmth, and perspective: essential ingredients all for finishing a dissertation while progressing in new professional roles. This dissertation was greatly enriched in its cross-disciplinary and cross-cultural dimensions by generous support from the University of Minnesota’s Graduate School, Department of French and Italian, Institute for Advanced Study, and Office of International Programs, as well as the United States Department of State and the United States Department of Education. The latter three funded trips to Jordan and Morocco for language study, archival research, and interviews, experiences that helped me better appreciate the problems and complexities of cultural translation. I want to thank Wail Hassan at the University of Illinois and Abdelfattah Kilito at Mohammed V University iii for their assistance in getting me to Morocco and welcoming me once there. Thank you to filmmaker Farida Benlyazid for a most enjoyable and illuminating interview. The staff at the Bibliothèque Nationale du Royaume du Maroc and the Centre Cinématographique Marocain were also tremendously helpful in assisting with my research. Long before the many physical displacements involved in undertaking a project on cultural translation, my own “task of the untranslator” began at home. Thanks to my mother Paulette Bliss, my father Robert Bliss, and my brother Daniel Bliss for their love, patience, and encouragement throughout the writing process—and for the transnational upbringing that first sparked my interest in studying cultural difference. Finally, thank you to my husband, Daniel Haley, to whom I owe immeasurable gratitude for helping me to meet the many challenges of graduate school and beyond. In acknowledgment of his love, friendship, and energetic support of me as a person and scholar, this thesis is dedicated to him. iv Table of Contents Acknowledgements ............................................................................................................ i Table of Contents ............................................................................................................. iv I. Maghrebi Women, Untranslating: An Introduction .................................................. 1 Definitions: Untranslation and Reckoning with Gender ........................................... 1 1. Translation and Language in the Maghreb: A Brief History ............................... 7 2. A Translational Tale: Postcoloniality, Poststructuralism, Feminism ................ 16 3. The Genesis of Maghrebi “Woman-as-Translation” ........................................... 33 4. Untranslation in Action .......................................................................................... 46 Untranslations to Come: Chapter Overview ............................................................ 57 II. Persuasive Listening: Translation, Djebarian Narrative, and Orientalism ......... 65 Introduction: Assia Djebar as Translator ................................................................ 65 1. Listening Pathways in La Nouba ........................................................................... 75 2. Framing for Listening ............................................................................................. 84 3. Persuasive Listening ............................................................................................... 88 4. Studying Césarée (Cherchell) and Orientalité .................................................... 105 Conclusion: À l’écoute de l’écouteuse ..................................................................... 113 III. Hacking Translation: Encoding Protest in Nadia El Fani’s Bedwin Hacker .... 116 Introduction: The Thrill of Untranslation .............................................................. 116 1. Untranslational Itineraries: Context, Reception, and Genre ............................ 124 2. Translation as Interference in the Computer Age ............................................. 144 3. Toward an Untranslational Hacking Idiom ....................................................... 158 Conclusion: Untranslational Hacking as At-Tension ............................................ 183 IV. Ethnography and Its Limits: Farida Benlyazid’s A Door to the Sky ................. 185 Introduction: Untranslating Ethnography ............................................................. 185 1. Critical Translations ............................................................................................. 194 2. It’s Not Your Culture, It’s Mine .......................................................................... 208 3. The Believer as Self-Ethnographer ..................................................................... 222 4. The Asymmetries of Ethnography Return ......................................................... 239 Conclusion: Untranslation versus Ethnography, Again ........................................ 252 Conclusion: The Task of the Untranslator – a Curious Compromise? ................... 256 Bibliography .................................................................................................................. 262 1 I. Maghrebi Women, Untranslating: An Introduction Toutefois, si d’autres publics attendent de nous des témoignages journalistiques qui nous feraient reprendre une nouvelle version du rôle traditionnel de la pleureuse (du style « lamentez-vous, ô femmes esclaves et prisonnières ! »), grâce à Dieu, nos improvisations ou notre recherche sur les contradictions, sur les mystères de notre condition, ne se feront pas ainsi sur commande… Nous ne nous avançons pas au-devant d’une scène ; nous cherchons seulement comment vivre, chez nous et ailleurs. Assia Djebar, Ces voix qui m’assiègent (85-6) [Subtitle on U.S. DVD:] In the third millennium, there are other epochs, other places, other lives…we are not a mirage… Bedwin Hacker/Kalt in Bedwin Hacker (Dir. Nadia El Fani) NADIA. Qu’est-ce que tu connais de moi? De mes origines? Rien. Pour toi tout ça c’est de l’exotisme! Nadia to Jean-Philippe in Une Porte sur le ciel (Dir. Farida Benlayzid) Definitions: Untranslation and Reckoning with Gender Although each of the quotations above comes from a very different text and context, a common theme emerges as they articulate their respective viewpoints. Djebar resents Western readers who clamor for testimonies of women’s suffering; El Fani’s female hacker heroine shatters the notion of Tunisia as an empty “mirage” through which European stereotypes
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