Expressions maghrebines最新文献

{"title":"La photo-broderie de Carolle Bénitah : commémoration, transgression et réinvention de soi","authors":"Naïma Hachad","doi":"10.1353/exp.2020.0003","DOIUrl":"https://doi.org/10.1353/exp.2020.0003","url":null,"abstract":"Abstract:Dans « L'enfance marocaine » (2009), Carolle Bénitah trie, scanne, recadre et redimensionne des photographies de famille en noir et blanc de son enfance au Maroc dans les années 1960 et 1970. Ce faisant, Bénitah crée des œuvres d'art et, en même temps, met en évidence la manière dont les photographies de famille peuvent fonctionner comme des objets de témoignage qui ont la capacité de saisir les changements traumatisants qui façonnent les époques et les mentalités postmodernes et postcoloniales. Les photo-broderies de Bénitah racontent des histoires familiales, personnelles et de communauté, à l'intersection entre histoires et mémoires publiques et privées. Inséparables de l'histoire de la communauté juive marocaine au XXè siècle, les images de Bénitah témoignent des transformations dramatiques que cette communauté a subi et commémorent des espaces.Abstract:In \"L'enfance marocaine\" (2009), Carolle Bénitah, after scanning and reframing family photographs from her childhood in Morocco in the 1960s and 1970s, embroiders over the black and white images using red and black threads. As she transforms family portraits into works of art, Bénitah highlights how family photographs can function as testimonial objects that have the ability to capture the traumatic shifts that shape postmodern and postcolonial eras and mentalities. Her photo-embroideries tell community, family, and personal stories at the intersection between public and private history and memory. Inseparable from the history of the Moroccan Jewish community in the twentieth century, Bénitah's images bear witness to the dramatic transformations it experienced and memorialize sociocultural spaces that no longer exist. Bénitah also uses embroidery to transform family photographs into a fragmentary autobiographical narrative that is also a site of contestation and self-invention. The artist celebrates family links while exposing the violence behind the patriarchal socialization of women that family photography validates and perpetuates. Through her hybrid images, Bénitah individualizes, revises, and feminizes the past that conventional family albums preserve.","PeriodicalId":41074,"journal":{"name":"Expressions maghrebines","volume":"19 1","pages":"49 - 69"},"PeriodicalIF":0.1,"publicationDate":"2020-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/exp.2020.0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44548867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mobile and Captive Geometries: From Hurufiya to Video in Abdelkébir Khatibi, Mounir Fatmi, and Bouchra Khalili","authors":"D. Fieni","doi":"10.1353/exp.2020.0002","DOIUrl":"https://doi.org/10.1353/exp.2020.0002","url":null,"abstract":"Abstract:Cet article utilise le livre d'Abdelkébir Khatibi, L'Art contemporain arabe (2001), comme point de départ pour une réflexion sur l'art visuel arabe fondé sur la calligraphie (hurufiya) dans son rapport aux autres média. J'examine l'importance du geste dans l'art calligraphique et dans l'art de technique mixte et vidéo de Bouchra Khalili et Mounir Fatmi, en me concentrant sur trois vecteurs de la transmédialité : l'anamorphose, l'hypostase et la greffe. J'étudie comment ces modes de création configurent la temporalité et la spatialité ensemble, en tant que techniques de mobilités que je nomme « grammatologie nomade ».Abstract:This essay uses Abdelkébir Khatibi's L'art contemporain arabe (2001) as a point of departure for thinking about how Arab visual art grounded in calligraphy (hurufiya) relates to Arab art that employs other media. I explore the importance of the gesture in calligraphic art, and in mixed media and video art by Bouchra Khalili and Mounir Fatmi, focusing on three vectors of transmediality: anamorphosis, hypostasis, and grafting. I examine how these creative modes configure mobility in relation to the body, and conceptualize these modes of relation as knots knitting temporality and spatiality together, as techniques of mobility that I term \"nomad grammatology\".","PeriodicalId":41074,"journal":{"name":"Expressions maghrebines","volume":"19 1","pages":"33 - 47"},"PeriodicalIF":0.1,"publicationDate":"2020-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/exp.2020.0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44962559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Pour une nouvelle esthétique culturelle du Maghreb : l'intersectionnalité chez Zoulikha Bouabdellah","authors":"Ramona Mielusel","doi":"10.1353/exp.2020.0004","DOIUrl":"https://doi.org/10.1353/exp.2020.0004","url":null,"abstract":"Abstract:Cet article se concentre sur le concept de transmédialité dans le syncrétisme artistique de quelques œuvres de Zoulikha Boubdellah. En premier lieu, l'article contextualise la vision de l'artiste sur l'intersectionnalité des cultures à travers les espaces et les siècles tout en essayant de déconstruire une perception binaire et stéréotypée que l'Occident et le monde arabe détiennent de la « femme orientale ». En deuxième lieu, la vision de l'artiste à l'égard de la question de la représentation des femmes arabes dans le monde contemporain sera abordée. Le but de l'article est de prouver que les œuvres artistiques de Zoulikha Bouabdellah mettent en question ces représentations patriarcales et figées de la femme musulmane vue comme soumise et manquant d'agentivité. Au contraire, comme il sera démontré, Bouabdellah réoriente le regard des spectateurs et critiques en offrant une image de la femme arabe puissante et maîtresse de son statut et de son rôle dans la société.Abstract:The present article focuses on the concept of transmediality in the artistic syncretism of some of Zoulikha Bouabdellah's works. First, the article contextualizes the artist's vision on the intersectionality of cultures through spaces and centuries while trying to deconstruct the binary and stereotypical perception that the West and the Arab World have on the construct of the \"Oriental woman\". Secondly, the artist's vision regarding the question of the representation of Arabic women in the contemporary world is highlighted. The goal of the article is to prove that the artistic works of Zoulikha Bouabdellah call into question patriarchal and stereotypical representations of the Muslim woman seen as a submissive individual lacking agentivity. On the contrary, as I will demonstrate, Bouabdellah refocuses the critical gaze by offering an image of the Arabic woman perceived as powerful and mastering her status and role in society.","PeriodicalId":41074,"journal":{"name":"Expressions maghrebines","volume":"19 1","pages":"71 - 86"},"PeriodicalIF":0.1,"publicationDate":"2020-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/exp.2020.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43667882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"(Re)Invention of Tradition, Subversive Memory, and Morocco's Re-Amazighization: From Erasure of Imazighen to the Performance of Tifinagh in Public Life","authors":"Brahim El Guabli","doi":"10.1353/exp.2020.0008","DOIUrl":"https://doi.org/10.1353/exp.2020.0008","url":null,"abstract":"Abstract:Dans cet article, je m'appuie sur les diverses initiatives du Mouvement culturel marocain amazigh (MCAM) pour lutter contre la marginalisation étatique afin de théoriser la mémoire subversive amazighe. Je soutiens que cette mémoire subversive repose sur le travail de (ré)invention et la réorientation des traditions existantes ou imaginées que MCAM a entrepris pour mettre fin à l'exclusion officielle de la langue et la culture amazighes au Maroc après son indépendance. Ces traditions (ré)inventées par MCAM ont fourni les substrats culturels, historiques et symboliques dont la mémoire subversive amazighe a besoin pour réamazighiser la sphère publique marocaine. La ré-amazighisation implique un retour aux racines amazighes du Maroc que l'État-nation indépendant a rompues lors de l'indépendance en 1956. En m'appuyant sur l'utilisation du Tifinagh dans la signalisation publique et sa transformation du paysage visuel marocain, je sonde comment cette nouvelle réalité visuelle relie les Marocains avec leur passé amazigh. En outre, j'analyse l'importance du guide des publications de l'IRCAM et la vente de livres amazighs dans une librairie spécifique à Rabat pour examiner comment la mémoire subversive amazigh vit et agit à travers les publications et la circulation.Abstract:In this article, I draw on the Moroccan Amazigh Cultural Movement's (MACM) diverse initiatives to counter state-sponsored marginalization in order to theorize Amazigh subversive memory. I argue that this subversive memory has rested on MACM's (re)invention and repurposing of existing or imagined traditions to undermine the official exclusion of Amazigh language and culture in post-independence Morocco. These (re)invented traditions furnished the cultural, historical, and symbolic substrata for Amazigh subversive memory to re-Amazighize the Moroccan public sphere. Re-Amazighization implies a return to Morocco's Amazigh roots, which the independent nation-state severed upon independence in 1956. Building on the use of Tifinagh in public signage and its transformation of the Moroccan visual landscape, I probe how this new visual reality reconnects Moroccans with their Amazigh past. Moreover, I analyze the significance of IRCAM's publications guide and the sale of Amazigh books in a Rabat-based bookstore to examine how Amazigh subversive memory lives and acts through publications and circulation.","PeriodicalId":41074,"journal":{"name":"Expressions maghrebines","volume":"19 1","pages":"143 - 168"},"PeriodicalIF":0.1,"publicationDate":"2020-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/exp.2020.0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44534328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Le siècle de la réparation : Entre hainamoration du contemporain et empathie. Une conversation avec Kader Attia","authors":"Claudia Esposito, Kader Attia","doi":"10.1353/exp.2020.0007","DOIUrl":"https://doi.org/10.1353/exp.2020.0007","url":null,"abstract":"","PeriodicalId":41074,"journal":{"name":"Expressions maghrebines","volume":"19 1","pages":"125 - 139"},"PeriodicalIF":0.1,"publicationDate":"2020-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/exp.2020.0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47689231","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Écrire après la décennie noire ? L'œuvre expérimentale « d'intervention » de Mustapha Benfodil ou l'urgence du lire","authors":"Alexandra Gueydan-Turek","doi":"10.1353/exp.2020.0001","DOIUrl":"https://doi.org/10.1353/exp.2020.0001","url":null,"abstract":"Abstract:Au sortir de la décennie noire, la littérature algérienne délaisse l'écriture testimoniale qui lui incombait devant l'horreur pour s'interroger sur ses enjeux à travers des formes hétéroclites. Le renouvellement esthétique qui en découle évite, cependant, de tomber dans un ludisme apolitique ou un formalisme narcissique. Au contraire, la production artistico-littéraire hybride qui fleurit permet au littéraire d'occuper l'espace public, et met en relation le livre avec son hypothétique public. L'auteur-plasticien Mustapha Benfodil contribue à ce renouvellement esthétique : avec L'Anti-Livre (2012), un projet qui s'inscrit à mi-chemin entre l'écriture collective et l'installation artistique, et qui mélange œuvres personnelles et livres destinés au pilon, Benfodil met en relief la fragilité de la création culturelle et de la pensée face aux exigences de rentabilité économique, au faible lectorat et à la censure. Ce faisant, il offre une vision du livre qui refuse de se cantonner à un espace normé, interroge le lecteur-spectateur-(con)citoyen sur la disparition du livre et entame ainsi une réflexion sur le renouvellement de la responsabilité civique et participation sociale au cœur du mouvement de contestation du Hirak.Abstract: At the end of the civil war, Algerian literature left behind the testimonial writing necessitated by the war's horrors, to question its role in society using heterogeneous forms. The resulting aesthetic renewal avoided any temptation towards apolitical playfulness or solipsistic formalism. Instead, the resulting hybrid artistic-literary production brought literature back into the center of the public space, re-connecting the book with its hypothetical reader. The author-artist Mustapha Benfodil contributed to this movement with L'Anti-Livre (2012) a project that was part collective writing and part artistic installation, mixing personal works and books destined for the pulping machine. Through it, Benfodil highlights the fragility of thoughts and cultural products threatened by the demands of economic profitability, limited readerships, and censorship. In so doing, he offers a vision of a book that cannot be confined to institutional spaces, which questions the reader/spectator/(co)-citizen's role in the disappearance of books–anticipating the discussion on civic responsibility and social participation at core of the Hirak protest movement.","PeriodicalId":41074,"journal":{"name":"Expressions maghrebines","volume":"19 1","pages":"15 - 32"},"PeriodicalIF":0.1,"publicationDate":"2020-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/exp.2020.0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43412444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"De « River of no Return » à « Trouble of the World » : Parcours initiatique musical dans Infidèles (2012) d'Abdellah Taïa","authors":"Siham Bouamer","doi":"10.1353/exp.2020.0006","DOIUrl":"https://doi.org/10.1353/exp.2020.0006","url":null,"abstract":"Abstract:Dans son roman Infidèles (2012), Abdellah Taïa nous raconte le parcours de Jallal, de son enfance avec sa mère dans la ville de Salé, à son entrée au paradis après son attentat-kamikaze à Casablanca. En considérant la critique de José Esteban Muñoz (2009) sur la temporalité hétéronormative, « straight time », je soutiens dans cet article que Taïa réinvente la directionnalité de ce parcours initiatique autour d'une temporalité extatique musicale. Je montrerai que les trois références musicales incluses dans le roman–« River of No Return », chanson-titre du film du même nom, « Moch hatnazel a'anak » de Samira Saïd et « Trouble of the World » de la chanteuse de gospel Mahalia Jackson–servent à articuler le schéma narratif actantiel du roman et les différentes étapes de l'initiation de Jallal.Abstract:In his novel Infidèles (2012), Abdellah Taïa tells us about Jallal's journey, from his childhood with his mother in the city of Salé, to his entry into heaven after his suicide bombing in Casablanca. Considering the criticism of José Esteban Muñoz (2009) on heteronormative temporality, \"straight time\", I argue in this article that Taïa reinvents the directionality of this initiatory journey around an ecstatic musical temporality. I will show that the three musical references included in the novel –\"River of No Return\", title song from the film of the same name, \"Moch hatnazel a'anak\" by Samira Saïd, and \"Trouble of the World\" by the gospel singer Mahalia Jackson– serve to articulate the actantial narrative schema of the novel and the different stages of Jallal's initiation.","PeriodicalId":41074,"journal":{"name":"Expressions maghrebines","volume":"19 1","pages":"107 - 124"},"PeriodicalIF":0.1,"publicationDate":"2020-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/exp.2020.0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47739008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dora Latiri's Un amour de tn. Textual and Photographic Representations of Attachment in a Minimalistic Tunisia","authors":"Anna Rocca","doi":"10.1353/exp.2020.0005","DOIUrl":"https://doi.org/10.1353/exp.2020.0005","url":null,"abstract":"Abstract:Au cœur de la première œuvre littéraire de Dora Latiri, Un amour de tn (2013), réside une contemplation de la vie et des attachements qu'un refrain d'une vieille chanson tunisienne synthétise ainsi : \"faut-il vraiment mourir pour être aimé enfin ?\" (Latiri 2013 : 91-92). Afin de conjurer l'exploitation, l'oppression et la destruction historiques, politiques, environnementales et individuelles, Latiri revisite le sens des attachements à travers une collection de fragments tirés de rencontres, de relations et de connections fugaces. Depuis cette archive de réflexions et mémoires minimalistes se développe une représentation intime et poétique de la vie et de ses complexités.Abstract:At the core of Dora Latiri's first literary piece, Un amour de tn (2013), rests a rumination upon life and attachments that a refrain of a Tunisian old song thus synthetizes: \"faut-il vraiment mourir pour être aimé enfin?\" (Latiri 2013: 91-92). To counteract historical, political, environmental, and individual exploitation, oppression, and destruction, Latiri revisits the meaning of attachment by presenting a collection of fragments drawn from encounters, relationships, and fleeting connections. From this assortment of minimalist reflections and memories an intimate and poetic representation of life and its intricacies is developed.","PeriodicalId":41074,"journal":{"name":"Expressions maghrebines","volume":"19 1","pages":"106 - 87"},"PeriodicalIF":0.1,"publicationDate":"2020-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/exp.2020.0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49172543","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction","authors":"Alfonso de Toro","doi":"10.1353/exp.2019.0012","DOIUrl":"https://doi.org/10.1353/exp.2019.0012","url":null,"abstract":"","PeriodicalId":41074,"journal":{"name":"Expressions maghrebines","volume":"18 1","pages":"22 - 7"},"PeriodicalIF":0.1,"publicationDate":"2020-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/exp.2019.0012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42857077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Les divergents de Fouad Laroui ou l'individu face au corps collectif dans Méfiez-vous des parachutistes et L'Insoumise de la Porte de Flandre","authors":"Chedlia Jedidi","doi":"10.1353/exp.2019.0021","DOIUrl":"https://doi.org/10.1353/exp.2019.0021","url":null,"abstract":"Abstract:Cet article se propose de montrer, à travers une relecture des deux oeuvres de Fouad Laroui Méfiez vous des parachutistes (1999) et L'insoumise de la porte de Flandre (2017), les stratégies que l'auteur met en oeuvre en vue d'introduire une double critique apte à mettre à nu les tares des sociétés européennes et marocaines et à engager le dialogue. Tout en s'armant d'humour, l'auteur s'engage à débusquer le malaise social en puisant la matière de ses romans dans un quotidien révélateur afin d'entamer une démarche de conscientisation en s'attelant à dénoncer les présupposés qui régissent la représentation de l'autre des deux côtés de la méditerranée. Ce va et vient constant entre Orient et Occident installe dans l'oeuvre une dynamique d'échange qu'il sera intéressant d'analyser.Abstract:Through a review of the two novels of Fouad Laroui Méfiez vous des parachutistes (1999) and L'Insoumise de la porte de Flandre (2017), this article proposes to show the strategies that the author implements in order to introduce a double critique that is able to expose the faults of both European and Moroccan societies and engage in dialogue. With a lot of humor, the author attempts to reveal social malaise by drawing the material for his novels from everyday life. He thus aims to raise awareness by denouncing the stereotypes that govern the representation of the other on both sides of the Mediterranean. This constant to and fro movement between East and West sets up a dynamic of exchange in the novel that will be interesting to analyze.","PeriodicalId":41074,"journal":{"name":"Expressions maghrebines","volume":"18 1","pages":"155 - 172"},"PeriodicalIF":0.1,"publicationDate":"2020-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/exp.2019.0021","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47346681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}