By Réda Bensmaïa

Jean-Paul Sartre's well-known query, "For whom will we write?" moves with reference to domestic for francophone writers from the Maghreb. Do those writers deal with their compatriots, lots of whom are illiterate or learn no French, or a broader viewers past Algeria, Morocco, and Tunisia? In Experimental countries, R?da Bensma?a argues powerfully opposed to the tendency to view their works no longer as literary creations worthy contemplating for his or her cutting edge kind or language yet as "ethnographic" texts and to appraise them purely opposed to the "French literary canon." He casts clean gentle at the unique literary options many such writers have deployed to reappropriate their cultural historical past and "reconfigure" their international locations within the many years due to the fact colonialism.Tracing the circulate from the anticolonial, nationalist, and arabist literature of the early years to the relative cosmopolitanism and variety of Maghrebi francophone literature at the present time, Bensma?a attracts on modern literary and postcolonial concept to "deterritorialize" its examine. even if in Assia Djebar's novels and movies, Abdelkebir Khatabi's prose poems or severe essays, or the novels of Nabile Far?s, Abdelwahab Meddeb, or Mouloud Feraoun, he increases the veil that hides the intrinsic richness of those artists' works from the eyes of even an attentive viewers. Bensma?a exhibits us how such Maghrebi writers have opened their international locations as territories to rediscover and stake out, to invent, whereas making a new language. In featuring this masterful account of "virtual" yet veritable international locations, he units forth a brand new and fertile topography for francophone literature.

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In other words, what is the machine that can integrate all the functions (affective, psychological, ethical, poetic) performed by these different linguistic practices, without crushing them or reducing them to a single, abstract whole? Finally, what machine is capable of embracing simultaneously such diverse terrains and heterogeneous temporalities? If we look at the works of scholars such as Edward Said, Homi K. Bhabha, and Mikhail Bakhtin, for example, the answer that immediately springs to mind is the novel.

10 Writers and playwrights such as Kateb Yacine and men of the theater such as Abdelkader Alloula and Slimane Benaı¨ssa clearly understood that while the “classical” poet and writer constantly stumbled over a word, an idiomatic expression, or a national (transindividual) psychological trait, popular theater could find its way around most of these basic obstacles. Because it is an oral art, the theater can muster everything it needs to play in a variety of keys: word, gesture, mime, music. Even if these elements are regional, they can still combine the various accents and traditional stories and sayings so as to contribute to the story (dire) of the nation.

As I will attempt to show, for these writers the Medina cannot be judged according to the abstract and extrinsic criteria of health and sickness, but rather, it must be interpreted through the perceptions and affects that emanate directly from their meandering through the Medina. And this meandering is more akin to a kind of initiation than to mere promenade. 2. ” That is, it had to establish a “non-time, or a synchronic time” opposite the “stubborn resistance of traditions,” which would destroy the “practices” 28 C H A P T E R 2 of those inhabitants who did not play the game of the “polis” and who, by means of crafty wiles and stratagems, undermined this same game.

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