{"id":262,"date":"2023-11-13T22:48:29","date_gmt":"2023-11-13T21:48:29","guid":{"rendered":"http:\/\/www.univ-oeb.dz\/declic\/?p=262"},"modified":"2023-11-13T23:24:09","modified_gmt":"2023-11-13T22:24:09","slug":"lintertextualite-et-linter-culturalite-dans-loeuvre-dassia-djebar","status":"publish","type":"post","link":"https:\/\/www.univ-oeb.dz\/declic\/2023\/11\/13\/lintertextualite-et-linter-culturalite-dans-loeuvre-dassia-djebar\/","title":{"rendered":"L\u2019intertextualit\u00e9 et l&rsquo;inter-culturalit\u00e9 dans l&rsquo;\u0153uvre d&rsquo;Assia Djebar , Dre BENHAFSI Dalila"},"content":{"rendered":"\n<!--more-->\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-layout-1 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"676\" src=\"http:\/\/www.univ-oeb.dz\/declic\/wp-content\/uploads\/2023\/11\/2-1-1024x676.jpg\" alt=\"\" class=\"wp-image-311\" srcset=\"https:\/\/www.univ-oeb.dz\/declic\/wp-content\/uploads\/2023\/11\/2-1-1024x676.jpg 1024w, https:\/\/www.univ-oeb.dz\/declic\/wp-content\/uploads\/2023\/11\/2-1-300x198.jpg 300w, https:\/\/www.univ-oeb.dz\/declic\/wp-content\/uploads\/2023\/11\/2-1-768x507.jpg 768w, https:\/\/www.univ-oeb.dz\/declic\/wp-content\/uploads\/2023\/11\/2-1-1536x1014.jpg 1536w, https:\/\/www.univ-oeb.dz\/declic\/wp-content\/uploads\/2023\/11\/2-1-2048x1352.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<ul>\n<li class=\"has-medium-font-size\">Th\u00e8se intitul\u00e9e\u00a0: <strong>L\u2019intertextualit\u00e9 et l&rsquo;inter-culturalit\u00e9 dans l&rsquo;\u0153uvre d&rsquo;Assia Djebar<\/strong><\/li>\n\n\n\n<li class=\"has-medium-font-size\">Dre BENHAFSI Dalila, Universit\u00e9 de Khenchela\u00a0\u00a0\u00a0\u00a0\u00a0<\/li>\n\n\n\n<li>Ann\u00e9e de soutenance&nbsp;: 2022&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/li>\n\n\n\n<li>Doctorat \u00e8s sciences<\/li>\n\n\n\n<li>Membre de l\u2019\u00e9quipe 1<\/li>\n<\/ul>\n<\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>R\u00e9sum\u00e9<\/strong><\/h2>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td>Cette pr\u00e9sente recherche s\u2019inscrit dans le domaine des sciences des textes litt\u00e9raires, elle a pour objectif d\u2019analyser et de montrer comment ce proc\u00e9d\u00e9s d\u2019\u00e9criture ; l\u2019intertextualit\u00e9 ; offre la possibilit\u00e9 de transposition de plusieurs discours, celui de le religion et de l\u2019Histoire, dans un autre discours celui de la fiction, \u00e0 partir de la stratification du texte qui donne naissance \u00e0 un genre hybride : le roman historique, qui offre un espace privil\u00e9gi\u00e9 d\u2019exploration de cette sp\u00e9cificit\u00e9 g\u00e9n\u00e9rique, d\u2019une h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9 discursive importante. Des renvois donc, intertextuels et inter-discursifs interpellent des proc\u00e8des d\u2019expression caract\u00e9risant la peinture, le cin\u00e9ma, la musique,\u2026 mettant en valeur l\u2019esth\u00e9tique d\u2019une auteure \u00e0 une formation multidisciplinaire. La plume et la phrase djebarienne sont domin\u00e9es par les femmes alg\u00e9riennes, car elles habitent le corps textuel fran\u00e7ais. Des mots t\u00e9moins, articulant la petite histoire et la grande par le biais de l\u2019interruption et la reprise dans un autre texte. Le r\u00e9cit djebarien, artistement mont\u00e9 caract\u00e9rise et sp\u00e9cifie une d\u00e9termination culturelle qui d\u00e9finit sa po\u00e9tique puisque, la conscience linguistique de l\u2019auteur construit l\u2019identit\u00e9 linguistique d\u2019une \u0153uvre. Une conscience linguistique n\u00e9cessaire ; voire ; obligatoire \u00e0 la communication litt\u00e9raire. Le r\u00e9cit d\u2019Assia Djebar renvoie aux liens interculturels tiss\u00e9s par l\u2019esth\u00e9tique litt\u00e9raire de l\u2019auteur.<br><strong>Mots cl\u00e9s : <\/strong>L\u2019intertextualit\u00e9, l\u2019interculturel, inter-discursivit\u00e9, culture, \u00e9criture f\u00e9minine, identit\u00e9.<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Abstract<\/strong><\/h2>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td>This present research is part of the field of literary text sciences, it aims to analyze and show how this writing process; intertextuality; offers the possibility of transposing several discourses, that of religion and history, into another discourse that of fiction, from the stratification of the text which gives rise to a hybrid genre: the historical novel; in another discourse that of fiction, from the stratification of the text which gives rise to a hybrid genre: the historical novel, which offers a privileged space for the exploration of this generic specificity, of an important discursive heterogeneity. References therefore, intertextual and interdescursive, call into question the processes of expression characterizing painting, cinema, music&#8230; highlighting the aesthetics of an author with a multidisciplinary training. The pen and the Djebarian sentence are dominated by Algerian women, because they inhabit the French textual body. Witness words, articulating the small story and the big one through the interruption and the resumption in another text.<br>The Djebarian story, artistically staged, characterizes and specifies a cultural determination which defines its poetics since the linguistic consciousness of the author constructs the linguistic identity of a work. A necessary linguistic awareness; even; compulsory for literary communication. Assia Djebar&rsquo;s story refers to the intercultural links woven by the author&rsquo;s literary aesthetic.<br><strong>Keywords: <\/strong>Intertextuality, interculturality, interdiscursivity, culture, female writing, identity.<\/td><\/tr><\/tbody><\/table><\/figure>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":304,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[],"_links":{"self":[{"href":"https:\/\/www.univ-oeb.dz\/declic\/wp-json\/wp\/v2\/posts\/262"}],"collection":[{"href":"https:\/\/www.univ-oeb.dz\/declic\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.univ-oeb.dz\/declic\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.univ-oeb.dz\/declic\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.univ-oeb.dz\/declic\/wp-json\/wp\/v2\/comments?post=262"}],"version-history":[{"count":9,"href":"https:\/\/www.univ-oeb.dz\/declic\/wp-json\/wp\/v2\/posts\/262\/revisions"}],"predecessor-version":[{"id":349,"href":"https:\/\/www.univ-oeb.dz\/declic\/wp-json\/wp\/v2\/posts\/262\/revisions\/349"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.univ-oeb.dz\/declic\/wp-json\/wp\/v2\/media\/304"}],"wp:attachment":[{"href":"https:\/\/www.univ-oeb.dz\/declic\/wp-json\/wp\/v2\/media?parent=262"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.univ-oeb.dz\/declic\/wp-json\/wp\/v2\/categories?post=262"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.univ-oeb.dz\/declic\/wp-json\/wp\/v2\/tags?post=262"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}