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- W131095668 abstract "^fi oststructuralist, feminist and postcolonial critics have pointed out that there is no f^ such thing as a unified, homogenous and coherent subject. A subject's is a priori fixed nor pre-given; rather, the poststructural ist and feminist subjects are decentralized and plural while the postcolonial subject always defines him or herself in relation to the Other} In L'Interdite (1993), a highly autobiographical narrative, French Algerian novelist Malika Mokeddem (born in 1949) explores identitary instability in conjunction with trauma and hybridity, as it is experienced by postcolonial subjects: Sultana, an Algerian national living in France and Vincent, a Frenchman who visits Algeria. As critics have noted, the narrative primarily functions as a condemnation and denunciation of the rise of political and religious fundamentalism and the ensuing silencing and subservience of Algerian women in 1990s Algeria (see Albet, BenayounSzmidt, Chaulet-Achour, Helm). Given constant, mounting fear and oppression in the face of daily terrorist massacres on the streets of Algiers and Oran, and throughout the country, carried out by various terrorist groupings, including the Groupe islamique arme (GIA), the Armee Islamique du Salut, and the Front Islamique du Salut (FIS), thousands of Algerians, in particular members of the intellectual elite, opted for a life in exile.2 Sultana, the narrative's main character, appears to be no exception. Though the precise circumstances of Sultana's exile are discussed at length, Algeria's post-colonial history, and in particular the traumatic, extremely violent decade of 1990s Algeria and its mass killings certainly can be seen functioning as a subtext to the narrative. This subtext in turn echoes the traumatic history of a country under French colonial rule for 132 years. Exile, a condition generally concomitant with postcolonialism, can cause a shift in identity, rendering it more precarious and unstable. In particular, the exilic subject defines herself or himself against and in contrast to the non-exilic subject, the subject that appears to be whole, clearly defined, and is marked by a continuity of identity.3 In Farid Laroussi's formulation, Maghrebi literary works seek to demonstrate that it is not possible to essentialize one particular site of expression, or one value-laden struggle. More often than not, cultural labels (Francophone, exiled, nomad, minority writer) help evade demands for identity (85). L 'Interdite is a case in point. As a close reading of the text will reveal, the narrative's two main characters lack continuity of the self, which is a key component of identity. Consequently, they find it difficult to say who they are. Instead, various components, in particular trauma, nomadism, exile, and hybridity serve to define the self, giving it some semblance of plenitude. Sultana" @default.
- W131095668 created "2016-06-24" @default.
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- W131095668 date "2007-01-01" @default.
- W131095668 modified "2023-09-24" @default.
- W131095668 title "Exploring the Depths of Trauma: Identitary Instability in Mokeddem's L'interdite" @default.
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