Žanrski sinkretizem v romanu Ljubezen, fantazija Assie Djebar

Mičev, Sara

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Title:	Žanrski sinkretizem v romanu Ljubezen, fantazija Assie Djebar
Authors:	ID Mičev, Sara (Author) ID Pavlič, Darja (Mentor) More about this mentor...
Files:	UN_Micev_Sara_2016.pdf (1,04 MB) MD5: F04142921A5C2E8EE6248944C5D98030
Language:	Slovenian
Work type:	Undergraduate thesis
Typology:	2.11 - Undergraduate Thesis
Organization:	FF - Faculty of Arts
Abstract:	Diplomska naloga analizira žanrski sinkretizem v romanu Ljubezen, fantazija alžirske pisateljice Assie Djebar. Gre za poseben roman, ki bralca popelje skozi dva zgodovinsko pomembna dogodka za Alžirijo, vendar brez obsojanja pisateljice, ki ohranja subtilnost, medtem ko izraža svoje mnenje o posledicah vojnih spopadov. Med dokumentarno popisovanje resničnih dogodkov iz bližnje in daljne preteklosti vključuje drobce iz svojega življenja z liričnimi vložki, ki vsebujejo razmislek o različnih tematikah: posledicah vojne, njeni osebni bitki, molku žensk in njihovi nesvobodi. Proti koncu romana plete snov iz svojega življenja z zgodbami žensk, ki ji poročajo o dogajanju med osvobodilno vojno. Ves čas je prisotna problematika njenega dvojnega življenja med Alžirijo in Francijo, ki jo rešuje s citati iz različnih virov. Na ta način uresniči svojo idejo o ženski, ki bo končno lahko spregovorila in bo del zgodovinskega pričevanja. Skozi roman se izkaže, da pisateljica hkrati uresničuje tudi idejo o svoji lastni osvoboditvi. Tako se začnejo prepletati zgodbe različnih virov z drobci njenega življenja in čustvenega odzivanja na opisane dogodke. Mešati se začnejo različne snovi, teme in motivi, perspektive in viri, saj se avtorica poistoveti z vsemi zgodbami, ki jih bere ali posluša. Viri, ki jih je izbrala, niso naključni, v ospredju so citati iz virov, ki so ji v pomoč pri uresničevanju ideje romana in razrešitvi njene osebne bitke. Avtorica z željo, da pove vse, kar želi, ustvari netipično zgodbo in ne podreja svoje zgodbe žanrskim določilom, da bi si pridobila dodatnega bralca. Da bi vključila vse vire, ki so ostali zamolčani, vpelje različne žanre, ki se med seboj tesno prepletajo. Mejo med njimi zabriše medbesedilno navezovanje v obliki citatov iz različnih virov: pisem vojakov, poročil, dnevnikov, avtobiografij, spominov, literarnih del, verskih del itd. Mešanje zgodovinskega, dokumentarnega in avtobiografskega žanra s polliterarnimi žanri, kot sta literarni portret in reportaža, zajema še novinarske žanre, kot so intervjuji in pogovori z ženskami, ki ji pripovedujejo o dogajanjih med osvobodilno vojno in jih avtorica uporabi pri grajenju svojega romana.
Keywords:	Assia Djebar, spomini, dvojno življenje, literarni žanri, polliterarni žanri, žanrski sinkretizem.
Place of publishing:	Maribor
Publisher:	[S. Mičev]
Year of publishing:	2016
PID:	20.500.12556/DKUM-61867
UDC:	821.133.1.09Djebar A.(043.2)
COBISS.SI-ID:	22531592
NUK URN:	URN:SI:UM:DK:ET9ZKYJG
Publication date in DKUM:	16.09.2016
Views:	1607
Downloads:	161
Metadata:
Categories:	FF
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Secondary language

Language:	English
Title:	Genre syncretism in the novel Fantasia: An Algerian Calvacade by Assia Djebar
Abstract:	This graduation thesis analyses the genre syncretism in the novel Fantasia: An Algerian Cavalcade by an Algerian writer Assia Djebar. This special novel takes the reader through two historically important events for Algeria, albeit without the judgment of the writer who instead remains subtle while also expressing her opinion on the consequences of the warlike conflicts. Into the documentary-like writing about real events of the near and far history, she incorporates fragments of her own life by using the lyrical input of thoughts on various topics: consequences of war, her personal battle, women's silence and their lack of freedom. Towards the end of the novel, she interweaves her own life's story with the stories of other women who report to her on the events during the liberation war. There is a constant problematic presence of the double life she leads between Algeria and France; she tries to solve this problem by using citations from various sources. In this way, she materializes her idea of a woman who will have a chance to finally speak out and who will be a part of historical evidence. Throughout the novel, the writer simultaneously also materializes the idea of her own liberation. This turns into a mixture of stories from various sources, the fragments of her life and her emotional responses to the reported events. Different subject matters, themes and topics, perspectives and sources are all mixed together because the author identifies herself with different stories she reads or listens to. The sources she has chosen are not coincidental; at the forefront are the citations from the sources that are helping her materialize the idea of the novel and find the solution to her own personal battle. The author – with the wish of saying everything she wants – creates an untypical story and does not subject her story to the genre stipulations in order to gain an additional reader. To include all the sources that have previously been kept secret, she introduces different genres that are tightly woven together. The boundary between them is blurred by the intertextual references in the form of citations from various sources: soldiers' letters, reports, diaries, autobiographies, memoirs, literary works, religious writings etc. The mixture of historical, documentary and autobiographical genre with semi-literary genres, such as literary portrait and literary reportage, also includes journalistic genres such as interviews and conversations with women who talk about the events during the liberation war and help the author build her novel.
Keywords:	Assia Djebar, memoirs, double life, literary genres, semi-literary genres, genre syncretism.

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