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Nigora Yaxyoqulova, Assistant of the Department of Uzbek Language,
Samarkand Institute of Veterinary Medicine
ABOUT THE THEME HIGHLIGHTED IN ASSIA DJEBAR'S “L'AMOUR, LA
FANTASIA”
N. Yaxyoqulova
Abstract. The history of female References: in Algeria is studied by many
writers. They studied female References: at all levels, as well as in romantic
genres: both general and thematic, from a critical point of view. They also
promoted topics that reveal the realities of Algeria's cultural and social life.
Creativity for these writers was also a field of struggle with a closed society,
which did not stop humiliating and degrading the dignity of women. In this
article we tried to consider the topic covered in the works, one of the most
famous women writers of the East and, possibly, the first Algerian writer
known for his complex creative style, Assia Djebar.
Keywords:
Algerian women's References:, creativity, creative style,
“L'Amour, la fantasia”
Assia Djebar is Algeria’s favorite writer and has long been known
as “one
of the most important figures in North African References:” . On February 7,
2015, the French Academy announced the death of Assia Djebar in Paris.
Djebar was born in Churchill, Algeria, in 1936. She lived in Algeria, France,
Tunisia, and the United States for seventy-eight years, spending her life as a
writer, historian, director, and professor. Although Djebar's literary works
are dedicated to women in the Islamic world, where men dominate, she is
best known for her many works, which reflect Arab-barbarian, Muslim and
French views and feelings. In honor of Jébar, on the day he was declared
dead in Figaro, President Francois Hollande expressed the following:
«cette
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femme de conviction, aux identités multiples et fertiles qui nourrissaient son
œuvre, entre l’Algerie et la France, entre le berbère, l’arabe et le français».
Entering the French Academy in June 2005, Djebar was the first North
African woman writer recognized by the French. She was also the first
Algerian student and first Muslim to be admitted to the “
Ecole Normale
Supérieure de Sèvres” in 1955.
Although Djebar condemned the patriarchal and colonial system in
Algeria in her works, she was respected by the academics living in Algeria,
she achieved the respect she wrote about the freedom of Algerian Muslim
women and the colonial system. Djebar said that his literary work is based
on the Arabic and Berber culture “foi musulmane” (“Muslim faith”), “langue
de souche... la langue berbère” (“native language ... Berber language”), thus
dwelling on the achievements achieved during sixty years of French colonial
rule, and trying to explain why she writes in French, in fact, many of Djebar’s
works are related to her attitude to the language, since she speaks Algerian
languages, in particular French, Arabic and barbaric languages, which
speaks of how important it is for her personally.
Algerian References: describes not only the oppression of French
colonialism, but also the struggle for the independence of ideological spaces
that have not yet been formed and not regulated; at the same time, Assia
Djebar’s work is an ideal presentation of a centuries-old attempt to change
the ideology of Algerian women from the ideas of the existing social system.
After publishing her first novel «La Soif » (1957), Djebar published a series
of works, including «Les Impatients» (1958), «Les Enfants du Nouveau
Monde» (1962) and «Les Alouettes Naives» 1967), «La Nouba des Femmes
du mont Chenoua» (1977) and «Femmes d'Alger dans leur Appartement»
(1980). But by the end of the 1960s, she couldn’t meet with her compatriot
women from a sociological point of view and decided to retreat creatively.
In Algeria, an Islamic country, women are less literate than men; an
occupied country is less likely to speak the language of a colonial country. As
a result, the work of Djebar did not reach the desired audience (a limited
number of Algerian women). During this “quiet decade” that Djebar did not
write, she traveled around the country and collected oral evidence from
Algerian women. This evidence became the material for his most complex
work,
L'Amour, la fantasia . The novel explores the extent to which Djebar
was able to shed light on the history of Algerian women’s lifestyles, and in
the course of this her talent has been explored in various sources. Her
historical preparation was noticeable in the play, thereby documenting oral
stories as evidence of women's struggle to hear the voices of women in a
colonized country, using data from French archives. Djebar’s work is seen as
an attempt to solve the problem of exclusion of women from Algerian
history, devoting his work to counteracting liberated, illiterate Algerian
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162
women. In addition,
“L'Amour, La fantasia” seeks to recognize the role of
women in national and historical debates, shedding light on the issue of
ending women's silence after the war on violence.
In
L'Amour, la fantasia, the struggle of modern Algerian women to create
an icon for themselves is studied, in which they strive to determine their
place independently of men, as well as the role of women in the history of
Algeria. Reflecting the desire to understand her role, Djebar criticizes the
silence of the woman, and by this she tries to revive them. Her novel portrays
Algerian women who migrated to the modern world, and other women who
were physically and mentally isolated. Her work reflects many specific
events from the lives of famous women who lived in the early days of Islam.
However, although she portrays the Algerian War of Independence in
Fantasy, she also tries to draw attention to their experience in the stories of
ordinary women of the time.
La Fantasia focuses on giving women the right
to vote and place in history, both socially and legally, rejected, whether
under colonial rule or in the new independent Algeria. The author wants to
get acquainted with the stories told by Algerian women to give a clearer
picture of oppression and resistance, the struggle for freedom. In the
Revolutionary War, these same women also played an important role as
warriors, nurses, faithful wives of warriors as their assistants or victims;
indicates that even after independence, their role in society is still limited.
Algerian history is portrayed through the feminist curses of Assia Djebar,
depicting Algeria as a bride, deprived of pride and history, and this woman
is also subject to the patriarchal system, which does not allow her to exercise
her natural rights.
In addition to describing the status of women and their contribution to
the history of Algeria, Assia Djebar also sheds light on the history of the
French occupation of Algeria. Djebar, who works as a historian, finds in the
French archives thirty-two military documents from official documents and
letters sent by soldiers to their families. The stories of these French soldiers
were used by Djebar to revise and restore Algerian history. Djebar describes
Algeria as an “open city” in which Day is forced to surrender by signing a
treaty guaranteeing personal integrity and respect for the Algerian religion.
But the deal was nothing more than ink on paper. Until February 1831, more
than 4,000 French citizens lived in an open city. These "zealous aliens" loved
to torment the occupied city.
«La capitale est vendue: le prix de son trésor
légendaire, l'or d'Alger expédié par une caisse à la France […] Alger, dépouillé
de son passé et de sa fierté.» [8.7b]. Djebar also talks about the tragic events
of the nineteenth century. He also condemns the atrocities committed by the
French army against the Uled Riyah tribe, which refused to surrender and
retreat to the caves. After unsuccessful negotiations to conquer Algeria in
high spirits, the French army burned caves to smoke men, women and
Scientific research results in pandemic conditions (COVID-19)
163
children [p. 6.12]. There are many scenes depicting the suffering of Algerians
during the French occupation, but Djebar focuses more on Algerian women
portrayed as brave lions. He cites the example of a woman who tore the
soldier’s heart or decided to sacrifice her child without leaving her captive
alive. The sacrifices made by these noble and tragic people could be fully
expressed only with the pen of Djebar. In addition, the French government
used more violence to rule Algeria; they used various strategies, such as
destroying local culture and replacing it with French. Just as there is no
nation without culture, they are trying to destroy the culture of the nation,
and serious attempts are being made against Algerian culture to create
French schools and prohibit the use of the Arabic language in government.
Djebar’s historical research allowed him to approach historical facts from a
woman’s point of view, shedding light on the suffering of Algerians,
especially women and victims, who were deprived of the right to be
recorded as warriors in history.
Thus,
L'Amour, la fantasia, published in 1985, is an autobiographical
work, as well as a masterpiece of the story of Algerian women about the
conquest of Algeria. And at the same time, the novel depicts brave Algerian
women who fearlessly fought for freedom, trying to find their place in
society and in the family. The purpose of this article is to uncover the history
of the Algerian women's movement
La Fantasia, its brutal participation in
the revolutionary war.
References:
1.
Assia Djebar L'amour, la fantasia: roman. Front Cover.. A. Michel,
1995 - Fiction - 316 pages
2.
Clarisse Zimra, “In Her Own Write: The Circular Structures of
Linguistic Alienation in Assia Djebar‟s Early Novels,” Research in African
References, Vol. 11, No. 2, (Summer, 1980), pp.206-223; p. 208.
3.
Jane Hiddelston, Assia Djebar Out of Algeria (Liverpool: Liverpool
university press, 2006, p. 7.
4.
Mary Stevens, “The Light in The Heart: Cultural capital versus
cultural memory in Assia Djebar‟s epigraphs,” Francophone post-colonial
studies, Vol. 3, No. 2, (autumn/Winter, 2005), pp.1-10; p.10.
5.
Mildred Mortimer, “Language and Space In The Fiction of Assia
Djebar And Leila Sebbar,” Research in African References:, Vol.19, No.3,
(autumn, 1988) ,pp.301-311;p.303.
6.
Sanne Boersma, The Powerful Writing Strategies of Assia Djebar and
Toni Morrison Differentiation of The Depiction of Otherness through
References: (Utrecht: Utrecht University, 2010), p.12.
Scientific research results in pandemic conditions (COVID-19)
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7.
Yаhyоqulоvа N. Sh «The mаin trends in the literаry prоcess in Frаnce
in the secоnd hаlf оf the 20th century» JournalNX- A Multidisciplinary Peer
Reviewed Journal ISSN No: 2581 - 4230 VOLUME 6, ISSUE 4, Apr. -2020
8.
Yakhokulova N. Sh. «Algerian post-colonial References:» «RESULTS
OF MODERN RESEARCH AND DEVELOPMENT-2020» Part – 1, 27th of April,
2020, p.87-92
9.
https://press.umsida.ac.id/index.php/icecrs/article/view/563/439
10.
https://press.umsida.ac.id/index.php/acopen/article/view/404/265
Utkir Normuminov, English teacher of Karshi State university, Uzbekistan
ABBREVIATIONS, TERMINS AND THEIR USAGE IN ONLINE COURSES
U. Normuminov
Abstract:This Article shows that shortening of words is one of the
developing branches and it gives general simplification to worldwide.
Shortening reflects the general trend of simplification of a language.
Keywords: Abbreviation, topics, simplification, online , practical
significance.
Distinction should be made between shortening of words in written
speech and in the sphere of oral intercourse. Shortening of words in written
speech results in graphical abbreviations which are, in fact, signs
representing words and word-groups of high frequency of occurrence in
various spheres of human activity; note, for instance, RD for Road and St for
Street in addresses on envelopes and in letters; to for tube, are for aerial in
Radio Engineering References:, etc. The characteristic feature of graphical
abbreviations is that they are restricted in use to written speech, occurring
only in various kinds of texts, articles, books, advertisements, letters, etc. In
reading many of them are substituted by the words and phrases that they
represent, e. g., Dr.-doctor, Mr.-mister, Oct.-October, etc., the abbreviations
of Latin and French words and phrases being usually read as their English
equivalents. It is only natural that in the course of language development,
some graphical abbreviations should gradually penetrate into the sphere of
oral intercourse and, as a result, turn into lexical abbreviations used both in
oral and written speech. In most cases a shortened word exists in the
vocabulary together with the longer word from which it is derived and
usually has the same lexical meaning differing only in emotive charge and
stylistic reference. The question naturally aris es whether the shortened
forms and the original forms should be considered separate words. Some
