{"id":1697,"date":"2021-01-15T21:00:00","date_gmt":"2021-01-15T21:00:00","guid":{"rendered":"https:\/\/atras-univ-saida.dz\/en\/?p=1697"},"modified":"2025-02-01T16:06:06","modified_gmt":"2025-02-01T16:06:06","slug":"the-voices-of-otherness-in-the-language-of-nabile-fares-les-voix-de-lalterite-dans-le-langage-faresien","status":"publish","type":"post","link":"https:\/\/atras-univ-saida.dz\/en\/?p=1697","title":{"rendered":"Article 06 Issue 01 VOL 02 January 2021"},"content":{"rendered":"\n<div id=\"section-g5d9c5a\" class=\"wp-block-gutentor-e1 section-g5d9c5a gutentor-element gutentor-element-advanced-text text-align-center-desktop text-align-center-tablet text-align-center-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong>Title:&nbsp;<\/strong><br><strong>The voices of otherness in the language of Nabile FAR\u00c8S<br>Les voix de l\u2019alt\u00e9rit\u00e9 dans le langage faresien<\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-g589154\" class=\"wp-block-gutentor-e1 section-g589154 gutentor-element gutentor-element-advanced-text text-align-center-desktop text-align-center-tablet text-align-center-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\"><strong>Michele BEVILACQUA<\/strong><br><strong>Universit\u00e9 de Salerne<\/strong><\/p><\/div><\/div>\n\n\n\n<div id=\"section-gcba7e3\" class=\"wp-block-gutentor-e1 section-gcba7e3 gutentor-element gutentor-element-advanced-text text-align-left-desktop text-align-left-tablet text-align-left-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong>Abstract<\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-g2805bd\" class=\"wp-block-gutentor-e1 section-g2805bd gutentor-element gutentor-element-advanced-text text-align-justify-desktop text-align-justify-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">The importance of searching for common values, accepting the right to be different, the right to criticism, giving the right to singular histories, old and new languages, which make it possible to reduce injustices and promote gender equality, to allow otherness to express itself and to promote what is essential: This is the aim of Nabile FARES, a polyhedral French-speaking Algerian writer who, in his literary career, has several times questioned the role of the other in relation to himself, using a very colorful language to give an \u201copen\u201d image of differences, as in the case of his work \u201c L\u2019exil au feminine\u201d. In our contribution we have sketched a discursive portrait of the language used in that book to analyze the way in which FAR\u00c8S approaches the role of women in the Algerian socio-cultural context, transforming their otherness into a common vision.&nbsp;<\/p><\/div><\/div>\n\n\n\n<div id=\"section-gfb4243\" class=\"wp-block-gutentor-e1 section-gfb4243 gutentor-element gutentor-element-advanced-text text-align-left-desktop text-align-left-tablet text-align-left-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong>Keywords:<\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-g5438fa\" class=\"wp-block-gutentor-e1 section-g5438fa gutentor-element gutentor-element-advanced-text text-align-justify-desktop text-align-justify-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Nabile FAR\u00c8S\u2013 women\u2019s voices.<\/p><\/div><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/drive.google.com\/file\/d\/1HMXp8RN8NE-uE-7MH9R2DGmHp_t8fK6C\/view?usp=sharing\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"278\" src=\"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2.png\" alt=\"\" class=\"wp-image-1136\" style=\"width:183px;height:auto\" srcset=\"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2.png 1000w, https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2-300x83.png 300w, https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2-768x214.png 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/a><\/figure>\n<\/div>\n\n\n<div id=\"section-g4d5763\" class=\"wp-block-gutentor-e1 section-g4d5763 gutentor-element gutentor-element-advanced-text text-align-left-desktop text-align-left-tablet text-align-left-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong><strong>How to Cite this Paper:<\/strong><\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-g3f9e74\" class=\"wp-block-gutentor-e1 section-g3f9e74 gutentor-element gutentor-element-advanced-text text-align-justify-desktop text-align-justify-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Bevilacqua, M. (2022). Les voix l\u2019alt\u00e9rit\u00e9 dans le langage faresien. <em>Atras Journal, 2<\/em>(1), 6-20<\/p><\/div><\/div>\n\n\n\n<div id=\"section-g71970b\" class=\"wp-block-gutentor-e1 section-g71970b gutentor-element gutentor-element-advanced-text text-align-left-desktop text-align-left-tablet text-align-left-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong><strong>References<\/strong><\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-g62b536\" class=\"wp-block-gutentor-e1 section-g62b536 gutentor-element gutentor-element-advanced-text text-align-justify-desktop text-align-justify-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Achour, C. (1990). <em>Anthologie de la litt\u00e9rature alg\u00e9rienne de langue fran\u00e7aise<\/em>. ENAP\/Bordas.<br>Anokhina, O., Davaille, F., &amp; Sanson, H. (2014). Mythes et r\u00e9alit\u00e9s de l\u2019\u00e9criture. Les \u00e9crivains plurilingues et francophones savent-ils \u00e9crire ? <em>Continents manuscrits<\/em>, 2, 1 \u2013 9.&nbsp;<br>Bakhtine, M. (1978).<em>Esth\u00e9tique et th\u00e9orie du roman<\/em>. Gallimard.<br>Bakhtine, M. (1998).<em>La Po\u00e9tique de Dosto\u00efevski<\/em>. Seuil.&nbsp;<br>Bres, J., &amp; Rosier, L. (2008).&nbsp;R\u00e9fractions : polyphonie et dialogisme, deux exemples de reconfigurations th\u00e9oriques dans les sciences du langage francophones.<em>Slavica Occitania<\/em>, <em>Association Slavica Occitania, 25<\/em>(25), 238-251.<br>Cheikhi, B. (1998). <em>Maghreb en textes. \u00c9criture, histoire et esth\u00e9tique<\/em>. L\u2019Harmattan.<br>Chevalier, K. (2005).Nabile Far\u00e8s au miroir de l\u2019absent.&nbsp;<em>Cahiers de l\u2019Association internationale des \u00e9tudes fran\u00e7aises<\/em>, 57, 365-376.<br>Chikhi, B., Lazali, K., &amp; Chibani, A. (2019)&nbsp;<em>Nabile Far\u00e8s. Un Passager entre la lettre et la parole<\/em>.Koukou.&nbsp;<br>Chikhi, B. (1997).Nabile Far\u00e8s : d\u2019un Exil au f\u00e9minin. \u00ab&nbsp;Po\u00e8me d\u2019Orient et d\u2019Occident.<em>Litt\u00e9rature alg\u00e9rienne. D\u00e9sir d\u2019histoire et esth\u00e9tique<\/em>. L\u2019Harmattan.<br>Far\u00e8s, N. (1992).\u00c0 propos de la modernit\u00e9.&nbsp;<em>Kateb Yacine et la modernit\u00e9 textuelle<\/em>. OPU.<br>Far\u00e8s, N. (1986).<em>L\u2019exil au f\u00e9minin. Po\u00e8me d\u2019Orient et d\u2019Occident<\/em>. L\u2019Harmattan.&nbsp;&nbsp;<br>Far\u00e8s, N. (2012).Libert\u00e9 francophone. Les voyages et d\u00e9couvertes litt\u00e9raires de Be\u00efdaChikhi.Douaire-Banny, A. (Dir.). <em>Isthmes francophones du texte aux chants du monde<\/em>. Presses de l\u2019Universit\u00e9 Paris-Sorbonne.<br>Far\u00e8s, N. (1974).<em>M\u00e9moire de l\u2019Absent<\/em>, Le Seuil.&nbsp;<br>Krist\u00e9va, J. (1970).<em>Introduction \u00e0 la po\u00e9tique de Dosto\u00efevski de M. Bakhtine, <\/em>\u00c9d. Seuil.<br>Lafon, M. (1997)&nbsp;Pour une po\u00e9tique de la forme br\u00e8ve.&nbsp;<em>Am\u00e9rica : Cahiers du CRICCAL<\/em>, n\u00b018 tome 1.<br>Maingueneau. D. (2016).<em>Analyser les textes de communication. <\/em>Armand Colin.<br>Maingueneau, D. (2017).<em>Discours et analyse du discours<\/em>. Armand Colin.&nbsp;<br>Mazaleyrat, J. (2016).<em>\u00c9l\u00e9ments de m\u00e9trique fran\u00e7aise<\/em>. Armand Colin.<br>Moeschler, J.,Auchlin, A. (2018), <em>Introduction \u00e0 la linguistique contemporaine<\/em>.Armand Colin.<br>Noyray, J. (1996), <em>Litt\u00e9ratures francophones. Le Maghreb<\/em>. \u00c9d. Belin Sup.<br>Paissa, P. (2015), L\u2019hyperbole, une \u2018figure d\u00e9riv\u00e9e\u2019 par excellence : revue des proc\u00e9d\u00e9s rh\u00e9toriques d\u2019hyperbolisation. <em>Tranel<\/em>, 61-62.&nbsp;<br>Pretceille, M. A. (2011).La p\u00e9dagogie interculturelle entre multiculturalisme et universalisme.&nbsp;<em>Lingua rumarena<\/em>, vol. 2.<br>Roche, A. (1976).Sur l\u2019\u0153uvre de Nabile Far\u00e8s. L\u2019acceptabilit\u00e9 d\u2019un discours politique&nbsp;: Nabil Far\u00e8s, en marge des pays en guerre. Annuaire de l\u2019Afrique du Nord, vol. XV.<br>Tylkowski, I. (2011). La conception du dialogue&nbsp;\u00bb de Mikha\u00efl Bakhtine et ses sources sociologiques (l\u2019exemple des&nbsp;<em>Probl\u00e8mes de l\u2019\u0153uvre de Dosto\u00efevski [1929]<\/em>).<em> Cahiers de prax\u00e9matique&nbsp;<\/em>57, Montpellier,Pulm.<br>Zemmouri, M. (2005), La passion de l\u2019alt\u00e9rit\u00e9 chez l\u2019\u00e9crivain Nabil&nbsp; Far\u00e8s.&nbsp;\u00c9thiopiques. Revue socialiste de culture negro-africaine, 75, 2<sup>\u00e8me<\/sup>&nbsp;&nbsp;&nbsp;&nbsp;semestre<\/p><\/div><\/div>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"145\" height=\"50\" src=\"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2025\/01\/image.png\" alt=\"\" class=\"wp-image-2538\" style=\"width:119px;height:auto\"\/><\/figure>\n\n\n\n<div id=\"section-g-6264hl4\" class=\"wp-block-gutentor-e1 section-g-6264hl4 gutentor-element gutentor-element-advanced-text text-align-justify-desktop\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Copyright for all articles published in&nbsp;<strong>ATRAS&nbsp;<\/strong>belongs to the author. The authors also grant permission to the publisher to publish, reproduce, distribute, and transmit the articles.&nbsp;<strong>ATRAS&nbsp;<\/strong>publishes accepted papers under the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) License. Authors submitting papers for publication in&nbsp;<strong>ATRAS&nbsp;<\/strong>agree to apply the CC BY-NC 4.0 license to their work. For non-commercial purposes, anyone may copy, redistribute material, remix, transform, and construct material in any media or format, provided that the terms of the license are observed and the original source is properly cited.<\/p><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Nabile FAR\u00c8S\u2013 women\u2019s voices<\/p>\n","protected":false},"author":2,"featured_media":1282,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[228],"tags":[],"class_list":["post-1697","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-vol-02-n01-2021"],"gutentor_comment":0,"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Article 06 Issue 01 VOL 02 January 2021 - ATRAS journal<\/title>\n<meta name=\"description\" content=\"Nabile FAR\u00c8S\u2013 women\u2019s voices The 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