{"id":3422,"date":"2025-07-15T20:00:00","date_gmt":"2025-07-15T20:00:00","guid":{"rendered":"https:\/\/atras-univ-saida.dz\/en\/?p=3422"},"modified":"2025-11-22T17:25:10","modified_gmt":"2025-11-22T17:25:10","slug":"article-19-issue-02-vol-6-july-2025","status":"publish","type":"post","link":"https:\/\/atras-univ-saida.dz\/en\/?p=3422","title":{"rendered":"Article 19 Issue 02 vol 6 July 2025"},"content":{"rendered":"\n<div id=\"section-geb5931\" class=\"wp-block-gutentor-e1 section-geb5931 gutentor-element gutentor-element-advanced-text text-align-center-desktop text-align-center-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><h2 class=\"gutentor-text\"><strong>Title: Une \u00e9criture du r\u00e9el pour interroger la fiction dans La Femme qui attendait d\u2019Andre\u00ef Makine<\/strong><\/h2><\/div><\/div>\n\n\n\n<div id=\"section-gac8230\" class=\"wp-block-gutentor-e1 section-gac8230 gutentor-element gutentor-element-advanced-text text-align-center-desktop\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\"><strong><strong>Fatiha BELAADA<\/strong><br>Universit\u00e9 MOHAMED Boudiaf-M&#8217;sila, Alg\u00e9rie<br>fatiha.blaada@univ-msila.dz<br>https:\/\/orcid.org\/0009-0009-6116-9460<\/strong><br><strong>Djamel BOUKHALET<br>Universit\u00e9 MOHAMED Boudiaf-M&#8217;sila, Alg\u00e9rie<\/strong><br><strong>djamel.boukhalat@univ-msila.dz<\/strong><\/p><\/div><\/div>\n\n\n\n<div id=\"section-g656699\" class=\"wp-block-gutentor-e0 section-g656699 gutentor-element gutentor-element-advanced-text\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\"><strong>Abstract<\/strong><\/p><\/div><\/div>\n\n\n\n<div id=\"section-g92b167\" class=\"wp-block-gutentor-e1 section-g92b167 gutentor-element gutentor-element-advanced-text text-align-justify-desktop\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Notre pr\u00e9sente contribution vise \u00e0 interroger la fiction \u00e0 travers l\u2019utilisation d\u2019une \u00e9criture du r\u00e9el dans <em>La Femme qui attendait<\/em> d\u2019Andre\u00ef Makine. Une femme qui se projette dans le vide en reproduisant l\u2019\u00e9v\u00e9nement fictionnel par le souvenir qui domine son quotidien. Dans ce sens, il est important de voir \u00e0 quel point l\u2019\u00e9criture du r\u00e9el sert \u00e0 produire un monde d\u2019imagination. Makine, dans <em>La Femme qui attendait<\/em>, nous offre cette \u00e9criture fictive en se basant sur un r\u00e9el charg\u00e9 d\u2019\u00e9v\u00e9nements, et d\u00e9crit sous plusieurs facettes : un r\u00e9el qui fait venir le souvenir, faisant de V\u00e9ra, qui guette son amant, une prisonni\u00e8re de sentiments. C\u2019est pourquoi cette \u00e9tude analytique vise \u00e0 montrer la d\u00e9pendance entre le discours fictionnel et le discours r\u00e9aliste.<\/p><\/div><\/div>\n\n\n\n<div id=\"section-g33472e\" class=\"wp-block-gutentor-e0 section-g33472e gutentor-element gutentor-element-advanced-text\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\"><strong>Keywords:<\/strong>  attente, femme, fiction, pacte r\u00e9el, production, souvenir<\/p><\/div><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/atras-univ-saida.dz\/archive\/index.php\/files\/article\/view\/214\/296\"><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-g03e6f3\" class=\"wp-block-gutentor-e0 section-g03e6f3 gutentor-element gutentor-element-advanced-text\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\"><strong><strong>How to Cite this Paper&nbsp;:<\/strong><\/strong><\/p><\/div><\/div>\n\n\n\n<div id=\"section-g0ad6aa\" class=\"wp-block-gutentor-e1 section-g0ad6aa 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\"><a>Belaada, &amp; Djamel Boukhalet, D.&nbsp;(2025).Une \u00e9criture du r\u00e9el pour interroger la fiction dans la femme qui attendait d\u2019Andre\u00ef Makine. <em>ATRAS Revue<\/em>, <em>6<\/em>(2)<\/a>, 299-308.<\/p><\/div><\/div>\n\n\n\n<div id=\"section-g-xxoep8i\" class=\"wp-block-gutentor-e1 section-g-xxoep8i 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\"><strong>DOI:&nbsp;<br><a href=\"https:\/\/doi.org\/10.70091\/Atras\/vol06no01.1\"><\/a><\/strong><a href=\"https:\/\/doi.org\/10.70091\/Atras\/vol06no02.19\"><strong>https:\/\/doi.org\/10.70091\/Atras\/vol06no02.1<\/strong>9<\/a><\/p><\/div><\/div>\n\n\n\n<div id=\"section-gab90ba\" class=\"wp-block-gutentor-e0 section-gab90ba gutentor-element gutentor-element-advanced-text\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\"><strong>References<\/strong>:<\/p><\/div><\/div>\n\n\n\n<div id=\"section-gd112da\" class=\"wp-block-gutentor-e1 section-gd112da 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, A.(2019). Le <em>texte litt\u00e9raire&nbsp;: Outils de lecture (convergence critique\u2161), <\/em>Ed. Barzath, Alger.<br>Baby, H.( 2006(.<em>Fiction narrative et hybridation g\u00e9n\u00e9rique dans la litt\u00e9rature fran\u00e7aise<\/em>. Ed. L\u2019Harmattan, France<br>Bertrand, V.(2024).<em>LA DESTRUCTION DU REEL. L\u2019effacement de l\u2019humain a-t-il commenc\u00e9&nbsp;?<\/em> Ed. Le pasteur, Paris<br>Bornand, M.) 2004(.<em>TEMOINAGEET FICTION, les r\u00e9cits de rescap\u00e9s dans la litt\u00e9rature de langue fran\u00e7aise<\/em> (1945-2000), Ed. DROZ, Gen\u00e8ve<br>Cl\u00e9ment M. L.) 2008(.<em>Andre\u00ef Makine&nbsp;: pr\u00e9sence de l\u2019absence&nbsp;; une po\u00e9tique de l\u2019art<\/em>, (M\u00e9moire de ma\u00eetrise) University of Amsterdam, Netherlands<br>Dufourmantelle, A.(2012). <em>Intelligence du r\u00eave<\/em>, Ed. Payot et Rivages, Paris<br>Gibeault, S.(2004). <em>AU-DELA DE L\u2019AMOUR, La Femme qui attendait d\u2019Andre\u00ef Makine<\/em>, Ed. Seuil, Paris<br>Harmath, E.(2023). <em>Doublement du temps et de l\u2019espace chez Andre\u00ef Makine<\/em>, Ed. ISNN, Paris<br>Idt, G. (Ed.). (2001).<em>LES MOTS, Une autocritique&nbsp;\u00ab&nbsp;en bel \u00e9crit&nbsp;\u00bb<\/em>. BELIN, Paris<br>Julie, W. (2006).<em>Les r\u00e9cits de r\u00eave dans la fiction<\/em>, Ed. Klincksieck, France<br>Lang, L. (Ed.). (2011).<em> DELIT DE FICTION- la litt\u00e9rature, pourquoi?<\/em>Gallimard, Paris<br>Larivey, M. (2022).<em>Le d\u00e9fi des relations- Comment r\u00e9soudre nos transferts affectifs&nbsp;?<\/em> Ed. L\u2019Homme, Paris<br>Makine, A. (Ed.). (2004). <em>La Femme qui attendait<\/em>. Seuil, Paris<br>Pi\u00e9gay-Gros, N. (2002).<em>Introduction \u00e0 l\u2019intertextualit\u00e9<\/em>, Ed. Nathan, Paris<br>Thierry, L. (2009).<em>Andre\u00ef Makine et le bilan de l\u2019URSS<\/em>, Ed. CRIN, les pays- Bas<\/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":"","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[846],"tags":[854,855,856,857,858,859],"class_list":["post-3422","post","type-post","status-publish","format-standard","hentry","category-vol-06-n02-2025","tag-attente","tag-femme","tag-fiction","tag-pacte-reel","tag-production","tag-souvenir"],"gutentor_comment":0,"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Article 19 Issue 02 vol 6 July 2025 - ATRAS journal<\/title>\n<meta name=\"description\" content=\"Title: Une \u00e9criture du r\u00e9el pour interroger la fiction dans La Femme qui attendait d\u2019Andre\u00ef Makine Fatiha BELAADAUniversit\u00e9 MOHAMED Boudiaf-M&#039;sila, Notre pr\u00e9sente contribution vise \u00e0 interroger la fiction \u00e0 travers l\u2019utilisation d\u2019une \u00e9criture du r\u00e9el dans La Femme qui attendait d\u2019Andre\u00ef Makine. Une femme qui se projette dans le vide en reproduisant l\u2019\u00e9v\u00e9nement fictionnel par le souvenir qui domine son quotidien. Dans ce sens, il est important de voir \u00e0 quel point l\u2019\u00e9criture du r\u00e9el sert \u00e0 produire un monde d\u2019imagination. Makine, dans La Femme qui attendait, nous offre cette \u00e9criture fictive en se basant sur un r\u00e9el charg\u00e9 d\u2019\u00e9v\u00e9nements, et d\u00e9crit sous plusieurs facettes : un r\u00e9el qui fait venir le souvenir, faisant de V\u00e9ra, qui guette son amant, une prisonni\u00e8re de sentiments. C\u2019est pourquoi cette \u00e9tude analytique vise \u00e0 montrer la d\u00e9pendance entre le discours fictionnel et le discours r\u00e9aliste.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/atras-univ-saida.dz\/en\/?p=3422\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Article 19 Issue 02 vol 6 July 2025\" \/>\n<meta property=\"og:description\" content=\"Notre pr\u00e9sente contribution vise \u00e0 interroger la fiction \u00e0 travers l\u2019utilisation d\u2019une \u00e9criture du r\u00e9el dans La Femme qui attendait d\u2019Andre\u00ef Makine. Une femme qui se projette dans le vide en reproduisant l\u2019\u00e9v\u00e9nement fictionnel par le souvenir qui domine son quotidien. Dans ce sens, il est important de voir \u00e0 quel point l\u2019\u00e9criture du r\u00e9el sert \u00e0 produire un monde d\u2019imagination. Makine, dans La Femme qui attendait, nous offre cette \u00e9criture fictive en se basant sur un r\u00e9el charg\u00e9 d\u2019\u00e9v\u00e9nements, et d\u00e9crit sous plusieurs facettes : un r\u00e9el qui fait venir le souvenir, faisant de V\u00e9ra, qui guette son amant, une prisonni\u00e8re de sentiments. C\u2019est pourquoi cette \u00e9tude analytique vise \u00e0 montrer la d\u00e9pendance entre le discours fictionnel et le discours r\u00e9aliste.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/atras-univ-saida.dz\/en\/?p=3422\" \/>\n<meta property=\"og:site_name\" content=\"ATRAS journal\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/p\/ATRAS-journal-100083161450894\/\" \/>\n<meta property=\"article:published_time\" content=\"2025-07-15T20:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-11-22T17:25:10+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"278\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"atras\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"Article 19 Issue 02 vol 6 July 2025\" \/>\n<meta name=\"twitter:description\" content=\"Notre pr\u00e9sente contribution vise \u00e0 interroger la fiction \u00e0 travers l\u2019utilisation d\u2019une \u00e9criture du r\u00e9el dans La Femme qui attendait d\u2019Andre\u00ef Makine. Une femme qui se projette dans le vide en reproduisant l\u2019\u00e9v\u00e9nement fictionnel par le souvenir qui domine son quotidien. Dans ce sens, il est important de voir \u00e0 quel point l\u2019\u00e9criture du r\u00e9el sert \u00e0 produire un monde d\u2019imagination. Makine, dans La Femme qui attendait, nous offre cette \u00e9criture fictive en se basant sur un r\u00e9el charg\u00e9 d\u2019\u00e9v\u00e9nements, et d\u00e9crit sous plusieurs facettes : un r\u00e9el qui fait venir le souvenir, faisant de V\u00e9ra, qui guette son amant, une prisonni\u00e8re de sentiments. 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