편지 그리고 탈주하는 여인들 - 앗시아 제바르의 <사랑, 기마행진>과 <감옥은 넓다>를 중심으로
Letters and Women out of bondage : Reading Assia Djebar’s Love, Fantasy and So Vast is the Prison
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It is not common to refer to me as 'I' in the tradition of Islam except when it represents religious experience. 'I' was regarded as being a part of 'we' as a whole, and it was also a matter of taboo to talk about the intimate experience or thoughts of 'I' as an individual. The literary expressions comparable to the reflection and concern over the ‘self’ that flourished since the Romantic era in the West that are seen in the Islamic world is largely due to the influence of European culture from colonial experiences. In this sense, the choice to deliver one’s internal musings via the medium of writing is in itself a break from leading a traditional life. The first genre the women who learned to express intent through writing were with letters. These letters, written in the first-person persona, served to be the channel of escape and liberation for women. Assia Djebar’s novels L’amour, la fantasia and Vaste est la prison and Cerventes’ Don Quichotte portray Algerian women who are trapped. Djebar looks to the Moorish woman Zoraida from Don Quixote as a motif of a woman on the run. In all three works, the fugitive women are able to read and write; and what transforms them so dramatically from being confined to being on the run is the letters they send to an unknown audience. The writing of letters helps them own their desire to get out and be free; and written language enables them to better appreciate their identities. This paper establishes that it is such written language that served as a tool of self-understanding and liberation for confined female characters through analyzing the letters in Djebar’s works. The documenting of the tales told by illiterate women of the past and present, and the individual stories at risk of being immersed and forgotten in the larger oral story-telling tradition is the first step for these female characters to break free from the massive prison that is the world they live in. Putting down the stories of the countless illiterate women who have never really been called by their names and have no means to make their voices widely heard is the calling of this female francophone Algerian author.
Abstract
It is not common to refer to me as 'I' in the tradition of Islam except when it represents religious experience. 'I' was regarded as being a part of 'we' as a whole, and it was also a matter of taboo to talk about the intimate experience or thoughts of 'I' as an individual. The literary expressions comparable to the reflection and concern over the ‘self’ that flourished since the Romantic era in the West that are seen in the Islamic world is largely due to the influence of European culture from colonial experiences. In this sense, the choice to deliver one’s internal musings via the medium of writing is in itself a break from leading a traditional life. The first genre the women who learned to express intent through writing were with letters. These letters, written in the first-person persona, served to be the channel of escape and liberation for women. Assia Djebar’s novels L’amour, la fantasia and Vaste est la prison and Cerventes’ Don Quichotte portray Algerian women who are trapped. Djebar looks to the Moorish woman Zoraida from Don Quixote as a motif of a woman on the run. In all three works, the fugitive women are able to read and write; and what transforms them so dramatically from being confined to being on the run is the letters they send to an unknown audience. The writing of letters helps them own their desire to get out and be free; and written language enables them to better appreciate their identities. This paper establishes that it is such written language that served as a tool of self-understanding and liberation for confined female characters through analyzing the letters in Djebar’s works. The documenting of the tales told by illiterate women of the past and present, and the individual stories at risk of being immersed and forgotten in the larger oral story-telling tradition is the first step for these female characters to break free from the massive prison that is the world they live in. Putting down the stories of the countless illiterate women who have never really been called by their names and have no means to make their voices widely heard is the calling of this female francophone Algerian author.
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