New Fiction by Women - Dalya Cohen-Mor, editor and translator. Arab Women Writers: An Anthology of Short Stories. Albany: State University of New York Press, 2005. 305 pages, includes notes and appendix about the authors. Paper US$24.95 ISBN 0-7914-6420-2 - Persis M. Karim, editor. Let Me Tell You Where I’ve Been: New Writing By Women of the Iranian Diaspora. Foreword by Al Young. Fayetteville: University of Arkansas Press, 2006. 380 pages, includes appendix on contributors. Paper US$24.95 ISBN 978-1-55728-819-6

2008 ◽  
Vol 42 (1-2) ◽  
pp. 124-127
Author(s):  
Ariel Moriah Sheetrit
Keyword(s):  
New York ◽  
Women Writers ◽  
Short Stories ◽  
Arab Women ◽  
State University ◽  
University Of Arkansas ◽  
Iranian Diaspora

Arab Women Writers: An Anthology of Short Stories

2006 ◽  
Vol 80 (4) ◽  
pp. 63
Author(s):  
Roger Allen ◽  
Dalya Cohen-Mor
Keyword(s):  
Women Writers ◽  
Short Stories ◽  
Arab Women

scholarly journals The Teacher as Performer and Activist in Assia Djebar’s “La femme en morceaux”

1970 ◽  
pp. 40-47
Author(s):  
Christa Jones
Keyword(s):  
Women Writers ◽  
Short Stories ◽  
Postcolonial Theory ◽  
Francophone Literature ◽  
Assia Djebar ◽  
The Political ◽  
Arab Women ◽  
Societal Issues ◽  
Political Stance

Francophone literature from the Maghreb has been characterized as littérature d’urgence by Maghrebian novelists and critics alike, a term that has also been used by Assia Djebar (Bonn & Boualit, 1999; Chaulet-Achour, 1998; Djebar & Trouillet, 2006). In Sartrian terms, it is a littérature engagée, writing that takes a political stance by addressing a variety of critical societal issues, including female oppression, patriarchy, education, religion, terrorism, mono-versus multi-linguism, and violence – in this case the murder of a French teacher in 1990s Algeria. In keeping with postcolonial theory, it is also a literature of resistance and rebellion by taking up the cause of Arab women writers, many of whom have fought to make themselves heard in what remain largely patriarchal societies that view women writers with suspicion (Ireland, 2001; Segarra, 1997; Morsly & Mernissi, 1994). I propose to explore the political, societal, and educational stances played out in “La femme en morceaux” (1996), a piece of Assia Djebar’s collection of short stories titled Oran, Langue Morte.

When the Old Woman Speaks in Soueif’s “Her Man” and “The Wedding of Zeina” and Rifaat’s “Bahiyya’s Eyes”

2020 ◽  
Vol 11 (1) ◽  
pp. 65
Author(s):  
Amal Adnan Al-Khayyat
Keyword(s):  
Women Writers ◽  
Short Stories ◽  
Women Characters ◽  
Feminist Perspective ◽  
Female Character ◽  
Arab Women ◽  
The Gaze ◽  
Story Collection ◽  
The Way ◽  
Woman's Voice

This paper compares between the voices of three old women characters in three short stories by two Arab women writers. The stories are Ahdaf Soueif’s “Her Man” and “The Wedding of Zeina” (from the same story collection Aisha) and Alifa Rifaat’s “Bahiyya’s Eyes” from her story collection Distant View of a Minaret. The paper reveals, from a feminist perspective, how the women characters are positively or negatively influenced by the way patriarchy perceives them and relates this perception to Jacque Lacan’s theory of the gaze. It also shows how each one of the old women characters seeks to pass her understanding to the upcoming generation and demonstrates how her voice turns out to be either one of patriarchy or resistance. The paper finds that although the voices of the three old women in the three short stories differ in their representation, they can be placed in the same boat as the female character who listens to the old woman’s voice does not act passively in any of them.

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