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Last Updated on June 7, 2022, by eNotes Editorial. Word Count: 571

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Best, Victoria. “Between the Harem and the Battlefield: Domestic Space in the Work of Assia Djebar.” Signs 27, no. 3 (spring 2002): 873-80.

Best considers the domestic confinement of women in Femmes d'Alger dans leur appartement as a representation of ideologically enforced physical and imaginary space.

Camhi, Leslie. “Discovering Liberation in French.” New York Times 149, no. 51317 (4 March 2000): B11.

Camhi provides an overview of Djebar's life, work, and cultural perspective upon the publication of So Vast the Prison.

Corbin, Laurie. “Divided Selves: The Language of the Body in Assia Djebar's L'amour, la fantasia and Marie Cardinal's Les mots pour le dire.Women in French Studies 7 (1999): 142-54.

Corbin examines interrelated aspects of language, culture, history, and the physical female body in Djebar's L'amour, la fantasia, in which the use of French language and shifting first- and third-person voices reflect the author's fragmented self-identity.

Filbin, Thomas. “Visas Not Required.” Hudson Review 53, no. 2 (summer 2000): 329-35.

Filbin comments on the influx of international writing in America and offers a favorable review of So Vast the Prison.

Kabbani, Rana. “Fragments from a Bittersweet Mosaic.” Third World Quarterly 12, no. 2 (1990): 149-50.

Kabbani praises Fantasia's subtle evocation of the cultural and psychological alienation experienced by Algerian women.

Khannous, Touria. “The Subaltern Speaks: Assia Djebar's La nouba.Film Criticism 26, no. 2 (winter 2001): 41-62.

Khannous discusses Djebar's dual challenge to colonial and patriarchal versions of the Algerian war in La nouba des femmes du Mont Chenoua.

Larson, Charles R. “Scheherazade's Sisters.” World and I 8, no. 10 (October 1993): 345-50.

Larson examines Djebar's feminist themes, use of language, and complex narrative style in Fantasia and A Sister to Scheherazade.

Morgan, Elizabeth. “Veiled Truth: Reading Assia Djebar from the Outside.” Christianity and Literature 51, no. 4 (summer 2002): 603-21.

Morgan presents an overview of Djebar's feminist and cross-cultural perspective and discusses the personal, historical, and symbolic significance of female subjection in her work, particularly as the physical and linguistic estrangement of Algerian women may be understood by Western and Christian readers.

Page, Andrea. “Rape or Obscene Copulation?: Ambivalence and Complicity in Djebar's L'amour, la fantasia.Women in French Studies 2 (fall 1994): 42-54.

Page discusses Djebar's ambivalent appropriation of French language in L'amour, la fantasia, as revealed in her depiction of love, conquest, and sexuality.

Schoch, Jürg. “Assia Djebar: Digging for Truths.” World Press Review 48, no. 1 (January 2001): 42-3.

Schoch provides an overview of Djebar's life and literary works, noting the author's staunch refusal to accept the role of political spokesperson despite her recognition as Algeria's foremost feminist writer.

Zimra, Clarisse. “Writing Woman: The Novels of Assia Djebar.” Substance 21, no. 3 (1992): 68-84.

Zimra analyzes the feminist, political, and historical themes in Djebar's fiction, from La soif toFemmes d'Alger dans leur appartement.

———. “‘When the Past Answers Our Present’: Assia Djebar Talks about Loin de Médine.Callaloo 16, no. 1 (winter 1993): 116-31.

Zimra explores Djebar's career, thematic concerns, and the historical context of Loin de Médine and presents Djebar's own comments on the creation of the work and her interest in the history and representation of Algerian women.

———. “Disorienting the Subject in Djebar's L'amour, la fantasia.Yale French Studies 87 (1995): 149-70.

Zimra discusses Djebar's response to French feminist theory and her representation of the female body and otherness in L'amour, la fantasia.

Additional coverage of Djebar's life and career is contained in the following sources published by the Gale Group: Contemporary Authors, Vol. 188; Encyclopedia of World Literature in the 20th Century, Ed. 3; Literature Resource Center; Reference Guide to World Literature, Ed. 3; and World Literature and Its Times, Ed. 2.