Browsing by Author "Chaabane, Ali Mohamed"

Now showing 1 - 2 of 2

The Black Heroine’s Femininity Through Contemporary Looking Glass In Toni Morrison’s Paradise
(جامعة الوادي - university of Eloued, 2022-03-31) Rahil, Hamza; Chaabane, Ali Mohamed
This article examines the re-writing of contemporary black femininity as being attributed to masculine codes in Paradise (1997), by Toni Morrison. The writer’s reconceptualization of black femininity is rooted in Judith Butler’s revolutionary understanding of gender and identity constructivism, which are determined within limited agendas of social and cultural restrictions. In discussing the mechanism of re-appropriation, Butler claims that the subject is required to reenact preexisting gender norms and performances as revolting means of deliverance and emancipation; affirming that gender renegotiation is meant to subvert power discourse. Drawing on these assumptions, this paper argues that Morrison’s novel revokes a reversing visualization of black femininity to criticize identity and gender formation as social and cultural constructs. It also discusses the black women social performances that correspond to the subversive power and gender dimensions. It concludes that Paradise subverts the alleged continuity of gender identity, and challenged the matrix of power relations.
The ‘cool Wife’ Turned ‘nasty’ A Reading Of The Femme Fatale In Gillian Flynn’s Gone Girl
(جامعة الوادي - university of Eloued, 2022-03-31) Rahil, Faiza; Chaabane, Ali Mohamed
This article rewrites the Femme Fatale as the “trickster” and the “nasty woman” in the American novel Gone Girl (2012), by Gillian Flynn. Both concepts represent a threat not just to traditional gender roles but also to the contemporary depiction of women in fiction. The figure of Amy is central to this discussion of a subversive discourse that places her against traditional gendered masculine novels that depict males as intellectual, active yet females as Cool Girls. This article provides an innovative analysis of Amy that expands on the current debate; both in terms of women’s, gender and sexuality studies. It demonstrates the “trickster woman” in contemporary fiction- whose unethical perversion marks a shift in the contemporary literary scene. It argues that female “nastiness and trickery” have provided Amy with flexible strategies through which she can undermine taboo subjects and put herself as the prototype to the Ultra Nasty Femme Fatale.