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L’amour, la fantasia (1985), Ombre sultane (1987) et Vasteest la prison (1994) sont les trois premiers opus d’une tétralogie, toujours endevenir, de l’écrivaine algérienne Assia Djebar. Ils s’inscrivent dans un second cycled’oeuvres, qui fascinent tant par leur architecture narrative et l’invention stylistique quepar la place singulière qu’elles concèdent à des corps tenus habituellement au secret, parceque féminins. Ces polygraphies des corps que propose l’écrivaine sont à envisager nonseulement à partir des interdits desquels elles émergent — au creuset de l’histoirepersonnelle ou au carrefour des destinées collectives —, mais aussi pour ce qu’elles mettenten perspective.Fantasia: An Algerian Cavalcade (1985), A Sister to Scheherazade(1987) and So Vast the Prison (1994) are the three first novels of a tetralogy,still in progress, by the Algerian writer Assia Djebar. They fall within a second cycle ofworks, fascinating as much for their narrative architecture and stylistic invention as forthe singular place they accord to bodies habitually relegated to the background because theyare female. These body polygraphs proposed by the author are to be considered not only inrelation to the prohibitions from which they emerge—in the crucible of personal history orat the crossroads of collective destinies—, but also for what they put intoperspective

Les je(ux) de partitions d’Assia Djebar : un Quatuor algérien pour corps féminins