Département d'Anglais

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Analysis of Conjunctive Cohesion Errors in Students’ Compositions: The Case of the Department of English at Tizi-Ouzou University
(Mouloud MAMMERI University of Tizi-Ouzou, 2010) YACINE Djamal
Cohesion in writing is widely explored by different researchers. However, to date, cohesive errors in writing, according to our knowledge, have not been investigated thoroughly. Hence, this study is an attempt to analyse conjunctive cohesion errors in students’ compositions. It seeks mainly to analyse one hundred expository essays written by third year students of the Department of English at the University of Tizi-Ouzou during the academic year 2007/2008. In analyzing these essays, we aim mainly to identify conjunctive cohesion errors that these students have made in their compositions and the impact of these errors on the coherence of their essays. To achieve these goals, particular reference is made to Halliday and Hasan’s (1976) classification of conjunctive cohesion and to error analysis procedures. To identify these errors, students’ essays were segmented into orthographic sentences. Then, they were analyzed. The results of the present study showed that these students have made 135 conjunctive cohesion errors in their compositions. These errors are classified into four major categories. The first category comprises errors deriving from the misuse of conjunctive connectors. This one is divided into four minor categories and twelve sub-categories. The second major type includes errors resulting from the superfluous use of connectors; the use of connectors when they are not required. The third category deals with conjunctive cohesion errors deriving from the omission of connectors when they are needed. The last major category deals with the overuse of connectors. In addition, this study revealed that these errors have an impact on the coherence of the analysed essays. Therefore, according to these results, students of the Department of English at the University of Tizi-Ouzou need an explicit teaching and learning of the use of connectors appropriately.
The Visions of Africa and Africans in Timothy Holmes’ David Livingstone Letters and Documents 1841-1872 And Joseph Conrad’s Heart of Darkness
(Université Mouloud Mammeri Tizi-Ouzou, 2015) BOUCHOUARE Zahia
The study of David Livingstone Letters and Documents 1841-1872 and Joseph Conrad‘s Heart of Darkness has led to the following results. Livingstone carried the govemment afar the impérial idea while Conrad evaluated its implémentation. Livingstone’s idea or vision of Africa was looked at from three main perspectives, geographical, spiritual and anthropological. Similarly, w lead Conrad’s from the same perspectives. The linkages that we established between the two writers in relation to their view of Africa were not of the order of similarities but also of différences. These différences of ideology were explained in terms of the gap between theory and practice. What Livingstone called “mission civilizatrice” that aimed at bringing light of Christianity and civilisation to Africans is regarded as Eldorado Exploring Expédition by Joseph Conrad carrying buccaneer motives. These expédition leaders were products of the nineteenth century Europe when science and material dominated religion and moral values. Conrad managed to give the reader the resuit and implémentation of ideas and théories launched and developed by nineteenth century famous persons like David Livingstone. The Myth of the Dark Continent is one of the important issues that led to colonialism. Geographically speaking, the African continent was viewed, respecting the myth, as a “Dark” one which needed light spatially and spiritually. In other words, Africa needed a European intervention to clear up the territories and build up stations in order to establish order in the continent and its inhabitants. The latter was described as “children” and “savages” that required to European patemalism and conversion into Christianity to elevate their status. This is not the case with Conrad. Indeed, for him, penetrating the African continent and going up the Congo River was like “travelling back to the earliest beginnings of the world” (Conrad, 1990:183). It is inhabitedby “créatures” still walking “ail four” and also by cannibals that were capable of restreint despite days of hunger facing the white man’s endless appetite to get and possess more. Despite his ambiguous position to colonialism, Conrad wanted to say that any European intervention or colonialism is done by “robbery and violence”. The colonisation launched in Africa by David Livingstone came to disastrous results not only on the colonised but on the coloniser as well. It is a way to say that colonisation is economically bénéficiai but morally destructive.
The Representation of Jews and Muslims in Hollywood Movies: A Comparative Study of Steven Spielberg’s Schindler’s List (1993) and Edward Zwick’s The Siege (1998).
(Université Mouloud Mammeri Tizi-Ouzou, 2014) MEZIANI Mourad
The present dissertation is concerned with the analysis of the American representation of the Jews and Muslims respectively in Steven Spielberg’s Schindler’s List (1993), and Edward Zwick’s The Siege. The study focuses on Hollywood recollection of the memory of the Holocaust, and its formulation of the Muslims as ‘terrorists’. It also examines Hollywood role in shaping the American public consciousness around global major issues such as genocide and terrorism. Hollywood contends its engagement with the political sphere through its representation of the Jews as America’s ‘victimized others’ and its portrayal of the Muslims as America’s ‘demonized others’. I have argued that both the ‘victimization’ of the Jews and the ‘demonization’ of the Muslims serve America’s ongoing process of Americanization of the world. I define Americanization as America’s will, through the appropriation of the Holocaust and terror, to project its fundamental values and expand its cultural, political and ideological influence worldwide. In other words, Americanization considers America as an omnipresent possibility which, through its assimilation of universal values as its own, aims at integrating the world into the American way of life. Furthermore, it implies America’s moral, political and ideological responsibility (commitment) towards the defense and promotion of its founding ideals as part of its universal mission as articulated in its Manifest Destiny. The latter, represents the core of the American mythological identity and character which finds its perfect expression in America's unconditional support of Israel, and its blatant involvement with Arab-Muslim world. Israel represents an ideal view of America as a promoter of justice, whereas the Muslims as the consecration of America as proponent of freedom, promoter of democracy and peace.
Queen Elizabeth I in Selected Movies: A Barthesian- Historicist Approach to Modern British Myth
(Université Mouloud Mammeri Tizi-Ouzou, 2015) TERKI Nassima
The present research paper is entitled Queen Elizabeth I in Selected Movies: a Barthesian-Historicist Approach to Modern British Myth. It highlights the way Queen Elizabeth I’s biography has been adapted and updated by filmmakers since the end of World War II. To look at the representation of this Tudor Monarch, I throw light on selected snapshots taken from four selected biographical films: The Virgin Queen (1955), Mary, Queen of Scots (1971), Elizabeth (1998) and Elizabeth: the Golden Age (2007) with the use of Roland Barthes theoretical framework developed in Mythologies (1972), Image- Music-Text (1977) and Elements of Semiology (1986).The analysis of selected snapshots in the films shows that this Tudor Queen is depicted as a heterogeneous character. She is associated with very different political social and cultural values. The different representations are drawn to adapt her image to the circumstances of the film’s production and release. Finally, her image is used to help the nation readjust itself to face the different the challenges of post-Empire Britain.
Culture Shock in Barbary Captivity Narratives: Royal Tyler (1797), John Foss (1798), Maria Martin (1807) and James Leander Cathcart (1899)
(Université Mouloud Mammeri Tizi-Ouzou, 2015-06) SEDDIKI Rabia
My research paper intends to study the culture shock in Barbary captivity narratives: Royal Tyler’s The Algerine Captive (1797), John Foss’ Journal of Captivity and Sufferings (1798), Maria Martin’s History of Captivity and Sufferings (1807), and James Leander Cathcart’s The Captives, Eleven years a Prisoner in Algiers (1899).This paper shows that the narratives are the experiences of a passage, the crossing of a boundary that allows for an encounter with otherness to take place. Addressed to their home culture, the narratives deal with the captives’ cultural shock upon their first encounter with different and strange culture, in uncomfortable situations interacting with people who are not born nor bred Americans. Being cut out from their culture, the captives were at a complete loss since their host culture involved unusual norms of cultural understanding such as, religion, food, clothing, gender roles, customs and traditions. Therefore, my research paper shows the circumstances and the reasons behind the captives’ disorientation. Moreover, it explains how the captives endure and depict their life within Barbary through highlighting the distinct features between America and Algiers through an ethnocentric standpoint.
The Representation of Arabs and Muslims in American Films : The Orientalist Discourse in the Technicolor Film Thousand and One Nights (1945) and the Disney Movie Aladdin (1992)
(Université Mouloud Mammeri Tizi-Ouzou, 2015) KHEDER Amina
Many critics dealt broadly with orientalism in the Disney adaptation Aladdin (1992). However, other adaptations of the tale of Aladdin and the Magic Lamp such as Thousand and One Nights (1945) were sent into oblivion. Having said that, I humbly attempt to bring up both adaptations together and study profoundly the orientalist discourse in Thousand and One Nights (1945) and Aladdin (1992). In order to undertake this study, Said’s strands concerning orientalism will accompany the bulk of my analysis. Thus, my work is divided into two major components. They respectively revolve around the making of the orientalist discourse and the manifestation of the orientalist discourse in Aladdin’s adaptations (Thousand and One Nights (1945) and Aladdin (1992)). The first results of my work demonstrate that the adaptations are the outcome of some cultural and political circumstances. Additionally; they reveal that the orientalist images in the films are produced by virtue of other films such as Arabian Nights’ adaptations. The second category of results includes the otherness of the Arab culture and the superiority of the American culture. Finally, it is found out that the obvious celebration of the American culture and the denigration of Arabs and Musilms in Aladdin (1992) brought a more orientalized image about Arabs and Muslims compared to Thousand and One Nights (1945).That is probably owing to the remarkable interference of American politicians in the Middle East during the 1990s. They hired propagandists who used the Disney movie Aladdin (1992) as a vehicle to facilitate their access to the oil reservoirs in the Gulf region.
The Representation of Indians in Daves Delmer’s Broken Arrow , Arthur Penn’s Little Big Man and Kevin Costner’s Dances with Wolves
(Université Mouloud Mammeri Tizi-Ouzou, 2015) IKNIN Boualem
This research is concerned with the representation of Native Americans in three Hollywood Western films, respectively, Daves Delmer’s Broken Arrow (1950), Arthur Penn’s Little Big Man (1970), and Kevin Costner’s Dances with Wolves (1990). The purpose of this work is to demonstrate that these movies make use of the Indian figure to reflect on contemporary American problems such as race relations, counter-culture, and ecology. To achieve this aim, the school of the New Historicism serves as the epistemological basis of this dissertation. The New Historicism’s emphasis on the necessity of contextualization and its perception of history are relevant in handling the issue of the representation of Indians in the three mentioned movies. Beginning with Broken Arrow, I discuss the film’s use of the Indian to legitimize the policies of assimilation the U.S government was undertaking during the 1950s to solve the Indian problem; these policies were known as Termination policy. The film revises the history of the American West in order to prove to the conformist American society of the 1950s that the American Indian can be assimilated into the white society. In my analysis of Little Big Man, I argue that the counter culture movement and the Vietnam War influenced the perception of the Indians in the movie. Adhering to the Hippie Movement’s distrust of the traditional American values, the film appropriates the Indian way of life to criticize the white American society. The Romantic theme of the noble savage is contrasted with the industrial life of white America. I also demonstrate that the film uses the history of the American conquest of the West as a metaphor for the Vietnam War. The film’s focus on the massacres of the Indians by U.S army corresponds with the massacres the same army was perpetuating in Vietnam and substitutes the Indians for the Vietnamese. As far as Dances with Wolves is concerned, the theme is the same, the white/ American Indian relationship. However, in the 1990s America witnessed new issues. Ecology was both a fashion and a problem. The film deploys the notion of the Ecological Indian, the claim that the American Indian lives in perfect harmony with nature, to criticize the excesses and the dangers of pollution. Besides the issues of pollution, the film utilizes the American Indian as an instrument through which the white male hero can restore his imperialist masculinity, which coincided with the emergence of the New World Order under the leadership of the United States
Daniel Defoe’s Robinson Crusoe in Cinematographic Adaptations: A Postcolonial and Intertextual Study
(Université Mouloud Mammeri Tizi-Ouzou, 2014) CHERIFI Ahcene
The present dissertation is entitled “Daniel Defoe’s Robinson Crusoe in Cinematographic Adaptations: A Postcolonial and Intertextual Study”. It focuses on the relationship between Defoe’s first novel and some of its cinematographic adaptations notably Luis Buñuel’s The Adventures of Robinson Crusoe (1952), Jack Gold’s Man Friday (1975), and Robert Zemeckis’s Cast Away (2000). Taking its bearings from intertextual dialogism inflected towards cultural materialism, this work deals with these filmic adaptations as intertexts that engage in a dialogue with their source text from which they are brought into existence. Taking this approach into consideration, I have argued that the cinematic adaptations under scrutiny are not exact copies that attempt to replicate their source; far from that, the three films reinterpret, discuss and even criticize Defoe’s first novel. One has to note that the historical background has played a crucial role in shaping these adaptations in specific direction. Hence, the films are highly influenced by their social, cultural, economic and political environment. In addition, there is the impact of the filmmaker who unequivocally frames and shapes his film according to his aspirations, culture and ideology. Despite their sharp differences, Buñuel’s, Gold’s and Zemeckis’s respective films carry the same traditional pattern of the castaway story established in Robinson Crusoe. The studied cinematic adaptations contribute, in their own ways, to perpetuating the Crusoe myth. To carry out the ultimate purpose designed for this research, I have appealed to the concepts of a host of theorists like Mikhail Bakhtin (1984), Raymond Williams (1977), Gérard Genette (1997) and Graham Allen (2000).
A Postcolonial Study of David Lean’s Film Lawrence of Arabia (1962)
(Université Mouloud Mammeri Tizi-Ouzou, 2016) TAHIR Fahima
This dissertation analyses David Lean’s 1962 film Lawrence of Arabia in the light of postcolonial theory. Appropriating Edward Said’s theory of Orientalism, our research was conducted on three major axes; the depiction of the Arabian Desert as a space where the events took place, the representation of the Arabs and the possible hidden agenda underlying the film. Having analysed various scenes, characters, dialogues, we came out with the conclusion that the film is filled with all manner of stock Orientalist images, characters and themes. As an Oriental space, the Arabian Desert is represented as a place beyond history and civilisation and is given two images. It is both an “exotic” place where a bored and undisciplined young Englishman gets the opportunity to become a hero and a “hostile” place where the latter is in constant danger. As Orientals, the Arabs are ascribed a set of negative characteristics that fix them in an inferior position vis-a-vis the Westerners. Most of all, we discovered that, in his adaptation of Seven Pillars of Wisdom, director David Lean added several historically inaccurate scenes. From our analysis of the these scenes we noticed that the Arabs are shown either as a divided people always fighting against each other or as subordinates who are in desperate need for Western guidance. Taking into consideration the historical context of the film’s production, it appeared to us that all the added scenes carry overt political connotations. It became clear that Lean purposefully altered history to serve his film’s hidden imperialistic agenda.
From Pax Britannica to Pax Americana : Dialectic of Power/Knowledge in Avatar (2009), Heart of Darkness (1902), and The Tempest (1611)
(Université Mouloud Mammeri Tizi-Ouzou, 2015-03) MOUHOUBI Mohamed
This dissertation is set within Postcolonial framework. It studies James Cameron's Avatar in the light of Western literary tradition, namely William Shakespeare's The Tempest and Joseph Conrad's Heart of Darkness. It aims to show the constant transmutations and transformations of the imperialist elements of power through Western cultural productions. Moreover, it looks at how Otherness is transformed from the state of being considered as a counter-Self—all what the Westerner is not and has not—into a market exotic commodity in the 21st century society of spectacle. To do this, the present dissertation is divided into three chapters. Chapter One compares Avatar to The Tempest, putting focus on space (geography) and Otherness. Using Ashcroft's notion of “imperial gaze” (2001), it is put forward that the affirmation of identity needs to find a new “uninhabited” place. It explains that the main characters are portrayed as agents of power, heralding an apotheosis of imperialism. Chapter Two examines the same movie with Heart of Darkness. To reconsider Cameron's anti-imperialist assertion, comparing it to Conrad's. After that, it extracts the traditional means of colonialism within the movie, comparing them to those found in Conrad's novella. The Other here is seen as an interior one (like Kurtz). Focusing on Pratt's notion of anti-conquest hero (1992), it argues that though Avatar is set to uphold an anti-imperialist message; it mystifies new elements, which passively sustain the continuity of what Gramsci calls the hegemonic power (1999). The last chapter studies Avatar within its immediate context. Considering the use of both myths and exoticism, it sheds light on how this movie works as a new means of imperialist power, heralding what Alessio and Meredith prefer to call “monopoly imperialism” based on consumerism (2012). As this dissertation suggests, this is no more than the transmutation of the traditional imperialist power of the British imperialism into a more sophisticated power within Hollywood machine.
Cultural Context and Stereotypes in the Algerian Middle School EFL Classroom
(Université Mouloud Mammeri Tizi-Ouzou, 2016) SELAMA Sid Ali
The aim of this research is twofold. Firstly, investigating the materials (mainly textbooks) used in the process of ELT at the Algerian middle school level. In other words, the research aims at exploring the reliability of the used textbooks in regard to their cultural content and finding out whether or not they promote cultural prejudices against the target culture. Secondly, it investigates the pupil’s attitudes towards the target culture being dealt with in the English language classroom and, attempts to find out the main reasons behind such attitudes. The Middle School English textbooks are quantitatively and qualitatively analysed and evaluated in terms of their cultural focus, using criteria of analysis created by Risager (1991), Skopinskaja (2003) and Michel (1986). Two questionnaires are designed: one for English language teachers, and the other for middle school learners to obtain quantitative and qualitative data to guide us in our investigation. The obtained qualitative and quantitative results indicated that though learners showed admiration for the foreign culture, yet they refused and showed a negative attitude towards some behaviours which are considered to be acceptable in the foreign culture. Also, the elicited information from teacher’s questionnaire indicated that textbooks represent an inadequate source for teaching/learning language through culture. One of the reasons behind this judgment is the presence of gender stereotyped depiction of the characters. Furthermore, we noticed that no textbook encourages or invites learners to come together in order to discuss and examine their opinions regarding the several cultural topics encompassed in the coursebooks. In the light of the obtained results, some practical recommendations are made in order to remedy the weaknesses observed to offer better teaching context for our young generation.
A Foucauldian Analysis of Power , Punishment and Docile Bodies in Milos Forman’s One Flew over the Cuckoo’s Nest (1975) and Stuart Rosenberg’s Brubaker (1980)
(Université Mouloud Mammeri Tizi-Ouzou, 2015) LAOUARI Mohamed Larbi
This thesis studied the themes of power, punishment and docile bodies in Milos Forman’s One Flew over the Cuckoo’s Nest (1975) and Stuart Rosenberg’s Brubaker (1980) from a Foucauldian approach. Looking at these movies as countercultural artistic works that Hollywood released to dramatize a very remarkable period in the American history known basically for its political instability both at the national and the international levels, this thesis analyzed the unjust doctor/ patient power relations inside Oregon Psychiatric Hospital as well as the unfair and corrupt trusties/prisoners relation at Wakefield State Penitentiary. It explained how these oppressive relations are tantamount to the relationship between Americans and their government during a time period marked by the government’s strong and effective grip on people and society. It also demonstrated how other strategies like discipline, surveillance and observation are implemented inside institutions, namely prison and hospital, to create a panoptican climate through which both patients and prisoners are, ultimately, transformed into docile conforming bodies. In short, I have explained the symbolic clash that appears in the two movies between freethinking and its ability to reform and question the established order, and the adjusted and controlled life, which is suggestive of an existing clash between two discourses in America. A rather traditional, conservative and pro-government discourse calling Americans for conformity, and complete allegiance to the government on one hand, and an anti-government discourse, which, on the other hand, denounced blind conformism and asked for radical reforms and improvements in the American society. Leaning on Michel Foucault’s theoretical perspectives about institutions of punishment, confinement and imprisonment, this work, in its four chapters, has critically analyzed One Flew over the Cuckoo’s Nest and Brubaker. It uncovered thereby the two movies’ ideological and artistic bearings to history by drawing attention to the dramatization of some challenging countercultural ideas and radical movements in the history of the United States in particular and human civilization in general
Utopia and Dystopia in Colonial Writings: Henry Rider Haggard’s King Solomon’s Mines (1885) and Pierre Benoit’s L’atlantide (1919): A Postcolonial Study
(Université Mouloud Mammeri Tizi-Ouzou, 2016) BESSAD Djedjiga
This dissertation aims at studying the issue of utopia and dystopia in two colonial fictions: Henry Rider Haggard’s King Solmon’s Mines (1885) and Pierre Benoit’s L’atlantide (1919). While the former belongs to the British literature, the latter belongs to the French one. Both were written during the period of the height of imperialism in their countries. While the peak of the British colonial power was the late nineteenth century, the French one was the two first decades of the twentieth century. In this dissertation, I seek to demonstrate that there is a simultaneous incorporation of utopian and dystopian elements in both fictions. These elements are manifest in the English and the French characters’ vision towards the colonial world notably “the human world” i.e. the inhabitants, and “the vegetable world” i.e. the natural environment. The existence of utopian aspects in the two fictions is evidenced by “apocalyptic and romantic images”, concepts borrowed from Northrop Frye’s essay “Archetypal Criticism: Theory of Myths”. As for the dystopian aspects, the evidence is given through “the demonic images” and the ironical situations, two other concepts taken from Frye’s theory. Throughout the discussion chapters of my dissertation, I explore the romanticisation of some native characters and the landscape in the colonial world which creates a desirable or utopian atmosphere for the white men in the colonial world-South Africa in Haggard’s fiction and Algeria in Benoit’s fiction. I also discuss the demonisation of other native characters, because they hinder the fulfillment of the white characters’ utopian imperial dreams, and the challenges caused by the colonial natural environment. These aspects cause disillusionment for the white men and render their life in the colonial world undesirable i.e. dystopian. I also consider the variety of myths incorporated in the two authors’ discourses and make an ideological reading of them relying upon Roland Barthes’s theory of myths. Finally, I have come to the result that: the authors’ discourses are ambivalent; they are “paradisiacal” and “anti-paradisiacal” at the same time
The Deployment of Drama in Teaching Pragmatic Concepts
(Université Mouloud Mammeri Tizi-Ouzou, 2019-04-13) GHENNAI Meriam
This research addresses the usefulness of excerpts from William Shakespeare's the Tempest, Edward Albee's Who's Afraid of Virginia Woolf? and Harold Pinter's The Caretaker as instructional materials while teaching pragmatic concepts. The concepts under study are; speech acts, politeness and conversational management. The dialogues in the three plays are approached in a similar way to the pragmatic approach to dialogues of everyday life. The analysis is conducted for the aim of foregrounding how the concepts operate in context, how they reflect characters’ identities and relationships as well as how they manifest themselves linguistically. The results yielded from such analysis help at testing the effectiveness of excerpts from the suggested plays as means of discussing and illustrating the pragmatic concepts in class. The study reveals that the three plays prove to be resourceful with varied social contexts that give rise to manifestations of the target concepts. Additionally, they offer a variety of relationships, social contexts, and speech that allow socio-pragmatic study of the language used. Who’s Afraid of Virginia Woolf? and The Caretaker’s language is much closer to the language people use nowadays than the language in The Tempest by Shakespeare. Moreover, they display more features of everyday talk than The Tempest as well more complex, subverted and inappropriate patterns of interaction and strategies of language use.
The Image of the Father in Edmund Gosse’s Father and Son (1907), James Joyce’s A Portrait of the Artist as a Young Man (1916) and Kwame Anthony Appiah’s In My Father’s House (1992).
(Université Mouloud Mammeri Tizi-Ouzou, 2017-06-11) DJELLOUT Mekioussa
Family relations constitute an inexhaustible source of subjects to be explored in literature. Interactions between members of one family are complex and intricate to understand; a particular “universal” one, that of a father and a son. Authors such as Edmund Gosse, James Joyce and Anthony Kwame Appiah have, through their respective works, demonstrated to what extent that bond tying them to their respective fathers is complicated. Faced with a generational gap and differences in the cultural and social contexts of upbringing, it is nearly impossible to avoid confrontation. However, what the three books: Father and Son (1907), A Portrait of the Artist as a Young Man (1916) and In My Father’s House (1992) provide us with, is the different ways each author deals, with their own somewhat tumultuous and unique relationship that binds them to their fathers. This dissertation aims at putting the three books in perspective so as to highlight the shift in the perception of fatherhood. In doing so, Edmund Gosse and Kwame Anthony Appiah are set as two extremes while James Joyce is set as a mediator. Through Nazan Yelkikalan’s and Sena Erden Ayhun’s “Generation theory” (2013), Freud’s the “Oedipus complex” and Kwame Appiah’s “Cosmopolitanism” (2006) we succeed to understand the father/son and son/father relationship as well as concluding that the theme of fatherhood changed from a monolithic perspective in the late Victorian period to a “multicultural” and “cosmopolitan” ones in the Post- Modern period.
Reading short stories to develop international communication skills: A case study: Third year LMD students UMMTO
(Université Mouloud Mammeri Tizi-Ouzou, 2019-03-20) AKIR Malika
This thesis is concerned with “Reading Short Stories to Develop International Communication Skill.” By doing this, the aim is to unveil the extent to which the reading of the short stories enhance the learners’ Intercultural Communicative Competence and Intercultural Sensitivity besides to the connection of them to the intercultural development. Looking at these short stories as cultural discourses which foster intercultural competence, it focuses on key issues such as culture, Intercultural Communicative Competence and Intercultural Sensitivity which are very important in for the construction of learners’ ICC and IS, these lead to a third space which arise the learners development of intercultural competence. The intercultural approach provides a comprehensive evaluation which carters for the cultural content represented at the level of the short stories. This study is addressed to undergraduate (Third Year LMD) students at the University of Tizi-Ouzou, who are programmed in a Reading lesson that lasted three weeks. It combines two outstanding theories of Intercultural competence which are Respectively Byram’s model of Intercultural Communicative Competence (1997) and Bennett’s Model of Intercultural Sensitivity (1993). Interacting effectively and appropriately with members of other cultures and developing intercultural competence in language learners is highly recommended. Therefore, an effective intercultural interaction involves both knowledge of that culture and the ability to maintain a conversation with English speakers. In view of that, to involve students into the English speaking cultures, among other alternatives, one possible way is suggested to cover the existing gap between the learning of language and culture and this is through reading short stories. This study hypothesizes that the intercultural approach to reading short stories facilitates the development of the learners’ intercultural communicative competence which includes cultural knowledge, skills and cultural awareness. The results obtained reveal how the cultural contextualization embodied in the short stories affect and enhanced both the students’ intercultural communicative competence and intercultural sensitivity. They show that more than half of the learners (80%) show their willingness to acquire new cultural knowledge. Beside to an improvement of language proficiency, the students reflected a certain cultural knowledge. They, somehow, developed skills to interpret and relate cultural difference as well. Therefore, they enriched their Intercultural Communicative Competence. However, the learners showed their sensitivity toward the English speaking cultures which is reflected in the short stories. More than 50% of the learners remain in an ethnocentric orientation in the intercultural sensitivity continuum. They demonstrated their inability to accept the flagrant difference between the two cultures
The Representation of President John Adams in Tom Hooper’s Miniseries and Adams’s Life Writings: A Comparison with the American Cultural Figures of his Time
(UNIVERSITE MOULOUD MAMMERI TIZI-OUZOU, 2013) DIABI, Fatma
This dissertation studies the representation of President John Adams in Tom Hooper’s miniseries John Adams and the latter’s life Writings. It explains why Hooper seeks to rehabilitate John Adams in the context of the terrorist attack of America in September 11, 2001. Following a historicist approach, four major findings are reached. One John Adams stands for a political republicanism that modern America seems to have forgotten. This political republicanism is contrasted with both economic republican, the popular republicanism, which is used into screen in the present day America. Two, John Adams is represented as a self-made man whose success story is built on high ideals rather materialism. His association with the American Dream is meant as a criticism of contemporary America’s material economic version of the American Dream. Three, John Adams and his wife Abigail illustrate gender relations based on equality not subordination. In a sense, the portrayal of the Adamses is addressed as a critique to the Bush family as another example American presidential family. Four, the miniseries shows strong belief in politics and diplomacy to solve domestic and international problems. John Adams is portrayed as a politician with a low profile. His leadership is not authoritarian since it is marked by delegation of power. Five Adams is used to rehabilitate New England and move particularly, Massachusetts as a central of American politics. Through Adams, Massachusetts and New England it is the American Revolution that Tom Hooper goes back to, to celebrate American ideals. Six, Adams’s politics is described as being non-partisan. This constitutes an indirect critique of partisanship politics of contemporary America. II
Argument in American and British Cultural Studies Dissertations, Case Study: Mouloud MAMMERI University
(University Mouloud Mammeri of Tizi-Ouzou, 2017-06-07) Lebiar, Khaled
This research explores the cultural variations in presenting, organizing, and reporting arguments in MA dissertations in Cultural Studies submitted and defended at the Department of English in the University of Mouloud MAMMERI of Tizi Ouzou. It builds on theoretical bearings explored by Robert Kaplan in his theory of Contrastive Rhetoric. However, this research, unlike Kaplan’s theory (which compares four cultural groups in relation to Anglophone cultures), is centered on the distinct traits of Arabic Rhetoric transferred by Algerian students of English as they compose in academic discourse. One finding highlighted at the level of this research is the “Intergenreality” found in Algerian dissertations, in which students abide to the broader conventional practice in the Anglo-American academia, while, on the narrower level, they unconsciously repudiate the same-practice rhetorical moves due to the inevitable influence of their first language/culture. The repetitive patterns found in Algerian students dissertations, from the boarder level of sections and paragraphs to the narrower one of sentences, clauses and even single words, make their argument more of a narrative and descriptive than its expected academic nature. Thus, Algerian students fail to present arguments that successfully and effectively communicate their notions and theses in the academic sphere.
A Cross-cultural Study of Master Conclusions in English, Arabic and EFL Contexts: A Genre-based Approach
(University Mouloud Mammeri of Tizi-Ouzou, 2017) Mohellebi, Hacene
The study of academic genres and part-genres across cultures and languages is gaining momentum among genre analysts and contrastive rhetoricians in many parts of the world. However, in the case of Algeria, this type of inquiry, despite having a vital pedagogical value for the EFL writing classroom, has been neglected. The present dissertation is an attempt to analyze cross-culturally the generic organization of the part-genre accompanying Master dissertations in literature, written by three distinct, yet overlapping, categories of students: native students of English, Algerian students of Arabic literature, and Algerian EFL students. For that end, I adopted Connor’s and Moreno’s (2005) model for cross-cultural studies of academic discourse and Bunton’s (2005) generic model for humanities and social sciences conclusions. The results of the analysis showed interesting insights regarding the rhetorical strategies that each group had employed in order to organize this partgenre of their dissertations. The English students’ organization was found largely congruent with Bunton’s model. This congruity includes both the status of the moves used and their rhetorical function in the text. Contrary to this, the Arabic conclusions were found practically inapplicable to the model, having demonstrated a striking divergence in terms of move status and move function to the extent that an alternative model was proposed to help explain and account for these differences. As regard the Algerian EFL conclusions, conforming to what the literature tells us on EFL writings, their schematic structure was found to follow what appears to be a ‘hybrid’ organization, borrowing rhetorical strategies from both native groups. Overall, it is believed that the factors influencing the organization of literature conclusions by English and Algerian students might be varied from the writing instructions and learning materials that each group receives and uses in the writing classroom to the different cultural attitudes towards what academic discourse implies in reality.
Bridging the Gap: Language, Culture and Literature, (2011) An Evaluation of Literature Teaching and Testing Tasks
(university Mouloud Mammeri of Tizi-Ouzou, 2017) ZIANE, Hania
The attempt along this research was to identify the relation between literature teaching and testing in three English departments. In order to evaluate the pedagogical approaches and practices of the literature curriculum, we have analyzed the educational objectives of the literature tasks and tests. Bloom’s Taxonomy of the Educational Objectives has served as a theoretical basis for the analysis. The study examines the content and the type of the cognitive skills introduced in the literature textbook, Bridging the Gap: Language, Culture and Literature. In addition, the cognitive objectives that are assessed in the literature tests are classified according to Bloom’s Taxonomy. A comparative analysis between the objectives of the literature tasks and tests reveals that there is a significant divergence between the teaching approaches and the testing habits. The literature course emphasizes the understanding skills. The comprehension of the literary text and developing reading skills is the major objective of the literature course. However, the investigation on the testing habits reveals that higher cognitive performance is often required. The evaluative and analytical skills are the targets in the literature test. Accordingly, the results obtained from the research confirm the suggested hypothesis. The research shows that literature teaching and testing pose a didactic challenge in the EFL context, and in some Algerian English departments, there is a detachment between the course objectives and the testing expectations. The research also gives insight into some pedagogical procedures that bridge the teaching/testing gap.

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