{"id":13442,"date":"2021-04-06T02:44:26","date_gmt":"2021-04-06T07:44:26","guid":{"rendered":"https:\/\/jazairhope.org\/?p=13442"},"modified":"2021-04-06T02:44:26","modified_gmt":"2021-04-06T07:44:26","slug":"en-images-voyage-dans-la-topographie-intime-de-mohammed-dib","status":"publish","type":"post","link":"https:\/\/jazairhope.org\/fr\/en-images-voyage-dans-la-topographie-intime-de-mohammed-dib\/","title":{"rendered":"EN IMAGES : Voyage dans la topographie intime de Mohammed Dib"},"content":{"rendered":"<div class=\"gallery-head\">\n<div class=\"field field-field-subhead\">Un livre \u00e9v\u00e9nement publie les photographies prises \u00e0 Tlemcen par le grand \u00e9crivain alg\u00e9rien Mohammed Dib en 1946. Un document rare et \u00e9mouvant<\/div>\n<div>Source : <a lang=\"\" style=\"text-transform: initial;\" title=\"Voir le profil utilisateur.\" href=\"https:\/\/www.middleeasteye.net\/fr\/users\/adlene-meddi\">Adl\u00e8ne Meddi<\/a><\/div>\n<\/div>\n<div class=\"region region-content\">\n<div class=\"scrollmagic-pin-spacer\" data-scrollmagic-pin-spacer=\"\">\n<section id=\"block-meesocialshare\" class=\"block block-mee-social-share block-mee-social-share-block clearfix\">\n<div class=\"mee-social-share-block\">\n<div id=\"st-1\" class=\"sharethis-inline-share-buttons st-center  st-inline-share-buttons st-animated\">\n<div class=\"st-btn\" data-network=\"email\"><img decoding=\"async\" src=\"https:\/\/platform-cdn.sharethis.com\/img\/email.svg\" alt=\"email sharing button\" \/><\/div>\n<div class=\"st-btn st-last\" data-network=\"sharethis\"><img decoding=\"async\" src=\"https:\/\/platform-cdn.sharethis.com\/img\/sharethis.svg\" alt=\"sharethis sharing button\" \/><\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<article class=\"gallery full article-type clearfix\" role=\"article\" data-history-node-id=\"195416\">\n<div class=\"field field-field-gallery-photos\">\n<div>\n<div class=\"paragraph paragraph--type--gallery-item paragraph--view-mode--default\">\n<div class=\"field field-field-gallery-item-photo\"><img fetchpriority=\"high\" decoding=\"async\" src=\"https:\/\/www.middleeasteye.net\/sites\/default\/files\/2020-12\/2_1.jpg\" alt=\"\" width=\"1400\" height=\"1348\" \/><\/div>\n<div class=\"field field-field-gallery-item-description\">\n<p>&nbsp;<\/p>\n<p><i>Tlemcen ou les lieux de l\u2019\u00e9criture\u00a0<\/i>est la r\u00e9\u00e9dition, par les \u00e9ditions Barzakh \u00e0 Alger et Images plurielles \u00e0 Marseille, d\u2019un projet datant de 1993 et \u00e9dit\u00e9 en 1994 par les \u00e9ditions La Revue Noire \u00e0\u00a0Paris.\u00a0(Mohammed Dib, avec l\u2019aimable autorisation de l\u2019\u00e9diteur)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div class=\"paragraph paragraph--type--gallery-item paragraph--view-mode--default\">\n<div class=\"field field-field-gallery-item-photo\"><img decoding=\"async\" src=\"https:\/\/www.middleeasteye.net\/sites\/default\/files\/2020-12\/3.jpg\" alt=\"\" width=\"1400\" height=\"1330\" \/><\/div>\n<div class=\"field field-field-gallery-item-description\">\n<p>On y d\u00e9couvre une autre facette du grand \u00e9crivain alg\u00e9rien Mohammed Dib (1920-2003)\u00a0: un jeune photographe qui, \u00e0 26 ans, raconte par l\u2019image sa ville, Tlemcen, sa famille, ses lieux d\u2019enfance, sources de son inspiration pour la construction de son immense \u0153uvre. (Mohammed Dib, avec l\u2019aimable autorisation de l\u2019\u00e9diteur)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div class=\"paragraph paragraph--type--gallery-item paragraph--view-mode--default\">\n<div class=\"field field-field-gallery-item-photo\"><img decoding=\"async\" src=\"https:\/\/www.middleeasteye.net\/sites\/default\/files\/2020-12\/4.jpg\" alt=\"\" width=\"1400\" height=\"1359\" \/><\/div>\n<div class=\"field field-field-gallery-item-description\">\n<p>\u00ab\u00a0Mohammed Dib est, a priori, l\u2019un des premiers Alg\u00e9riens \u00e0 avoir capt\u00e9 la r\u00e9alit\u00e9 des siens \u00e0 cette \u00e9poque\u00a0\u00bb, \u00e9crivent les \u00e9diteurs de Barzakh dans la pr\u00e9sentation de cet ouvrage paru cet automne, dont des textes de Dib accompagnent ses photos. (Mohammed Dib, avec l\u2019aimable autorisation de l\u2019\u00e9diteur)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div class=\"paragraph paragraph--type--gallery-item paragraph--view-mode--default\">\n<div class=\"field field-field-gallery-item-photo\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.middleeasteye.net\/sites\/default\/files\/2020-12\/5.jpg\" alt=\"\" width=\"1400\" height=\"1689\" \/><\/div>\n<div class=\"field field-field-gallery-item-description\">\n<p>\u00ab\u00a0Dans ce livre, c\u2019est un Dib-enfant qui fixe les moments ressentis, et qui capte les moments enfuis. Il veut \u00eatre pr\u00e9sent dans un monde d\u2019adultes, il veut y acc\u00e9der si vite qu\u2019il en oublie son enfance. Ce patio r\u00e9pond au d\u00e9sir enfoui de Dib-enfant, celui de poss\u00e9der un espace d\u2019\u00e9criture, non pour devenir \u00e9crivain, mais pour sentir seulement qu\u2019il existe, qu\u2019il est libre\u00a0\u00bb, \u00e9crit, dans la pr\u00e9face, l\u2019auteur alg\u00e9rien et ami de Dib Wassiny Laredj. (Mohammed Dib, avec l\u2019aimable autorisation de l\u2019\u00e9diteur)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div class=\"paragraph paragraph--type--gallery-item paragraph--view-mode--default\">\n<div class=\"field field-field-gallery-item-photo\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.middleeasteye.net\/sites\/default\/files\/2020-12\/6.jpg\" alt=\"\" width=\"1400\" height=\"1393\" \/><\/div>\n<div class=\"field field-field-gallery-item-description\">\n<p>En effet, en parlant de ce lieu, le\u00a0<em>wast-dar<\/em>\u00a0(patio), Dib se rappelle\u00a0: \u00ab\u00a0Je m\u2019\u00e9tablissais dans un angle pour me livrer \u00e0 mes exercices d\u2019\u00e9criture et, dans mon souvenir, la saison s\u2019y pr\u00eatait \u00e0 longueur d\u2019ann\u00e9e, ce qui ne se peut pas : en hiver, pluies, froids et neiges ensemble nous valent \u00e0 Tlemcen des journ\u00e9es sib\u00e9riennes. Il n\u2019emp\u00eache : c\u2019est ainsi que je me rappelle les choses. Ou bien \u00e9crivais-je seulement par beau temps ? Je n\u2019en serais pas \u00e9tonn\u00e9.\u00a0\u00bb (Mohammed Dib, avec l\u2019aimable autorisation de l\u2019\u00e9diteur)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div class=\"paragraph paragraph--type--gallery-item paragraph--view-mode--default\">\n<div class=\"field field-field-gallery-item-photo\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.middleeasteye.net\/sites\/default\/files\/2020-12\/7.jpg\" alt=\"\" width=\"1400\" height=\"1401\" \/><\/div>\n<div class=\"field field-field-gallery-item-description\">\n<p>\u00ab\u00a0Dib fait du M\u00e9dresse [un quartier de Tlemcen], disparu \u00e0 jamais, avec ses portes et ses remparts, un lieu prolifique de l\u2019\u00e9criture. Il lui redonne vie, le reconstruit \u00e0 l\u2019aide des mat\u00e9riaux qui d\u00e9fient l\u2019\u00e9ph\u00e9m\u00e8re : les Mots. Le M\u00e9dresse n\u2019a plus d\u2019existence d\u00e9sormais que dans l\u2019\u0153uvre dibienne, palpitante. Des sc\u00e8nes du\u00a0<em>M\u00e9tier \u00e0 tisser\u00a0<\/em>et de\u00a0<em>Qui se souvient de la mer<\/em>\u00a0se situent dans ce quartier \u00bb, pr\u00e9cise l\u2019\u00e9crivain Wassiny Laredj. (Mohammed Dib, avec l\u2019aimable autorisation de l\u2019\u00e9diteur)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div class=\"paragraph paragraph--type--gallery-item paragraph--view-mode--default\">\n<div class=\"field field-field-gallery-item-photo\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.middleeasteye.net\/sites\/default\/files\/2020-12\/8.jpg\" alt=\"\" width=\"1400\" height=\"1396\" \/><\/div>\n<div class=\"field field-field-gallery-item-description\">\n<p>D\u2019autres lieux du souvenir dibien jaillissent des clich\u00e9s en noir et blanc, comme le mausol\u00e9e d\u2019Abou Madyan, saint patron de Tlemcen, construit par le souverain almohade Mohammed al-Nasir ben al-Mansour\u00a0au d\u00e9but du XIII<sup>e<\/sup>\u00a0si\u00e8cle. (Mohammed Dib, avec l\u2019aimable autorisation de l\u2019\u00e9diteur)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div class=\"paragraph paragraph--type--gallery-item paragraph--view-mode--default\">\n<div class=\"field field-field-gallery-item-photo\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.middleeasteye.net\/sites\/default\/files\/2020-12\/9_0.jpg\" alt=\"\" width=\"1400\" height=\"1399\" \/><\/div>\n<div class=\"field field-field-gallery-item-description\">\n<p>\u00ab\u00a0La l\u00e9gende rapporte que quand il enseignait, les oiseaux, s\u2019ils venaient \u00e0 passer au-dessus de l\u2019auditoire, s\u2019arr\u00eataient dans leur vol pour l\u2019\u00e9couter aussi longtemps qu\u2019il parlait. Ibn Arabi ne le nommait que comme le \u2018\u2019ma\u00eetre des ma\u00eetres\u2019\u2019 \u00bb, \u00e9crit Dib en \u00e9voquant le saint patron. (Mohammed Dib, avec l\u2019aimable autorisation de l\u2019\u00e9diteur)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div class=\"paragraph paragraph--type--gallery-item paragraph--view-mode--default\">\n<div class=\"field field-field-gallery-item-photo\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.middleeasteye.net\/sites\/default\/files\/2020-12\/15.jpg\" alt=\"\" width=\"1400\" height=\"1351\" \/><\/div>\n<div class=\"field field-field-gallery-item-description\">\n<p>L\u2019\u00e9crivain raconte ainsi ses visites, en famille, au mausol\u00e9e\u00a0: \u00ab\u00a0Nous quitterons donc ces champs peupl\u00e9s, dans la vacuit\u00e9 de l\u2019heure, de pr\u00e9sences solaires, et irons vers le p\u00f4le qu\u2019indique de son index lev\u00e9 le minaret de sa mosqu\u00e9e. Commence alors l\u2019ascension, la route monte entre les maisons d\u2019El Eubad qui se hissent les unes par-dessus les autres, elles aussi, et plus la route monte, plus nous descendons en nous-m\u00eames.\u00a0\u00bb (Mohammed Dib, avec l\u2019aimable autorisation de l\u2019\u00e9diteur)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div class=\"paragraph paragraph--type--gallery-item paragraph--view-mode--default\">\n<div class=\"field field-field-gallery-item-photo\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.middleeasteye.net\/sites\/default\/files\/2020-12\/13.jpg\" alt=\"\" width=\"1400\" height=\"1375\" \/><\/div>\n<div class=\"field field-field-gallery-item-description\">\n<p>Les lieux, mais aussi les proches, la famille, et ces s\u00e9ries de photos d\u2019enfants occupent une belle partie de l\u2019ouvrage. Tous peupleront son \u0153uvre litt\u00e9raire. Wassiny Laredj se souvient de cette d\u00e9claration de Dib\u00a0: \u00ab Une enfance n\u2019est autre que cette divinit\u00e9 perdue \u00e0 jamais, que seule l\u2019\u00e9criture, le roman et la po\u00e9sie peuvent reconstruire. Entre deux \u00e2ges non v\u00e9cus, enfance et \u00e2ge adulte, na\u00eet l\u2019\u00e9criture, qui permet \u00e0 cet enfant enfoui en nous de ressurgir \u00bb. (Mohammed Dib, avec l\u2019aimable autorisation de l\u2019\u00e9diteur)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div class=\"paragraph paragraph--type--gallery-item paragraph--view-mode--default\">\n<div class=\"field field-field-gallery-item-photo\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.middleeasteye.net\/sites\/default\/files\/2020-12\/kids.jpg\" alt=\"\" width=\"1400\" height=\"1402\" \/><\/div>\n<div class=\"field field-field-gallery-item-description\">\n<p>\u00ab\u00a0Depuis ses premiers romans, l\u2019enfance demeure une th\u00e9matique ch\u00e8re \u00e0 Mohammed Dib. Une enfance qui ressemble \u00e0 l\u2019\u00e9criture, o\u00f9 la distance renvoie aux questionnements de l\u2019existence\u00a0\u00bb, \u00e9crit Wassiny Laredj. Songeons donc au personnage de Omar, l\u2019enfant de\u00a0<em>La Grande Maison<\/em>\u00a0(1952), premier volet de sa trilogie, avec\u00a0<em>L\u2019Incendie\u00a0<\/em>et\u00a0<em>Le M\u00e9tier \u00e0 tisser<\/em>. L\u2019enfant Omar qui sera le t\u00e9moin de l\u2019enfer \u00ab\u00a0indig\u00e8ne\u00a0\u00bb et de la col\u00e8re qui monte contre le syst\u00e8me colonial. (Mohammed Dib, avec l\u2019aimable autorisation de l\u2019\u00e9diteur)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div class=\"paragraph paragraph--type--gallery-item paragraph--view-mode--default\">\n<div class=\"field field-field-gallery-item-photo\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.middleeasteye.net\/sites\/default\/files\/2020-12\/horse.jpg\" alt=\"\" width=\"1400\" height=\"1404\" \/><\/div>\n<div class=\"field field-field-gallery-item-description\">\n<p>Pour ses \u00e9diteurs, ce que Dib accomplit avec ses photographies \u00ab t\u00e9moigne d\u2019un regard \u00e0 la modernit\u00e9 saisissante, celui d\u2019un homme libre d\u00e9j\u00e0, d\u2019un po\u00e8te, \u00e0 la fois \u2018\u2019dedans\u2019\u2019 et \u2018\u2019dehors\u2019\u2019, se situant parmi ses contemporains, mais d\u00e9j\u00e0 au-del\u00e0. Ces photographies constituent une archive rare et pr\u00e9cieuse\u00a0\u00bb, attestent les fondateurs des \u00e9ditions Barzakh. (Mohammed Dib, avec l\u2019aimable autorisation de l\u2019\u00e9diteur)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div class=\"paragraph paragraph--type--gallery-item paragraph--view-mode--default\">\n<div class=\"field field-field-gallery-item-photo\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.middleeasteye.net\/sites\/default\/files\/2020-12\/00.jpg\" alt=\"\" width=\"1400\" height=\"1407\" \/><\/div>\n<div class=\"field field-field-gallery-item-description\">\n<p>\u00ab\u00a0Dib, avec toute son \u00e9l\u00e9gance, a su, \u00e0 partir de deux fausses couleurs \u2013 le noir et le blanc \u2013, en conjuguant images, lieux et mouvements, esquisser la silhouette de l\u2019Absence. Une photo, c\u2019est une impression du temps qui va au-del\u00e0 du moment de la prise avec un avant-la-prise, \u00e0 d\u00e9finir, et un apr\u00e8s-la-prise qui reste \u00e0 imaginer, ou du moins \u00e0 m\u00e9diter. Que faisait Dib \u00e0 ce moment-l\u00e0 ? Qu\u2019est-il donc arriv\u00e9 apr\u00e8s cet instant o\u00f9 la prise a \u00e9t\u00e9 si heureuse, si juste ?\u00a0\u00bb, se demande Wassiny Laredj.<\/p>\n<p>Nous nous posons la m\u00eame question en imaginant ce jeune Dib derri\u00e8re son appareil photo, espi\u00e8gle et grave \u00e0 la fois. Comme il le fut toute sa vie. (Mohammed Dib, avec l\u2019aimable autorisation de l\u2019\u00e9diteur)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Un livre \u00e9v\u00e9nement publie les photographies prises \u00e0 Tlemcen par le grand \u00e9crivain alg\u00e9rien Mohammed Dib en 1946. Un document rare et&hellip;<\/p>\n","protected":false},"author":50,"featured_media":13438,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[32,34,39,45,42],"tags":[],"class_list":["post-13442","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-algerie","category-art-fr","category-articles-en-vedette","category-derniers-articles","category-histoire-et-patrimoine"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>EN IMAGES : Voyage dans la topographie intime de Mohammed Dib - AAH.JZR<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jazairhope.org\/fr\/en-images-voyage-dans-la-topographie-intime-de-mohammed-dib\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"EN IMAGES : Voyage dans la topographie intime de Mohammed Dib - AAH.JZR\" \/>\n<meta property=\"og:description\" content=\"Un livre \u00e9v\u00e9nement publie les photographies prises \u00e0 Tlemcen par le grand \u00e9crivain alg\u00e9rien Mohammed Dib en 1946. 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