N°020_Vol.3_25

Introduction: Sadiqi (2008) states that the Maghreb consists of the three north African countries of Algeria, Morocco and Tunisia. Sadiq’s statement is confirmed by the Colombian Encyclopaedia (2001-5) which explains that the Maghreb “actually pertains only to the area of the three countries between the high ranges of the Atlas Mts. and the Mediterranean Sea”. These three countries have many things in common which Ennaji (2005) agrees with by asserting that the main similarities found among them is inherent in their history and geo-political characteristics. Being that they were colonised by France, they share more or less the same experiences which includes their literatures. According to Schöpfel (2000), francophone literature of the Maghreb dates back to the French invasion of Algeria in 1930 and this literature is also a constituent part of African literature. However, Déjeux and Mitsch (1992) argue that this literature is neither indigenous nor national because of the use of French language which remains the language of the colonisers. They go ahead to assert that for this reason, the francophone literature of the Maghreb poses a serious problem for Arabic language critics as well as foreign observers.

This study focuses on Leïla Sebbar, a francophone African writer and her post-colonial writings. She is an author of Algerian origin who grew under a French mother. She also studied in a school where the French language was the only language allowed. She has written many novels such as La Jeune fille au balcon (1996), La Seine était rouge (1999), Fatima ou les Algériennes au square (2010), just to mention but a few. Many literary critics have examined Leïla Sebbar’s works. These critics explore different aspects of Leïla Sebbar’s works especially the French and Algerian connection and how she puts side by side the background of the two countries to show the disparity in their cultures. However, it is observed that not much has been done concerning the legacies left by France in Algeria especially using her short story “La robe interdite”. Therefore, the focal point of this survey will be based on « La robe interdite » which is one of the short stories written in La Jeune fille au balcon.

As rich as post-colonial literature is, few works encapsulate the intricate dynamics of identity and cultural conflict as vividly as Leila Sebbar’s “La robe interdite”. The short story which depicts the colonial rule in Algeria, explores the struggles of individuals who live in a country facing the legacies of colonisation. The story also illuminates the profound effects of historical trauma on individual and collective identity. The title itself, “Forbidden Dress”, serves as a prevailing symbol of the tensions between tradition and modernity as well as cultural heritage and external imposition. It unravels the complexities of personal and social identity, framed within the context of a colonial legacy as it continues to resonate in contemporary societies. The story, through the eyes of its protagonists, discloses how the scars of colonisation shape perceptions, behaviours, and aspirations. These protagonists being mainly women, navigate the dual pressures of patriarchy and colonial domination. This article will explore the complex representations of colonial legacy within “La robe interdite” by examining how Sebbar articulates the ongoing struggles for self-definition and cultural reclamation in a world marked by historical oppression. The questions that come to mind are; firstly, does the motif of clothing in the story serve as a symbol of colonial oppression and cultural resistance? Secondly, does « La Robe Interdite » illustrate how the colonial legacy shapes contemporary identities?  Having asked the above questions, our  first hypothesis is that the motif of clothing in « La Robe Interdite » serves as a symbol of colonial oppression and cultural resistance, proposing that the protagonist’s relationship with her dress reflects broader themes of control and autonomy in post-colonial contexts. While the second hypothesis will be that Leila Sebbar’s « La Robe Interdite » illustrates how the colonial legacy shapes contemporary identities, suggesting that the female characters’ struggles with cultural and personal identity reflect the ongoing marginalisation of post-colonial societies in France. Furthermore, we will analyse themes of identity, trauma, and resistance seen throughout the narrative. This will help us to understand the lasting implications of colonialism, not just for Algerians, but for post-colonial societies globally. This article will showcase “La Robe Interdite” not simply as a literary work but as a lens through which the complexities of colonial legacy can be critically understood and engaged. We will engage in a qualitative textual analysis of “La robe interdite” using the post-colonial theory to ensure an in-depth understanding of the work and its socio-political implications. Additionally, this paper will appeal to scholars of post-colonial literature and students studying cultural studies. Drawing on post-colonial theory, we will examine how Sebbar uses the dress to expose the psychological scars of cultural dislocation, the gendered objectification inherent in colonial policies and the paradoxical power of tailored resistance. Post-Colonial Theory focuses on the effects and aftermath of colonialism on cultures and societies. It will provide a framework for understanding the psychological and cultural ramifications experienced by characters in “La robe interdite”.