حدود البوليفونية في النص الروائي الجزائري : صوت الرواية و صدى الشاعر

Abstract EN

Polyphony requires a harmony between novels’textures, and parallel - despite the inconsistency and conflict –between active selvesso as toset off intandem with each other to generate closely interlinked narrative paths Thus, no voice will be emphasized at the expense of the other in a way that reflects a textualbias for anidea/character/a particular act.Intellectual centralities and narrative dependencies are also to disappear provided that each voice maintains its core and features reflecting its presence at the level of external context that imposed it in the fictional text as a partner and narrative support invoked to express about and for it rather than through and by it.

In this sense, the researcher- after reading a few Algerian novels- started from the ideathat a great deal of these novels tend -because of cultural and ideological forces- to stunt –functionally- the role of the text as a partner.

This spawned, for the reader, monophonic outcomes that believe in a narrative centrality with a unique intellectual pole.

Therefore, these texts rallied as many narrative mechanisms as it could and exploited all the language capabilities that are available in order to prove its dominance over the other/ the different at a time when these should be believing in the culture of disagreement and narrative coexistence even though they ultimately have a preference for a particular voice.