equally necessitates the same measures of a consideration of Algerian and French exchange, rapport, and influence—the first chapter of my book The Franco-Algerian War through a Twenty-First Century Lens proposes the term transcinema to describe such cinematic interaction in the twentieth century.) Orlando interrogates even while employing terms such as “litt erature-monde” and “identit e-monde” in order to define the contemporary climate as one that realizes and rewards transnational exchange on financial and cultural platforms. Selecting the most popular of today’s Algerian literary voices—Maïssa Bey and Kamel Daoud, both of whom live in Algeria—Orlando finds that the spirit of the 50 s continues to resound in Algerian literary confrontations with history. If the stylistic tendencies of the new novel are less apparent today, the rupture with accepted norms that lies at the root of the new novel’s inquiry remains intrinsic to Algerian literature.

中文翻译：

---

马塞拉·克雷斯波·布图龙。对话：Nuevas lecturas sobre la obra de María Rosa Lojo

同样需要考虑阿尔及利亚和法国的交流、融洽和影响的相同措施——我的书《二十世纪镜头中的法阿尔及利亚战争》的第一章提出了“跨电影”一词来描述 20 世纪的这种电影互动.) 奥兰多甚至在使用“litt erature-monde”和“identit e-monde”等术语的同时进行审问，以将当代气候定义为一种在金融和文化平台上实现和奖励跨国交流的气候。选择当今最流行的阿尔及利亚文学声音——Maïssa Bey 和 Kamel Daoud，他们都住在阿尔及利亚——奥兰多发现 50 年代的精神继续在阿尔及利亚文学与历史的对抗中回荡。如果今天新小说的文体倾向不那么明显，