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Interrogating how Alexandria became enshrined as the exemplary cosmopolitan space in the Middle East, this book mounts a radical critique of Eurocentric conceptions of cosmopolitanism. The dominant account of Alexandrian cosmopolitanism elevates things European in the city's culture and simultaneously places things Egyptian under the sign of decline. The book goes beyond this civilization/barbarism binary to trace other modes of intercultural solidarity. Halim presents a comparative study of literary representations, addressing poetry, fiction, guidebooks, and operettas, among other genres. She reappraises three writers--C. P. Cavafy, E. M. Forster, and Lawrence Durrell-- whom she maintains have been cast as the canon of Alexandria. Attending to issues of genre, gender, ethnicity, and class, she refutes the view that these writers' representations are largely congruent and uncovers a variety of positions ranging from Orientalist to anti-colonial. The book then turns to Bernard de Zogheb, a virtually unpublished writer, and elicits his Camp parodies of elite Levantine mores in operettas one of which centers on Cavafy. Drawing on Arabic critical and historical texts, as well as contemporary writers' and filmmakers' engagement with the canonical triumvirate, Halim orchestrates an Egyptian dialogue with the European representations.
Images and Self-Images from Pre-Islamic to Modern Times
What is an Arab? Though many in the West would answer that question with simplistic stereotypes, the reality is far more complex and interesting. Arabs themselves have been debating Arab identity since pre-Islamic times, coming to a variety of conclusions about the nature and extent of their “Arabness.” Likewise, Westerners and others have attempted to analyze Arab identity, reaching mostly negative conclusions about Arab culture and capacity for self-government. To bring new perspectives to the question of Arab identity, Iraqi-born scholar Nissim Rejwan has assembled this fascinating collection of writings by Arab and Western intellectuals, who try to define what it means to be Arab. He begins with pre-Islamic times and continues to the last decades of the twentieth century, quoting thinkers ranging from Ibn Khaldun to modern writers such as al-Ansari, Haykal, Ahmad Amin, al-'Azm, and Said. Through their works, Rejwan shows how Arabs have grappled with such significant issues as the influence of Islam, the rise of nationalism, the quest for democracy, women's status, the younger generation, Egypt's place in the Arab world, Israel's role in Middle Eastern conflict, and the West's “cultural invasion.” By letting Arabs speak for themselves, Arabs in the Mirror refutes a prominent Western stereotype—that Arabs are incapable of self-reflection or self-government. On the contrary, it reveals a rich tradition of self-criticism and self-knowledge in the Arab world.
Turkish-German Literatures from Nadolny to Pamuk
What do R.K. Narayan, G.V. Desani, Anita Desai, Zulfikar Ghose, Suniti Namjoshi, and Salman Rushdie have in common?
They represent Indian writing in English over five decades. Vilified by many cultural nationalists for not writing in native languages, they nonetheless present a critique of the historical and cultural conditions that promoted and sustained writing in English. They also have in common a counterrealist aesthetic that asks its own social, political, and textual questions.
This book is about the need to look at the tradition of Indian writing in English from the perspective of counterrealism. The departure from the conventions of mimetic writing not only challenges the limits of realism but also enables Indo-Anglian authors to access formative areas of colonial experience.
Kanaganayakam analyzes the fiction of writers who work in this vibrant Indo-Anglian tradition and demonstrates patterns of continuity and change during the last five decades. Each chapter draws attention to what is distinctive about the artifice in each author while pointing to the features that connect them. The book concludes with a study of contemporary writing and its commitment to non-mimetic forms.
Two Qajar Tracts
At the close of the nineteenth century, modern ideas of democracy and equality were slowly beginning to take hold in Iran. Exposed to European ideas about law, equality, and education, upper- and middle-class men and women increasingly questioned traditional ideas about the role of women and their place in society. In apparent response to this emerging independence of women, an anonymous author penned The Education of Women, a small booklet published in 1889. This guide, aimed at husbands as much as at wives, instructed women on how to behave toward their husbands, counseling them on proper dress, intimacy, and subservience. One woman, Bibi Khanom Astarabadi, took up the author’s challenge and wrote a refutation of the guide’s arguments. An outspoken mother of seven, Astarabadi established the first school for girls in Tehran and often advocated for the rights of women. In The Vices of Men, she details the flaws of men, offering a scathing diatribe on the nature of men’s behavior toward women. Astarabadi mixes the traditional florid style of the time with street Persian, slang words, and bawdy language. This new edition, the first to be translated into English, faithfully preserves the style and irreverent tone of the essays. The two texts, together with an introduction and afterword situating both within the customs, language, and social life of Iran, offer a rare candid dialogue.
Embodying Human Rights in World Literature
Over the past fifty years, debates about human rights have assumed an increasingly prominent place in postcolonial literature and theory. Writers from Salman Rushdie to Nawal El Saadawi have used the novel to explore both the possibilities and challenges of enacting and protecting human rights, particularly in the Global South. In Fictions of Dignity, Elizabeth S. Anker shows how the dual enabling fictions of human dignity and bodily integrity contribute to an anxiety about the body that helps to explain many of the contemporary and historical failures of human rights, revealing why and how lives are excluded from human rights protections along the lines of race, gender, class, disability, and species membership. In the process, Anker examines the vital work performed by a particular kind of narrative imagination in fostering respect for human rights. Drawing on phenomenology, Anker suggests how an embodied politics of reading might restore a vital fleshiness to the overly abstract, decorporealized subject of liberal rights.
Each of the novels Anker examines approaches human rights in terms of limits and paradoxes. Rushdie's Midnight's Children addresses the obstacles to incorporating rights into a formerly colonized nation's legal culture. El Saadawi's Woman at Point Zero takes up controversies over women's freedoms in Islamic society. In Disgrace, J. M. Coetzee considers the disappointments of post-apartheid reconciliation in South Africa. And in The God of Small Things, Arundhati Roy confronts an array of human rights abuses widespread in contemporary India. Each of these literary case studies further demonstrates the relevance of embodiment to both comprehending and redressing the failures of human rights, even while those narratives refuse simplistic ideals or solutions.
Israeli Arab and Jewish Writers Re-Visioning Culture
Despite the tragic reality of the continuing Israeli-Arab conflict and deep-rooted beliefs that the chasm between Israeli Jews and Israeli Arabs is unbridgeable, this book affirms the bonds between the two communities. Rachel Feldhay Brenner demonstrates that the literatures of both ethnic groups defy the ideologies that have obstructed dialogue between the two peoples.
Brenner argues that literary critics have ignored the variety and the dissent in the novels of both Arab and Jewish writers in Israel, giving them interpretations that embrace the politics of exclusion and conform with Zionist ideology. Brenner offers insightful new readings that compare fiction by Jewish writers Amos Oz, A.B. Yehoshua, David Grossman, and others with fiction written in Hebrew by such Arab-Israeli writers as Atallah Mansour, Emile Habiby, and Anton Shammas. This parallel analysis highlights the moral and psychological dilemmas faced by both the Jewish victors and the Arab vanquished, and Brenner suggests that the hope for release from the historical trauma lies—on both sides—in reaching an understanding with and of the adversary.
Drawing upon the theories of Walter Benjamin, Jacques Lacan, Sigmund Freud, Emanuel Levinas, and others, Inextricably Bonded is an innovative and illuminating examination of literary dissent from dominant ideology.
With the untimely death of Edward W. Said in 2003, various academic and public intellectuals worldwide have begun to reassess the writings of this powerful oppositional intellectual. Figures on the neoconservative right have already begun to discredit Saids work as that of a subversive intent on slandering Americas benign global image and undermining its global authority. On the left, a significant number of oppositional intellectuals are eager to counter this neoconservative vilification, proffering a Said who, in marked opposition to the anti-humanism? of the great poststructuralist thinkers who were his contemporaries--Jacques Derrida, Jean-Francois Lyotard, Jacques Lacan, Louis Althusser, and Michel Foucault--reaffirms humanism and thus rejects poststructuralist theory._x000B__x000B_In this provocative assessment of Edward Saids lifework, William V. Spanos argues that Saids lifelong anti-imperialist project is actually a fulfillment of the revolutionary possibilities of poststructuralist theory. Spanos examines Said, his legacy, and the various texts he wrote--including Orientalism, Culture and Imperialism, and Humanism and Democratic Criticism--that are now being considered for their lasting political impact.