Pub Date : 2020-12-31DOI: 10.14361/9783839450482-008
M. Schmitz
I have always distrusted the Orientalist obsession with origins and roots in which seeing the Orientals’ true roots is hardly anything more than a function of where the Occidental stands.This is the first reason I would have liked to skip the question of beginnings entirely. I wanted no essentialist excuses for my approach to reading Anglophone Arab works. I would have preferred being liberated from the arguable obligation to begin my study by naming selected preand interstices among all other possible beginnings. I wanted to approach Anglophone Arab works as selfconscious works of art and literature without any Orientalist pre-qualification and without using any culturally specific interpretive code. There would have been no beginnings and no endings, no pre-texts and no intertexts of importance, and no interpretive prefiguration. Instead, Anglophone Arab articulations would have been approached as autonomous aesthetic works with their own sense of achievement beyond their existence as Anglophone carriers of Arab culture. They would be explained right from their respective inside, and they would be approached at the moment of their individual emergence. Their unique truth would firmly stand within the self-proceeding text or image, and that truth would emerge immediately from these representations’ close reading. Yet, the noble but equally naïve wish of recognizing Anglophone Arab works by universal standards in their pure aesthetic existence and not by using any particular (Anglo-)Arab predicament as the interpretive matrix would have run the risk of ignoring these aesthetics’ specific correlations, both regarding their discursive formation as well as with a view to their potential and de-facto discursive effectivity. The archival arrangement of possible Anglophone Arab statements and the terms by which we recognize the appearance of these statements—the order of Anglophone Arab discourse, so to speak—is much too striking regarding its non-intentional
{"title":"6. The Challenge of Anglophone Arab Studies: For a Post-Integrationist Critical Practice","authors":"M. Schmitz","doi":"10.14361/9783839450482-008","DOIUrl":"https://doi.org/10.14361/9783839450482-008","url":null,"abstract":"I have always distrusted the Orientalist obsession with origins and roots in which seeing the Orientals’ true roots is hardly anything more than a function of where the Occidental stands.This is the first reason I would have liked to skip the question of beginnings entirely. I wanted no essentialist excuses for my approach to reading Anglophone Arab works. I would have preferred being liberated from the arguable obligation to begin my study by naming selected preand interstices among all other possible beginnings. I wanted to approach Anglophone Arab works as selfconscious works of art and literature without any Orientalist pre-qualification and without using any culturally specific interpretive code. There would have been no beginnings and no endings, no pre-texts and no intertexts of importance, and no interpretive prefiguration. Instead, Anglophone Arab articulations would have been approached as autonomous aesthetic works with their own sense of achievement beyond their existence as Anglophone carriers of Arab culture. They would be explained right from their respective inside, and they would be approached at the moment of their individual emergence. Their unique truth would firmly stand within the self-proceeding text or image, and that truth would emerge immediately from these representations’ close reading. Yet, the noble but equally naïve wish of recognizing Anglophone Arab works by universal standards in their pure aesthetic existence and not by using any particular (Anglo-)Arab predicament as the interpretive matrix would have run the risk of ignoring these aesthetics’ specific correlations, both regarding their discursive formation as well as with a view to their potential and de-facto discursive effectivity. The archival arrangement of possible Anglophone Arab statements and the terms by which we recognize the appearance of these statements—the order of Anglophone Arab discourse, so to speak—is much too striking regarding its non-intentional","PeriodicalId":119567,"journal":{"name":"Transgressive Truths and Flattering Lies","volume":"94 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114086921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.14361/9783839450482-006
M. Schmitz
Perhaps there is no narrative that can better accommodate the desire of Western mainstream readers to unveil and penetrate the hidden worlds, bodies, and minds of Arabs than The Arabian Nights. If Miguel de Cervantes’s Don Quixote is the Andalusian mother of the modern European novel, Alf Layla wa Layla, known in English as One Thousand and One Nights or The Arabian Nights, is truly its Arabic grandmother. By 1908, Martha Pike Conant had already dubbed the assemblage of parables, fables, and stories “the fairy godmother of the English novel.” Given the enthusiastic exoticism almost intrinsically linked to the long history of selective receptions, tendentious translations, and literary assimilations of the Nights in the West, some might be surprised to find its transgeneric mode of spinning stories within stories at work in the formation and transformation of Anglophone Arab representations. Sure, the strategy of firmly inserting Arab representations into the lasting and, by now, transnational narrative tradition running from Antoine Galland’s twelve-volume transference, Les mille et une nuits (1704–1708), to the latest adaptations by Hollywood and the tourism industry or the net spheres of video and platform games perfectly makes sense for works that are meant to reach a global audience by way of Orientalizing themselves. But the seemingly well-established functional route of self-marketing can hardly be adapted (at least not in an unbroken way) in those representations in which I am predominantly interested here: representations that, although they do not necessarily explicitly counter dominant perceptions of Arabs, often desperately struggle to emancipate themselves from the globalized Orientalist archive and its truth effects. However, if we consider not only the Nights’s almost unrivaled place in what we are used to calling world literature but also keep in mind this work’s profound influence on the global production of Orientalist theater, opera, music, painting, architecture, and popular
也许没有比《一千零一夜》更能迎合西方主流读者揭开和穿透阿拉伯人隐藏的世界、身体和思想的欲望了。如果说米格尔·德·塞万提斯的《堂吉诃德》是现代欧洲小说的安达卢西亚母亲，那么《一千零一夜》或《一千零一夜》中的阿尔夫·莱拉就是《堂吉诃德》真正的阿拉伯祖母。到1908年，玛莎·派克·科南特已经把这部寓言、寓言和故事的合集称为“英国小说的仙女教母”。考虑到热情的异国情调几乎与《西方之夜》的选择性接受、有倾向性的翻译和文学同化的悠久历史有着内在的联系，一些人可能会惊讶地发现，它在故事中编织故事的跨类模式在英语阿拉伯表现形式的形成和转变中起作用。当然，从安托万·加朗(Antoine Galland)的十二卷本《千年和一群人》(Les mille et une nuits, 1704-1708)到好莱坞和旅游业的最新改编，再到视频和平台游戏的网络领域，将阿拉伯的表现牢牢地插入到持久的、到目前为止的跨国叙事传统中，这种策略对于那些旨在通过东方化的方式吸引全球观众的作品来说，是完全有意义的。但是，自我营销的看似行之有效的功能路线很难(至少不是以一种不间断的方式)适用于我在这里主要感兴趣的那些表述:尽管这些表述不一定明确地反对对阿拉伯人的主流看法，但它们往往拼命地挣扎着将自己从全球化的东方主义档案及其真相影响中解放出来。然而，如果我们不仅考虑到《夜》在我们所习惯的世界文学中几乎无与伦比的地位，还考虑到这部作品对东方主义戏剧、歌剧、音乐、绘画、建筑和流行音乐的全球生产的深远影响
{"title":"4. Nocturnal Traces and Voyaging Critique: From Shahrazad to Said","authors":"M. Schmitz","doi":"10.14361/9783839450482-006","DOIUrl":"https://doi.org/10.14361/9783839450482-006","url":null,"abstract":"Perhaps there is no narrative that can better accommodate the desire of Western mainstream readers to unveil and penetrate the hidden worlds, bodies, and minds of Arabs than The Arabian Nights. If Miguel de Cervantes’s Don Quixote is the Andalusian mother of the modern European novel, Alf Layla wa Layla, known in English as One Thousand and One Nights or The Arabian Nights, is truly its Arabic grandmother. By 1908, Martha Pike Conant had already dubbed the assemblage of parables, fables, and stories “the fairy godmother of the English novel.” Given the enthusiastic exoticism almost intrinsically linked to the long history of selective receptions, tendentious translations, and literary assimilations of the Nights in the West, some might be surprised to find its transgeneric mode of spinning stories within stories at work in the formation and transformation of Anglophone Arab representations. Sure, the strategy of firmly inserting Arab representations into the lasting and, by now, transnational narrative tradition running from Antoine Galland’s twelve-volume transference, Les mille et une nuits (1704–1708), to the latest adaptations by Hollywood and the tourism industry or the net spheres of video and platform games perfectly makes sense for works that are meant to reach a global audience by way of Orientalizing themselves. But the seemingly well-established functional route of self-marketing can hardly be adapted (at least not in an unbroken way) in those representations in which I am predominantly interested here: representations that, although they do not necessarily explicitly counter dominant perceptions of Arabs, often desperately struggle to emancipate themselves from the globalized Orientalist archive and its truth effects. However, if we consider not only the Nights’s almost unrivaled place in what we are used to calling world literature but also keep in mind this work’s profound influence on the global production of Orientalist theater, opera, music, painting, architecture, and popular","PeriodicalId":119567,"journal":{"name":"Transgressive Truths and Flattering Lies","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133153192","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.14361/9783839450482-007
M. Schmitz
{"title":"5. Reading Anglophone Arab Enunciations Across Genres: Narrative Display, Performative Evidence, and the Parafiction of Theory","authors":"M. Schmitz","doi":"10.14361/9783839450482-007","DOIUrl":"https://doi.org/10.14361/9783839450482-007","url":null,"abstract":"","PeriodicalId":119567,"journal":{"name":"Transgressive Truths and Flattering Lies","volume":"459 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122168564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.14361/9783839450482-002
M. Schmitz
{"title":"0. Setting in Motion: The Trans-Location of Anglophone Arab Cultures","authors":"M. Schmitz","doi":"10.14361/9783839450482-002","DOIUrl":"https://doi.org/10.14361/9783839450482-002","url":null,"abstract":"","PeriodicalId":119567,"journal":{"name":"Transgressive Truths and Flattering Lies","volume":"54 9","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120851020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.14361/9783839450482-005
M. Schmitz
First published in 1911, Ameen Fares Rihani’sThe Book of Khalid has long remained neglected in the intellectual history of both the Arab world and North America. In 2012, it was republished by Melville House’s Neversink Library, thanks to the efforts of Todd Fine and his Project Khalid, a campaign to commemorate the book’s centennial anniversary. Written in English by a self-identified Arab, the novel is usually perceived as the inaugural text of Arab-American immigrant literature and is thus hastily assimilated into the gradually expanding national canon of so-called ethnic literatures. Additionally, other critics reclaim The Book of Khalid for Arab cultural history by placing it among the first modern Arab novels, thereby implicitly affirming the Eurocentric devaluation of earlier novelistic writings in Arabic. It is probably correct to say that the narrative anticipates many of the challenges related to the experience of geographic dislocation and the dynamics of translocal identification that are addressed in later Anglophone Arab migratory
{"title":"3. Khalid’s Book and How Not to Bow Down Before Rihani","authors":"M. Schmitz","doi":"10.14361/9783839450482-005","DOIUrl":"https://doi.org/10.14361/9783839450482-005","url":null,"abstract":"First published in 1911, Ameen Fares Rihani’sThe Book of Khalid has long remained neglected in the intellectual history of both the Arab world and North America. In 2012, it was republished by Melville House’s Neversink Library, thanks to the efforts of Todd Fine and his Project Khalid, a campaign to commemorate the book’s centennial anniversary. Written in English by a self-identified Arab, the novel is usually perceived as the inaugural text of Arab-American immigrant literature and is thus hastily assimilated into the gradually expanding national canon of so-called ethnic literatures. Additionally, other critics reclaim The Book of Khalid for Arab cultural history by placing it among the first modern Arab novels, thereby implicitly affirming the Eurocentric devaluation of earlier novelistic writings in Arabic. It is probably correct to say that the narrative anticipates many of the challenges related to the experience of geographic dislocation and the dynamics of translocal identification that are addressed in later Anglophone Arab migratory","PeriodicalId":119567,"journal":{"name":"Transgressive Truths and Flattering Lies","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132487662","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.14361/9783839450482-004
M. Schmitz
{"title":"2. Beginnings as Cultural Novelties: Intertexts and Discursive Affinities","authors":"M. Schmitz","doi":"10.14361/9783839450482-004","DOIUrl":"https://doi.org/10.14361/9783839450482-004","url":null,"abstract":"","PeriodicalId":119567,"journal":{"name":"Transgressive Truths and Flattering Lies","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134370884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.1515/9783839450482-002
C. Mathison
In season 5, episode 2 of the popular American television seriesHomeland, the former CIA officer Carrie Mathison, now in her new job as a security advisor to a hyper-humanitarian German oligarch, is escorted by Hezbollah militants through a Syrian refugee camp in Lebanon. The buildings and walls of the filmic setting are excessively covered with Arabic graffiti (fig. 1 and fig. 2). Among the messages spray-painted on the film set’s walls are “al-watan ‘unsuri (Homeland is racist),” “mafish watan (There is no Homeland),” and “al-watan batikh (Homeland is a watermelon).” One of the graffiti shows the Arabic transcription of the English words “Black lives matter.” What happened to the film set? Although the respective episode is set in an imagined Arab refugee camp, it was shot on an old factory site on the outskirts of Berlin. In the summer of 2015, the series’ producers hired a collective of Egyptian street artists to add authenticity to the camp’s location design. The artists known as Heba Yehia Amin, Caram Kapp, and Don Karl aka Stone used the unexpected opportunity to vent their political discontent with the controversial series. The drama was not only known for being one of President Barack Obama’s favorite TV shows but has also garnered the reputation of being among the most bigoted series for its undifferentiated and highly biased depiction of Arabs and Muslims. Although it supposedly questions America’s war
{"title":"0. Setting in Motion: The Trans-Location of Anglophone Arab Cultures","authors":"C. Mathison","doi":"10.1515/9783839450482-002","DOIUrl":"https://doi.org/10.1515/9783839450482-002","url":null,"abstract":"In season 5, episode 2 of the popular American television seriesHomeland, the former CIA officer Carrie Mathison, now in her new job as a security advisor to a hyper-humanitarian German oligarch, is escorted by Hezbollah militants through a Syrian refugee camp in Lebanon. The buildings and walls of the filmic setting are excessively covered with Arabic graffiti (fig. 1 and fig. 2). Among the messages spray-painted on the film set’s walls are “al-watan ‘unsuri (Homeland is racist),” “mafish watan (There is no Homeland),” and “al-watan batikh (Homeland is a watermelon).” One of the graffiti shows the Arabic transcription of the English words “Black lives matter.” What happened to the film set? Although the respective episode is set in an imagined Arab refugee camp, it was shot on an old factory site on the outskirts of Berlin. In the summer of 2015, the series’ producers hired a collective of Egyptian street artists to add authenticity to the camp’s location design. The artists known as Heba Yehia Amin, Caram Kapp, and Don Karl aka Stone used the unexpected opportunity to vent their political discontent with the controversial series. The drama was not only known for being one of President Barack Obama’s favorite TV shows but has also garnered the reputation of being among the most bigoted series for its undifferentiated and highly biased depiction of Arabs and Muslims. Although it supposedly questions America’s war","PeriodicalId":119567,"journal":{"name":"Transgressive Truths and Flattering Lies","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126335083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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