Pub Date : 2019-12-03DOI: 10.5422/fordham/9780823286362.003.0004
Hoda El Shakry
Chapter 3 explores the use of Qurʾanic imagery and intertextuality in al-Ṭāhir Waṭṭār’s (1936–2010) apocalyptic 1974 novel al-Zilzāl [the Earthquake]. The novel follows the misanthropic Shaykh ʿAbd al-Majīd Bū al-Arwāḥ as his capitalist aspirations are thwarted by Algerian socialist reforms and increasingly prescient images of the earthquake of the Day of Resurrection. Its satirical portrayal of Bū al-Arwāḥ calls attention to the complicity of the religious elite with French colonialism. By reworking the symbols and mythology of Islamic eschatology, al-Zilzāl challenges hegemonic discourses of Arabism and Islamism in Algerian nationalist discourse. The chapter reads the novel against the grain of Waṭṭār’s own false binary of Arabic (national) and Francophone (non-national) literature. It does so by examining the work’s generic hybridity, conscious manipulation of narrative time and space, as well as its incorporation of the Qurʾan alongside various registers of the Arabic language.
{"title":"Apocalyptic Aftershocks in al-Ṭāhir Waṭṭār’s Al-zilzāl","authors":"Hoda El Shakry","doi":"10.5422/fordham/9780823286362.003.0004","DOIUrl":"https://doi.org/10.5422/fordham/9780823286362.003.0004","url":null,"abstract":"Chapter 3 explores the use of Qurʾanic imagery and intertextuality in al-Ṭāhir Waṭṭār’s (1936–2010) apocalyptic 1974 novel al-Zilzāl [the Earthquake]. The novel follows the misanthropic Shaykh ʿAbd al-Majīd Bū al-Arwāḥ as his capitalist aspirations are thwarted by Algerian socialist reforms and increasingly prescient images of the earthquake of the Day of Resurrection. Its satirical portrayal of Bū al-Arwāḥ calls attention to the complicity of the religious elite with French colonialism. By reworking the symbols and mythology of Islamic eschatology, al-Zilzāl challenges hegemonic discourses of Arabism and Islamism in Algerian nationalist discourse. The chapter reads the novel against the grain of Waṭṭār’s own false binary of Arabic (national) and Francophone (non-national) literature. It does so by examining the work’s generic hybridity, conscious manipulation of narrative time and space, as well as its incorporation of the Qurʾan alongside various registers of the Arabic language.","PeriodicalId":166830,"journal":{"name":"The Literary Qur'an","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114066286","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}
Chapter 4 examines Assia Djebar’s (1936–2015) celebrated 1985 novel L’amour, la fantasia [translated as Fantasia: An Algerian Cavalcade]. The work is a palimpsest of texts that weaves together: French archival records and eyewitness accounts of the occupation of Algeria in the 1830s, oral histories recorded in Algerian dialect and Tamazight by women involved in the war of independence from 1954 through 1962, as well as Djebar’s personal memories and reflections. The chapter argues that Djebar models a practice of ethical reading [ijtihād] in her re-narration of official histories and archives—colonial, national, as well as Islamic. It resituates L’amour, la fantasia, outside of the postcolonial, feminist, and Francophone critical paradigms that dominate the copious scholarship on her work. However, rather than reading gender and language as external to Qurʾanic intertextuality, the chapter emphasizes how they inform and shape Djebar’s narrative ethics—largely through the novel’s insistence on orality and embodiment.
第四章考察了亚西亚·杰巴尔(1936-2015)1985年的著名小说《幻想曲:阿尔及利亚骑兵》(L’amour, la fantasia)。这部作品是对文本的重写，交织在一起:19世纪30年代法国对阿尔及利亚占领的档案记录和目击者的描述，1954年至1962年参与独立战争的妇女用阿尔及利亚方言和塔马兹特语记录的口述历史，以及杰巴尔的个人记忆和反思。这一章认为，Djebar在她对官方历史和档案的重新叙述中，树立了一种伦理阅读的典范[ijtihād]，这些历史和档案包括殖民时期的、国家的以及伊斯兰教的。它保留了《爱情、幻想曲》，超越了后殖民主义、女权主义和法语国家的批评范式，这些范式主导了大量关于她作品的学术研究。然而，这一章并没有把性别和语言看作是古兰经互文性的外部因素，而是强调了它们是如何影响和塑造杰巴尔的叙事伦理的——主要是通过小说对口头性和具体化的坚持。
{"title":"4. The Polyphonic Hermeneutics of Assia Djebar’s L’amour, la fantasia","authors":"Hoda El Shakry","doi":"10.2307/j.ctvsf1q5b.10","DOIUrl":"https://doi.org/10.2307/j.ctvsf1q5b.10","url":null,"abstract":"Chapter 4 examines Assia Djebar’s (1936–2015) celebrated 1985 novel L’amour, la fantasia [translated as Fantasia: An Algerian Cavalcade]. The work is a palimpsest of texts that weaves together: French archival records and eyewitness accounts of the occupation of Algeria in the 1830s, oral histories recorded in Algerian dialect and Tamazight by women involved in the war of independence from 1954 through 1962, as well as Djebar’s personal memories and reflections. The chapter argues that Djebar models a practice of ethical reading [ijtihād] in her re-narration of official histories and archives—colonial, national, as well as Islamic. It resituates L’amour, la fantasia, outside of the postcolonial, feminist, and Francophone critical paradigms that dominate the copious scholarship on her work. However, rather than reading gender and language as external to Qurʾanic intertextuality, the chapter emphasizes how they inform and shape Djebar’s narrative ethics—largely through the novel’s insistence on orality and embodiment.","PeriodicalId":166830,"journal":{"name":"The Literary Qur'an","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121823767","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}
Literary critic and novelist Muḥammad Barrāda’s (b.1938) experimental 1987 Luʿbat al-Nisyān [the Game of Forgetting] is considered the Arabic postmodernist novel par excellence. The “nuṣ riwāʾī” [novelistic text] oscillates between historical, narrative, and meta-narrative time, as well as between diegetic and meta-textual narrators. Rather than aligning its authorial decentering and rhizomatic narrative structure with the collapsing of theological discourse as a totalizing force, this chapter reads Luʿbat al-Nisyān through Qurʾanic narratology and intertextuality. It situates the novel, on the one hand, in relation to Barrāda’s extensive critical writings on literary experimentation [tajrīb] and translation of Mikhail Bakhtin. On the other, it theorizes the work through narrative and formal modes and inflected by the Qurʾan—such as iltifāt, or rhetorical code-switching. Moreover, Luʿbat al-Nisyān’s use of multiple narrative perspectives and genealogies critically interrogates the hermeneutical practices surrounding the documentation, verification, and transmission of the apostolic tradition of hadith.
文学评论家、小说家Muḥammad Barrāda (b.1938)的实验作品《遗忘的游戏》被认为是阿拉伯后现代主义小说的杰出代表。“小说文本”在历史时间、叙事时间和元叙事时间，以及叙事时间和元文本时间之间摇摆不定。本章并没有将其作者的去中心化和根茎式的叙事结构与神学话语作为一种整体力量的崩溃结合起来，而是通过古兰经叙事学和互文性来解读《路·卜》al-Nisyān。一方面，它将小说置于Barrāda关于文学实验的广泛批评著作和米哈伊尔·巴赫金(Mikhail Bakhtin)的翻译之间。另一方面，它通过叙事和形式模式将作品理论化，并受到古兰经的影响，如iltifāt，或修辞代码转换。此外，Lu - bat al-Nisyān使用了多种叙事视角和家谱，批判性地质疑了围绕使徒圣训传统的文档、验证和传播的解释学实践。
{"title":"6. Threads of Transmission in Muḥammad Barrāda’s Luʿbat al-nisyān","authors":"Hoda El Shakry","doi":"10.2307/j.ctvsf1q5b.12","DOIUrl":"https://doi.org/10.2307/j.ctvsf1q5b.12","url":null,"abstract":"Literary critic and novelist Muḥammad Barrāda’s (b.1938) experimental 1987 Luʿbat al-Nisyān [the Game of Forgetting] is considered the Arabic postmodernist novel par excellence. The “nuṣ riwāʾī” [novelistic text] oscillates between historical, narrative, and meta-narrative time, as well as between diegetic and meta-textual narrators. Rather than aligning its authorial decentering and rhizomatic narrative structure with the collapsing of theological discourse as a totalizing force, this chapter reads Luʿbat al-Nisyān through Qurʾanic narratology and intertextuality. It situates the novel, on the one hand, in relation to Barrāda’s extensive critical writings on literary experimentation [tajrīb] and translation of Mikhail Bakhtin. On the other, it theorizes the work through narrative and formal modes and inflected by the Qurʾan—such as iltifāt, or rhetorical code-switching. Moreover, Luʿbat al-Nisyān’s use of multiple narrative perspectives and genealogies critically interrogates the hermeneutical practices surrounding the documentation, verification, and transmission of the apostolic tradition of hadith.","PeriodicalId":166830,"journal":{"name":"The Literary Qur'an","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123958148","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：