{"title":"Makdisi's War Memoir: Fragments of Self and Place","authors":"S. el-Naga","doi":"10.2307/1350051","DOIUrl":"https://doi.org/10.2307/1350051","url":null,"abstract":"","PeriodicalId":36717,"journal":{"name":"Alif","volume":"9 1","pages":"87"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88835099","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}
The article deals with the problematic reconstruction of the tragic autobiography of a clandestine. The book, Ahmed de Bourgogne is born of the collaboration between the clandestine ex-convict Ahmed Beneddif and the renowned French writer and social scientist Azouz Begag, both of whom are of Algerian origin and belong to the same beur generation in France. Begag who had already published his own, widely acclaimed autobiography, Le gone du Chaaba, renders Bennedif's fluid oral testimony into a structured literary account, thereby molding the self-representation of the subaltern subject. By adopting Beneddif's oral odyssey Begag writes his other unlived destiny--that of the anti-hero which, through personal perseverence, he was able to escape. Indeed, the encounter between Beneddif and Begag, crowned by the co-signed autobiography Ahmed de Bourgogne, provides both sides of the North African immigrant community's story in France. For Beneddif Ahmed de Bourgogne becomes the last chance for salvation, for Begag it becomes an act of redemption. The Beur Star and the Algerian Clandestine The parish of Saint-Michel in Lyon, France, is a well-known refuge for the down-trodden and the under-privileged of every race and ethnic group that seek its help. Father Christian Delorme, the activist priest who heads the parish, has regularly hosted hundreds of cases of desperate individuals and families in the parish residence. (1) He has frequently intervened on their behalf to rectify their situation whether with international organizations or with the French authorities. His political and social activism have also brought him into very close contact with equally militant intellectual circles working for human and political rights of various disadvantaged individuals and groups within France and elsewhere. In 1998 Father Delorme's parish became the ground for what one may consider the meeting of opposites: a highly successful young beur writer, Azouz Begag (2) and a clandestine Algerian ex-convict in France, Ahmed Beneddif. (3) Both men are of the same beur generation, however Begag holds the French nationality while Beneddif does not. Both were born in France to Algerian immigrant workers during the late 1950s and early 1960s; both consider France, not Algeria, their home and the country of their hybrid cultural, social, and political identities. They only came to discover Algeria, their parents' country of origin, late in life and as reluctant visitors. Begag and Beneddif went to school in France but while the former became a renowned writer and social scientist, the latter spent most of his adult life in prison cells and clandestine camps all over Europe and the Mediterranean basin. Both men sought refuge at the parish residence almost at the same time: Beneddif arrived there in 1997 to seek a solution for his illegal status in France, while Begag moved into the parish in 1998 to "paste together some pieces of [his] personal life that had fallen apart." (4) Two
本文探讨了一个秘密人物悲剧自传的重建问题。这本名为《艾哈迈德·德·勃艮第》的书诞生于秘密的前囚犯艾哈迈德·本尼迪夫和著名的法国作家和社会科学家阿祖兹·贝格之间的合作，他们都是阿尔及利亚裔，属于法国的同一代。Begag已经出版了他自己的广受好评的自传，Le gone du Chaaba，将Bennedif流畅的口头证词变成了一个结构化的文学叙述，从而塑造了这个次等主体的自我表现。通过采用贝尼迪夫的口头奥德赛，贝格写下了他的另一个没有生命的命运——通过个人的毅力，他得以逃脱的反英雄命运。事实上，贝尼迪夫和贝格的相遇，以及两人共同署名的自传《艾哈迈德·德·勃艮第》(Ahmed de Bourgogne)，提供了北非移民团体在法国的故事的两个方面。对本尼迪夫·艾哈迈德·德·勃艮第来说，这是拯救的最后机会，对贝格来说，这是一次救赎的行动。法国里昂的圣米歇尔教区是一个著名的避难所，为寻求帮助的各个种族和民族的受压迫和弱势群体提供庇护。领导教区的激进主义神父克里斯蒂安·德洛姆(Christian Delorme)定期在教区住所接待数百名绝望的个人和家庭。他经常代表他们进行干预，纠正他们在国际组织或法国当局的处境。他的政治和社会活动也使他与同样激进的知识分子圈子保持密切联系，这些知识分子在法国和其他地方为各种弱势个人和群体的人权和政治权利而工作。1998年，德洛姆神父的教区成为了人们可能认为是对立面相遇的地方:一个非常成功的年轻作家阿祖兹·贝格和一个在法国秘密的阿尔及利亚前囚犯艾哈迈德·本尼迪夫。两个人都是同代人，但是Begag拥有法国国籍，而Beneddif没有。两人都出生于20世纪50年代末和60年代初的法国，父母是阿尔及利亚移民工人;他们都认为法国，而不是阿尔及利亚，是他们的家，也是他们混合文化、社会和政治身份的国家。他们是在很晚的时候才来到阿尔及利亚——他们父母的原籍国，并且是不情愿的访客。贝格和贝尼迪夫曾在法国上学，但前者成为了著名的作家和社会科学家，后者成年后的大部分时间都在欧洲和地中海盆地的监狱和秘密营地度过。两人几乎同时在教区住所寻求庇护:贝尼迪夫于1997年来到这里，为他在法国的非法身份寻求解决方案，而贝格于1998年搬进教区，“将(他的)个人生活的一些碎片拼凑在一起。”两个处于危机中的人，各自占据了教区的一间孤独的房间。他们同样的无家可归使他们走得更近了，而他们明显的差异也逐渐消失在背景中。他们一起吃饭，一起慢跑，随着时间的流逝，贝尼迪夫开始向贝格讲述他破碎生活的片段，贝格不敢问他的过去。最终，这些碎片成形了，贝尼迪夫开始重建他在土耳其、突尼斯、摩洛哥、斯洛文尼亚、保加利亚、克罗地亚、意大利，最后是法国的漫长秘密旅程中的整个噩梦。本尼迪夫复述这些噩梦般的片段时，脖子上总是长出一阵痛苦的红丘疹，使他无法入睡，动弹不得。正是这次充满激情的邂逅造就了艾哈迈德·德·勃艮第(Ahmed de Bourgogne)，这是一部前所未有的文学作品，见证了一个秘密人物一生中尚未言说的悲剧。…
{"title":"Ahmed De Bourgogne the Impossible Autobiography of a Clandestine","authors":"S. Mehrez","doi":"10.2307/1350049","DOIUrl":"https://doi.org/10.2307/1350049","url":null,"abstract":"The article deals with the problematic reconstruction of the tragic autobiography of a clandestine. The book, Ahmed de Bourgogne is born of the collaboration between the clandestine ex-convict Ahmed Beneddif and the renowned French writer and social scientist Azouz Begag, both of whom are of Algerian origin and belong to the same beur generation in France. Begag who had already published his own, widely acclaimed autobiography, Le gone du Chaaba, renders Bennedif's fluid oral testimony into a structured literary account, thereby molding the self-representation of the subaltern subject. By adopting Beneddif's oral odyssey Begag writes his other unlived destiny--that of the anti-hero which, through personal perseverence, he was able to escape. Indeed, the encounter between Beneddif and Begag, crowned by the co-signed autobiography Ahmed de Bourgogne, provides both sides of the North African immigrant community's story in France. For Beneddif Ahmed de Bourgogne becomes the last chance for salvation, for Begag it becomes an act of redemption. The Beur Star and the Algerian Clandestine The parish of Saint-Michel in Lyon, France, is a well-known refuge for the down-trodden and the under-privileged of every race and ethnic group that seek its help. Father Christian Delorme, the activist priest who heads the parish, has regularly hosted hundreds of cases of desperate individuals and families in the parish residence. (1) He has frequently intervened on their behalf to rectify their situation whether with international organizations or with the French authorities. His political and social activism have also brought him into very close contact with equally militant intellectual circles working for human and political rights of various disadvantaged individuals and groups within France and elsewhere. In 1998 Father Delorme's parish became the ground for what one may consider the meeting of opposites: a highly successful young beur writer, Azouz Begag (2) and a clandestine Algerian ex-convict in France, Ahmed Beneddif. (3) Both men are of the same beur generation, however Begag holds the French nationality while Beneddif does not. Both were born in France to Algerian immigrant workers during the late 1950s and early 1960s; both consider France, not Algeria, their home and the country of their hybrid cultural, social, and political identities. They only came to discover Algeria, their parents' country of origin, late in life and as reluctant visitors. Begag and Beneddif went to school in France but while the former became a renowned writer and social scientist, the latter spent most of his adult life in prison cells and clandestine camps all over Europe and the Mediterranean basin. Both men sought refuge at the parish residence almost at the same time: Beneddif arrived there in 1997 to seek a solution for his illegal status in France, while Begag moved into the parish in 1998 to \"paste together some pieces of [his] personal life that had fallen apart.\" (4) Two","PeriodicalId":36717,"journal":{"name":"Alif","volume":"817 1","pages":"36"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90224707","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}
Sophia Poole (1804-91) was the sister of the Arabist Edward William Lane, She visited Egypt and wrote a book, in three volumes, about Egyptian women which was meant to be a companion book to Lane's Manners and Customs of the Modern Egyptians (1836). The Englishwoman in Egypt (1844-46), always regarded as a correct and objective representation of Egyptian women, is also a reflection of the writer's own visualization and inscription of her identity. Poole, this article argues, defined herself as both an English person and a woman, two aspects that were hard to reconcile at the time. Poole was faced with a conflict which she tried to resolve by both complying with her gender identity and creating a role for herself as a functional Britisher. Yet, she did this largely at the expense of Egyptian women. ********** Sophia Poole, sister of the Arabist Edward William Lane, established herself as a writer after the publication of her text, The Englishwoman in Egypt (1844-46). The text was pronounced a success immediately after its publication, enjoyed a good reception, and a second edition of it appeared the following year in America (Kararah 153). According to Stanley Lane-Poole, the writer's grandson, who is regarded as an authority on the topic, The Englishwoman in Egypt "gained for her [Poole] ... a place in literature" (121). After the lapse of a century and a half, in 1994, Jane Robinson, author of the anthology of women travelers, Wayward Women, wrote of Poole: When her highly popular accounts of a lady's life in Egypt were published back in London, they caused a mild sensation. It might be permissible for a learned chap like Lane to immerse himself in the exotic culture of the East--but an Englishwoman? A Christian wife and mother dressing herself up in Turkish "trousers" and visiting the city's harems? Living in what she insisted is a haunted house, and witnessing barbarous murders almost on her own doorstep? And, worst of all, taking Turkish baths with the natives? Sophia tempered the sensationalist--with a serious study--to complement Lane's Manners and Customs of the Modern Egyptians--of the habits and customs of harem life in Cairo ... and qualified herself admirably to write a definitive text to Filth's stupendous photographs of Egypt in the 1850s. (Robinson 305. Emphasis in original.) Robinson's writing on Poole is representative of the current feminist view of our writer. Robinson makes the double argument of the oppression of white women under white patriarchy, and points out Poole's admirable qualification of herself as a competent writer whose work can be placed on equal footing with Lane's and Francis Frith's. Such readings create the double problematic of constructing the female self as a one coherent self that verges on the heroic, thereby following in the footsteps of patriarchal definition and practice. Such readings also tend to applaud imperial perceptions and colonial collaboration rather than acknowledge the rights of the topic
{"title":"Sophia Poole: Writing the Self, Scribing Egyptian Women","authors":"S. Abdel-Hakim","doi":"10.2307/1350052","DOIUrl":"https://doi.org/10.2307/1350052","url":null,"abstract":"Sophia Poole (1804-91) was the sister of the Arabist Edward William Lane, She visited Egypt and wrote a book, in three volumes, about Egyptian women which was meant to be a companion book to Lane's Manners and Customs of the Modern Egyptians (1836). The Englishwoman in Egypt (1844-46), always regarded as a correct and objective representation of Egyptian women, is also a reflection of the writer's own visualization and inscription of her identity. Poole, this article argues, defined herself as both an English person and a woman, two aspects that were hard to reconcile at the time. Poole was faced with a conflict which she tried to resolve by both complying with her gender identity and creating a role for herself as a functional Britisher. Yet, she did this largely at the expense of Egyptian women. ********** Sophia Poole, sister of the Arabist Edward William Lane, established herself as a writer after the publication of her text, The Englishwoman in Egypt (1844-46). The text was pronounced a success immediately after its publication, enjoyed a good reception, and a second edition of it appeared the following year in America (Kararah 153). According to Stanley Lane-Poole, the writer's grandson, who is regarded as an authority on the topic, The Englishwoman in Egypt \"gained for her [Poole] ... a place in literature\" (121). After the lapse of a century and a half, in 1994, Jane Robinson, author of the anthology of women travelers, Wayward Women, wrote of Poole: When her highly popular accounts of a lady's life in Egypt were published back in London, they caused a mild sensation. It might be permissible for a learned chap like Lane to immerse himself in the exotic culture of the East--but an Englishwoman? A Christian wife and mother dressing herself up in Turkish \"trousers\" and visiting the city's harems? Living in what she insisted is a haunted house, and witnessing barbarous murders almost on her own doorstep? And, worst of all, taking Turkish baths with the natives? Sophia tempered the sensationalist--with a serious study--to complement Lane's Manners and Customs of the Modern Egyptians--of the habits and customs of harem life in Cairo ... and qualified herself admirably to write a definitive text to Filth's stupendous photographs of Egypt in the 1850s. (Robinson 305. Emphasis in original.) Robinson's writing on Poole is representative of the current feminist view of our writer. Robinson makes the double argument of the oppression of white women under white patriarchy, and points out Poole's admirable qualification of herself as a competent writer whose work can be placed on equal footing with Lane's and Francis Frith's. Such readings create the double problematic of constructing the female self as a one coherent self that verges on the heroic, thereby following in the footsteps of patriarchal definition and practice. Such readings also tend to applaud imperial perceptions and colonial collaboration rather than acknowledge the rights of the topic ","PeriodicalId":36717,"journal":{"name":"Alif","volume":"91 1","pages":"107"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80427013","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}
This article examines two Anglophone autobiographies by Egyptian immigrants in the United States, Ihab Hassan's Out of Egypt: Scenes and Arguments of an Autobiography (1986) and Leila Ahmed's A Border Passage: From Cairo to America--A Woman's Journey (1999). The two texts are read as Egyptian negotiations of Arab-American identity in the U.S., in the context of modern Egyptian history and Western perceptions of Arabs, Islam, and Middle Eastern politics. The two texts display radically different strategies of negotiating identity that reflect divergent currents in American cultural politics in the second half of the twentieth century. ********** My story began in Egypt, continues in America. But how tell that story of disjunction, self-exile? In fragments, I think, in slips of memory, scraps of thought. In scenes and arguments of a life time, re-membered like the scattered bones of Osiris. Ihab Hassan And I am now at the end point of the story I set out to tell here. For thereafter my life becomes part of other stories, American stories. It becomes part of the story of feminism in America, the story of women in America, the story of women of color in America, the story of Arabs in America, the story of Muslims in America, and part of the story of America itself and of American lives in a world of dissolving boundaries and vanishing borders. Leila Ahmed The question of autobiography as a genre with an ambivalent relationship to historical fact and narrative convention has preoccupied U.S. and French theorists since the early 1960s, when autobiography began to command the attention of literary scholars as a legitimate genre. (1) There are at least two reasons for the canonization, in postmodern culture, of autobiography, which had previously (especially in the reign of New Criticism) been regarded as inferior to enshrined literary genres (Morgan 3-4). One reason is the "generally perceived autobiographical turn in the literature [of the 1970s and 1980s], both in Europe and the United States ... particularly ... among those contemporary novelists who appear to be playful practitioners of fictional games or who--from the perspective of their ethnic or marginal backgrounds seem to be in search of their ethnic identity within a dominant white culture" (Hornung and Ruhe 9). Another related reason is the development of feminist and minority criticism, which have questioned the traditional literary canon and brought to the attention of scholars women's and minority writing, especially previously unknown or uncanonical texts, many of which are autobiographical, such as women's letters, fiction, and diaries, and African-American slave narratives. Thus, at a time when postmodern thinkers like Roland Barthes and Michel Foucault pronounced the "death of the Author"--as part of the poststructuralist critique of the transcendental subject of the Enlightenment--not only avant-garde white male novelists, but also those marginalized by gender, race, and/or ethnicity
{"title":"Arab-American Autobiography and the Reinvention of Identity: Two Egyptian Negotiations","authors":"W. Hassan","doi":"10.2307/1350048","DOIUrl":"https://doi.org/10.2307/1350048","url":null,"abstract":"This article examines two Anglophone autobiographies by Egyptian immigrants in the United States, Ihab Hassan's Out of Egypt: Scenes and Arguments of an Autobiography (1986) and Leila Ahmed's A Border Passage: From Cairo to America--A Woman's Journey (1999). The two texts are read as Egyptian negotiations of Arab-American identity in the U.S., in the context of modern Egyptian history and Western perceptions of Arabs, Islam, and Middle Eastern politics. The two texts display radically different strategies of negotiating identity that reflect divergent currents in American cultural politics in the second half of the twentieth century. ********** My story began in Egypt, continues in America. But how tell that story of disjunction, self-exile? In fragments, I think, in slips of memory, scraps of thought. In scenes and arguments of a life time, re-membered like the scattered bones of Osiris. Ihab Hassan And I am now at the end point of the story I set out to tell here. For thereafter my life becomes part of other stories, American stories. It becomes part of the story of feminism in America, the story of women in America, the story of women of color in America, the story of Arabs in America, the story of Muslims in America, and part of the story of America itself and of American lives in a world of dissolving boundaries and vanishing borders. Leila Ahmed The question of autobiography as a genre with an ambivalent relationship to historical fact and narrative convention has preoccupied U.S. and French theorists since the early 1960s, when autobiography began to command the attention of literary scholars as a legitimate genre. (1) There are at least two reasons for the canonization, in postmodern culture, of autobiography, which had previously (especially in the reign of New Criticism) been regarded as inferior to enshrined literary genres (Morgan 3-4). One reason is the \"generally perceived autobiographical turn in the literature [of the 1970s and 1980s], both in Europe and the United States ... particularly ... among those contemporary novelists who appear to be playful practitioners of fictional games or who--from the perspective of their ethnic or marginal backgrounds seem to be in search of their ethnic identity within a dominant white culture\" (Hornung and Ruhe 9). Another related reason is the development of feminist and minority criticism, which have questioned the traditional literary canon and brought to the attention of scholars women's and minority writing, especially previously unknown or uncanonical texts, many of which are autobiographical, such as women's letters, fiction, and diaries, and African-American slave narratives. Thus, at a time when postmodern thinkers like Roland Barthes and Michel Foucault pronounced the \"death of the Author\"--as part of the poststructuralist critique of the transcendental subject of the Enlightenment--not only avant-garde white male novelists, but also those marginalized by gender, race, and/or ethnicity","PeriodicalId":36717,"journal":{"name":"Alif","volume":"111 1","pages":"7"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89551870","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}
Jeremy Cronin, a South African poet and politician who spent years in prison and exile, is presently a member of parliament and the deputy general secretary of the South African Communist Party. The interview probes into his poetics and political orientation. Cronin views his prison poems as self-survival strategy, testament to the realities of incarceration, and an attempt to forge a voice of resistance and solidarity in opposition to apartheid and his own white South African upbringing. Cronin sees capitalism as barbaric progress, the need to wean the communist tradition from its own totalitarian habits, and globalization as turning the world into a market. Poetry for him offers the possibility of challenging leftist dogmatism through irony and its ability to evoke the local and the rooted against the standardization of globalization controlled by a few corporations. The interview ends with three exemplary poems of Cronin. Introduction Amnesia classifies Third World countries as 'developing' (structurally adjusted amnesia) ... Jeremy Cronin. "Even the Dead." Even the Dead: Poems, Parables and a Jeremiad. 1997 The report-backs were straightforward: we were all behind schedule and over budget. I might add that we were almost past caring. It seemed impossible that we'd be finished in time for the official opening. The builders were still knocking down walls left, right and centre, and establishing piles of rubble in every room. Ivan Vladislavic. "The WHITES ONLY Bench." Propaganda by Monuments. 1996 Jeremy Cronin was born in South Africa in 1949 and grew up in that country. He spent a year studying in Paris in 1972-73, and lectured in philosophy at the University of Cape Town on his return to South Africa, only to serve 7 years imprisoned--from 1976 to 1983--in Pretoria's Maximum Security prison, for "seventeen acts of terrorism." In other words, "seventeen underground SACP/ANC pamphlets and newsletters, distributed between 1973 and 1976" warranted the incarceration. But the pamphlets in prison became poems. And the prisoner has gone on, after continued activism on his release from prison in the United Democratic Front (UDF) and another three years in exile in London, to spend now still another kind of time---as the Deputy General Secretary of the South African Communist Party (SACP), and serves currently as an ANC MP, with a portfolio in Transport. Cronin's writing persists in embracing not just poems, however, but polemic as well, for he also writes regularly--as circumstances and conditions enjoin--for, inter alia, the SACP publications The African Communist and Umsebenzi, which he edits, as well as political editorials for such South African newspapers as the Mail and Guardian and Business Day and literary reviews for The Sunday Independent. Pamphlets and poems, that is to say, continue to animate Cronin's contributions to the verse-making and critical writing of the South African story. But, as the museum worker describes the situation in Iva
杰里米·克罗宁，南非诗人和政治家，曾在监狱和流放中度过数年，目前是议会议员和南非共产党副总书记。采访探讨了他的诗学和政治倾向。克罗宁认为他的监狱诗歌是自我生存的策略，证明了监禁的现实，并试图建立一种抵抗和团结的声音，反对种族隔离和他自己的南非白人教育。克罗宁认为资本主义是野蛮的进步，共产主义传统需要摆脱其自身的极权主义习惯，全球化将世界变成一个市场。对他来说，诗歌提供了通过讽刺来挑战左派教条主义的可能性，并能够唤起当地和根深蒂固的反对少数公司控制的全球化标准化的能力。访谈以克罗宁的三首典范诗结束。失忆症将第三世界国家归类为“发展中国家”(结构调整失忆症)…杰里米·克罗宁。“连死人也不例外。”1997年的报告很直截了当:我们都落后于计划，超出了预算。我可以补充一句，我们几乎不再关心对方了。在正式开幕前完工似乎是不可能的。建筑工人们还在推倒四面八方的墙壁，在每个房间里堆上一堆堆瓦砾。伊凡Vladislavic。“白人专用长凳。”杰里米·克罗宁1949年出生于南非，在那里长大。1972年至1973年，他在巴黎学习了一年，回到南非后在开普敦大学(University of Cape Town)教授哲学。1976年至1983年，他在比勒陀利亚最高安全级别的监狱服刑7年，罪名是“17起恐怖主义行为”。换句话说，“1973年至1976年间分发的17份地下SACP/ANC小册子和通讯”是监禁的理由。但是监狱里的小册子变成了诗歌。在继续为争取从统一民主阵线(UDF)的监狱获释而积极行动，并在伦敦又流亡了三年之后，这位囚犯现在又开始了另一种生活——担任南非共产党(SACP)副总书记，目前担任非国大议员，在交通部门任职。然而，克罗宁的写作不仅包括诗歌，还包括论战，因为他也经常写作——根据环境和条件的要求——特别是为南非共产党的出版物《非洲共产党》和他编辑的《Umsebenzi》撰稿，还为《邮报》、《卫报》和《商业日报》等南非报纸撰写政治社论，并为《星期日独立报》撰写文学评论。也就是说，小册子和诗歌继续推动着克罗宁对南非故事的诗歌创作和批评写作的贡献。但是，正如博物馆工作人员在伊万·弗拉迪斯拉维奇的短篇小说《白人长凳》中所描述的那样，“建筑工人仍然在推倒左右两边的墙，在每个房间里都堆上一堆瓦砾”(弗拉迪斯拉维奇，57岁)。这个故事的计划是建造一个过去的博物馆，一个种族隔离的博物馆，这样，一旦安置好，就不会被重建——也许是另一种“结构性调整的健忘症”，但正如委员会在开会评估进展时了解到的那样，机构的结果仍然有待确定:“报告报告很直截了当:我们都落后于计划，超出了预算。”我可以补充一句，我们几乎不再关心对方了。我们似乎不可能在正式开幕前完成。”“左，右，中”:墙壁正在倒塌，这是肯定的，在前面的句子中散布的介词暗示了新方向和令人信服的指令的仍然不确定的轮廓，这些指令尚未为最终的结构奠定基础，并且，随着它们对名义实体的附属于，提醒人们承诺和遗漏，这些承诺和遗漏使结构成为悬而未决的，实际上是过渡性的:报告。．．．
{"title":"A Chapter in South African Verse: Interview with Jeremy Cronin","authors":"B. Harlow","doi":"10.2307/1350030","DOIUrl":"https://doi.org/10.2307/1350030","url":null,"abstract":"Jeremy Cronin, a South African poet and politician who spent years in prison and exile, is presently a member of parliament and the deputy general secretary of the South African Communist Party. The interview probes into his poetics and political orientation. Cronin views his prison poems as self-survival strategy, testament to the realities of incarceration, and an attempt to forge a voice of resistance and solidarity in opposition to apartheid and his own white South African upbringing. Cronin sees capitalism as barbaric progress, the need to wean the communist tradition from its own totalitarian habits, and globalization as turning the world into a market. Poetry for him offers the possibility of challenging leftist dogmatism through irony and its ability to evoke the local and the rooted against the standardization of globalization controlled by a few corporations. The interview ends with three exemplary poems of Cronin. Introduction Amnesia classifies Third World countries as 'developing' (structurally adjusted amnesia) ... Jeremy Cronin. \"Even the Dead.\" Even the Dead: Poems, Parables and a Jeremiad. 1997 The report-backs were straightforward: we were all behind schedule and over budget. I might add that we were almost past caring. It seemed impossible that we'd be finished in time for the official opening. The builders were still knocking down walls left, right and centre, and establishing piles of rubble in every room. Ivan Vladislavic. \"The WHITES ONLY Bench.\" Propaganda by Monuments. 1996 Jeremy Cronin was born in South Africa in 1949 and grew up in that country. He spent a year studying in Paris in 1972-73, and lectured in philosophy at the University of Cape Town on his return to South Africa, only to serve 7 years imprisoned--from 1976 to 1983--in Pretoria's Maximum Security prison, for \"seventeen acts of terrorism.\" In other words, \"seventeen underground SACP/ANC pamphlets and newsletters, distributed between 1973 and 1976\" warranted the incarceration. But the pamphlets in prison became poems. And the prisoner has gone on, after continued activism on his release from prison in the United Democratic Front (UDF) and another three years in exile in London, to spend now still another kind of time---as the Deputy General Secretary of the South African Communist Party (SACP), and serves currently as an ANC MP, with a portfolio in Transport. Cronin's writing persists in embracing not just poems, however, but polemic as well, for he also writes regularly--as circumstances and conditions enjoin--for, inter alia, the SACP publications The African Communist and Umsebenzi, which he edits, as well as political editorials for such South African newspapers as the Mail and Guardian and Business Day and literary reviews for The Sunday Independent. Pamphlets and poems, that is to say, continue to animate Cronin's contributions to the verse-making and critical writing of the South African story. But, as the museum worker describes the situation in Iva","PeriodicalId":36717,"journal":{"name":"Alif","volume":"6 1","pages":"252"},"PeriodicalIF":0.0,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88887812","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}
The article examines the nature of Eliot's lyricism, having first suggested that all lyricism is "an expression of desire, a reaching out for an unattainable fulfilment." It takes note of the fact that although Eliot has written lyric lines of incomparable beauty, he did not produce a body of lyric poems. His lyricism seems to break out, as though stifled, rather than to constitute the raison d'etre of his work. The article relates this to the belief expressed by Eliot in "Tradition and the Individual Talent" that the poet escapes from rather than "expresses" his own personality, which, in turn, would seem to reflect two ideas of Bradley: the first being that all reality is experience and all experience one, and the second that experience is of three orders, immediate, relational, and transcendent. Although much of Eliot's poetry reflects "relational experience," a nostalgia for "immediacy of experience" permeates Eliot's work. If we examine his lyric imagery, we find reference almost always to his early life, to a past that he has left behind. The poet's "first world" creates his "rose garden," the immediate experience to which he turns and returns. It was only during his last years with his marriage to Valerie, that his abiding loneliness, his hunger for the lost simplicity of his early life, was seemingly assuaged by a happiness akin to that "immediate experience." The effect upon his verse was of dubious merit. ********** Many years ago, while teaching a course on Eliot, I had the students read Keats' "On First Looking into Chapman's Homer" and then write an essay entitled "On first looking into Eliot's The Waste Land." Recently, teaching the course again, I had occasion to "revisit" Eliot. I came to see that what constituted for me his poetry's appeal was the nostalgia to which it gave voice for an entire generation to which I belong. When all the issues and allusions of The Waste Land which so preoccupy the first reader were all but forgotten, it was its lyricism which remained with us and "echoed in our minds" expressing, like all great poetry, "what cannot be expressed." Perhaps all lyricism is the expression of desire, a reaching out for an unattainable fulfillment, addressed for the most part to someone who would seem to possess the promise or at least the possibility of restoring the soul to the fulness of being. The lyric has been defined by Mill as "the utterance that is overheard," by Joyce as a "cri de coeur;" it has been spoken of as the silent soliloquy revealing the landscape of the mind. However defined, the recognition of its essential quality persists, which is the need of the poet to speak from his solitude. That Eliot felt this need and possessed great lyric power is, of course, beyond the need to contend, but it is also evident that the corpus of his work contains few poems that one would label in entirety "lyric;" no sonnet series, no pourings out of his heart to the beloved, nor to the reader for that matter. Instead we
{"title":"Nur Wer Die Sehnsucht Kennt","authors":"Doris Enright-Clark Shoukri","doi":"10.2307/1350024","DOIUrl":"https://doi.org/10.2307/1350024","url":null,"abstract":"The article examines the nature of Eliot's lyricism, having first suggested that all lyricism is \"an expression of desire, a reaching out for an unattainable fulfilment.\" It takes note of the fact that although Eliot has written lyric lines of incomparable beauty, he did not produce a body of lyric poems. His lyricism seems to break out, as though stifled, rather than to constitute the raison d'etre of his work. The article relates this to the belief expressed by Eliot in \"Tradition and the Individual Talent\" that the poet escapes from rather than \"expresses\" his own personality, which, in turn, would seem to reflect two ideas of Bradley: the first being that all reality is experience and all experience one, and the second that experience is of three orders, immediate, relational, and transcendent. Although much of Eliot's poetry reflects \"relational experience,\" a nostalgia for \"immediacy of experience\" permeates Eliot's work. If we examine his lyric imagery, we find reference almost always to his early life, to a past that he has left behind. The poet's \"first world\" creates his \"rose garden,\" the immediate experience to which he turns and returns. It was only during his last years with his marriage to Valerie, that his abiding loneliness, his hunger for the lost simplicity of his early life, was seemingly assuaged by a happiness akin to that \"immediate experience.\" The effect upon his verse was of dubious merit. ********** Many years ago, while teaching a course on Eliot, I had the students read Keats' \"On First Looking into Chapman's Homer\" and then write an essay entitled \"On first looking into Eliot's The Waste Land.\" Recently, teaching the course again, I had occasion to \"revisit\" Eliot. I came to see that what constituted for me his poetry's appeal was the nostalgia to which it gave voice for an entire generation to which I belong. When all the issues and allusions of The Waste Land which so preoccupy the first reader were all but forgotten, it was its lyricism which remained with us and \"echoed in our minds\" expressing, like all great poetry, \"what cannot be expressed.\" Perhaps all lyricism is the expression of desire, a reaching out for an unattainable fulfillment, addressed for the most part to someone who would seem to possess the promise or at least the possibility of restoring the soul to the fulness of being. The lyric has been defined by Mill as \"the utterance that is overheard,\" by Joyce as a \"cri de coeur;\" it has been spoken of as the silent soliloquy revealing the landscape of the mind. However defined, the recognition of its essential quality persists, which is the need of the poet to speak from his solitude. That Eliot felt this need and possessed great lyric power is, of course, beyond the need to contend, but it is also evident that the corpus of his work contains few poems that one would label in entirety \"lyric;\" no sonnet series, no pourings out of his heart to the beloved, nor to the reader for that matter. Instead we ","PeriodicalId":36717,"journal":{"name":"Alif","volume":"218 1","pages":"101"},"PeriodicalIF":0.0,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75609874","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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