Pub Date : 2021-11-01DOI: 10.1215/10757163-9435639
Michael Richardson
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Pub Date : 2021-11-01DOI: 10.1215/10757163-9435709
Samir Gharib
The author begins by providing a summarized timeline of the beginning and development of surrealism in Egypt, with a focus on the activities of the Art and Liberty group, inspired and established in 1939 by Georges Henein. Nearly 50 years later, in 1986, the author published Surrealism in Egypt and Plastic Arts (Cairo: Ministry of Culture, Foreign Cultural Relations, 1986), a historical account of surrealism in Egypt and the artistic and societal impact of the Art and Liberty group within this context. He offers the reader a glimpse into his interest and intention in writing Surrealism in Egypt and a selective account of and his rebuttal to certain critics of his book. The author concludes by reiterating the importance of this era and the activities of the Art and Liberty group and by recommending that another, deeply researched book be published to surpass Surrealism in Egypt that includes the international or non-Egyptian relationships and activities of this group of writers and artists.
{"title":"Virtues and Tragedies of Surrealism in Egypt","authors":"Samir Gharib","doi":"10.1215/10757163-9435709","DOIUrl":"https://doi.org/10.1215/10757163-9435709","url":null,"abstract":"The author begins by providing a summarized timeline of the beginning and development of surrealism in Egypt, with a focus on the activities of the Art and Liberty group, inspired and established in 1939 by Georges Henein. Nearly 50 years later, in 1986, the author published Surrealism in Egypt and Plastic Arts (Cairo: Ministry of Culture, Foreign Cultural Relations, 1986), a historical account of surrealism in Egypt and the artistic and societal impact of the Art and Liberty group within this context. He offers the reader a glimpse into his interest and intention in writing Surrealism in Egypt and a selective account of and his rebuttal to certain critics of his book. The author concludes by reiterating the importance of this era and the activities of the Art and Liberty group and by recommending that another, deeply researched book be published to surpass Surrealism in Egypt that includes the international or non-Egyptian relationships and activities of this group of writers and artists.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44039791","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 : 2021-11-01DOI: 10.1215/10757163-9435737
Edwar al-Kharrat
Only a few traces of Egyptian Francophone writers exist among the pages of old, outdated books and anthologies. Even though Albert Cossery, Ahmed Rassim, Georges Henein, Joyce Mansour, and Edmond Jabès were stranded in the land and language of diaspora, they stayed Egyptian at heart. The author, a novelist, poet, and critic himself, takes each of these writers and individually explores the aesthetics and impact of their work to ultimately consider the question: Is what they wrote considered Egyptian literature, or does it remain Francophone and, thus, French literature? In the process, the author articulates his appreciation that these writers exhibit a deep underlying Egyptian sensitivity.
{"title":"Egyptian Heart, French Tongue","authors":"Edwar al-Kharrat","doi":"10.1215/10757163-9435737","DOIUrl":"https://doi.org/10.1215/10757163-9435737","url":null,"abstract":"Only a few traces of Egyptian Francophone writers exist among the pages of old, outdated books and anthologies. Even though Albert Cossery, Ahmed Rassim, Georges Henein, Joyce Mansour, and Edmond Jabès were stranded in the land and language of diaspora, they stayed Egyptian at heart. The author, a novelist, poet, and critic himself, takes each of these writers and individually explores the aesthetics and impact of their work to ultimately consider the question: Is what they wrote considered Egyptian literature, or does it remain Francophone and, thus, French literature? In the process, the author articulates his appreciation that these writers exhibit a deep underlying Egyptian sensitivity.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46275309","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 : 2021-11-01DOI: 10.1215/10757163-9435863
Hanna Kay
{"title":"Grief and Grievance","authors":"Hanna Kay","doi":"10.1215/10757163-9435863","DOIUrl":"https://doi.org/10.1215/10757163-9435863","url":null,"abstract":"","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42380015","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 : 2021-11-01DOI: 10.1215/10757163-9435807
Manthia Diawara
{"title":"Tropiques and the Surrealist Movement in Martinique","authors":"Manthia Diawara","doi":"10.1215/10757163-9435807","DOIUrl":"https://doi.org/10.1215/10757163-9435807","url":null,"abstract":"","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"29 1","pages":"202 - 208"},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90518704","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 : 2021-11-01DOI: 10.1215/10757163-9435779
Malek Khouri
In its origins, surrealism transpired as a radical subversive culture within advanced capitalist societies in Europe during the first few decades of the twentieth century. In colonial and postcolonial societies, however, surrealism variously assumed a quintessence of a protracted struggle between, on the one hand, the old and neocolonial cultural hegemony and, on the other hand, the subversive resistance by the neocolonized, with all the paradoxical elements that are part and parcel of that struggle. One of the few manifestations of a surrealism-inspired cinematic work in the Arab world during the last century is Youssef Chahine’s Alexandria, Again and Forever (1990). This critically acclaimed film is a rich example of Arab cinema that celebrates non-normative personal identity while simultaneously rethinking traditional notions of nation under colonial rule. This third installment of Chahine’s autobiographical film quartet, which he intermittently drew over the course of his thirty-year career, indulges a complex exposé of Chahine the man, the artist, and the political activist. It also draws on mostly imagined, and partly real, episodes in the filmmaker’s life. As such, and rather than using a typically grand anticolonial metanarrative, the film favors the depiction of multiple surrealist proliferations of difference, juxtapositions, dislocation, and distortions seen not as embodiments of a single truth but rather as energized political and aesthetic forms of a collective project for revamping Egyptian and Arab identity and reality.
{"title":"Surrealist Nuance and Postcolonial Subjectivity","authors":"Malek Khouri","doi":"10.1215/10757163-9435779","DOIUrl":"https://doi.org/10.1215/10757163-9435779","url":null,"abstract":"In its origins, surrealism transpired as a radical subversive culture within advanced capitalist societies in Europe during the first few decades of the twentieth century. In colonial and postcolonial societies, however, surrealism variously assumed a quintessence of a protracted struggle between, on the one hand, the old and neocolonial cultural hegemony and, on the other hand, the subversive resistance by the neocolonized, with all the paradoxical elements that are part and parcel of that struggle. One of the few manifestations of a surrealism-inspired cinematic work in the Arab world during the last century is Youssef Chahine’s Alexandria, Again and Forever (1990). This critically acclaimed film is a rich example of Arab cinema that celebrates non-normative personal identity while simultaneously rethinking traditional notions of nation under colonial rule. This third installment of Chahine’s autobiographical film quartet, which he intermittently drew over the course of his thirty-year career, indulges a complex exposé of Chahine the man, the artist, and the political activist. It also draws on mostly imagined, and partly real, episodes in the filmmaker’s life. As such, and rather than using a typically grand anticolonial metanarrative, the film favors the depiction of multiple surrealist proliferations of difference, juxtapositions, dislocation, and distortions seen not as embodiments of a single truth but rather as energized political and aesthetic forms of a collective project for revamping Egyptian and Arab identity and reality.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41358404","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 : 2021-11-01DOI: 10.7551/mitpress/6565.003.0044
Mona Khazindar
Georges Henein (1914–73) was a Francophone Egyptian writer who introduced surrealism to the artistic and intellectual milieu of Cairo as early as 1937. The author traces Henein’s engagement with the tenets of surrealism articulated by André Breton in France and his impact introducing, interpreting, and dispersing these ideas among writers, artists, and the public in Egypt for more than two decades. He was most active in Cairo during the years surrounding the Second World War, founding in 1938 the Art and Liberty group of writers and artists, who spread their ideas through the Arabic-language magazine Al Tatawwur (Evolution) and the French-language newpaper Don Quichotte in the early 1940s. Henein also created the publishing company Éditions Masses to help build the reputation of emerging poets, organized and financed five exhibitions in Cairo of surrealist painters and sculptors, and published diverse stories, articles, and poems of his own. A communist at heart, he denounced Farouk’s regime, Hitler’s Nazism, and Stalin’s dictatorship. After openly criticizing Nasser’s authoritarianism, he was forced to leave Egypt in 1962, finally settling in Paris, where he died of cancer. This extraordinary writer, who had made of the French language an intuitive force, came to accept that he would eventually be forgotten in France, the same way he had been forgotten in Egypt.
Georges Henein(1914-73)是一位讲法语的埃及作家，他早在1937年就将超现实主义引入了开罗的艺术和知识环境。作者追溯了海因与法国安德烈·布列塔尼(andr Breton)所阐述的超现实主义原则的接触，以及他在二十多年来在埃及的作家、艺术家和公众中介绍、解释和传播这些思想的影响。在第二次世界大战前后的几年里，他在开罗最活跃，于1938年成立了由作家和艺术家组成的“艺术与自由”团体，他们在20世纪40年代初通过阿拉伯语杂志《进化》和法语报纸《唐·基霍特》传播他们的思想。海因还创建了出版公司Éditions mass，帮助新兴诗人树立声誉，在开罗组织并资助了五次超现实主义画家和雕塑家的展览，并出版了他自己的各种故事、文章和诗歌。作为一名共产主义者，他谴责法鲁克的政权、希特勒的纳粹主义和斯大林的独裁统治。在公开批评纳赛尔的威权主义后，他于1962年被迫离开埃及，最终定居巴黎，在那里死于癌症。这位使法语成为一种直觉力量的杰出作家，开始接受他最终会在法国被遗忘的事实，就像他在埃及被遗忘一样。
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