Lia Nicole Brozgal's Against Autobiography: Albert Memmi and the Production of PDF

By Lia Nicole Brozgal

The paintings of Tunisian Jewish highbrow Albert Memmi, like that of many francophone Maghrebian writers, is frequently learn as thinly veiled autobiography. wondering the existing physique of feedback, which keeps this interpretation of such a lot fiction produced by means of francophone North African writers, Lia Nicole Brozgal indicates how such interpretations of Memmi’s texts vague their no longer inconsiderable theoretical possibilities.

Calling cognizance to the ambiguous prestige of autobiographical discursive and textual parts in Memmi’s paintings, Brozgal shifts the point of interest from the writer to theoretical questions. opposed to Autobiography areas Memmi’s writing and inspiration in discussion with a number of significant serious shifts within the overdue twentieth-century literary and cultural panorama. those shifts comprise the problem of the authorial topic; the interrogation of the shape of the radical; the resistance to the hegemony of imaginative and prescient; and the critique of colonialism. exhibiting how Memmi’s novels and essays produce theories that resonate either inside and past their unique contexts, Brozgal argues for permitting works of francophone Maghrebi literature to be learn as complicated literary items, that's, now not easily as ethnographic curios yet as producing components of literary thought on their lonesome phrases.

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Additional resources for Against Autobiography: Albert Memmi and the Production of Theory

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4 Notwithstanding his convictions at the end of the 1950s, Memmi would go on to champion not only literature in French by colonized and postcolonial writers alike but also literary works produced by French writers of the metropole whose path through the Maghreb was determined by the colonial project. 5 Indeed, a sustained analysis of Memmi’s prefaces to these anthologies reveals an evolution over time in his position regarding the colonized writer and literary works produced in colonial languages.

At the same time, while belonging to both, he can never fully be either. Certainly this suggests an impasse that is reminiscent both of Memmi’s position in The Colonizer and the Colonized and the organizing logic of his anthologies of the 1960s, as well as of his skepticism regarding the ability of the writer of hybrid identity to overcome his divided self. Beyond the question of Barthes’s definition of the “author”—that is, whether or not a non-Western writer may be considered an author at all and, by extension, whether his text can be subject to the critical operations Barthes calls for—lie the larger issues implicit in the text.

Because women have not had the same historical relation of identity to origin, institution, production that men have had, they have not, I think, (collectively) felt burdened by too much self, ego, cogito, etc. ” Of Authors and Archives 29 That the excerpt from Miller’s text lends itself so handily to a reorganization in francophone terms may speak to a concern with the larger implications of Barthes’s treatise and Memmi’s situation with respect to antiauthorial discourse. 78 There is a temptation, then, to transfer Miller’s reading of Barthes to Memmi specifically and francophone texts in general; after all, the above rewriting resonates as a truism for the francophone postcolonial subject: his/her linguistic, administrative, and aesthetic dilemmas may indeed be gathered under the problem of his/her exclusion from the polis—the metropolis, in this case.

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