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The fragmenting force of memory : self, literary style, and civil war in Lebanon /

This study is about earlier, largely experimental forms of cultural production that situate and work through personal experiences of the civil war in Lebanon. It addresses selected works of literature, autobiography and memoir of Jean Said Makdisi, Rashid al-Daif, Elias Khoury, Mai Ghoussoub, and th...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Saadi Nikro, Norman
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Newcastle upon Tyne, UK : Cambridge Scholars Publishing, 2012.
Temas:
Acceso en línea:Texto completo

MARC

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245 1 4 |a The fragmenting force of memory :  |b self, literary style, and civil war in Lebanon /  |c by Norman Saadi Nikro. 
260 |a Newcastle upon Tyne, UK :  |b Cambridge Scholars Publishing,  |c 2012. 
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504 |a Includes bibliographical references (pages 189-200) and index. 
588 0 |a Print version record. 
505 0 0 |g Acknowledgements --  |t Departure --  |g Chapter One.  |t Disrupting Dismemory: The Memoir of Jean Said Makdisi --  |g Chapter Two.  |t I Confess: Rashid al-Daif between History and Memory --  |g Chapter Three.  |t Anachronic Tensions: Memory and Story in the Work of Elias Khoury --  |g Chapter Four.  |t Between Mourning and Melancholia: Memory and Nurture in Mohamed Soueid's Tango of Yearning --  |g Chapter Five.  |t History and/or The Traumatic Clamour of Memory: Mai Ghoussoub's Leaving Beirut --  |g Bibliography --  |g Index. 
520 |a This study is about earlier, largely experimental forms of cultural production that situate and work through personal experiences of the civil war in Lebanon. It addresses selected works of literature, autobiography and memoir of Jean Said Makdisi, Rashid al-Daif, Elias Khoury, Mai Ghoussoub, and the civil war trilogy of documentary films by Mohamed Soueid. From a phenomenological, hermeneutical perspective the book is concerned with how they give accounts of themselves as remnants, leftovers, undigested remains of the civil war and related trajectories of ideological attachment to symbolic mandates. Constrained to reposition their sense of self from an agent of history to a casualty of history, their acutely personal works of cultural production initiate an unraveling of both self and circumstance through the fragmenting force of memory. Drawing on a broad range of phenomenological critical theory (within the research fields of postcolonial, memory, psychoanalytic, gender and literary studies) attuned to subjectivity as a field of social production and exchange, I explore how my writers and filmmaker employ a non-presentist, anachronic or paratactic register of memory to excavate both a historical understanding of self and related modalities of being. I discuss how the symptomatic style of their work embodies, creatively and critically situates, a refusal to package and normalize any idealized account of the war, related assemblages of temporal succession, or else a presentation of self as discrete and omniscient. 
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650 0 |a Arabic literature  |y 20th century  |x History and criticism. 
650 0 |a Civil war in literature. 
651 0 |a Lebanon  |x History  |y Civil War, 1975-1990  |x Literature and the war. 
650 0 |a Collective memory  |z Lebanon. 
650 6 |a Littérature arabe  |y 20e siècle  |x Histoire et critique. 
650 6 |a Guerre civile dans la littérature. 
650 6 |a Mémoire collective  |z Liban. 
650 7 |a Autobiography: literary.  |2 bicssc 
650 7 |a Memory.  |2 bicssc 
650 7 |a Literary studies: post-colonial literature.  |2 bicssc 
650 7 |a LITERARY CRITICISM  |x African.  |2 bisacsh 
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650 7 |a Erinnerung  |2 gnd 
650 7 |a Traumatologie  |2 gnd 
651 7 |a Libanon  |2 gnd 
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