|
|
|
Sort Order |
|
|
|
Items / Page
|
|
|
|
|
|
|
| Srl | Item |
| 1 |
ID:
163841
|
|
|
|
|
| Summary/Abstract |
Shakespeare's The Merchant of Venice has been reimagined, adapted, and appropriated by Arab playwrights and poets. The Arab Jordanian poet ʿArār (Mustafa Wahbi Al-Tal; 1897–1949) appropriates Shakespeare's anti-archetype of the figure of the Jew, Shylock, to criticize two local issues in the early twentieth-century context in Jordan and Palestine. First, the phenomenon of money-lending by Jordanian merchants, which led to the confiscation of the poor peasants' lands in the early twentieth century. Second, the condemnation of Zionism and its association with Western colonialism. Shakespeare's Shylock, on one hand, is recreated as a Jordanian Shylock, who is a usurer, and, on the other, as a Zionist Shylock. This remoulding of Shakespeare's Shylock as an Arab and Zionist reveals the post-Shakespeare Arab audience's new perception of The Merchant of Venice as a play about the political and behavioral affiliations of Shylock rather than about his Jewish ethnicity.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 2 |
ID:
163838
|
|
|
|
|
| Summary/Abstract |
I focus on multilingual usages, specifically code-switching between English and Arabic, in Lebanese American Rabih Alameddine's 1998 novel Koolaids: The Art of War. While the novel portrays English as the emancipatory language of coming out and self-acceptance for gay Lebanese men living in the United States between the late 1970s and mid-1990s, Mohammad, a painter, only comes to terms with his impending demise by reverting to Arabic during the final stages of his losing battle with AIDS. Drawing on findings from psycholinguistic, sociolinguistic, translation, and medical/neurological studies, I compare and contrast verbal encounters between Mohammad and various Lebanese and American characters to foreground strategies intended to exclude and/or include certain parties, be they characters or readers. While Arabic words actually employed are few, I argue that implied code-switching and the dynamics of speaker(s), interlocutor(s), setting(s), and context(s) establish links among AIDS, Arabic, art, and acceptance of death; Arabic resurfaces, when Mohammad is on his deathbed, as the language of his childhood and even serves as the bridge toward his “afterlife.” The primary theoretical impacts of my reading are twofold: minimal code-switching does not, as some claim, showcase shallow multilingualism, and a language-minded approach adds a new dimension to the definition of Lebanese (Arab) American literature by focusing on the emotional rather than the national/ethnic facets of the embedded native language.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 3 |
ID:
163839
|
|
|
|
|
| Summary/Abstract |
This article proposes an alternative analytical model to examine the shifting devaluation of racialized, classed, and gendered lives in Randa Jarrar's A Map of Home. As the novel depicts powerful instances of nonnormative practices, it lends itself to new analytical approaches for understanding the relationship between power, normativity, and value in Arab American fiction. The intellectual and political frameworks that inform this reading of the novel draw on Arab and Arab American feminisms, women of color feminisms, and queer of color critique. This emphasis marks a shift from existing criticism in proposing to interpret the characters' experiences, not as struggles of identity and belonging but as tense processes of gendered and classed racialization, self-representation, and political determination. In doing so, the discussion moves toward a critique of coercive practices that render Arab and Arab American lives in the United States vulnerable to threats of violence/exploitation in the context of neoliberalism.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|