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

By Lia Nicole Brozgal

ISBN-10: 0803248296

ISBN-13: 9780803248298

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 maintains this interpretation of so much fiction produced via francophone North African writers, Lia Nicole Brozgal exhibits how such interpretations of Memmi’s texts imprecise their now not inconsiderable theoretical possibilities.

Calling realization 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 locations Memmi’s writing and proposal in discussion with numerous significant severe shifts within the past due twentieth-century literary and cultural panorama. those shifts contain the obstacle 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. displaying 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 gadgets, that's, no longer easily as ethnographic curios yet as producing components of literary conception on their lonesome phrases.

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70 According to Bhabha, it is only by moving beyond these types of readings and the (unreasonable) demand for a transcendental “colonial” subject that a notion of representation not based on difference can be achieved. It seems appropriate to conclude the discussion of Barthes’s essay with respect to the francophone postcolonial author by revisiting the conclusion of “The Death of the Author” through the lens 26 Of Authors and Archives of Memmi’s contemporaneous adjudications in the anthologies.

But it is true that an important event has occurred: French, having ceased to be the language of a colonial nation, should no longer raise any particular suspicion. 21 Here Memmi explicitly addresses the subtext of “la francophonie” as a neocolonial stratagem or as yet another stanza of colonization’s swan song. By laying bare the preconceptions about francophonie’s past, Memmi seeks to debunk them. Yet there is a note of wishful thinking in the text, lurking in the verb tenses of the penultimate phrase: French, having ceased to be the language of a colonial nation, should no longer raise suspicion.

This is further underscored by the possessive pronoun describing the society that produced the author: “our society” refers not to a global village that would encompass the entirety of humanity but a specific historical entity to which, as the possessive first-person plural indicates, Barthes himself belongs. Areas of non-Western culture, however, are not completely evacuated from the essay, for Barthes distinguishes between different types of societies and their varying levels of “narrative” development.

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Against Autobiography: Albert Memmi and the Production of Theory by Lia Nicole Brozgal


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