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 maintains this interpretation of so much fiction produced via francophone North African writers, Lia Nicole Brozgal exhibits how such interpretations of Memmi’s texts vague their now not inconsiderable theoretical possibilities.
Calling awareness to the ambiguous prestige of autobiographical discursive and textual components in Memmi’s paintings, Brozgal shifts the focal point from the writer to theoretical questions. opposed to Autobiography locations Memmi’s writing and suggestion in discussion with numerous significant serious shifts within the past due twentieth-century literary and cultural panorama. those shifts contain 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. 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 items, that's, now not easily as ethnographic curios yet as producing parts of literary idea all alone phrases.
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Extra resources for Against Autobiography: Albert Memmi and the Production of Theory
19 If, in the 1960s, separate portraits were needed to paint an accurate historical fresco of North African literature from the colonial period and its immediate aftermath, by 1985 lexical winds had blown a new term in Memmi’s direction. The collection titled Ecrivains francophones du Maghreb was a transnational endeavor designed to bring together the colonizer and the colonized. This gesture ended the apartheid that had governed the “separate but equal” status of the 1964 and 1969 collections.
Grounded in those societies whose subjectivity has been constituted in part by the subordinating power of European colonialism—that is, as writing from countries or regions which were formerly colonies of Europe. The second archive of post-colonialism is intimately related to the first, though not co-extensive with it. Here, the post-colonial is conceived as a set of discursive practices, prominent among which is a resistance to colonialism, colonialist ideologies, and their contemporary forms and subjectificatory legacies.
55 Notwithstanding the changes that have occurred in the landscape of literary criticism since the rise of high theory, and despite his own positional revisions, Barthes’s proclamation 20 Of Authors and Archives of the death of the author remains a seminal moment in the history of critical theory. While a study of the relationship between francophone postcolonial literary production and the discourse of the death of the author need not necessarily focus exclusively on Barthes’s eponymous text, the choice to concentrate on “The Death of the Author” is rooted in its iconic status within the larger narrative of antiauthorial discourse and its historical relevance to the period in which Maghrebi cultural productions were emerging in France.
Against Autobiography: Albert Memmi and the Production of Theory by Lia Nicole Brozgal