A Washington-based global policy analyst Return to Haifa: Whose Narrative Is It Anyway?
The fall of Granada marked the success of the Reconquista, and therefore it signified the end of a long period of prosperity and cultural flourishing. The subsequent Inquisition contrasted with the coexistence between religions that had been the status quo in Muslim-ruled Granada; it cemented the latter as the very incarnation of interfaith tolerance.
That bygone era of glory is captured in the lost city of Granada, which, as a metonymy for Al- Andalus at large, allegorizes a historic loss, and has often been made to symbolize a collective Arab wound. For Granara, the chronotope of Al-Andalus is not simply nostalgia for the past but it is motivated by a desire to better the present and to relive the glory of the past.
Hence, motifs of defeat and struggle may be linked to a larger discourse of resistance—whether against local oppressors or in the face of colonizers. The Reconquista is shown first robbing them of their sense of ownership of the city, then gradually threatening their religion, their language and various symbols of their culture, as they are forced to nominally convert, change their names and hide their usage of Arabic.
Despite the physical and cultural violence enacted upon them, they choose to preserve their language and their religious identity, if only in private.
Ghassan kanafani resistance literature the same time, in another act of resistance, the characters are often shown teaching their children Arabic and reading books in it, all in secret, emphasizing the linguistic community. In fact, the Muslim Granadan children feel a sense of kinship with the first Native American captive they see at the parade One can read here a larger allegory than pan-Arabism, one for a global anti-colonial rhetoric, which feeds into the universality of the fall of Granada.
On a global level, resistance poetry realizes its engagement towards the revolutionary movement throughout the world, which is, after all, the climate within which the local revolutionary movement grows, and which it influences and is influenced by.
In the context of an Egyptian writer married to a Palestinian, the fall of Granada can easily be read as an allegory for the loss of Palestine. However, in her fictionalized autobiography, Specters, Ashour is very ambivalent about that interpretation: I was surprised by this connection that had not occurred to me as I was writing the text.
And I do not think I need to go back years in time, since it is so present and alive within me, as well as a part of my daily life. Moreover, I have not accepted the loss of Palestine as a given, and I do not have the psychological ability to address it through Granada.
I was being truthful. The allegorical aspect is therefore not discarded, but displaced onto another collective Arab loss. However, she then describes the research she did when writing about Shagar, her alter-ego in Specters, researching the Deir Yassin massacre.
Indeed, the allegory being a metaphor, it has to maintain a certain distance toward its subject. Therefore, it can never directly point to its intended meaning, and always leaves the reader with a tentative interpretation.
However, the allegorical reading is emphasized when Ashour shows us armed resistance in action in the pages of the novels. In the last volume, his grandson Aly meets a rebel, Roberto the Hero, while roaming in these same mountains, and accompanies him for two years.
Losing her faith along the deaths scattered through the novel, she reaches the last pages of this first volume affirming her agnosticism at an Inquisition court The fall of Granada is not merely the trigger for this transformation; it can be read as a metaphor for a moment of personal crisis.
The real tragedy here is losing the sense of belonging, and it is both a personal tragedy, and by replication a collective or national one. We can therefore see how the Andalusian chronotope opens the text to themes of resistance and global anti-colonial solidarity. The defeat is not unique; it is open to replication, and perhaps has already been replicated.
Works Cited Ahmad, Aijaz. Rewayat Al Hilal, Caryl Emerson and Michael Holquist. University of Texas Press, Egypt as a Woman: Nationalism, Gender, and Politics. University Of California Press, Arabic Cultural Center, The Hogarth Press and the Institute of Psycho- analysis, Institute for Arab Research, Special Paper in Modern Arabic Literature The Arabic Novel: a Narratological Survey Dr.
Marlé Hammond In this lecture course students will engage in socio-cultural readings and literary. Explore books by Ghassan Kanafani with our selection at monstermanfilm.com Click and Collect from your local Waterstones or get FREE UK delivery on orders over £ Kanafani, Ghassan.
Introduction to al-Adab al-Muqawama. Translated by Sulafah Hijjawi. Baghdad: Directorate General of Culture, 1 The fall of Palestine to the Zionists in led to a disastrous change both in resistance literature is chiefly characterised as leftist.
This is the. Ghassan Kanafani’s contribution to modern Arabic literature lies in his legacy as a founder of the literature of resistance. His works have been translated into many languages worldwide, including English and French.
Nov 11, · Ghassan Kanafani (Arabic: غسان كنفاني , 8 April in Akka, Palestine – 8 July in Beirut, Lebanon) was a Palestinian author and a leading member of the Popular Front for the Liberation of Palestine (PFLP).
On 8 July he was assassinated by Mossad. Early life Ghassan Fayiz Kanafani was born in into a middle-class . re-discovering identity: a study on the theme of resistance in ghassan kanafani's selected novels by shafeeq husain v.t.
a thesis submitted in partial fulfilment of the requirements for the degree of master of human sciences in literary studies.