scholarly journals Masks in the Iraqi Hell: On the Works of Iraqi Writer ʿAbd al-Sattār Nāṣir

2018 ◽  
Vol 6 ◽  
pp. 1-17
Author(s):  
Geula Elimelekh

ʿAbd al-Sattār Nāṣir (1947–2013) belonged to the group of Iraqi writers and intellectuals called Jīl al-Sittināt "the Sixties Generation", which dominated the cultural scene at the time. This article examines Nāṣir as a driven writer, who initially wrote out of a morally induced reaction to expose the suffering and brutalization of all Iraqi peoples and ethnicities by a controlling totalitarian regime, and as a once-incarcerated author of brave novels he hoped would someday catalyze a popular overthrow of the lawless, abusive leaders, thereby ending the fears and violence possessing Iraq’s body politic. Two themes -- the destruction wreaked by those with extraordinary power and their use of lies and deception to control the people –- are central to the three novels chosen as representative of Nāṣir’s oeuvre: Abū al-Rīsh (2002), Niṣf al-Aḥzān 'Half Sorrows' (2000) and Qushūr al-Badhinjān 'Eggplant Peels' (2007). In these three novels, Nāṣir exposes the unimaginable terror, violence and cruelty of Saddām Ḥusayn and his henchmen, as well as their propaganda, which consisted of lies and deception. Saddām is depicted as a ruler who presents himself as an inspiring revolutionary, but in fact is a tyrant who deceives the citizens, subjecting them to brutal control and leading them into deadly wars.  Following George Orwell’s 1984, Nāṣir’s literary corpus attempts to rip the masks from the faces of the dictator and his lackeys, who oppress the people, deny them any freedom of thought and keep them under constant surveillance.

Author(s):  
Ailbhe Kenny

AbstractResearcher positionality has gained increased attention in recent years, and music education is following suit. Carrying out research that addresses diversity in music education demands a high level of reflexivity and a problematising of one’s own position as researcher. This chapter offers critical insights into the complexity of such a positioning and how research practices might reflect, confirm and/or disrupt the existing ‘body politic’ that our bodies signify. Researcher positionality is here examined in terms of pregnancy within a research project based at an asylum seeker accommodation centre. Applying a Butlerian lens to the examination, the chapter uncovers how the researcher’s pregnant body was ‘performed’ and became the main focus of ‘recognition’ amongst the people encountered at the centre. These processes of ‘performing’ and being ‘recognised’ as a ‘pregnant researcher’ manifested in various ways such as gaining access, credibility, trust, relationships, ethical considerations and power. Thus, the chapter opens a space to reflect critically on researcher positionality and specifically its influence on the research process in sites that seek to understand diversity in music education.


Author(s):  
Aleksei V. Makarychev

The article is devoted to the study of the “Shakespearean text” by Yuri Dombrovsky from the standpoint of Bakhtin dialogism. Clarifies the concept of “Shakespearean text” refers to and analyzes “Shakespearean text” by Dombrovsky, including artistic works – a trilogy of novels about Shakespeare (“Dark Lady” “Second-highest quality bed”, “Royal Rescript”) and two chapters of the novel “Dark Lady” (“Queen” and “Count Essex”), originally entered into its composition, but later was published separately, as well as two scientific and critical articles – “‘RetlandBaconSouthamptonShakespeare’: about the myth, anti-myth and biographical hypothesis” and “To Italians about Shakespeare”. The study author states that “Shakespearean text” by Yuri Dombrovsky dominated themes of tyranny and government that does not want to hear the people, of censorship, depriving the artist’s freedom of expression and the role of the artist in an unfree society. Special attention is paid to the problem of interaction between Shakespeare and monologue-authoritarian society in the artistic world created by the writer. The author hypothesizes that in the trilogy of short stories about Shakespeare, Dombrovsky addressed such problems of the totalitarian regime as censorship, cruelty and despotism of power from a relatively “safe” distance – the age of Shakespeare. The author notes the presence of a special situation of double dialogue in “Shakespearean text” by Yuri Dombrovsky: the dialogue is conducted through the Shakespearean era with the contemporary writer’s reality, power and culture. The article proves the similarity of Dombrovsky as a biographical author with the Shakespeare he portrayed, and notes the presence of common features in both writers (sacralization of creativity, impulsive character, addiction to alcohol, epileptic seizures, etc.). The conducted research allows us to conclude that Dombrovsky, attempting a dialogue with the monologue-authoritarian power, finds a voice through art, like “his” Shakespeare. Dombrovsky connects the ways of solving the problem of the artist and power with art as the only way to build a dialogue in the conditions of totalitarianism – not so much with the authorities, who are not able to hear it, as with themselves.


Author(s):  
Sabato Morais

This chapter takes a look at a sermon by Sabato Morais. Its structure is fairly straightforward. An introductory section focuses on what may appear to be a relatively minor issue but was apparently one that Morais considered to be of symbolic significance: the wording of the presidential proclamation of the national fast-day (made in response to a request by the Senate, possibly in response to the Southern day of prayer on 27 March). The body of the sermon presents two major themes. The first is introduced by the celebrated verses from the fifty-eighth chapter of the Book of Isaiah in which the prophet, speaking in God's behalf, castigates the people for the insincerity of their observance of a day of fasting and prayer. The chapter then turns to the second major theme: the repudiation of a dishonourable, ignominious peace that would come at the cost of dissolution of the American body politic.


Social Forces ◽  
1990 ◽  
Vol 69 (2) ◽  
pp. 635
Author(s):  
William R. Beer ◽  
Jack Whalen ◽  
Richard Flacks

Author(s):  
Michelle Sizemore

This chapter examines two competing forms of sovereign representation against the backdrop of the Whiskey Rebellion. In the new federal republic, George Washington served as a unifying symbol of the people in the centuries-long tradition of the monarch, but the very rituals of Washington’s office and also those of the rebels, such as tar-and-feathering, call attention to the first president’s limitations as symbol of the body politic. Rather than a static substance, the people are a protean force, a circumstance that prompts new forms of representation in Mason Locke Weems’s Life of Washington (1800), Hugh Henry Brackenridge’s Modern Chivalry (1797), and other works.


Daedalus ◽  
2013 ◽  
Vol 142 (3) ◽  
pp. 228-241 ◽  
Author(s):  
Cristina M. Rodríguez

In considering what it means to treat immigration as a “civil rights” matter, I identify two frameworks for analysis. The first, universalistic in nature, emanates from personhood and promises non-citizens the protection of generally applicable laws and an important set of constitutional rights. The second seeks full incorporation for non-citizens into “the people,” a composite that evolves over time through social contestation – a process that can entail enforcement of legal norms but that revolves primarily around political argument. This pursuit of full membership for non-citizens implicates a reciprocal relationship between them and the body politic, and the interests of the polity help determine the contours of non-citizens' membership. Each of these frameworks has been shaped by the legal and political legacies of the civil rights movement itself, but the second formulation reveals how the pursuit of immigrant incorporation cannot be fully explained as a modern-day version of the civil rights struggle.


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