6. 以英语为母语的阿拉伯研究的挑战:后融合主义的批判实践

M. Schmitz
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引用次数: 0

摘要

我一直不相信东方主义者对起源和根源的痴迷,因为看到东方人的真正根源只不过是西方立场的一种功能。这是我想完全跳过起点问题的第一个原因。我不希望为自己阅读以英语为母语的阿拉伯作品的方式找任何本质主义的借口。我更愿意从一项有争议的义务中解放出来,即在所有其他可能的开始中,通过命名选定的前和间隙来开始我的研究。我想把讲英语的阿拉伯作品作为自觉的艺术和文学作品来处理,不需要任何东方主义的预先资格,也不需要使用任何文化上特定的解释代码。没有开头也没有结尾,没有前文也没有重要的互文,没有解释性的铺垫。相反,以英语为母语的阿拉伯语发音将被视为自主的美学作品,具有自己的成就感,超越了他们作为阿拉伯文化的英语载体的存在。他们将从他们各自的内部得到解释,他们将在他们个体出现的那一刻被接近。他们独特的真理将坚定地站在自我推进的文本或图像中,而真理将立即从这些表征中显现出来。然而,高贵但同样naïve的愿望是,通过普遍的标准来承认英语阿拉伯作品的纯粹美学存在,而不是通过使用任何特定的(英语-)阿拉伯困境作为解释矩阵,这可能会冒着忽视这些美学的特定相关性的风险,无论是关于它们的话语形成,还是关于它们的潜在和事实上的话语有效性。以英语为母语的阿拉伯人可能的陈述句的档案排列,以及我们用来认识这些陈述句出现的术语——可以说,以英语为母语的阿拉伯人话语的顺序——就其非故意而言,实在是太引人注目了
本文章由计算机程序翻译,如有差异,请以英文原文为准。
6. The Challenge of Anglophone Arab Studies: For a Post-Integrationist Critical Practice
I have always distrusted the Orientalist obsession with origins and roots in which seeing the Orientals’ true roots is hardly anything more than a function of where the Occidental stands.This is the first reason I would have liked to skip the question of beginnings entirely. I wanted no essentialist excuses for my approach to reading Anglophone Arab works. I would have preferred being liberated from the arguable obligation to begin my study by naming selected preand interstices among all other possible beginnings. I wanted to approach Anglophone Arab works as selfconscious works of art and literature without any Orientalist pre-qualification and without using any culturally specific interpretive code. There would have been no beginnings and no endings, no pre-texts and no intertexts of importance, and no interpretive prefiguration. Instead, Anglophone Arab articulations would have been approached as autonomous aesthetic works with their own sense of achievement beyond their existence as Anglophone carriers of Arab culture. They would be explained right from their respective inside, and they would be approached at the moment of their individual emergence. Their unique truth would firmly stand within the self-proceeding text or image, and that truth would emerge immediately from these representations’ close reading. Yet, the noble but equally naïve wish of recognizing Anglophone Arab works by universal standards in their pure aesthetic existence and not by using any particular (Anglo-)Arab predicament as the interpretive matrix would have run the risk of ignoring these aesthetics’ specific correlations, both regarding their discursive formation as well as with a view to their potential and de-facto discursive effectivity. The archival arrangement of possible Anglophone Arab statements and the terms by which we recognize the appearance of these statements—the order of Anglophone Arab discourse, so to speak—is much too striking regarding its non-intentional
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