This study investigates the possibility of initiating a discourse about lost private libraries of Arab women writers. It situates this discourse in a larger framework of recent scholarly theorizations, such as B. Venkat Mani’s, about the substantial role of public and national libraries in problematizing academic discourses about the dissemination and circulation of world literature. The purpose of this thesis is to widen the scope of discussion about world literature and libraries to include private libraries of Arab women writers who, at least many of them, suffered from a loss of their cultural and intellectual capital as a result of various reasons, including war. I take Ghada Samman’s (1942-) private library, that was burnt during the Lebanese civil war (1975-1990), as an example of a contentious site that embodies several elements of cultural and feminist rebellion and resembles, in several ways, the stories of many destroyed private libraries of Arab women writers. I maintain that delving into the details of Samman’s private library as it exists in scattered bibliographic textual information allows us to pose questions about the absence of any discourse about private libraries of Arab women writers and the deficient role of world literature in highlighting the lost knowledge that takes place as a result of the destruction of such libraries.

Moreover, this thesis applies a close reading of Samman’s Beirut Nightmares (1976; translated in 1997), a novel that vividly documents the everydayness of the start of the Lebanese civil war in a diary-like fashion and is divided into 206 nightmares recounted by an unnamed protagonist stuck in an apartment next to the Holiday Inn and the Phoenicia Hotel during the infamous ‘Battle of the Hotels.’ I specifically analyze the passages when the protagonist exhibits a complicated relationship with her library. Drawing on Walter Benjamin’s “Unpacking My Library: A Talk about Book Collecting,” I argue that the gendered d. Copyright Statement All digitized texts and images in the AUB Libraries collections are for the personal, not-for-profit use of students, scholars, and the public. Any such use must name The American University of Beirut Libraries as the original source for the material. All texts and images are subject to copyright laws and, except where noted otherwise, are the property of the University Libraries. Rukovodstvo po remontu ford focus 1 6 duratorq tdci.

Beirut '75 (Paperback) ~ Ghada Samman Beirut Nightmares (Paperback) ~ Ghadah Samman (Author). Samman pdf Beirut '75 odqangf, then you've come to loyal website. Ghada Samman is a Syrian writer who lived in Beirut. This precarious status is what suggested a reading of these stories informed also. Unlike the novels of al-Samman's war trilogy, the Levantine homeland in. 2008); Hanan Sbaiti, 'Ghada Samman's Beirut Nightmares: A Woman's Life;'.

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The fifteen-year war in Lebanon was over in 1990, and the Lebanese are still trying to remember it. They are trying to gather together the shards of that war by patching together days and dates. But in their focus on time they have overlooked the crucial role of space. According to Robert T. (2011, 8), “The ways in which we are situated in space determine the nature and quality of our existence in the world.” The French professor Bertrand Westphal (2011, ix), the father of geocriticism, reminds us: “For a long period, time seems to have been the main coordinate of human inscription into the world. Kanda naal mudhal tamil full movie free download. Space only a rough container.” Indeed, in the case of the Lebanese war, space was not merely a rough container but a protagonist.

The Lebanese conflict, like any civil war, has redefined not only the notions of front line and war space but also the way the population, especially women, deals with intimacy in the patriarchal Lebanese society. When the war broke out in 1975, many women scattered across Beirut started to write about their own experiences. In the late 1980s the American professor miriam cooke (1996 [1987]) gave them a name, the Beirut Decentrists, thus highlighting their physical dispersal in the city.

Cooke (1987, 4) explained that these women were decentered in a more intellectual way, as they “wrote in the capital but were tangential to its literary tradition.” But we must go beyond the dualistic logic of center-periphery to understand the notion of space in the Beirut Decentrists’ texts. This essay explores the notion of third space as developed by Homi K. Bhabha (1994), Edward W. Soja (1996), and Westphal (2007).