In this article, I analyze several personal authorial accounts, including the introduction to the first edition of the novel Ibrāhīm al-kātib (1931), in which the author develops the idea of creative writing and translation as a mechanical process of filling in the gaps of a “lost original.” Alongside literary allegations raised by critics against al-Māzinī soon after the publication of Ibrāhīm al-kātib, I recontextualize this issue of self-borrowing in the light of two parallel processes: the changing politics of intertextual practices that took place in Egypt during the first quarter of the twentieth century; and the rise of concepts as “Egyptianness” and “aṣālah” (cultural authenticity), key ideas to a national canon. Both Sanīn aw Ibn al-ṭabī‘ah and the (partially) re-written Ibrāhīm al-kātib, are the outcome of a process of adaptation, in which translation, intertextuality, literary borrowing and manipulation of the text constitute a common working practice and are not isolated incidents in the author/translator’s career.
|Titolo:||Reframing the Politics of Aesthetic Appropriation in the late-Nahḍah Novel: The Case of "Plagiarism" in Ibrāhīm al-Māzinī's Ibrāhīm al-kātib|
|Data di pubblicazione:||2019|
|Appare nelle tipologie:||01.01 Articolo in Rivista|