Book contents
- Frontmatter
- Contents
- Series Editor’s Foreword
- Acknowledgements
- Note on Transliteration and Translation
- Dedication
- Introduction
- 1 The Poetics of Disillusion
- 2 The Fear of the Rabble
- 3 1919 and the Trope of the Modern Nation
- 4 The Revolution on the Screen
- 5 The Politics of Rehabilitation
- 6 Rewriting History in the 1990s
- 7 Rewriting History in the Wake of 2011
- Conclusion
- Bibliography
- Index
3 - 1919 and the Trope of the Modern Nation
Published online by Cambridge University Press: 10 October 2020
- Frontmatter
- Contents
- Series Editor’s Foreword
- Acknowledgements
- Note on Transliteration and Translation
- Dedication
- Introduction
- 1 The Poetics of Disillusion
- 2 The Fear of the Rabble
- 3 1919 and the Trope of the Modern Nation
- 4 The Revolution on the Screen
- 5 The Politics of Rehabilitation
- 6 Rewriting History in the 1990s
- 7 Rewriting History in the Wake of 2011
- Conclusion
- Bibliography
- Index
Summary
High-culture national literatures, both canonical and precanonical, are integrally bound up in the processes of national identity formation, maintenance, and change. Their development is promoted by elites with an interest in the unity, legitimacy, and prestige of the nation. (Corse 1995: 1299)
It is difficult to think of a better illustration for this quote than Tawfiq al-Hakim's novel ‘Awdat al-Ruh (The Return of the Spirit). Published in 1933, ‘Awdat al-Ruh is the coming-of-age story of a young adolescent from a landowning family. Sent to Cairo to finish his high school studies, by the end of the narrative Muhsin is a young man involved in the 1919 revolution. Articulating the revolution as the rebirth of a nation, the novel insists on both the unity and the pharaonic roots of the Egyptian people. According to a well-known anecdote, Nasser repeatedly declared that ‘Awdat al-Ruh was his favourite bedtime reading, one that nourished his ideological consciousness and inspired his political journey (Hafiz 2001: 775). The influence of al-Hakim's text on Nasser was such that he named the hero of the only novel he wrote, Fi Sabil al-Hurriyya (For the Sake of Freedom), after ‘Awdat al-Ruh's Muhsin. Nasser's confession attests to the durable influence of al-Hakim's novel on the Egyptian imaginary, particularly that of its elites. Several generations of scholars have further underlined the importance of ‘Awdat al-Ruh as a text that literally wrote the nation into being and ‘contributed to shape what Benedict Anderson calls the National Imaginary’ (Hafiz 2001: 775).
In this chapter, I analyse the novel's articulation of the 1919 revolution and its reception, along with that of Naguib Mahfouz’ Bayn al-Qasrayn (Palace Walk, 1956). I argue that these two canonical novels have been central in shaping the dominant narrative about 1919. Both glorify 1919 as a major step towards the creation of a modern Egyptian nation. Rather than a chaotic disruptive revolutionary moment, 1919 is presented as a key moment for the upper middle-class elites to achieve their nation building project. Following Kirstin Ross in her work about May 1968 in France, I show that this is achieved by a set of ‘dominant narrative configurations– mostly reductions or circumscriptions of the event– adopted by the official story’: a ‘temporal reduction’ which produces ‘an abbreviated chronology’ and a ‘geographic reduction’(Ross 2002: 8–9).
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- Information
- Egypt 1919The Revolution in Literature and Film, pp. 79 - 105Publisher: Edinburgh University PressPrint publication year: 2020