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
Introduction
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
Or perhaps the abysmal tension between what is narrated and what cannot be narrated in what is collectively experienced is the unavoidable law of community. The latter, in any case, is always beyond judgement, or judged in vain. The community just is: from its celestial signs and secularized tabernacles, from the permanent negotiation that it establishes with its own inevitable myths. From its strange wisdom in survival that has generally nothing much to do with intellectual critique. (Casullo 2009: 124)
The experience of equality, as it was lived by many in the course of the movement– neither as a goal nor a future agenda but as something occurring in the present and verified as such– constitutes an enormous challenge for subsequent representation. (Ross 2002: 11)
On 12 February 2011, one day after the hundreds of thousands of people who had occupied Tahrir square for eighteen days had withdrawn, I witnessed a scene on the midan that left a durable impression on me. President Hosni Mubarak had just stepped down, and I expected to find in Tahrir some sense of the joy and excitement I had experienced the night before. Instead, the midan was pulsing with tension; heated discussions were taking place between youth who refused to fold up their tents and those who vehemently pushed them to do so. Among the many disturbing scenes I witnessed that day, I saw tens of youth frantically cleaning up the square– although it had never been dirty throughout those eighteen days. They were gathering the pavement stones demonstrators had patiently taken off one by one to be used in the battles against the baltagiyyas (thugs), and washing slogans off the dark green metallic fences with sponges and dish soap (Heshmat 2012: 100–1).
In the following days, not only slogans were wiped off from the walls and fences, but a more general, all-encompassing operation of erasure began, and the 25 January revolution was actively re-written in an elitist manner. The complexity of the extra-ordinary moment we had gone through was simplified through a focus on the sit-in, detaching it from its context and from the still unfolding revolutionary momentum.
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- Information
- Egypt 1919The Revolution in Literature and Film, pp. 1 - 37Publisher: Edinburgh University PressPrint publication year: 2020