Die Heimatstadt als Heterotopie ästhetischer Selbstsuche und Identitätskrise in Rafik Schamis Sophia
In Rafik Schami’s novel Sophia or The Beginning of all Tales, heterotopias, unique places deviating from conventional norms, play a crucial role. The narrow streets and dead ends of the city of Damascus become such heterotopias in the text, resisting the power of the system characterized by the...
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| Format: | Article |
| Language: | Arabic |
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Edile (Edition et diffusion de l'écrit scientifique)
2024-01-01
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| Series: | Aleph |
| Online Access: | https://aleph.edinum.org/10331 |
| _version_ | 1797295353299468288 |
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| author | Khadidja Mamache |
| author_facet | Khadidja Mamache |
| author_sort | Khadidja Mamache |
| collection | DOAJ |
| description |
In Rafik Schami’s novel Sophia or The Beginning of all Tales, heterotopias, unique places deviating from conventional norms, play a crucial role. The narrow streets and dead ends of the city of Damascus become such heterotopias in the text, resisting the power of the system characterized by the persecution of the protagonist Salman and developing their own dynamics. These spaces bear the traces of lost time and interrupt the supposed continuity of spaces by becoming semiospheres of cultural ambiguity. The hometown, especially for the protagonist Salman in Italian exile, transforms into a heterotopia of existential self-search. Despite a stable household and financial security, Damascus remains his burning aspiration. The first reunion with the hometown occurs in a dream, proving to be the first heterotopia in the text. The journey to the city leads to a profound confrontation, primarily with oneself, but also with an idealized image of Damascus, as well as longings that oscillate between the realization of a dream and a confrontation with a nightmare. The city becomes a labyrinth with four dead ends, presenting the protagonist with unexpected challenges. In contrast, Karim’s house becomes the awaited safe place after failed attempts. The disguise and identity change of Salman prove to be significant elements for his successful escape from Damacus. The present essay aims to examine how heterotopias function as special places within the narrative. They carry not only spatial-symbolic significance but also imply the author’s engagement with his own identity, existential questions, and aesthetic self-search.
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| first_indexed | 2024-03-07T21:46:27Z |
| format | Article |
| id | doaj.art-8719d8355202476ba0a1ccffa14b58eb |
| institution | Directory Open Access Journal |
| issn | 2437-0274 2437-1076 |
| language | Arabic |
| last_indexed | 2024-03-07T21:46:27Z |
| publishDate | 2024-01-01 |
| publisher | Edile (Edition et diffusion de l'écrit scientifique) |
| record_format | Article |
| series | Aleph |
| spelling | doaj.art-8719d8355202476ba0a1ccffa14b58eb2024-02-25T15:03:07ZaraEdile (Edition et diffusion de l'écrit scientifique)Aleph2437-02742437-10762024-01-01112193206Die Heimatstadt als Heterotopie ästhetischer Selbstsuche und Identitätskrise in Rafik Schamis SophiaKhadidja Mamache0Alger 2 In Rafik Schami’s novel Sophia or The Beginning of all Tales, heterotopias, unique places deviating from conventional norms, play a crucial role. The narrow streets and dead ends of the city of Damascus become such heterotopias in the text, resisting the power of the system characterized by the persecution of the protagonist Salman and developing their own dynamics. These spaces bear the traces of lost time and interrupt the supposed continuity of spaces by becoming semiospheres of cultural ambiguity. The hometown, especially for the protagonist Salman in Italian exile, transforms into a heterotopia of existential self-search. Despite a stable household and financial security, Damascus remains his burning aspiration. The first reunion with the hometown occurs in a dream, proving to be the first heterotopia in the text. The journey to the city leads to a profound confrontation, primarily with oneself, but also with an idealized image of Damascus, as well as longings that oscillate between the realization of a dream and a confrontation with a nightmare. The city becomes a labyrinth with four dead ends, presenting the protagonist with unexpected challenges. In contrast, Karim’s house becomes the awaited safe place after failed attempts. The disguise and identity change of Salman prove to be significant elements for his successful escape from Damacus. The present essay aims to examine how heterotopias function as special places within the narrative. They carry not only spatial-symbolic significance but also imply the author’s engagement with his own identity, existential questions, and aesthetic self-search. https://aleph.edinum.org/10331 |
| spellingShingle | Khadidja Mamache Die Heimatstadt als Heterotopie ästhetischer Selbstsuche und Identitätskrise in Rafik Schamis Sophia Aleph |
| title | Die Heimatstadt als Heterotopie ästhetischer Selbstsuche und Identitätskrise in Rafik Schamis Sophia |
| title_full | Die Heimatstadt als Heterotopie ästhetischer Selbstsuche und Identitätskrise in Rafik Schamis Sophia |
| title_fullStr | Die Heimatstadt als Heterotopie ästhetischer Selbstsuche und Identitätskrise in Rafik Schamis Sophia |
| title_full_unstemmed | Die Heimatstadt als Heterotopie ästhetischer Selbstsuche und Identitätskrise in Rafik Schamis Sophia |
| title_short | Die Heimatstadt als Heterotopie ästhetischer Selbstsuche und Identitätskrise in Rafik Schamis Sophia |
| title_sort | die heimatstadt als heterotopie asthetischer selbstsuche und identitatskrise in rafik schamis sophia |
| url | https://aleph.edinum.org/10331 |
| work_keys_str_mv | AT khadidjamamache dieheimatstadtalsheterotopieasthetischerselbstsucheundidentitatskriseinrafikschamissophia |