Ahmed Elbeshlawy – författare

Utilizing Lacan's psychoanalytic theory and Zizek's philosophical adaption of it, this book brings into dialogue a series of modernist and postmodernist literary works, films, and critical theory that are concerned with defining America. Ahmed Elbeshlawy demonstrates that how America is perceived in certain texts reveals not only the idealization or condemnation of it, but an imago, or constructed image of the perceiver as well. In turn, texts which particularly focus on demonstrating how other texts about America communicate an untrustworthy message themselves communicate an unreliable message, inventing and reinventing a series of imagos of America. These imagos refer to both idealized and deformed images of America constructed by the perceivers of America. The first part of this book is concerned with modernist perceptions of America, and includes discussion of Adorno, Benjamin, Kafka, D. H. Lawrence, as well as Emerson and Seymour Martin Lipset. The second part is dedicated to postmodernist representations of America, focusing on texts by Edward Said, Ihab Hassan, Susan Sontag, David Shambaugh and Charles W. Brooks, and films including Lars von Trier's Dogville and D.W. Griffith's Birth of a Nation.

Utilizing Lacan''s psychoanalytic theory and Zizek''s philosophical adaption of it, this book brings into dialogue a series of modernist and postmodernist literary works, films, and critical theory that are concerned with defining America. Ahmed Elbeshlawy demonstrates that how America is perceived in certain texts reveals not only the idealization or condemnation of it, but an imago, or constructed image of the perceiver as well. In turn, texts which particularly focus on demonstrating how other texts about America communicate an untrustworthy message themselves communicate an unreliable message, inventing and reinventing a series of imagos of America. These imagos refer to both idealized and deformed images of America constructed by the perceivers of America. The first part of this book is concerned with modernist perceptions of America, and includes discussion of Adorno, Benjamin, Kafka, D. H. Lawrence, as well as Emerson and Seymour Martin Lipset. The second part is dedicated to postmodernist representations of America, focusing on texts by Edward Said, Ihab Hassan, Susan Sontag, David Shambaugh and Charles W. Brooks, and films including Lars von Trier''s Dogville and D.W. Griffith''s Birth of a Nation.

Utilizing Lacan''s psychoanalytic theory and Zizek''s philosophical adaption of it, this book brings into dialogue a series of modernist and postmodernist literary works, films, and critical theory that are concerned with defining America. Ahmed Elbeshlawy demonstrates that how America is perceived in certain texts reveals not only the idealization or condemnation of it, but an imago, or constructed image of the perceiver as well. In turn, texts which particularly focus on demonstrating how other texts about America communicate an untrustworthy message themselves communicate an unreliable message, inventing and reinventing a series of imagos of America. These imagos refer to both idealized and deformed images of America constructed by the perceivers of America. The first part of this book is concerned with modernist perceptions of America, and includes discussion of Adorno, Benjamin, Kafka, D. H. Lawrence, as well as Emerson and Seymour Martin Lipset. The second part is dedicated to postmodernist representations of America, focusing on texts by Edward Said, Ihab Hassan, Susan Sontag, David Shambaugh and Charles W. Brooks, and films including Lars von Trier''s Dogville and D.W. Griffith''s Birth of a Nation.

Utilizing Lacan's psychoanalytic theory and Zizek's philosophical adaption of it, this book brings into dialogue a series of modernist and postmodernist literary works, films, and critical theory that are concerned with defining America. Ahmed Elbeshlawy demonstrates that how America is perceived in certain texts reveals not only the idealization or condemnation of it, but an imago, or constructed image of the perceiver as well. In turn, texts which particularly focus on demonstrating how other texts about America communicate an untrustworthy message themselves communicate an unreliable message, inventing and reinventing a series of imagos of America. These imagos refer to both idealized and deformed images of America constructed by the perceivers of America. The first part of this book is concerned with modernist perceptions of America, and includes discussion of Adorno, Benjamin, Kafka, D. H. Lawrence, as well as Emerson and Seymour Martin Lipset. The second part is dedicated to postmodernist representations of America, focusing on texts by Edward Said, Ihab Hassan, Susan Sontag, David Shambaugh and Charles W. Brooks, and films including Lars von Trier's Dogville and D.W. Griffith's Birth of a Nation.

Based in Hong Kong and Egypt, Sahara is a collection of poems about writing poetry, love, sexuality, woman, religion, and identity. Though deeply personal and passionate, the collection cuts across different registers and disciplines, mixing the personal with the social, reality with fantasy, art and literature with life, philosophy with psychoanalysis, and the sophisticated urbanism of cities with the inexplicable beauty of the desert.

This book discusses the figure of Woman in Lars von Trier’s distinctive cinematic productions from 1996 to 2014. It takes the notorious legacy of violence against women in von Trier’s cinema beyond the perceived gender division, elevating the director’s image above being a mere provocateur. By raising fundamental questions about woman, sexuality, and desire, Elbeshlawy shows that Trier’s cinematic Woman is an attempt at creating an image of a genderless subject that is not inhibited by the confines of ideology and culture. But this attempt is perennially ill-fated. And it is this failure that not only fosters viewing enjoyment but also gives the films their political importance, elevating them above both commendations and condemnations of feminist discourse.

This book discusses the figure of Woman in Lars von Trier’s distinctive cinematic productions from 1996 to 2014. It takes the notorious legacy of violence against women in von Trier’s cinema beyond the perceived gender division, elevating the director’s image above being a mere provocateur. By raising fundamental questions about woman, sexuality, and desire, Elbeshlawy shows that Trier’s cinematic Woman is an attempt at creating an image of a genderless subject that is not inhibited by the confines of ideology and culture. But this attempt is perennially ill-fated. And it is this failure that not only fosters viewing enjoyment but also gives the films their political importance, elevating them above both commendations and condemnations of feminist discourse.