Réda Bensmaïa – författare

Jean-Paul Sartre's famous question, "For whom do we write?" strikes close to home for francophone writers from the Maghreb. Do these writers address their compatriots, many of whom are illiterate or read no French, or a broader audience beyond Algeria, Morocco, and Tunisia? In Experimental Nations, Reda Bensmaia argues powerfully against the tendency to view their works not as literary creations worth considering for their innovative style or language but as "ethnographic" texts and to appraise them only against the "French literary canon." He casts fresh light on the original literary strategies many such writers have deployed to reappropriate their cultural heritage and "reconfigure" their nations in the decades since colonialism. Tracing the move from the anticolonial, nationalist, and arabist literature of the early years to the relative cosmopolitanism and diversity of Maghrebi francophone literature today, Bensmaia draws on contemporary literary and postcolonial theory to "deterritorialize" its study.Whether in Assia Djebar's novels and films, Abdelkebir Khatabi's prose poems or critical essays, or the novels of Nabile Fares, Abdelwahab Meddeb, or Mouloud Feraoun, he raises the veil that hides the intrinsic richness of these artists' works from the eyes of even an attentive audience. Bensmaia shows us how such Maghrebi writers have opened their nations as territories to rediscover and stake out, to invent, while creating a new language. In presenting this masterful account of "virtual" but veritable nations, he sets forth a new and fertile topography for francophone literature.

The Barthes Effect was first published in 1987. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.The author acknowledges the essay as an eccentric phenomenon in literary history, one that has long resisted entry into the taxonomy of genres, as it concentrates on four works by Roland Barthes: The Pleasure of the Text, A Lover's Discourse, Roland Barthes by Roland Barthes, and Camera Lucida. Maintains that with Barthes the essay achieves a status of its own, as reflective text.". . . a study rigorously conscious of the critical maneuvers it executes and, more importantly, questions as critical practice . . . " Bensmaïa's strategy produces a successful investigation of the interstices and slippages of meaning which Barthes addressed in his work." SubStanceReda Bensmaia is associate professor in the departments of French and comparative literature at the University of Minnesota, and translator Pat Fedkiew, a graduate student in French at Minnesota. Michele Richman is associate professor of French at the University of Pennsylvania and author of Reading Georges Bataille: Beyond the Gift.

Does a philosopher have an ‘identity’? What kind of ‘identity’ is mobilized when the work of a philosopher becomes a major reference for certain schools of thought, as in the case of Gilles Deleuze and postcolonial theory? Have the promoters of a generalized Deleuzeanism taken care their usage of his specialized work does him justice?Few exponents of postcolonial and subaltern theories now dispute the influence that Deleuze’s work exerted on the intellectuals and theorists who developed those theories. However, this book contends that postcolonial and subaltern theorists have engaged with Deleuzean thought in ways that have perhaps produced a long series of misunderstandings – for which Deleuze himself is not responsible. By engaging with recent innovations in North African culture and by examining the dissemination of Deleuze’s identities across a broad range of postcolonial theory, Réda Bensmaïa shows that the ‘encounter’ between Deleuze and the postcolonial movement can only be understood through the idea of a ‘transcendental’ field, in which Deleuze and his postcolonial followers find themselves captured.