Nasrin Qader
Biographic Data
| ID | 1264296 |
|---|---|
| NAME | Nasrin Qader |
| GIVEN NAMES | Nasrin |
| FAMILY NAME | Qader |
| SIGNATURE | QADER N |
| AFFILIATIONS | 1Northwestern University |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2000 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 0 |
The Fragmentary Cinema of Hakim Belabbes
In this article, I explore the cinematic work of the Moroccan director Hakim Belabbes, with focus on his fragmentary practice most evident in his 2009 film, Ashlā' (In Pieces), made a few years after his father's death. I interrogate three interconnected and mutually constituting dimensions of this film: the fragmentary, the archival, and the citational, because Belabbes constructed this film from fragments of his previous films. By focusing on t…
Terror of the Image: Maurice Blanchot and Mohammed Dib in Conversation
This essay sets up the scene of a conversation between Maurice Blanchot and Mohammed Dib—one of the most prominent writers of the twentieth century, hailing from Algeria and writing in French—through sustained reflections on the interplay between the imaginary, terror and chance. Beginning with highlighting Blanchot's distinctions between dialogue and conversation, as well as his notion of the imaginary, the essay moves to an interlaced reading o…
Life at Play: Impossible Worlds of Asef Soltanzadah’s “The Two of Clubs” and “If Night Falls”
Asef Soltanzadah is one of the most thought-provoking Afghan writers. His work, set exclusively during wartime, may be characterized by both seriousness and playfulness. To borrow Warren Motte’s words, “playing in earnest” is his literary signature. Yet, he occupies a marginal place within the institution of world literature not only because he writes in Persian but also because he is minimally translated and read. In this article, I turn to two …
Narratives of Catastrophe: Boris Diop, ben Jelloun, Khatibi
From Poetry to Writing: Abdelkebir Khatibi's Dédicace à l'année qui vient
Fictional Testimonies or Testimonial Fictions: Moussa Ould Ebnou's Barzakh
The Mauritanian novelist Moussa Ould Ebnou is among the most innovative writers in African literature today, as well as among the most neglected by critics. He is the author of two novels in double version, French and Arabic. The first is L'amour impossible (1990)/Al Hub al Mustahil (1999) and the second Barzakh (1993)/Madinat al Riyah (1996), in which he weaves masterfully together science fiction and mysticism, history and myth, truth and ficti…
Art and the Crisis of Representation in Muhammad Barrādah's Al-Daw-Al-Hārib (the Fugitive Light)
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Art and the Crisis of Representation in Muhammad Barrādah's Al-Daw-Al-Hārib (the Fugitive Light)
Fictional Testimonies or Testimonial Fictions: Moussa Ould Ebnou's Barzakh
The Mauritanian novelist Moussa Ould Ebnou is among the most innovative writers in African literature today, as well as among the most neglected by critics. He is the author of two novels in double version, French and Arabic. The first is L'amour impossible (1990)/Al Hub al Mustahil (1999) and the second Barzakh (1993)/Madinat al Riyah (1996), in which he weaves masterfully together science fiction and mysticism, history and myth, truth and ficti…
From Poetry to Writing: Abdelkebir Khatibi's Dédicace à l'année qui vient
Narratives of Catastrophe: Boris Diop, ben Jelloun, Khatibi
Life at Play: Impossible Worlds of Asef Soltanzadah’s “The Two of Clubs” and “If Night Falls”
Asef Soltanzadah is one of the most thought-provoking Afghan writers. His work, set exclusively during wartime, may be characterized by both seriousness and playfulness. To borrow Warren Motte’s words, “playing in earnest” is his literary signature. Yet, he occupies a marginal place within the institution of world literature not only because he writes in Persian but also because he is minimally translated and read. In this article, I turn to two …
The Fragmentary Cinema of Hakim Belabbes
In this article, I explore the cinematic work of the Moroccan director Hakim Belabbes, with focus on his fragmentary practice most evident in his 2009 film, Ashlā' (In Pieces), made a few years after his father's death. I interrogate three interconnected and mutually constituting dimensions of this film: the fragmentary, the archival, and the citational, because Belabbes constructed this film from fragments of his previous films. By focusing on t…
Terror of the Image: Maurice Blanchot and Mohammed Dib in Conversation
This essay sets up the scene of a conversation between Maurice Blanchot and Mohammed Dib—one of the most prominent writers of the twentieth century, hailing from Algeria and writing in French—through sustained reflections on the interplay between the imaginary, terror and chance. Beginning with highlighting Blanchot's distinctions between dialogue and conversation, as well as his notion of the imaginary, the essay moves to an interlaced reading o…
Art (7 works) · Literature (6 works) · Philosophy (6 works) · History (5 works) · Linguistics (5 works) · Philosophy (3 works) · Art history (2 works) · Conversation (2 works) · History (2 works) · Islamic Studies and History (2 works)