By Jacob Rama Berman
American Arabesque examines representations of Arabs, Islam and the close to East in nineteenth-century American tradition, arguing that those representations play an important position within the improvement of yank nationwide id over the century, revealing mostly unexplored exchanges among those cultural traditions that might regulate how we comprehend them at the present time.
Moving from the interval of America’s engagement within the Barbary Wars during the Holy Land commute mania within the years of Jacksonian growth and into the writings of romantics comparable to Edgar Allen Poe, the ebook argues that not just have been Arabs and Muslims prominently featured in nineteenth-century literature, yet that the diversities writers confirmed among figures corresponding to Moors, Bedouins, Turks and Orientals offer evidence of the transnational scope of household racial politics. Drawing on either English and Arabic language assets, Berman contends that the fluidity and instability of the time period Arab because it appears to be like in captivity narratives, shuttle narratives, imaginitive literature, and ethnic literature at the same time instantiate and undermine definitions of the yank state and American citizenship.
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Additional resources for American Arabesque: Arabs and Islam in the Nineteenth Century Imaginary
Government agent in the Louisiana Territory. Despite their obvious geographical separation, the physical spaces of Barbary and Louisiana, I argue, are treated with ideological continuity in Cathcart’s writings. Both are spatially chaotic and historically abject, and both The Barbarous Voice of Democracy 33 have the potential to be cultivated into the smooth spatio-temporality of empire. Cathcart’s America is a mobile concept more than it is a geographically bounded space. But whether he is in Barbary or Louisiana, Cathcart’s idealized vision of a coherent and culturally homogeneous America is constantly harassed by the multicultural and multilinguistic reality of the literal landscapes he surveys.
The fiction of Moorish ancestry allowed Drew Ali to insist on a continuum between blackness and Americanness that was literal but rhetorically difficult to establish. Placing his community in the figurative position of Moor, Drew Ali reconceived the Middle Passage in terms of black triumph, conquest, and historical tradition rather than in terms of exploitation and memory loss. The category of Muslim created by New World Islam prophets such as Drew Ali has very little to do with Islam. Instead, early black American Muslims were figural Muslims, modernist creations that borrowed references to the Arab and Islamic world to forge a new black American modality.
The cause of the sword exchange commemorated in the Marine hymn was the installation of Hamet Karamanelli, with the aid of the United States, as ruler of Tripoli. The result of the sword exchange was his disenfranchisement, exile, and alienation. S. Marines to the shores of Tripoli was the enslavement of American citizens, who had been promised life, liberty, and the pursuit of happiness by the Declaration of Independence. As white slaves in North Africa, as well as the white seamen sent to rescue them, were well aware, these universal rights were far from universally applied in their home country.