“Golden Dog” .. A vision in the biography of mutants
Tripoli – middle gate: Abd al-Salam al-Fakhhi Saturday 14 May 2022, 12:05 pm
The emergence of the “golden dog” as a vision from the ashes of the apocalyptic narrative transformations leads us to wonder to what extent the latter embodies the reality of his writer and whether it had to do with it. was based on Platonic meditation, as the tendency of dreaming tends to fly and ascend to a desire to purify itself or a desire to discover itself with a meaning that triumphs over vision before experience overcomes its rotational impulses, falling in controlling a fat gaze on YouTube. can reveal the predominance of cultural patterns that subconsciously expressed their existence within it.From him and this is the essence of metamorphosis and its tragedy, that it exists and does not exist, and in another way is determined by the act of imagination and the brilliance of myth, not by the act of logic.
Honest and happy
Mansour Bushnaf’s novel – as a story – relies on the game of paradoxes embodied in his title “Golden Dog”, or “Merry”, which is released as a stray bullet to be placed in the heart of the Italian widow and the degree of it grows with another complex transformation, in which the latter mocks his human way, as if he had been cast out by an angelic spirit and placed in the body of a demon. The earthly leaps in Saed’s heavenly dreams, eager for his lost paradise “so that the dream of returning to the paradise of dogs does not escape the imagination” p.8, as the dialectical interaction between the objective and the subjective of the narrator arises as a confrontation between the view of life and the reality of art, between the presence of the heroic author or narrator or his rise above his work. ” 1.
– Between the “gum” and the “golden dog” .. a story that describes the elements of fragility and the concept of being
On the other hand, the realism of the libecheau world imposes its existence as a vital field and we should not find the collision as a goal, but see life without makeup, without the imagination that is not supported by reality. , as in the experience of Candide, the hero of Voltaire, who turned into a donkey banished from the paradise of the palace, in the face of a world that contradicts the ideal of his teacher. The saying “happiness is the origin”, the image of the interview rises here synonymous with the absurd logic of the “chewing gum” philosopher shouting in the face of his students: “Chewing is eternal.” Both contradict his reality and the irony ensures that he exposes and exposes it after being transferred from theorizing. in the field of experiment.
Paradoxical patterns are an ancient narrative technique and the continuation of its discoveries is in fact evidence of the survival of its eternal theme, crime and punishment. It also bases its argument, i.e., paradox, on the existence of a multidimensional imposing . authority, which erupts the desire to refer to it in an absurd, provocative and sarcastic way, as in Emile Habib’s novel “Said Abi Al-Nas”, describing the occupier’s oppression of the landowner. Optimistic or pessimistic, how does Bushnaf ask his golden dog or libecho the same question? It is a sarcasm in the language of opposites or of the new language, in the opinion of George Orwell, “used by authority to create complete systems where words imply the opposite of their connotations” 2.
Perhaps the opportunity to ask about the feasibility of the metamorphosis prompted the owner of the “golden dog” to reshape it from another angle that climbs to the ground and does not intend to climb, and turns to controversy instead of escaping and practicing it. curious ritual turning the bird of desires back to dust and dragging it into another metamorphosis and vice versa, replacing meditation with an approach. His criteria for detecting areas of vulnerability and its manifestations are tantamount to shifting the reference of the apolitical meaning to an advanced one. point for examining the line of transformations or deformations from that time to the time of writing this parable, driven by a burning ball with test questions, but what happens: Where? What? How to do? Why? However, her presence is not enough, as these questions were and still are subject to the authority of the tale and the force of its captivating influence. What we need, as Gramsci says, is awareness and self-knowledge as a result of a historical process that continues to this day, a process that deposited in the soul countless traces of its number without being accompanied by an inventory of it. “p. 70.
There will be no final answer. The philosophical proposition leads us to an endless series of interpretations, due to the growing mass of variables and their moving terrain, which makes the narrative full of twists and turns and a nuisance in response.
The novel is based on two branches, a philosophical proposition and a theatrical vision, from the reality of the specificity of the transformed or deformed situation, which takes place in stages, which often took on the character of a follower, translated into the situation of Question with which he faces whenever he stands in front of the mirror, who exactly is “Libyan, Italian, animal, human, mix, everything else”?
The narrator always intervenes to give way to the wavering narrative because of the intensity, using the tale he tells in a melodramatic vision: “I play the role of the narrator who finds himself in front of the audience.” 3 And because libico is part of its geography, he will ultimately remain a slave to his eternal molds, his successor, no doubt, despite his aspirations for rebellion or to shatter his impenetrable solidity into another form of news photo, but he finds no alternative to explain the idea of the story, to the explanation of the philosophy of the example, since the narrative falls in its favor and time is subject only to its needs, and the events seem logical only by seeing the essence of the idea itself, the text: I An iconic writer does not stop correcting his narrative without erasing previous mistakes and rewriting the text. As you can see, I speak and I do not write ”p.45.
Is a shift in history enough to be convinced of the conclusion of Said’s kiss by Said, as an excuse must be found for this formulation through the portal of anthropology and myth, “a voice that comes from the depths of the sacredness of heritage. Giving the Akacus dog drawings as a birth certificate for example, as history frees them from wall sleep and throws them into a passageway of appearances and structural patterns imposed by the country’s culture, and the naked men set off. with dog heads and tails .. are motivated by the power of Libyan eroticism and by this legitimacy this kiss under the umbrella of the history of the Libyan ancestors, but it is a confusing kiss without taste, color. and smell, oscillating in the midst of an expected maturity that does not display its features until it is taken from power. The other is Cairo, which makes him long for that missing part of him with little pain, nostalgia, and anticipation, and sees him in Fatima, who shared with him Siniora’s service, and later became his wife, and he sees him, on the contrary, in the crowds of dogs roaming the outskirts of the city, fading between his crushed entity and lost identity amid the fragility of belonging, where his story was written out of his control by others , only from their thoughts and perceptions.
center of transformation
The slaughtered identity was also present in Fatima’s desire to inherit her mistress’s inheritance by wearing her shoes, but he fails and stumbles, despite the lack of reasons for formal submission. The desire for imitation remained without understanding her internal systems controlling, a fundamental reflection of the cursed legacy.Until now, “the loss is not to defeat an army or to overthrow a regime, but defeat is to disbelieve that it is possible and not to know how and why.”
Another photo shows the moment of escape from the metamorphosis furnace on the stage of Al-Libicho, as he joins the mass of crowds flowing with joy for the change after the turn of 1969. The unknown remained the master of the situation and the recovery of the killed identity was conditioned by the result that “chewing gum” responds when the fragility of screaming and screaming continues to increase until stuttering, a sign of crisis.
Looking at the space of this obsession, we see another tendency that is synonymous with the conflict with the identity of the immigrant, which is the war of geography, north and south, sea and desert and vice versa, is part. of the composition of Libicho, which also carries within it this composition.Gazela, as both are products of an Italian trace, which was part of the violation of the north to the south.
The common heritage makes the deer and the nymph the center of attraction for Libechos families, but rather his times, which he seeks to consider and reflect on its details through it to understand the code of his complex metamorphosis .The era of young magicians.
Quoted from the weekly issue of Al-Wasat newspaper.
1- Self-criticism of the thinker “Ali Harb”
2- The intellectual and power “Edward Said”
3- Being and essence according to Plato “Paul Ricoeur”
4- Paradox and its characteristics. bad. Mioc »
5- “The strange facts of the disappearance of Saeed Abi Al-Nahas” novel by the writer Emile Habibi.
6. Candide, Voltaire’s novel
7- Orientalism of Eduard Said
Mansour Bushnaf (Archive: Internet)