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Sabbah's Legacy: the Evolution of the Image of Woman in the Muslim

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Sabbah's Legacy: the Evolution of the Image of Woman in the Muslim Sabbah’s Legacy: The Evolution of the Image of Woman in the Muslim Unconscious Author: Joan Isabel Listernick Persistent link: http://hdl.handle.net/2345/bc-ir:104930 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2016 Copyright is held by the author, with all rights reserved, unless otherwise noted. Boston College The Graduate School of Arts and Sciences Department of Romance Languages and Literatures SABBAH’S LEGACY: THE EVOLUTION OF THE IMAGE OF WOMAN IN THE MUSLIM UNCONSCIOUS by JOAN ISABEL LISTERNICK submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2015 © copyright by JOAN ISABEL LISTERNICK 2015 Abstract Sabbah’s Legacy: The Evolution of the Image of Woman in the Muslim Unconscious By Joan Listernick Advisor: Régine Jean-Charles Taking Fatna Ait Sabbah’s two editions of La Femme dans l'inconscient musulman (1982 & 2010) as my point of departure, I analyze the image of the woman in several contemporary French and Arabic texts. Sabbah argues that buried in early Muslim pornographic texts lies an image of woman that reflects the unconscious view of her in the masculine imagination. In this image woman is positioned in opposition to the Muslim ethical system largely due to her subversive sexual desire. Sabbah’s texts raise key questions: Where a transformation of the feminine condition takes place, is it accompanied by a corresponding change in the image of the woman in the Muslim unconscious? How does the collective unconscious change? Is the unconscious always a reactionary force? Does contemporary literature reinforce Sabbah’s conception or depart from it? The novelists I have selected combine two pertinent attributes: they critique their own society and they examine female subjectivity, or in other words how a woman perceives her role, her identity and her consciousness. Through an analysis of heterodox texts, I focus particularly on how the Arab world sees itself. My first chapter compares Sabbah’s two editions, including her shift in tone and agenda, and the lacunae in her texts. In my second chapter I study Moroccan novelist Rajae Benchemsi’s Marrakech, lumière d'exil (2002) and Nawal el Saadawi’s Woman at Point Zero (1975) in terms of how the erotic and space function in both texts. I explore the women characters’ compliance with or resistance to Maghrebian notions of feminine and masculine space. I argue that the individual choices regarding space help define the characters’ identity. In my third chapter I examine the Sufi view of woman as included in Rajae Benchemsi’s La Controverse des temps (2006) and Ahmed Toufiq’s Abu Musa's Women Neighbors (2006). I point out that the Sufi view presents a counter-discourse to Sabbah’s description of the image of the woman in the Muslim unconscious. If Fatna Sabbah sees woman in early erotic and orthodox texts as reduced to an exclusively sexual essence, these texts present a spiritual dimension to woman’s identity, a dimension which in the context of Sabbah’s work, I argue, has a transgressive aspect. In my fourth chapter I analyze the mother figure in two novels by the Algerian writer, Boualem Sansal: Harraga (2005) and Rue Darwin (2011). I describe the distance between the representation of the mother in Sansal’s work and the image of the woman in the Muslim unconscious as described by Sabbah. I conclude that while the image of the woman as described by Sabbah continues to be present in contemporary texts, other images, remarkable for their diversity, have emerged. i Table of Contents Dedication & Acknowledgements…………………………………………............... iii Introduction: Relativism & Ethnocentrism…...………………………………….... 1 Chapter One: In the Swamplands of Memory…………………………………….. 17 Sabbah’s Two Editions………………………………………………………... 25 Lacunae in Sabbah’s Two Editions…………………………………………… 29 Can the Collective Unconscious Change?.......................................................... 32 History, Reform and Feminism……………………………………………….. 37 Moving Forward From Sabbah……………………………………………….. 50 Chapter Two: Desire and Spatial Dynamics in Rajae Benchemsi’s Marrakech, lumière d’exil and Nawal Saadawi’s Woman at Point Zero………………………... 55 The Mirror Episodes…………………………………………………………... 55 Desire in Benchemsi…………………………………………………………... 65 Saadawi’s Treatment of Desire……………………………………………….. 77 Spatial Dynamics in the Maghreb…………………………………………….. 79 Spatial Dynamics in Marrakech, lumière d’exil……………………………… 81 Spatial Dynamics in Woman at Point Zero…………………………………… 89 Conclusion…………………………………………………………………….. 92 Chapter Three: Two Sufi Love Narratives………………………………………….95 A Brief Outline of Sufism……………………………………………………...95 Gender and Sufism……………………………………………………………. 100 ii The View of Two Contemporary Sufi Orders on the Creation of the Mourchidat in Morocco……………………………………………………………………. 105 Toufiq’s Abu Musa’s Women Neighbors……………………………………... 106 Benchemsi’s Controverse des temps………………………………………….. 123 Love in Sufi Thought…………………………………………………………. 132 Conclusion…………………………………………………………………….. 134 Chapter Four: Boualem Sansal’s Search for the Mother…………………………..137 Harraga………………………………………………………………………...140 The Bluebeard Intertext………………………………………………………...143 Lamia and Chérifa………………………………………………………………150 Image of the Woman in Harraga……………………………………………….163 Rue Darwin: The Mother-Child Relationship…………………………………..165 Yaz’s Three Mothers……………………………………………………………166 Reading Rue Darwin as Allegory………………………………………………173 Conclusion: Diversity in the Woman’s Image: Sufism, Fundamentalism and the Arab Spring………………………………………………………………………..…..182 Primary Works Cited…………………………………………………………………194 Critical Works Cited………………………………………………………………….196 iii Dedication This dissertation is dedicated to my grandmother Frances Zonis, who was the embodiment of love. Acknowledgments First and foremost I wish to thank the director of my dissertation, Professor Régine Jean-Charles, for her careful review of chapter drafts, and her clear and insightful feedback. Her dynamic vitality and passion for the study of Francophone literature are inspiring. I would also like to thank my other committee members, Professor Franck Salameh and Professor Kevin Newmark. I am grateful to Professor Salameh for encouraging me to study the work of the Algerian writer Boualem Sansal and for his elucidation of key points in Arabic history and language. Professor Newmark helped lay the foundation for my study through the courses that I took with him which emphasized literary theory. His readings of my papers over the years helped sharpen my writing skills and develop my scholarship. I would also like to thank Laurence Busenbark for his amazing research skills and immediate responses to my sometimes rather obscure questions. I would like to thank my mother, Judith Listernick, for her patience, kindness and love during this long process. I would also like to thank my aunt and uncle, Elissa and Mel Zonis, for encouraging me to pursue my dream of a doctorate in French literature. 1 Son désir [le désir féminin] est une force si irrésistible, si biologique, si animale qu’elle est fatalement portée à s’insurger contre les contraintes, les barrières dans le temps et l’espace qui tenteraient de porter atteinte à ses capacités de jouir. Elle est par définition rebelle à tout souci de hiérarchisation, de classification qui fondent l’univers spirituel de l’islam, fondé sur la gestion contrôlée du biologique et sa soumission à un ordre dessiné par et pour l’homme et sa glorification (Sabbah, 1982 58). 2 Introduction: Relativism and Ethnocentrism The epigraph for this dissertation is drawn from La Femme dans l’inconscient musulman by Fatna Ait Sabbah1 published in 1982, and released in a revised edition in 2010. Both editions contain this excerpt. It was this particular passage that first attracted my attention, motivating me to pursue a further study of Sabbah’s work and its implications for literary analysis of contemporary texts which treat the image of the Muslim woman. I was particularly curious as to whether the image that Sabbah describes here has remained consistent in contemporary texts, or whether over time it has been modified, a question that had not yet been explored. Before turning to the literary questions that I will examine, I wish to look at how the issue of cultural relativism, an anthropological construct, is inextricably entangled with my subject: the transformation of the image of the Muslim woman in Francophone literature. The question of cultural relativism affects the legitimacy of my writing as an outsider on this subject. Will I try to be morally neutral? How will I make judgments? What kinds of judgments can I legitimately make? These questions lie behind the questions that I will ask in the dissertation itself and so need to be addressed first. 1 A pseudonym for an unknown author believed to be a Maghrebian woman. One internet source ("Aït Sabbah Fatna") identifies her as Fatima Mernissi. The anonymity of the author, which has been successfully preserved for over 30 years, is indicative of the degree to which she viewed her book as potentially explosive as radical interests have attempted to repress a critique of the position of the woman in Muslim society. “Fatna” is not a common female’s name in Arabic, for obvious reasons, it means “seduction.” “Ait” is common in North African place names, and it may possibly be a vestige of Punic- Phoenician. In its modern Syrian form it means “congregation” or “flock.” “Sabbah” is “morning,” or “morning-bringer”
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