Kifah Hanna’s Feminism and Avant-Garde Aesthetics in the Levantine Novel offers serialized readings of Arabic novels byGhada al-Samman, SaharKhalifeh, andHudaBarakat, whose fiction portrays war’s destruction of oppositional gender relations and constructs in the Arab world. Hanna locates the birth of an “interstitial Levantine feminism” in these works (5). She situates them at the very moment in which Arabic literary works were reconsidering the “gender politics” of Lebanese and Palestinian nationalisms (126). The result, she argues, is a political feminism informed by an ethos of relationality. In her first chapter, “The Vicious Cycle: Contemporary Literary Feminisms in the Mashriq,” Hanna argues that the political upheavals of the 1950s and 1960s produced a second, more political wave of Arab literary feminism (the first wave came in the 1930s) that interwove concerns with gender and nationalism. These mid-twentieth-century movements destabilized traditional conceptions of nation and homeland and notions of virile Palestinian and Lebanese masculinities. Hanna argues that the works of Samman, Khalifeh, and Barakat spoke into the vacuums created by these disruptions and, in so doing, challenged orthodox nationalist representations. She contends that these authors employed and modified specific literary aesthetics to ensure that previously marginalized figures—such aswomen and ethnicminorities—were read as paradigmatic of the changes unfolding in their societies. In her second chapter Hanna appends Samman’s novel, Sahra Tanakuriyya li-lMawta (Masquerade for the Dead, 2003), to the three novels widely considered her Lebanese civil-war trilogy, creating a “tetralogy.”While acknowledging the influence of the French school of existentialism in Samman’s novels, Hanna argues that her theoretical approach also interrogates the “core ontological questions faced by the Arab individual in

中文翻译：

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黎凡特小说中的女性主义与前卫美学

黎凡特小说中的 Kifah Hanna 的女权主义和前卫美学提供了 Ghada al-Samman、SaharKhalifeh 和 HudaBarakat 的阿拉伯小说的连载阅读，这些小说描绘了战争对阿拉伯世界对立性别关系和结构的破坏。汉娜在这些作品中定位了“间隙性黎凡特女权主义”的诞生（5）。她将它们置于阿拉伯文学作品重新考虑黎巴嫩和巴勒斯坦民族主义的“性别政治”的时刻（126）。她认为，结果是一种以关系精神为基础的政治女权主义。在她的第一章“恶性循环：马什里克的当代文学女性主义”中，汉娜认为 1950 年代和 1960 年代的政治动荡产生了第二次，阿拉伯文学女权主义的政治浪潮（第一波出现在 1930 年代），交织着对性别和民族主义的关注。这些 20 世纪中叶的运动动摇了传统的民族和家园观念以及巴勒斯坦和黎巴嫩男子气概的观念。汉娜认为，萨曼、卡利菲和巴拉卡特的作品触及了这些破坏所造成的真空，并以此挑战了正统的民族主义表述。她争辩说，这些作者采用并修改了特定的文学美学，以确保以前被边缘化的人物——例如女性和少数民族——被解读为他们社会正在发生的变化的典范。在她的第二章中，汉娜附加了萨曼的小说，Sahra Tanakuriyya li-lMawta（化装舞会，2003），