The intellectual between political power and state institutions

Can writers who have achieved a certain global, regional or national symbolism make a qualitative addition to the improvement and increase in the level of their countries’ diplomacy? Can they continue the journey of their texts to defend the philosophy of coexistence and to defend, build and enrich great human values ​​through their direct personal presence in the social, political, institutional and cultural spaces of others, and thus marketing the image of their countries objectively and positively?

It seems to me that one of the basic tasks that a writer can improve after reaching the aesthetics of his texts is, of course, the aesthetics of human relationships. Humanity is the main role, so it is likely that the creative writer will succeed. albeit to a certain extent, in the role of an ambassador for his country to other peoples.

The author, who is preceded by his books, translation, reading, study and media to reach other peoples, can later reach his existential presence an important symbolic dimension, and thus his diplomatic discourse is consistent and identical with his creative discourse and ‘ a variety of them.

The international writer who has symbolic capital, when undertaking a diplomatic mission, the country to which he is going to be received by the public and private, official and popular, he is received as a clear human value before being received or listened to as an administrative value with a specific traditional mission.

Writers, from the position of writing and creativity, before they are ambassadors in the literal or official sense of the word, they are extraordinary ambassadors, they are extraordinary ambassadors. ambassadors, however.

Many underdeveloped countries that experience imbalances in their relations with the world, such as a case of misunderstanding with their regional or international environment, are forced to renew their diplomatic discourse and update the language of their discourse to communicate with others to overcome their obstacles. These countries can find solutions to their dilemma in communication and dialogue through Invest in its authors.

And because literature, I mean successful literature, is a space for freedom and a discourse based on honesty, criticism, optimism, human values ​​and human rights, political regimes that fear freedom are afraid to invest in writers because their tongue is honest .

Political regimes are afraid to invest in their vast wealth of writers based on what they often say: the writer’s tongue is smooth.

Sometimes I wonder how much Algeria would have gained in terms of time, effort, security, global love and money if it had included books of great symbolic value in its diplomatic staff, such as: Mohamed Dib, Asia Djebar, Kateb Yassin, Mouloud Maamari, Jean Amrouche, Moufdi Zakaria or John Sinak, Al-Akhdar Seihah, Noureddine Abbeh, Taher Djaout, Rashid Mimouni, Taher Watar, Mohamed Arkoun, Ali Murad (of those who are gone), Mohamed Harbi, Rachid Boudjedra, Boualem Sansal, Ahlam Mosteghanemi, Kamal Daoud, Ibrahim Seddiqi, Bashir Mufti, of Suleiman Jawadi of Hamida Al-Ayashi of Samir Qasimi of Suleiman bin Issa of …

It is true that the free writer with a critical sense always prefers to keep a distance between himself and the existing political system, but it is also true that all writers want their countries in the best social, economic and cultural image should be, and it is also true that the author distinguishes between the performance of his role as a citizen serving the state and its institutions and the service of the state and its institutions A perishable political system, and it is true that regimes in non-democratic countries do not distinguish between the traditions of state institutions and the political system that governs the country of these institutions The role of state institutions is reduced to propaganda for this or that regime.

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When the concept of the seasonal political system is mixed with the organs of state and permanent institutions, it seems difficult to find a free literary voice with a symbolic global presence within the organs of state, which in the eyes of this or that system is nothing else as a way of preserving its existence and decorating its image.

The task of the new and contemporary diplomacy in the light of the generations of savage technology is not to repeat the speeches of the president or the minister in a parrot manner or to make the country’s propaganda slogans in industry, tourism, morals, religion, education and health This damaged image is present on social media and in other audio, video and written media channels. Based on this, the creative literary discourse that maintains the distance between it and the discourse of authority, and integrates and defends the traditions of state institutions civilly, cultivates this discourse because it does not reflect the cold and pragmatic political discourse that is false. and open.

That is why many countries that fear freedom and zeal still look to diplomacy in the manner of the traditions of the time of the “travelers” and the time of “the Persians” and “the Knight,” or the cold bureaucratic administrative method, countries that live still in their relationship with the others as if they belonged to the nineteenth century and earlier.

The author is neither a tour guide nor a publicity trumpet, and diplomacy is not a tourist agency, so the writer’s role in diplomacy will be deeper, because he will address the world from and from the heart of his country about the mysterious and deep dimensions that the history of a country holds, which is its voice, heart and critic.

I think if any country had paid attention to the great creative wealth it possessed and applied it in the door of weaving strong and humane relations with other nations, and for the common interest, the country would have jumped on many of those she poisons relationships with others, whether on a political, economic, cultural or social level.

It is much better for a diplomat to give an evening of poetry, or to give a lecture on a great humanitarian intellectual thesis, or to talk about an exciting novel, than to give a deaf ideological speech on television or to make radio around the feathers of his country’s cock!

It is the author’s speech, with its sincerity, spontaneity and freedom, that can create a kind of comfort and mutual trust, not in the leadership of the country in which he is a diplomat, but in the general population of this country by the cultural and creative relationships he is supposed to place at the forefront of his tasks.

The common interests between people can be achieved by investing in the creative human discourse that the author produces by creating myths about the reality of his country.

The author’s power in persuasion and enjoyment stems from the fact that he is working on building a discourse based on myth, not ideology.

Literature is a path to economic investment

I was a guest at the “Leipzig” book fair in Germany, one of the largest European fairs for mainly reading and for book consumers. I was invited to this exhibition to present my novel “La chambre de la vierge impure” in its German translation The exhibition and the German publisher had a literary encounter in the city theater, followed by a romance ceremony and an open dialogue with the invited.The presence of a group of German economic businessmen drew my attention to this meeting.The reality of women, equality, school, freedom of opinion, media and film.

I remember one of the intermediaries taking the floor and introducing himself as a businessman, saying: “When we Germans want to invest in a country, the first thing we do is to get a true picture of the new investment environment. to get after reading literature, mainly fiction, Literature is the thermometer of the situation in this or that country, which gives us a picture close to the truth, an objective image, albeit with subjective sensitivity, of the mentality with which we will trade and run the risk of investing our capital. It.

I think that Arab and Maghreb diplomacy will remain incomplete if you do not invest in the potential of writers and artists in it, which is many and of a high caliber, poets, novelists, men of theater, films, plastic arts and musicians.

Only major innovators who understand the distance between the passing system and the fixed state institutions will free Arab and Maghreb diplomacy from the discourse of ideological political propaganda and the tourist postcard.

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