It is safe to say with Adam Percy: that travel stories have been entirely subjective over the centuries, and that the more subjective the travel stories are; Its readability has increased, and its “value” has increased. But this subjectivity varies between a traveler’s text and another, and between a writer and another, according to the personalities of the travelers on the one hand, and according to the literary and cultural contexts from which they came on the other hand, and on the other hand. other side according to their destinations, as well as travel actions, events, experiences, emergencies and surprises.
As contemporary Arab travel writers face a new reality that is completely different from the reality of Rahali at the end of the ninth century and the beginning of the twentieth century, they have reconsidered a group of components of the nomadic text, such as itineraries , destinations, purposes and duration, and they reviewed the issue of writing their travels, which became in many investigations. She was more preoccupied with herself and especially with travelers than with people, places and customs, and with a sense of documentation, ethnography and other matters that kept travelers busy.
This transformation thus introduces a somewhat “new” writing practice into the nomadic text, which bets on awareness of the centrality of the writer’s self in the text, and gives her an important space of his space around aspects of the traveler’s personality. and shed shed. light on his whims and tastes. It is as if the journey no longer functions for an external purpose, but rather has become an internal requirement associated with the same traveler based on the act of traveling and writing. This transformation is explained by the fact that the narrator of the travel or travel text, as I like to call it, cannot have a fixed definition like the novel; Due to its uniqueness, which makes it possible to include many types according to form and content; Because it, like other amorphous forms, evolves and will continue to evolve. Always shy away from immutability, he remains unlimited in his expressive forms; Because it has a central feature, namely freedom in themes and forms realized in texts.
One of the manifestations of this transformation is the remarkable presence of the element of personal participation, that is, the textual presence of the author. This does not mean that the previous nomadic texts hid the author earlier, but it has a central become present by distinguishing the traveler’s appearance, voice, fantasies, emotions and taste, and his visions of himself, places, people and events as a sign of rebirth.For the traveler’s author, the nomadic text will acquire a clearer self-focus that comes to distinguish what is commonly known today as the travel narrative, both in Arabic and cosmological texts. By focusing on the narratives that are too subjective, the author’s subjectivity is presented in an emotional attempt to glorify his personal experiences with the negative and positive of them on instigation of consciousness and subconscious; Thus the focus on the inner world of the writer increases as the space of the outside world shrinks. The contemporary writer is convinced that there is nothing left in the world to discover after technological advances have transformed it into a small town.
Let us find ourselves, so to speak, before a transition from the centrality of the world to the centrality of the subject, or from the rhetoric of objectivity to the rhetoric of subjectivity, and accordingly the desire to know the world is replaced by a desire to make more space for the traveler himself; to reveal himself and his tastes and whims; Therefore, in the contemporary nomadic text, the narrator has expressed his ego, expressed his tastes and emotions, meditates, confesses, imagines, produces illusions and sometimes dreams, and gets excited when he is unable to act in front of places, events and people not. ; Rather, we do not exaggerate when we say: Often the subjectivity of the traveler, and even his privacy, becomes the state that testifies to the “correctness” of his vision and observations of the other, worlds and distant horizons.
Among the travel texts that embody this shift from the centrality of the visible world to the centrality of the written self is the text of the Moroccan poet Abdallah Siddik “Thinking of Palestine”, which is the author’s second travel text to his first text “The Mystery Plates ”released in 2018, in which he recorded his trip to Lebanon. A reading of this text, which took the form of a diary (seven consecutive days since the author arrived at the Queen Alia Airport in the Jordanian capital Amman from Morocco, until his last moments in the land of Palestine, in which he a guest was at the International Book Fair in 2016), appeared to us, interspersed with fifty-two scenes. Each scene captures a psychological experience that the author has experienced, and tries to convey it from within itself, so that the narrator diverts our attention from the interest in the real, and leads us to the author’s inner self and the feelings and emotions that the travel is engendered in him, and even if the narrator seems interested in the goal, the latter was only an opportunity to launch The Narrative Writer to the subject, whose central focus was the attachment to Palestine and the Palestinian cause, and its effects on the journey, its path and events.
In his travel text, Abdullah Siddiq captured a set of carefully selected scenes in which the narrator-writer evoked many of his emotions in his interaction and emotion with the world and with the others, which colored his narrative with an emotional dimension that the recipient striking, in which the author tried to represent the “human suffering” of the traveler himself, by revealing its tension as a list of the most important psychological stations of travel, rather becoming the emotional dimension, in our opinion, ‘ a distinctive feature of this nomadic text; Because it revives the relationship between passion and narration, and in many scenes of these diaries, it transforms verbs into emotions (“I’m upset”, “I was hurt”), to remind us of a narrative of travel actions, facts and events to move. to a narrative of the emotions of the central self in the act of travel and its transformation into a travel text.
The concept of passion refers to a general emotional phenomenon, a form of pathos, in the language of the philosopher Aristotle Thales, who highlights the “emotional” of the self, through the narrative focus on the emotional dimension of his experience, under the influence of the other occupiers of the land of Palestine, who oppose it, monitor and besiege its movement in place. Passion becomes a form of reaction or detection of the crisis coming from outside, as the narrator shows us that the situations he went through were really dangerous and unusual (especially in front of Israeli checkpoints and waiting and watching ropes) through which the narrator a set of emotions dominated by fear, tension and suffering and feeling insulted. Passion is also the psychological space in which actions appear as a response to a “crisis”, and thus the nomadic narrative becomes a revelation of existential tension, a manifestation of an emotional characteristic of the lived event, which is transmitted while it is soft. to the narrated event transmitted to the recipient, which in turn is thereby affected and aroused.
Instead of being satisfied with the active relationship of the informed subject by the act of traveling with the world and directing a specific topic (places, stations, events …), the narration of the “Think of” Palestine “journey concerned with the emotional relationship of a traveler affected by a subject or event caused by it, in most cases.The other Israeli ruler of the country and the imposition of his unjust laws, his authority and his tyranny, causes its noticeable negative impact on the narrator’s self, with a psychological war that rules his practice on the narrator, causing him to a group of negative emotions such as tension, waiting, sadness, fear, confusion, surprise and a sense of humiliation … Its impact has only been mitigated by its attachment The great emotionality in Palestine, which provokes backlash and resistance, is extremely strong, honest and enthusiastic.
Author Abdullah Siddiq does not stop at the boundaries of negative emotion, but rather unleashes a group of emotions that resist the actions of others; As the psychological tension that the narrator experiences as a result of the other affects his emotional description of the latter, he says, for example: “All this and the short stature of Israeli soldier […] And the ugly face, it comes and goes ”(The Trip, p. 18.) Tension that is resistance and a kind of psychological rehabilitation of the self; He says: “Under the lazy looks of young soldiers, dumbfounded by boredom, it’s about to drive him crazy. You see them and you think almost one of them is lost without hope in the wilderness without water. ” (The Journey, pp. 24-25) So that emotions become an instrument of resistance to inability to act; Because, as Peirce points out, emotion occurs precisely in the realization of this partial loss of control over events. He lurks in memory (by making room for his childhood memories that reveal his attachment to Palestine and the Palestinian cause), which saves him from the psychological predicament in which the other placed him and from his reality, which he created as he wished. . and manage it as he pleases.Filled with a noticeable emotional dimension.
As author Abdullah Siddiq tries to bring us closer to the colonial and besieged Palestine in his land, in an emotionally sparing language imprinted with love, sympathy, surprise and questions, he says: “What a heavy burden these souls carry? Which tear, which fracture, which lump …? (The Journey, p. 42.) He expresses his admiration for his ability to bear the burdens of the profession, his steadfastness and his insistence on life in all its forms; Like his celebration of music and poetry, and his happiness to receive his Arab brothers who break all physical and psychological barriers to meet him.
In our analysis above, we have shown that the organization of the narrative in the text of the Moroccan poet Abdullah Siddik “Thinking of Palestine” adopted a tense textual strategy aimed at highlighting the impulses of the traveler’s emotions with the pension, visual and audible arising from his encounter with the other, reveals on the one hand the loss of self-control over The reality in which it moves, and on the other hand reveals compensated emotions that have taken the form of resistance.
Bouchaib Soury is a Moroccan writer