Icons vs satirical inversions: Islamic rule and the ‘death of the author’ – the murder of the Charlie Hebdo cartoonists in Paris

Abstract

The satirical inversions of the images of the Prophet Muhammad by the Charlie Hebdo cartoonists that brought the wrath of two gunmen to their authors, projected a world in which the reader is recognised as an autonomous subject. Consequent on this autonomy is the restricted power of the author who used to derive it from the re-enactment of sacred Truth. Multiple and diverse readers, on the other hand, owe their authority from the right of the individual to reason and judge independently, which places them at arm's length from the author. The inverted images drawn by the cartoonists represented a departure from the Prophet's traditional iconic images whose resemblance to the referent left little room for variation among their faithful viewers driven to identify with the Messenger of Allah either by desire to imitate or for fear of punishment. The fixed iconic ‘reading’ by the faithful was mediated by the homogeneous Muslim Community (Umma) whose members were unable to use words to objectify among an association of citizens their internal sense of injury as an excess. As a consequence, this injury caused by the readers operating outside the Community called for the use of force by its members in retaliation (qisas) for the infidels’ reading as sanctioned in the sacred text. The more entrenched the membership of the Umma, largely the product of reading the sacred text – where the author retains his traditional power – the more inclined were the members to resort to brutal force to restore the traditional power of the author.