A Window on Arab Culture
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A New Zealand Journal of Poetry and Poetics Issue 7 March 2009
ka mate ka ora: a new zealand journal of poetry and poetics Issue 7 March 2009 Mahmoud Darwish 1941–2008 Ian Wedde The Palestinian poet Mahmoud Darwish died on Saturday 9 August 2008 of complications following heart surgery in Houston, Texas. News of his death quickly appeared on the front pages of all major newspapers in the Middle East. BBC World broadcast a substantial television news item and obituary on the weekend of his death, as did other major European television networks. Extensive international television coverage was provided by Al Jazeera on its many different language channels, as well as on social network sites such as YouTube. Le Monde carried a substantial obituary and eulogy by Pierre Assouline on the day of Darwish’s death, on its ‘la république des livres’ blog. A lengthy obituary was quickly published in The New York Times (Monday 11 August), whose pages had often carried reports on the poet’s activities and publications since 1978. The Guardian (Monday 11 August) published a detailed tribute by Peter Clark, the distinguished Arabist and editor; others to print substantial and timely accounts included Haaretz in Israel, and in the U.S.A. the Los Angeles Times and The Boston Globe among others (all on 10 August); The Australian, The Independent, and the Seattle Times published tributes on 11 August, as did The Times (14 August), and the Economist (21 August). The internet was flooded with emotional tributes, of which the South African activist Breyten Breytenbach’s in Pambazuka News was typical (‘Mahmoud is gone. The exile is over.’) . -
Heinermüller75 Explosion of a Memory
INTERNATIONALE HEINER MÜLLER GESELLSCHAFT HEINERMÜLLER75 EXPLOSION OF A MEMORY Berlin, 9., 10., 11. Januar 2004 HEINERMÜLLER75 EXPLOSIONOFAMEMORY 9. Januar HERZSTÜCK 10. Januar WENN SIE MIT FLEISCHERMESSERN DURCH EURE SCHLAFZIMMER GEHT 11. Januar DIE SONNE ZERGEHT AUF DER ZUNGE Akademie der Künste, Hanseatenweg 10, 10557 Berlin-Tiergarten Mit Unterstützung des Hauptstadtkulturfonds In Zusammenarbeit mit der Fakultät Darstellende Kunst der Universität der Künste, Berlin der Hochschule für Schauspielkunst „Ernst Busch“, Berlin dem Institut für Theaterwissenschaften an der Universität Leipzig Konzept, Leitung und Organisation Klaudia Ruschkowski und Wolfgang Storch Organisation für die Akademie der Künste Abteilung Darstellende Kunst Wir danken henschel SCHAUSPIEL für die Aufführungsrechte, dem Suhrkamp Verlag für die Abdruckrechte, der landwirtschaftlichen Fakultät der Humboldt-Universität Berlin für Zugmaschine und Anhänger, der PDS Brandenburg für den Lautsprecherwagen beim Zug der Studenten Medienpartner FrDie Ost-West-Wochenzeitungeitag EXPLOSIONOFAMEMORY BESTANDSAUFNAHME UND WEITERARBEIT Heiner Müllers Sprache ist Montage, ist Schichtung, Schnitt ohne Vermittlung. Sie bündelt verschiedene Erfahrungen in Figuren und Konstellationen, zielt auf das kollektive Moment, gewinnt daraus eine Energie, die den Mythen eignet, wird Provokation, Lust, getrieben von einem Rhythmus, der den anderen ergreift. Die Sprache erreicht den Grund, aus dem die Künste erwachsen, wird zum Argument gegen den Selbstlauf der Welt zwischen Korruption und Krieg. -
Workshop Leaders and Speakers
WORKSHOP LEADERS AND SPEAKERS Arabic to English group: Jonathan Wright Jonathan Wright is a British journalist and literary translator. He joined Reuters news agency in 1980 as a correspondent, and has been based in the Middle East for most of the last three decades. He has served as Reuters' Cairo bureau chief, and he has lived and worked throughout the region, including in Egypt, Sudan, Lebanon, Tunisia and the Gulf. From 1998 to 2003, he was based in Washington, DC, covering U.S. foreign policy for Reuters. For two years until the fall of 2011 Wright was editor of the Arab Media & Society Journal, published by the Kamal Adham Center for Journalism Training and Research at the American University in Cairo. Elisabeth Jaquette Elisabeth Jaquette is a translator from the Arabic and Executive Director of the American Literary Translators Association (ALTA). Her work has been shortlisted for the TA First Translation Prize, longlisted for the Best Translated Book Award, and supported by several English PEN Translates Awards, a Jan Michalski Foundation residency, and the PEN/Heim Translation Fund. She has also served as a judge for numerous translation prizes, including most recently the National Book Award for Translated Literature. Elisabeth’s book-length translations include The Queue by Basma Abdel Aziz (Melville House), Thirteen Months of Sunrise by Rania Mamoun (Comma Press), and The Apartment in Bab el-Louk by Donia Maher (Darf Publishers). Forthcoming in 2020 are The Frightened Ones by Dima Wannous (Harvill Secker/Knopf) and Minor Detail by Adania Shibli (Fitzcarraldo/New Directions). English to Arabic group: Boutheina Khaldi Boutheina Khaldi is Associate professor of Arabic and translation studies at the American University of Sharjah. -
'These 39 Arab Writers Are All Under the Age of 40. They Have Flung Open
JOUMANA HADDAD FAIZA GUENE ABDELKADER BENALI Joumana Haddad was born in Lebanon in 1970. She is Faiza Guene was born in France in head of the Cultural pages of the prestigious “An Nahar” Abdelkader Benali was born in 1975 in The Netherlands, 1985 to Algerian parents. She wrote her newspaper, as well as the administrator of the IPAF literary of Moroccan origins. Benali published his fi rst novel fi rst novel, “Kiffe kiffe demain” (Just like SAMAR YAZBEK prize (the “Arab Booker”) and the editor-in-chief of Jasad “Bruiloft aan zee” (Wedding by the Sea) in 1996, for Tomorrow) when she was 17 years old. magazine, a controversial Arabic magazine specialized in the which he received the Geertjan Lubberhuizen Prize. For It was a huge success in France, selling SAMER ABOU HAWWASH literature and arts of the body. Amongst her books, “Time his second novel, “De langverwachte” (The Long-Awaited, over 360,000 copies and translation for a dream” (1995), “Invitation to a secret feast” (1998), 2002), Benali was awarded the Libris Literature Prize. He Samer Abou Hawwash was born rights around the world. She’s also the “I did not sin enough” (2003), “Lilith’s Return” (2004), has since published the novels “Laat het morgen mooi in 1972 in the southern Lebanese author of “Du rêve pour les oufs” in “Conversations with international writers”, (2006), “Death weer zijn” (Let Tomorrow Be Fine, 2005) and “Feldman city of Sidon. Abou Hawwash has 2006 and “Les gens du Balto” in 2008. will come and it will have your eyes” and “Anthology of 150 en ik” (Feldman and I, 2006). -
1 MA English Language & Literature Programme (CCSS) Syllabus
MA English Language & Literature Programme (CCSS) Syllabus (2017 admission onwards) Course List Core Courses I Semester ENG 1 C01 British Literature:14th Century to18 th Century 4 Credits ENG 1 C02 Indian Writing in English 4 Credits ENG 1 C03 History of English Language 4 Credits ENG 1 C04 Literary Criticism and Theory – Part I 4 Credits ENG 1 C05 Postcolonial Writings 4 Credits II Semester ENG 2 C06 Perspectives on Shakespeare 4 Credits ENG 2 C07 American Literature –I 4 Credits ENG 2 C08 Literary Criticism and Theory -2 4 Credits III Semester ENG 3 C09 Introduction to Linguistics 4 Credits ENG 3 C10 American Literature –II 4 Credits ENG 3 C11 British Literature: 19 th Century 4 Credits IV Semester ENG 4 C12 20 th Century British Literature: Pre-1940 4 Credits ENG 4 C13 20 th Century British Literature: Post-1940 4 Credits ENG 4 C14 Dissertation / Project 4 Credits Elective Courses II Semester ENG 2 E01 World Drama 4 Credits ENG 2 E02 Indian Writing in English Translation 4 Credits ENG 2 E03 Canadian Literature 4 Credits ENG 2 E04 Literature of the Marginalized 4 Credits ENG 2 E05 Advanced Writing skills 2 Credits ENG 2 E06 English Studies in India 2 Credits Page | 1 III Semester ENG 3 E07 Translation Theory & Practice 4 Credits ENG 3 E08 20 th Century Arabic Literature in English Translation 4 Credits ENG 3 E09 Introduction to Cultural Studies 4 Credits ENG 3 E10 Women’s Writing 4 Credits ENG 3 E11 Post 1980 Indian Writings in English 4 Credits ENG 3 E12 Translation for the Media 2 Credits ENG 3 E13 Introduction to Film Studies 2 Credits -
Reading the Story of Majnun Layla Through Qassim Haddad's Poem
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 22, Issue 6, Ver. 8 (June. 2017) PP 57-67 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Reading the Story of Majnun Layla through Qassim Haddad’s Poem Dzia Fauziah, Maman Lesmana Arabic Studies Program, Faculty of Humanities Universitas Indonesia Abstract: Majnun Layla is a popular classic story in the Middle East. It is said that this story inspired Shakespeare to write the story of Romeo and Juliet in Europe. The story spread to several cultures in the world and was rewritten in poetry, romance, drama and film genres. This paper aims to examine the story from the genre of modern poetry written by Qassim Haddad, a Bahrain poet. This research uses library data, both print and electronic, as research corpus and reference. The method used in this paper is the qualitative method, which prioritises words rather than numbers and emphasises quality over quantity. The data is presented in the form of analytical descriptive, starting from the description of its structure, until the analysis of its contents. In the analysis, semiotic structuralism is also used, which emphasises the text and its intrinsic elements. From the results of this study, it is found that there are not many images of the MajnunLayla’s love story revealed in the poem because of it is a monologue form and not a narrative, and there are many phrases that are less understandable because the poem is rich in figurative words and unclear connotations. This paper recommends the story to be inspired well, it should be written in the form of a diaphanous and easily digestible poem, rather than prismatic andcomplicated.It is expected to be written in the form of a free and prosaic poem, with simple typography and does not necessarily use too many enjambments. -
Le Prix De La Littérature Arabe 2019
Communiqué de presse Paris, le 7 novembre 2019 Le Prix de la littérature arabe 2019 (doté de 10 000 €), créé par l’Institut du monde arabe et la Fondation Jean-Luc Lagardère, est décerné à l’écrivain égyptien Mohammed Abdelnabi pour son roman La Chambre de l’araignée (Actes Sud / Sindbad) traduit de l’arabe (Égypte) par Gilles Gauthier Le jury, présidé par Pierre Leroy, cogérant de Lagardère SCA, et composé de personnalités du monde des médias, des arts et de la culture ainsi que de spécialistes du monde arabe, a élu, à l’unanimité, le texte de Mohammed Abdelnabi, saluant « un écrivain audacieux au style affirmé et percutant qui fait plonger le lecteur au cœur des tabous de la société égyptienne et arabe. Un roman qui se veut une ode à la tolérance et à l’humanisme. » A l’occasion de la cérémonie de remise du prix, le 6 novembre 2019 à l’IMA, Jack Lang, Président de l’Institut, a rappelé le caractère unique du Prix et son rôle essentiel en tant que « caisse de résonnance pour les écrivains qui témoignent de l’extraordinaire vitalité de la littérature contemporaine arabe ». Pour Pierre Leroy, Président du Jury du Prix : « Transformant un événement précis en un vibrant plaidoyer pour la tolérance, Mohammed Abdelnabi accomplit ce qui peut être l’une des raisons de la littérature : porter un message politique dans l’espoir de faire évoluer la société ». Les membres du jury ont souligné la remarquable qualité des livres également retenus dans la dernière sélection de cette édition 2019 : Les petits de Décembre, de Kaouther Adimi (Éditions du Seuil) ; Ougarit, de Camille Ammoun (éditions incultes) ; Le Ciel sous nos pas, de Leïla Bahsaïn (Albin Michel) ; Égypte 51, de Yasmine Khlat (Elyzad) ; Port-au-Prince Aller-Retour, de Georgia Makhlouf (La Cheminante) ; Ceux qui ont peur (traduit de l’arabe par François Zabbal), de Dima Wannous (Gallimard). -
Re-Configurations Contextualising Transformation Processes and Lasting Crises in the Middle East and North Africa Politik Und Gesellschaft Des Nahen Ostens
Politik und Gesellschaft des Nahen Ostens Rachid Ouaissa · Friederike Pannewick Alena Strohmaier Editors Re-Configurations Contextualising Transformation Processes and Lasting Crises in the Middle East and North Africa Politik und Gesellschaft des Nahen Ostens Series Editors Martin Beck, Institute of History, University of Southern Denmark, Odense, Denmark Cilja Harders, Institut für Politikwissenschaft, Freie Universität Berlin, Berlin, Germany Annette Jünemann, Institut für Internationale Politik, Helmut Schmidt Universität, Hamburg, Germany Rachid Ouaissa, Centrum für Nah- und Mittelost-Stud, Philipps-Universität Marburg, Marburg, Germany Stephan Stetter, Institut für Politikwissenschaften, Universität der Bundeswehr München, München, Germany Die Reihe beschäftigt sich mit aktuellen Entwicklungen und Umbruchen̈ in Nor- dafrika, dem Nahen Osten, der Golfregion und darüber hinaus. Die politischen, sozialen und ökonomischen Dynamiken in der Region sind von hoher globaler Bedeutung und sie strahlen intensiv auf Europa aus. Die Reihe behandelt die gesa- mte Bandbreite soziopolitischer Themen in der Region: Veränderungen in Konfikt- mustern und Kooperationsbeziehungen in Folge der Arabischen Revolten 2010/11 wie etwa Euro-Arabische und Euro-Mediterrane Beziehungen oder den Nahost- konfikt. Auf nationaler Ebene geht es um Themen wie Reform, Transformation und Autoritarismus, Islam und Islamismus, soziale Bewegungen, Geschlechterver- hältnisse aber auch energie- und umweltpolitische Fragen, Migrationsdynamiken oder neue Entwicklungen in der Politischen Ökonomie. Der Schwerpunkt liegt auf innovativen politikwissenschaftlichen Werken, die die gesamte theoretische Breite des Faches abdecken. Eingang fnden aber auch Beiträge aus anderen sozialwissen- schaftlichen Disziplinen, die relevante politische Zusammenhänge behandeln. This book series focuses on key developments in the Middle East and North Africa as well as the Gulf and beyond. The regions’ political, economic and social dynam- ics are of high global signifcance, not the least for Europe. -
2010 Annual Report of the National Endowment for the Humanities
EXPLORINGTHEHUMANENDEAVOR NATIONAL ENDOWMENT FORTHEHUMANITIES ANNUAL REPORT 2010 CHAIRMAN’S LETTER June, 2011 Dear Mr. President, It is my privilege to present the 2010 Annual Report of the National Endowment for the Humanities. Bill Gates, founder of Microsoft, once stated, “The goal should be that everybody gets a chance to read great books and participate in the richness that the humanities bring us.” He was not talking specifically about the mission of NEH when he said this, but he could have been. For over forty-five years, NEH has striven to bring superior humanities re- search and programming to all reaches of America. We do this through a rigorous grant review process that fosters excellence and rewards innovative scholarship. NEH fellowships and collaborative grants stimulate research in all areas of the humanities, from history and literature to philosophy and jurisprudence. This year saw the result of many years of painstaking, NEH-supported editorial work related to the writings of David Livingstone and Charles Darwin. The biggest blockbuster was the publication of the authoritative Autobiography of Mark Twain, Volume 1, which became a bestseller and has so far gone into five printings. We also support work in the faster-paced field of digital humanities. Through Digging into Data grants, scholars are able to gather and analyze works in ways that have never been explored before. The program helps to bridge an understanding gap between scientists, technicians, and humanists. Cross-disciplined research allows for a deeper understanding of the past and the world around us today. From grade schools to universities, humanities are an integral ingredient in democratic education, providing students the tools of citizenship. -
The Iconoclasts: How Syrian Citizens Brought a God Back Down to Earth the Iconoclasts: How Syrian Citizens Brought a God Back Down to Earth 23
22 The Iconoclasts: How Syrian Citizens Brought a God back down to Earth The Iconoclasts: How Syrian Citizens Brought a God back down to Earth 23 and unsupported by any developed critical SANA, and uploaded onto ‘blocked’ Facebook rationality. pages that could only be accessed via proxies. The Iconoclasts: How Syrian Citizens Brought a It was this type of thing that made people gasp Exalted Totalitarianism when they caught sight of Bashar or Asma in the street, as though they were movie stars God back down to Earth For decades the Syrian regime has fashioned and not the president and his wife. Compare an entirely separate world for itself. The this to the famous phrase uttered by the late Dima Wannous world in which Bashar al-Assad and his wife Palestinian poet Mahmoud Darwish after one Asma al-Akhras live is conceivably even more of his performances in Damascus. As usual he detached than was the world of his father Hafez had received rapturous applause, but after the al-Assad and his mother Anisa Makhlouf. This is show he grumpily confided to a friend: ’I don’t despite cosmetic attempts to give the opposite like all that. What am I, Ragheb Alama (a famous impression. No one knows where the family Lebanese singer), or something?’ and those around them live. The security that By contrast, Bashar and his wife became surrounds their existence is absolute and even obsessed with being seen as the most beautiful, overdone, given that they lived in a peaceful the cleverest, the chicest. Their media machine nation without any political life to speak of: even managed to convince Vogue to publish no independent parties, no autonomous ‘Was Maher al-Assad1 present in the great al-Assad as an ’acceptable‘ Alawite leader. -
Vol. 3, Issue 2 – Summer 2015
Volume 3 Issue 2 Summer 2015 From the outside in, and from the inside in. Sukoon is: an independent, online literary Contents journal. It is Arab-themed and in Volume 3, Issue 2, Summer 2015 English. Sukoon publishes poetry, INTRODUCTION & INTERVIEWS short fiction, creative non-fiction, 1 Rewa Zeinati Editor’s Note books reviews, plays, interviews, and 39 Rewa Zeinati An interview with occasional translations by writers with Etel Adnan and artists from the Arab region, POEMS and/or by writers and artists who 3 Kenneth E. Harrison Elegy 3 Philip Metres From “Gnomus” are not of Arab descent, but have 5 Marguerite Bouvard Palmyra an Arab story or art piece they 5 Marguerite Bouvard This World 6 Marguerite Bouvard Hidden Stories would like to share. 25 Qassim Haddad (transl) With the Children 26 Qassim Haddad (transl) From the Eye of the Sun Through literature and art, Sukoon 28 Marsha Mathews To Market, To Market aims to refelect the diversity 28 Marsha Mathews Early Christian Church Fathers Warn and richness of the Arab world, 30 Jeff Friendman Demagogue where Arabic is spoken - a semitic 30 J. Tarwood His Right Path language with over 30 different 31 J. Tarwood Waiting for Words 35 Steven Schreiner City of No Fear varieties of colloquial Arabic. 35 Chaun Ballard Lessons 36 Chaun Ballard Falafel 36 Chaun Ballard Calligram: Olive tree Sukoon is an Arabic word meaning 36 Chaun Ballard Stars “stillness.” What we mean is the 38 Steven Schreiner Traveler 38 Steven Schreiner Poem stillness discovered within when the 48 Nada Faris Mother & the Lover’s Rock artist is in the midst of the creative 48 Nada Faris He Travelled on a Train 50 Zeina Hashem Beck Terror/Mathematics storm. -
Our River…Our Sky
Our River…Our Sky a narrative feature film by Maysoon Pachachi Gala event in Dubai for the IWC Filmmaker Award 2012 INTRODUCTION Our River…Our Sky is the first internationally co-produced narrative feature film written and di- rected by a female filmmaker of Iraqi origin – the London-based film producer / director / editor Maysoon Pachachi. Co-written with Irada Al-Jubori - a Baghdad-based writer of fiction - the film offers an authentic insider’s perspective to the contemporary Iraqi narrative. In 2012, the script won the $100,000 IWC Schaffhausen Gulf Filmmaker Award at Dubai Inter- national Film Festival - presented to the film’s director by Head of Jury, Cate Blanchett. LEAD ARTISTIC & TECHNICAL TEAM Writer & Director Maysoon PACHACHI Co-Writer Irada AL-JUBORI Production, Set & Costume Designer Rayah AASEE Head of Production Ghassan ABDALLAH Cinematographer Jonathan BLOOM Sound Recordist François WALEDISCH Hair Stylist & Makeup Artist Kazem ABBASSHIRAZI Editor Alexandre DONOT Sound Designer André STIEBE VFX Director Luc SERRANO Post-supervisor Laurent VERSINI Music Composers Mario SCHNEIDER Ehsan EMAM Khyam ALLAMI Consulting Producer Chris CURLING Casting Director Leila BERTRAND, CDG 1st Assistant Directors Haidar HAKIM Ahmed YASEEN CAST MEMBERS NAME ROLE Darina AL JOUNDI Sara Zainab JODA Reema Basim HAJAR Kamal Labwa ARAB Mona Amed HASHIMI Yahya Meriam ABBAS Dijla Mahmoud Abo AL ABBAS Abu Haider Badia OBAID Sabiha Zaydun KHALAF Kareem Suzan MUNEAM Khairiya Sami AL-ALI Nabil Siham MUSTAFA Nermeen Kholod MOHAMAD Tamara Ali EL KAREEM Boatman Kameran RAOOF Professor Sami Mustafa MOHAMMED People Smuggler Muslem HASSOUN Haider LOGLINE In a typically mixed Baghdadi neighbourhood, the stories of a novelist and her neighbours unfold and intersect, as their lives are torn apart by extreme sectarian violence while nightly curfews trap them inside their homes.