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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.’) . -
Etel Adnan CV PUBLICATIONS English
Etel Adnan CV PUBLICATIONS English – Books, Magazines, Anthologies French – Books, Magazines, Anthologies Arabic – Books, Magazines Italian – Books, Magazines German – Books Dutch – Books Urdu Portuguese Bosnian Turkish Bilingual Editions Theatrical & Musical Productions Awards and Honors ENGLISH BOOKS 1966. Moonshots. Beirut, LeBanon: BEYROUTH. Out of Print 1971. Five Senses for One Death. New York, NY: The SMith. Out of Print 1982. From A To Z. Sausalito, CA: The Post-Apollo Press. 1982. Sitt Marie-Rose. Trans. (froM the French) Georgina Kleege. Sausalito, CA: The Post-Apollo Press. Now in its 8th edition. 1985. The Indian Never Had A Horse & Other Poems. Illustrated BY Russell Chatham. Sausalito, CA: The Post-Apollo Press. 1986. Journey To Mount Tamalpais. Illustrated BY Etel Adnan. Sausalito, CA: The Post-Apollo Press. 1989. The Arab Apocalypse. Trans. (froM the French) Etel Adnan. Sausalito, CA: The Post-Apollo Press. 1990. The Spring Flowers Own & The Manifestations of the Voyage. Sausalito, CA: The Post- Apollo Press. 1993. Of Cities and Women: Letters To Fawwaz. Sausalito, CA: The Post-Apollo Press. 1993. Paris, When It’s Naked. Sausalito, CA: The Post-Apollo Press. 1997. There In the Light and the Darkness of the Self and of the Other. Sausalito, CA: The Post- Apollo Press. 2003. In/somnia. Sausalito, CA: The Post-Apollo Press. 2005. In the Heart of the Heart of Another Country. San Francisco, CA: City Lights Books. 2008. Seasons. Sausalito, CA: The Post-Apollo Press. 2009. Master of the Eclipse. Northampton, MA: Interlink Books. Winner of the Oakland Pen Award, 2010 2011. Etel Adnan: On Love and the Cost We Are Not Willing to Pay Today: 100 Notes, 100 Thoughts: DocuMenta Series 006. -
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. -
Walt Whitman's Early Arab Reception
Ameen Rihani: Walt Whitman’s Early Arab Reception Inaugural-Dissertation zur Erlangung des Grades des Doktors der Philosophie in der Fakultät Kulturwissenschaften der Technischen Universität Dortmund vorgelegt von Bilal Souda Dortmund 2021 Erstgutachter: Prof. Dr. Walter Grünzweig Zweitgutachterin: Prof. Dr. Randi Gunzenhäuser 1 Acknowledgments I would like to express my sincere gratitude and appreciation to my advisor Prof. Dr. Walter Grünzweig for the continuous support of my PhD study and related research, for his patience, and motivation. His guidance helped me during all of my research and writing of this thesis for the last five years. I could not have imagined having a better advisor for my PhD study. He consistently allowed this paper to be my own work but steered me in the right direction whenever he thought I needed it. I would like to thank Prof. Dr. Randi Gunzenhäuser, Dean Prof. Dr. Gerold Sedlmayr and all the rest of the staff and PhD candidates of the American Studies department of TU Dortmund University. With a special mention to Dr. Sibylle Klemm, Dr. Blake Bronson- Bartlett, Dr. Terence Kumpf, Dr. Behnam Mirzababazadeh Fomeshi, Dr. Sina Nitzsche, Yöntem Kilkiş, Iris Kemmer, Dilara Serhat-Sawitzki, Hanna Colleen Rückl, Timo Weidner, Maria Rosaria Tulimiero, Michal Calo, Orsolya Karácsony, Dr. Johanna Feier, and Jessica Sniezyk for their unfailing support and assistance. I would like to thank all the Whitman’s experts whom I met and learned so much from in the Whitman’s events, with special mention to Prof. Dr. Ed Folsom and Prof. Dr. Betsy Erkkilä. I would also like to express my gratitude for my students from the undergraduate seminar “Walt Whitman and the Arab World” I have taught during the winter semester 2016-17. -
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. -
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. -
Erotic Poetry (Sensry) and Its Aesthetic Formations in the Passionate Love of Yahya Al-Samawi Pjaee, 17 (06) (2020)
EROTIC POETRY (SENSRY) AND ITS AESTHETIC FORMATIONS IN THE PASSIONATE LOVE OF YAHYA AL-SAMAWI PJAEE, 17 (06) (2020) EROTIC POETRY (SENSORY) AND ITS AESTHETIC FORMATIONS IN THE PASSIONATE LOVE OF YAHIYA AL-SAMAWI 1jabbar Majid Bachay Al-Behadily; 2hayder Jasim Lafta Al_Saedi 1,2Ministry of Education / General Directorate of Maysan Education [email protected]; hhsder602 @ gmail.com 1JABBAR MAJID BACHAY AL-BEHADILY; 2HAYDER JASIM LAFTA AL_SAEDI - Palarch’s Journal Of Archaeology Of Egypt/Egyptology 17 (06), 15395-15421. ISSN 1567-214x. Published October, 2020. Keywords: conformations, Spiritual, Aesthetics, The woman, Erotic, Long live the heavenly, Spurs, Love. ABSTRACT Yahiya Abbas Abboud al-Hasanawi, famous for (Yahiya al-Samawi), was born in the city of Samawah, Iraq, on the 16th of March 1949 CE, and is a contemporary Iraqi poet and writer who is one of the distinguished poets of the modern era. He contributed creatively to the three forms of ancient heritage-splitting poetry, modern activism and the modernist prose poem, and in supplementing and enriching the structure of the Arab poetic map in the modern poem in general, and the Iraqi in particular and renewing it with his creative cultural creative talent and his distinct expressive style. He was a brilliant intellectual poet, educated, ambitious, and bold in his poetry, and devoted a great deal of his attention and self-care, and his creative effort in his sober poetic speeches for the cause of (women), the symbol of love for the homeland, the land and life. This feeling led him to enter the midst of her visible, visible and invisible image. -
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. -
Le Poème Arabe Moderne
Le poème arabe moderne Anthologie établie et présentée par Abdul Kader El Janabi 1 Sans remords, le poème moderne Ma gorge est pleine de coupures de papier De strates de glace Et toi, eau séculaire, Eau vive, comme je t’aime. Mohammed al-Maghout Tardivement délestée de l’idéal arabique, la poésie arabe est devenue poème. Issu d’une rupture conceptuelle imposée par la radicale mutation du monde urbain, le poème moderne invente une langue approximative en s’émancipant des formes de rhétorique dominantes. La poésie occidentale lui révéla la fécondité de ces mots impurs ou vulgaires que la prosodie classique avait bannis - des mots fauteurs de troubles comme n’en posséda jamais l’éloquence. Reprenant le langage à son point de départ, le poème moderne déchire le voile d’une grammaire puritaine. Il brouille les traces du sacré et dépose ses empreintes profanes. Les poètes qui, aujourd’hui, redécouvrent tout simplement « le langage qui sert, depuis des dizaines de siècles, à réparer les dégâts causés par le Verbe »1, sont des dieux à la recherche d’eux-mêmes. Leur auréole est déjà dans la fange du macadam. Le legs du passé Dans son Discours sur l’Histoire universelle, Ibn Khaldun se faisait l’écho d’une tradition arabe sur la manière d’apprendre la poésie, discipline élémentaire longtemps adoptée unanimement par les poètes arabes. « D’abord, dit-il, il faut avoir étudié à fond ce qu’est le genre poétique chez les Arabes. C’est de là que naîtra dans l’âme une habitude qui sera comme le métier sur lequel le poète mettra son ouvrage. -
The Right to Inquire: Approaching the Civil Rights Movement Through Poetry
Teachers & Writers Collaborative www.twc.org by Laura Gamache The Right to Inquire: Approaching the Civil Rights Movement through Poetry Volume 36, Issue 2, page 13 Genre: Poetry Grade: 4, 5, 6 Population: All Laura Gamache writes poetry and nonfiction. She has been a teaching artist with the Washington State Arts Commission’s Arts in Education Program since 1995, and a writer-in-the-schools with Seattle Arts and Lectures’ WITS Program since 1997. Approaching the Civil Rights Movement through Poetry Jason Lee Middle School is perched in an area above the docks and railroad terminus of central Tacoma, Washington, which has housed a succession of immigrant populations throughout the last century. Recent arrivals from Ukraine, Ethiopia, Somalia, and Central and South America have entered a community that struggles against being identified as disadvantaged. In January of 2003, I was invited by seventh-grade language arts teachers Justina Johnson and Chad Davidson to deliver a series of poetry workshops in conjunction with their current unit on the Civil Rights Movement. My goal was to get the students to care about civil rights by bringing the subject into the present tense. Most of my students’ parents were born after 1965, so the children were already twice removed from the roots of the movement. I wanted to show them that movements mean just that: actions towards change put in motion by questions. The first question middle-school students have is, “What does this have to do with me?” By asking the age-old question: “Where are you from?” I invited them to see themselves in the context of the ongoing pursuit of the American dream of life, liberty, and the pursuit of happiness. -
Contemporary Culture from the Arab World ABOUT the MOSAIC ROOMS
Contemporary Culture from the Arab World ABOUT THE MOSAIC ROOMS The Mosaic Rooms are a vibrant non-profit cultural space and bookshop in West London dedicated to supporting and promoting contemporary culture from and about the Arab world. We do this through our free access contemporary art exhibitions, our multidisciplinary events, artist residencies and learning and engagement programme. We believe in the importance of creating a cultural space that presents new thinking and daring creativity, illuminates ideas, inspires understanding, and interrogates contemporary issues. Our vision is for a London audience with a more informed, engaged and critical understanding of Arab culture and society. We are a non-party political, non-religious organisation, and we are a project of the A.M. Qattan Foundation, a registered charity number 1029450. www.mosaicrooms.org …a succinct, intelligent focus on the Arab world has been unfolding at The Mosaic Rooms gallery in Earls Court since 2008… Rachel Spence, Art Critic, Financial Times OUR MISSION A leading London based non-profit cultural organisation dedicated to supporting and promoting contemporary culture from and about the Arab world by: Initiating dialogue and debate about the Arab world’s most pressing social, political and cultural issues. Celebrating excellence through a regular public programme including visual arts, design, architecture, literature, film, music, food and current affairs. Providing an international platform for the arts, particularly new work, away from the commercial pressures of the contemporary market. Creating opportunities for interaction, collaboration and professional development between artists, collectives and organisations from the Arab world and the UK. Delivering a high-quality learning and engagement programme particularly to marginalised communities and young people in London.