Journal articles on the topic 'Arabic poetry (English)'
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Fairooz, Rashad Ahmed. "Translating Al-Mutanabbi's Wisdom Poetry into English: A Localization Product." World Journal of English Language 14, no. 5 (July 10, 2024): 575. http://dx.doi.org/10.5430/wjel.v14n5p575.
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This study aimed to translate Al-Mutanabbi's wisdom poetry into English locale poetry. To achieve the objective of the study, two main procedures were performed by the researcher. First, 70 verses, including 87 wisdoms, said by Al-Mutanabbi, were identified from Al-Mutanabbi's Diwan (introduced by Al-Aqbawi, 2007), forming the Arabic corpus of the study. Then, the corpus was introduced to seven experts in the Arabic poetry at Ibb and Taiz universities, Yemen, to ensure the availability of wisdom(s) and their number, themes, and commonness among Arabs. Second, the whole Arabic corpus was translated into English locale poetry by the researcher, producing equivalent English poetry, forming the English corpus of the study. Then, both Arabic and English corpora were introduced to six experts in the English poetry at Ibb and Taiz universities, Yemen, to ensure conveying the intended meaning of all Arabic wisdom verses into English equivalently, and check their localization into English locale verses. Finally, the study introduced a number of conclusions and implications for translators.
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H. S., Ghazala,. "Poetic Vs. Poetical Translation of Poetry (English-Arabic)." Arab World English Journal For Translation and Literary Studies 3, no. 1 (February 15, 2019): 2–21. http://dx.doi.org/10.24093/awejtls/vol3no1.1.
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JABAK, Omar. "Contrastive Analysis of Two English Translations of an Old Arabic Poem." Journal of Translation and Language Studies 4, no. 1 (March 19, 2023): 36–48. http://dx.doi.org/10.48185/jtls.v4i1.565.
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The present study aimed to provide a contrastive analysis of two English translations of the famous Arabic poem known in English as “Let days do what they will” by Mohammad ibn Idris al-Shafi’i. The two English translations were produced by two different translation scholars in the language pair Arabic and English. The analysis focused on how the translators dealt with the most important features of poetry when translating the Arabic poem into English. Such features included form, meaning, sound and imagery. The findings revealed some similarities and differences in both translations with reference to the above-mentioned features. It is recommended that more research be conducted on either Arabic-English translation of poetry or English-Arabic translation of poetry as this kind of research seems to be relatively scarce.
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Hussein, Abbas Mohammed, and Abdali H. Al-Saidi. "Contrast in Matthew Arnold’s The Scholar Gipsy and Kahlil Gibran’s Al-Mawakib: A Contrastive Stylistic Analysis." Journal of the College of languages, no. 49 (January 2, 2024): 1–22. http://dx.doi.org/10.36586/jcl.2.2024.0.49.0001.
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Poetry is regarded an interesting area of inquiry in linguistic studies due to its eccentric and aesthetic use of language. A lot of studies have been carried out so far for the analysis of poetry, yet few have dealt with pastoral poetry. The present research attempts to investigate the language of pastoral poetry in two different languages i.e. English and Arabic with the aim of finding similarities and differences. The data of the study consists of one English and one Arabic pastoral poems. Leech and Short's (2007) checklist is used as a model for analysis. The findings of the study reveal that there are more similarities than differences between English and Arabic pastoral poems as the poems rely on contrast in the use of the lexical categories with differences in the distribution of these categories only.
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خيري محمد سعيد, نادية. "A Contrastive study of 'Inversion' in Modern English and Modern Arabic Poetry." Al-Adab Journal 1, no. 122 (December 9, 2018): 105–28. http://dx.doi.org/10.31973/aj.v1i122.235.
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The present paper respects 'inversion' as a habit of arranging the language of modern English and Arabic poetry . Inversion is a significant phenomenon generally in modern literature and particularly in poetry that it treats poetic text as it is a violator to the ordinary text.
The paper displays the common patterns and functions of inversion which are spotted in modern English and Arabic poetry in order to show aspects of similarities and differences in both languages. It concludes that inversion is most commonly used in English and Arabic poetry in which it may both satisfy the demands of sound correspondence and emphasis.
English and Arabic poetic languages vary in extant to their manipulation of inverted styles as they show changeable frequencies of inversion.
Finally , it is notable to mention other significant complementary roles of inversion in this paper as : to shape the aesthetic and the semantic indication , to add ambiguity and lay out to the poems , to represent the state of the poet in writing , and to modify the context . The manipulation of inversion as an information – packaging mechanism ( end focus and new information ) is also another compatible aspect of inversion in both languages. .
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Homerin, Th Emil. "Arabic takhalluṣ, Persian Style in Muḥammad al-Ṣūfī’s Poems to Muḥammad the Prophet." Journal of Arabic Literature 51, no. 3-4 (August 20, 2020): 325–50. http://dx.doi.org/10.1163/1570064x-12341409.
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Abstract Though a signature verse (takhalluṣ) is often found in medieval Persian and Ottoman Turkish poetry, this is less frequently the case in Arabic poetry at this time. However, Muḥammad Ibn al-Shihābī al-Ṣūfī included such a signature verse in 38 Arabic poems, many inspired by recitations of Ibn al-Fāriḍ’s poetry. This article offers a critical Arabic edition and English translation of two of these poems, followed by an extensive discussion of linguistic and stylistic aspects of Ibn al-Shihābī’s Arabic and poetic style. Both poems also highlight trends in Arabic poetry at the end of the 9th/15th century, including the incorporation of elements from regional varieties of Arabic, and Ibn al-Shihābī’s innovative use of the signature verse, which may reflect the influence of Sufi chanting practices.
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JABAK, Omar. "Proposed Taxonomy of Strategies for Translating English Proverbs into Arabic." Journal of Translation and Language Studies 3, no. 2 (July 17, 2022): 37–49. http://dx.doi.org/10.48185/jtls.v3i2.507.
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The present study aimed to provide a proposed taxonomy of strategies for translating English proverbs into Arabic. The proposed taxonomy classified the strategies for the Arabic translation of English proverbs into five, depending on the form and meaning of proverbs and the availability of equivalent proverbs in Arabic. The strategies are an exact match between English and Arabic proverbs, a match except for key culture-specific and environment-specific words, a complete mismatch in form with intact meaning, equivalent lines of Arabic poetry to some English proverbs and literal translation with or without an explanation. The taxonomy was applied to a sample of English proverbs with their Arabic equivalents per the classification of translation strategies suggested in this study.
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VELYCHKO, M., and O. BRATEL. "The role of Andaluzian poetry in the formation and development of the lyrics of the Provencal troubadours." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 26 (2020): 45–48. http://dx.doi.org/10.17721/1728-242x.2020.26.45-48.
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In the review article the theories of the Arabic origin of West European chivalrous poetry were analyzed. The article deals with the problem of the direct interaction between Arabic and European literary traditions, in particular, the probability of the impact of the Arab-Spanish strophic poetry on Provencal troubadour's lyrics and the possibility of the influence of Andalusian poetry on Spanish and Provencal. So that it is established that al-Andalus was a multilingual society in which the Andalusi Romance dialects were spoken and written alongside Arabic. In Europe, and from scholars working in departments of modern national languages, this usually means the discussion of what it means to write in Middle English, or German, or French instead of Latin. The Andalusian poets could easily convey in Romance the motives and themes inherent in Arabic classical literature, and with the help of the Arabic language they expressed elements of Roman folk poetry. The analysis of various researches showed that the issue of the historical and geographical formation and development of Arab-Spanish poetry during the Middle Ages were studied by Arab and European sceintists of past centuries, as well as by the modern literary scientists. Modern studies of the Arab-Spanish medieval stanza do not deny the existence of an interaction between European and Arabic lyrics, but the role of this interaction on the scale of the history of world literature remains unclear. Lyrics of the troubadours of the 11th–14th centuries was a unique synthesis of many literary elements of church Latin poetry, folk poetry and Arab influences, and strongly influenced on the history of Italian, Spanish, English, Portuguese, German literature.
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Mehl, Scott. "Early Twentieth-Century Terms for New Verse Forms (‘free verse’ and others) in Japanese and Arabic." Studia Metrica et Poetica 2, no. 1 (July 7, 2015): 81–106. http://dx.doi.org/10.12697/smp.2015.2.1.04.
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In the first half of the twentieth century, when Japanese and Arabic poets began writing free-verse poetry, many terms were proposed as labels for the new form. In addition to the calques on “free verse,” neologisms were created to name the new poetry. What is striking is that, in these two quite different literary spheres, a number of the proposed neologisms were the same: for example, in both Japanese and Arabic the terms prose poetry, modern poetry, and colloquial poetry were proposed (among others) as alternatives to the label free poetry. This essay provides an annotated list of the neologisms in Japanese and Arabic, with a list of English terms for comparison; and by referring to the contemporary Japanese and Arabic criticism on the topic of poetic innovation, this essay attempts to explain the similarity between the Japanese and Arabic neologisms. In short, the Japanese and Arabophone arguments in favour of adapting the free-verse form were based on similar premises regarding modernity, freedom, and a vision of literary history that was rooted in an evolutionary theory of genre development.
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M Abd Al-Salam, Ahmad, and Awad Shehata Mabrouk. "TEXT BETRAYAL VERSUS CULTURAL LOYALTY: EMPLOYED STRATEGIES IN TRANSLATING ARABIC POETIC TEXT INTO ENGLISH." International Journal For Research In Educational Studies 9, no. 2 (February 1, 2023): 1–6. http://dx.doi.org/10.53555/es.v9i2.2194.
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Translating Arabic poetry into English or any European or (anti-Semitic) language constitutes an essential burden on the translator due to their common origins that are similar in terms of rhetorical uses (e.g., synecdoche, metaphor, simile, euphemism, and the most important of all, similarity in grammatical, morphological and derivational linguistic rules). In the case of rendering Arabic poetry into English, the gap is vast and this requires a double effort, wider knowledge, and a high-level culture awareness on part of the translator. More importantly, the translator has to be equipped with an abundant knowledge of the means of influence that fall within the circle of rhetoric methods that may be unique to both Arabic and English languages. That is what we called Text Betrayal Versus Cultural Loyalty.
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Shehab, Ekrema, and Abdel Karim Daragmeh. "Textual transformation of an Arabic poem into an American rap song." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 16, no. 2 (November 26, 2018): 265–83. http://dx.doi.org/10.1075/forum.17003.she.
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Abstract Arabic poetry and English rap are strikingly different products owing to the divergent language pairs and genre pairs. This study examines the nature and degree of change in translating the content of Arabic poetry into English rap. It studies three main content-based elements in the original Arabic poem and attempts to identify any changes in the target rap song in light of the conventional rap themes. The authors gathered study evidence from the translation of Nizar Qabbani’s famous poem “Qariat il-Finjan” into the rap song “Finjan” by the Syrian-American translator and rapper Omar Offendum. The data provides ample evidence that rendering Arabic poems into English rap songs can be achieved with a high level of success, yet with a considerable degree of adaptation to fit the target genre’s thematic conventions. The study points to how the considerable thematic adaptations fit into identity politics, youth culture and liberation theology which are distinctive features of the rap impulse.
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Aburqayeq, Ghassan. "Nature as a Motif in Arabic Andalusian Poetry and English Romanticism." Journal of Critical Studies in Language and Literature 1, no. 2 (July 1, 2020): 52–61. http://dx.doi.org/10.46809/jcsll.v1i2.12.
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This paper examines some tenets in the Andalusian and Romantic poetry and shows how poets such as Ibrahim Ibn Khafāja (1058-1138) and William Wordsworth (1770 –1850) used nature as a motif in their poetry. Relying on a historical approach, this paper links smaller features such as themes and literary devices in the Andalusian and Romantic poetry with larger features, including genre, traditions, and cultural system. I argue that the emphasis on both the larger and smaller features of poetry creates what Franco Moretti calls “distant reading.” Comparing and contrasting Ibn Khafāja’s “the Mountain” and Wordsworth’s “the Daffodils,” for instance, introduces nature as a recurrent theme in both Andalusian and Romantic literary traditions, reinforcing Johann Wolfgang Goethe’s description of poetry as a common possession of humanity” (Goethe 229). In addition to that, comparing the images and themes in both the Andalusian and Romantic poetry not only shows internally linked meanings, but it creates what Cesar Domínguez, et al, call “a space for polyglottism, multidisciplinarity, scholarly collaboration” (75). Reading these works and movements closely and distantly serves as a cross-cultural dialogue between the Arabic and English poetic conventions. While Ibn Khafāja and Wordsworth lived in different places and times, wrote in different languages, and did not have the same socio-political circumstances, their poems show the richness and multiplicity of the historical experience of world literature.
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Ben Abdenour, Ahmed, and ياسمين قلو. "ترجمة الشعر ودوره في ميلاد الأجناس الأدبية علاقة السونيتات بالموشحات الأندلسية والأزجال أنموذجا." Traduction et Langues 17, no. 1 (August 31, 2018): 144–60. http://dx.doi.org/10.52919/translang.v17i1.551.
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Translation of Poetry and its Role in the Creation of New Genres: the relationship between the “Sonnets” and “Muwashah”
Poetry has its very linguistic and formative manifestations, given the special meanings, as well as the aesthetics of the language, of form and rhythm: in order to convey a special message, full of consistency and coherence .Poetry is a very old artistic expression, it could preserve the cultural and social heritage even in societies that have never known any form of writing and reading. In fact, poetry is prior to both of them. Poetry is high-ranking among Arabs who considered it as the finest literary form; the word itself is derived from « shu’our » "sense", and the poet has always had a privileged status among his people. The English poetry witnessed such a formative and linguistic development as a literary genre that other world literatures even adopted those new forms. The English poets, have always influenced the literary field, but the Arabs were also influential in return. In this article, we will study two forms of poetry: the first one is English, called « sonnets » and the second one is the Arabic « muwashah » and their relationship, within the movement of the literary world characterized by both vulnerability and influence. This special subject refers to what is more general, namely, a comparison between the Arabic and English poetry in order to explore the potential difficulties of the translation of poetry .
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Abushihab, Ibrahim. "A Stylistic Analysis of Arab-American Poetry: Mahjar (Place of Emigration) Poetry." Journal of Language Teaching and Research 11, no. 4 (July 1, 2020): 652. http://dx.doi.org/10.17507/jltr.1104.17.
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The present paper represents an attempt to focus upon analyzing and describing the major features of Arab American poetry written by prominent Arab poets who had arrived in America on behalf of millions of immigrants during the 19th century. Some of who wrote in English and Arabic like Ameen Rihani (1876-1940); Khalil Gibran (1883-1931) and Mikhail Naimy (1889-1988). Others wrote in Arabic like Elia Abumadi (1890-1957). Most of their poems in Mahjar (place of emigration) reveal nostalgia, their love to their countries and their ancestors and issues relating to Arab countries. The paper analyzes some of their poems based on linguistic, grammatical, lexical and rhetorical levels.
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Aziz, Alaa Salahuldeen. "A Euphemistic Perspective to Death Expressions in Arabic Poetry with Reference to English." Journal of Tikrit University for Humanities 27, no. 1 (January 26, 2020): 76–88. http://dx.doi.org/10.25130/jtuh.27.1.2020.25.
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The current study deals with the theoretical part of the English euphemisms and their Arabic equivalents. Death euphemism is an area that should be considered for its importance and may due to the fact that the original words might offend, disturb, or embarrass the addressee. The current study hypothesizes that death euphemism is a typical and common cultural phenomenon in both English and Arabic. The study aims at investigating the euphemistic death expressions and words as well as showing the reasons behind using such expressions. Practically, some selected related examples of both English and Arabic have been tackled. Finally, it can be concluded that death euphemism is a universal phenomenon.
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Nagi, Ahmed Taher Abdu. "Eliotic Seeds in B. S. Al Sayyab's Poem "The Rain Song'': An Analytical Study." مجلة العلوم التربوية و الدراسات الإنسانية 5, no. 12 (September 30, 2020): 499–533. http://dx.doi.org/10.55074/hesj.v5i12.181.
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"The Rain Song" is considered one of the most notable poems of modern Arabic poetry in general and of B. S. Al Sayyab in particular. It is a landmark in the history of modern Arabic poetry. The present paper aims at unearthing the seeds of T. S. Eliot in Al Sayyab's poem ''The Rain Song''. Eliot is a literary figure who reshaped the literary scene not only in England, but also in the world. Accordingly, the present paper has ploughed the soil of the poem ''The Rain Song'' to discover some scattered Eliotic seeds. Modernism affected Arabic poetry early in the first half of the twentieth century. As a translator and a poet, Al Sayyab is able to delve into English poetry which becomes a catalyst that has infused him to modernize the Arabic poem. Unmistakably, Al Sayyab does not copy the Eliotic techniques of modernism. He has blended them to create something new and creative based upon the Arabic heritage. This study concludes that the free verse, mythical, imagist, symbolic, and allusive methods are the Eliotic seeds implanted in ''The Rain Song''. Such new techniques were not used in the classical Arabic poetry. Some examples of these seeds and fingerprints, in ''The Rain Song'', are presented in this study.
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Ismail, Ismail. "A Rhetorical, Stylistic and Translation Quality Assessment Based -Study of English and French Translations of Al-Sayyab's Poem (Lianni Ghareeb- For I'm Stranger - (لأني غريب." Al-Adab Journal, no. 145 (June 14, 2023): 1–20. http://dx.doi.org/10.31973/aj.v1i145.3886.
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Arabic Poetry in general and Iraqi Modern Poetry in particular are abundant in emotional, nationalistic and political attitudes. Iraqi poets express their devotion and loyalty to their homeland profoundly and figuratively. Badr Shaker Al-Sayyab is an Iraqi pioneering figure in modern Arabic poetry. His poem (For I'm Stranger) is one of his powerful and effective literary works in which he draws magnificent images of the strong psychological bond with his homeland Iraq. This poem is a challenging task for translators (from Arabic into any other language). So, this paper focuses on how to render the meter and the rhyme of the source Arabic poem which has unique stylistic and prosaic structures into the TL concerned? The study includes an analysis of the English and French versions of "Liaani Ghareeb لأني غريب" poem. The analysis is made by comparing musical, rhetorical and figurative structures of the two versions to see which version is closer to the Arabic SL poem. This study comes up with the conclusion that the metrical and prosodic structures of the French version are more harmonic in terms of musicality. The English version on the other hand seems acceptable but lacks the rhetorical compatibility in the light of the adopted theories of translation.
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Alaiyed, Majedah A. "Code-switching between English and Arabic in Vernacular Poetry." World Journal of English Language 12, no. 8 (October 6, 2022): 113. http://dx.doi.org/10.5430/wjel.v12n8p113.
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This descriptive qualitative study investigates the types and functions of code-switching between English and vernacular Arabic in eight vernacular poems. In order to do this, eight published audio and video recordings of poems obtained from YouTube are analysed using a qualitative method of data analysis. The content analysis reveals two main types of code-switching: code-switching between sentences (inter-sentential) and code-switching within sentences (intra-sentential). Its possible functions are humour, reporting a conversation between the poet and an English speaker, quoting an English speaker or imagining a conversation with them, and attempting to be innovative. Intra-sentential code-switching is found to occur either at the beginning, middle or end of the line in a poem. However, it could occur in more than one place in the same line. Moreover, the poems follow grammatical constraints and code-switching is systematic, except in one instance where the poet aims to keep the same rhyme. In almost all of the poems analysed in this study, intra-sentential code-switching occurs more frequently than inter-sentential code-switching.
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Munir, Moh, and Rizka Eliyana Maslihah. "Takwīn al-Bīah al-Lughawiyyah Litarqiyah al-Mahārah al-Intājiyyah fī al-Ma’āhid al-‘Aṣriyyah bi Ponorogo." LISANIA: Journal of Arabic Education and Literature 5, no. 2 (December 3, 2021): 237–51. http://dx.doi.org/10.18326/lisania.v5i2.237-251.
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This qualitative research aimed to find out: 1) the formation of formal and natural language environment to improve students' speaking skills in various modern Islamic boarding Schools at Ponorogo. 2) the formation of formal and natural language environment to improve students' writing skills in various Modern Islamic Boarding Schools at Ponorogo. The results indicate that: 1) Students' speaking skills are improved through the following Arabic language environmental activities: using Arabic in daily conversation, Arabic learning, the use of language laboratory, adding new daily vocabulary, annual language competition, listening to foreign language news, language error correction, speech competition, poetry reading, debate, and Arabic storytelling. 2) Students' writing skills are improved through the following Arabic language environmental activities: writing foreign-language articles, speeches, debate, English storytelling, poetry, songs, drama texts, and Arabic news texts, weekly writing exercises, and writing Arabic articles competition.
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Mohammed, Kawkab Salim. "The Impact of Compensation in Translating Classical Arabic Poetry into English: An Analytical Study." JOURNAL OF LANGUAGE STUDIES 1, no. 4 (August 13, 2023): 11–27. http://dx.doi.org/10.25130/jls.1.4.5.
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Translating classical Arabic poetry into English is inevitablyproblematic. This is due to the uniqueness and exclusiveness of theword and form of the Arabic poetry on the one hand, and to the greatgap between the two languages on the other hand. Some translatorsadopt compensation as a strategy to overcome many difficulties ofmeaning loss in translating such type of texts. The current analyticalstudy attempts to show the impact of using compensation in translatingMuallaqat Emro' Al- Qais into English by adopting Hervey & Higgins'(1992) model. The study ends with some concluding remarks, the mostimportant one among them is that compensation in not necessarily aneffective strategy. On the contrary, it could lead to deepening theunfamiliarity and loss of the semantic precision of the ST in the TT.
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Halimah, Ahmad Mustafa. "Translation of Islamic Arabic Poetry: A Two-Stance Methodological Framework." World Journal of English Language 11, no. 2 (September 22, 2021): 152. http://dx.doi.org/10.5430/wjel.v11n2p152.
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This study investigates whether it is possible to translate Islamic Arabic poetry, as a universal literary religious genre, into English to a high level of quality. A global-local translation framework (Halimah, 2020) is applied to the translation of Imam Ashshafi’ee’s[i] poem “الرضا بقضاء الله”/ “Accepting Fate with Pleasure” into English, where a methodological collaboration between a bilingual translator and an English poet manifests a two-stance methodological framework. The results, along with the qualitative and quantitative analysis of poetic extracts used in this paper, indicate that this framework has resulted in improving the quality of Islamic Arabic poetry translation. The translated materials proved to be ‘novel and appropriate’, achieving a very high 90% of approximation of the original text against ACNCS criteria. This framework can also be applied by translators of other literary and non-literary texts to bring more structure and clarity to the discipline of translation.[i]Muhammad bin Idrees Ashshafi’ee (DoB:150H/767A.D died in 204H/820A.D.) The founder of the Sunni School of Law مذهب الشافعية
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Ahmed, Hamoud Yahya, and Ruzy Suliza Hashim. "Greening of Resistance in Arabic Poetry: An Ecocritical Interpretation of Selected Arabic Poems." 3L: The Southeast Asian Journal of English Language Studies 21, no. 01 (February 1, 2015): 13–22. http://dx.doi.org/10.17576/3l-2015-2101-02.
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Abdullah, Ahmed Mahmood, and Hawshen Slewa Eessa. "Elements of Short Poems by (Mudrik Zhali)." Journal of University of Raparin 8, no. 2 (June 7, 2021): 1–23. http://dx.doi.org/10.26750/vol(8).no(2).paper.1.
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This research is entitled: ( Elements of Short Poems by (Mudrik Zhali)) .It consists of third sections, which are an attempt to define and use the content, form and Elements value of poetry. It has several concepts in contemporary Kurdish poetry, especially among contemporary poets in the last century in (Koya) city.
This present research has scientific significance and value in the field of regeneration and highlighting the poet's ability and talent in this field. For this research, we used an analytical and descriptive method. It consists of third topics: The first topic: Experience of the poet (Mudrik Zhali).. The concept of haiku. The second topic: Elements language, poetic music, poetic image, and symbols in poet’s poetry. The third topic: Reading poetry of (The Eves of the Memories of the Impossible Love).With abstracts of the research in Arabic and English and a list of references.
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Farghal, Mohammed, and Ali Almanna. "PHONOLOGICAL AND MORPHOLOGICAL ASYMMETRIES IN ARABIC/ENGLISH TRANSLATION." Journal of Southwest Jiaotong University 57, no. 6 (December 30, 2022): 620–28. http://dx.doi.org/10.35741/issn.0258-2724.57.6.58.
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Through illustrative examples between Arabic and English, this paper demonstrates the relevance of phonological and morphological features to translation activity. Firstly, it shows how phonological features come to the fore in poetry translation, which revolves around capturing prosody in the TL to sanction the discourse in this genre. Phonological features may also play a key role in translating remodeling in discourse, and in making ideological moves by the translator’s employing one version of a proper noun rather than another. Secondly, the paper explores the role of morphological features in Arabic/English translation, focusing on the fact that Arabic morphology is synthetic while its English counterpart is analytic. This morphological mismatch has translational bearings on both inflection and derivation. Translators, therefore, should pay close attention not only to semantic and textual features, but also to lower levels of discourse, including phonological and morphological features, which prove to be very relevant to translation activity as this paper clearly shows.
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Mehawesh, Mohammad M., Mo’tasim-Bellah Alshunnag, Naser M. Alnawasrah, and Noor N. Saadeh. "Challenges in Translating Puns in Some Selections of Arabic Poetry Into English." Journal of Language Teaching and Research 14, no. 4 (July 1, 2023): 995–1004. http://dx.doi.org/10.17507/jltr.1404.17.
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The present study investigates the challenges translators may face when translating pun expressions in some selections found in Arabic poetry into English. The study examines the strategies employed to translate puns, the choice of pun’s sense, and the perseverance of the aesthetic function of puns in English. The study analyses the translation of a sample of ten Arabic-English puns by twenty-five MA translation students grounded on Delabastita’s (1993) model, the graded salience hypothesis and back-translation method. The study has revealed that the familiarity of the pun’s overt meaning and the ignorance of its covert one constitute a major challenge for inadequately translating puns, thereby distorting the pun’s aesthetic function in the target text. Two out of Delabastita’s translation strategies are shown to be employed in the translation of the given puns, among which pun to non- pun is the most prevalent one. The study has suggested editorial techniques and related rhetorical device as a potential means for adequately rendering the respective puns.
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Awad Shehata Mabruk, Aya. "The Translatability of Prosody: A case study of English/Arabic Poetry." مجلة جامعة مصر للدراسات الإنسانية 1, no. 1 (January 1, 2021): 286–305. http://dx.doi.org/10.21608/mjoms.2021.153748.
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Altoma, Salih J. "Modern Arabic Poetry in English Translation: An Overview of Selected Anthologies." Translation Review 62, no. 1 (September 2001): 43–49. http://dx.doi.org/10.1080/07374836.2001.10523799.
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Shunnaq, Abdullah, and Fayez Abul-Kas. "Jordanian Folkloric Songs from Arabic into English." Babel. Revue internationale de la traduction / International Journal of Translation 44, no. 2 (January 1, 1998): 150–74. http://dx.doi.org/10.1075/babel.44.2.06shu.
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Abstract Poetry in general and lyric poetry in particular are perhaps the most difficult types of texts to be rendered from one language into another without much change in meaning and structure. That is why folkloric songs could be considered as toilsome to be rendered, because they are often culture-bound. Moreover, they have a highly complicated sign structure which plays an important role in transmitting culture. It may be helpful and useful to investigate a number of difficulties in translating these rhymed texts which reflect certain aspects of culture (social, political and ecological, among others). Despite the dearth of references, the authors have succeeded in obtaining the necessary data of translating these folkloric songs. They aim to reach modest findings which could be beneficial to students of translation. In this paper, it may be useful to introduce some ideas about the nature of translation and translatability as well as literary translation with special reference to the semantic vs. communicative translation. It also aims to shed light on the translatability of some Jordanian folkloric songs. This study partly provides examples of the authors' translations from Arabic into English, which are only attempts of translating these literary texts. The translations are meant only for the aim of comparison or to support data. Some conclusions and recommendations about the translatability of folkloric songs are reached. Résumé La poésie en général et la poésie lyrique en particulier sont probablement les types de textes les plus difficiles à reproduire d'une langue dans une autre sans introduction de changement de signification ou de structure. C'est la rasion pour laquelle les chants folkloriques, généralement liés à la culture sont difficiles à traduire. De plus, la structure des signes est éminemment compliquée et joue un rôle important au niveau de la transmission de la teneur culturelle. Il peut donc être intéressant et utile d'analyser un certain nombre de difficultés qui surgissent lors de la traduction de ces textes rythmés qui reflètent certains aspects culturels (sociaux, politiques et écologiques, entres autres). En dépit du manque de références, les auteurs sont parvenus à obtenir les informations nécessaires à la traduction de ces chants folkloriques. Leur but est d'obtenir certains indications susceptibles d'être précieuses pour les étudiants en traduction. Dans le présent article, les auteurs ont estimé qu'il pouvait être utile d'introduire certains notions concernant la nature de la traduction et de la traductibilité mais aussi de la traduction littéraire, en particulier dans le domaine de l'opposition traduction sémantique — traduction communicative. Les auteurs souhaitent aussi aborder la traductibilité de certains chants folkloriques jordaniens, et ce à l'aide d'exemples de traductions arabe-anglais réalisées par les auteurs mais qui ne sont d'après ces derniers que des essais de traduction de ces textes littéraires. Ces traductions visent uniquement à comparer les informations ou à fournir des indications utiles. Ce faisant ils sont parvenus à formuler un certain nombre de conclusions et de recommendations concernant la traductibilité des chants folkloriques.
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Al-Kadery, Suad Abdulaziz Khalil. "Translation of Poetry: A Study of Translatability of Pragmatic and Cultural Elements." World Journal of English Language 14, no. 4 (April 12, 2024): 276. http://dx.doi.org/10.5430/wjel.v14n4p276.
Full textAbstract:
Poetry is a genre that states more in a few words because much of it is cultural content that is assumed to be comprehended by the reader(s). This very characteristic of poetry of being rooted in cultural ethos makes its translation complex and even "untranslatable." Imr-ul-Qais’s Muallaqa is an Arabic classic which has been a symbol of the shared Arab identity, values, and magnanimity. In addition to its unsurpassed poetic brilliance, it is an epitome of the culture of the pre-Islamic Arab world. There are many translations of this masterpiece into English, though each is unique in terms of interpretations, liberties, and constraints. This study examines three prominent translations of Imr-ul-Qais's Muallaqa by Arberry, Johnson, and Mumayiz with reference to Venuti's (1995) dichotomy of domestication and foreignization. The aim is to identify translators’ strategies in tackling the translational challenges, as well as the implications thereof, in order to bridge the linguistic and cultural divide as well as if and what is the nature of the loss of meaning in the process. Results showed that Arberry aims for a poetic rendition in blank verse, focusing on semantic and syntactic fidelity rather than rhyme and meter. Johnson employed transposition and modulation, resulting in a more prosaic translation that lacks the Arabic ethos. Both translators leaned towards domestication, prioritizing English comprehension over retaining the original sentiment. Mumayiz, a native speaker of Arabic, provides a more rhythmic translation, with greater effort to provide English readers with insights into the original text, hence leant more on foreignization than domesticaion.
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Acim, Rachid. "THE UNTRANSLATABILITY OF SHAKESPEARE’S POETRY ON LOVE." Vertimo studijos 10, no. 10 (January 18, 2018): 45. http://dx.doi.org/10.15388/vertstud.2017.10.11276.
Full textAbstract:
Translating Shakespeare’s poetry has been one of the most arduous questions that has pained many translators, researchers and academics worldwide. As this poetry involves many rhetorical devices, alternating between the use of keen imagery and intertextuality, it not only lends itself to ambiguity but also to untranslatability; moreover, the use of figures of speech such as similes, synecdoche and metaphors accord this poetry a discursive power that does not recede despite the evolution of the English language and the death of the poet many centuries ago. And while this poetry addresses a whole galaxy of themes, it projects Shakespeare himself as a cosmopolitan figure not limited to time or even space. The present study seeks to assess and evaluate the translation solutions given as concerns Shakespeare’s poetry on the theme of “love”. To achieve this aim, I suggest employing a contrastive analysis between the English and Arabic poetic text, with a view to exploring whether or not the core of this poetry has been preserved. My assumption is that the stylistic aspects and aesthetic properties of the original poetic text are lost due to the intentional or unintentional intervention of the translator.
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Ali, Hatim Farhan, and Mahdi I. Kareem al-Utbi. "A Feminist Stylistic Analysis of Anti-feminist Poetry in English and Arabic." Journal of the College of languages, no. 46 (June 1, 2022): 90–117. http://dx.doi.org/10.36586/jcl.2.2022.0.46.0090.
Full textAbstract:
Language plays a major role in all aspects of life. Communication is regarded as the most important of these aspects, as language is used on a daily basis by humanity either in written or spoken forms. Language is also regarded as the main factor of exchanging peoples’ cultures and traditions and in handing down these attributes from generation to generation. Thus, language is a fundamental element in identifying peoples’ ideologies and traditions in the past and the present. Despite these facts, the feminist linguists have objections to some of the language structures, demonstrating that language is gender biased to men. That is, language promotes patriarchal values. This pushed towards developing extensive studies to substantiate sexism in language. The main question is: is language really sexist? This study employs a feminist stylistic analysis to investigate these theories, and takes the anti-feminist poetry as a springboard for that, for it addresses multiple issues objected to by feminism. The model adopted in this study is Sara Mills’s (1995) Feminist Stylistics which analyzes different structures of language that oppose feminism; English and Arab modern anti-feminist poetry is the genre that is investigated in this study. Besides, this study aims at revealing the societies’ inherent views about women along with investigating the feminist essential claim; that language is sexist. This is done by conducting both qualitative and quantitative analyses on the data. The current study has concluded that language in its pure form is not sexist; rather sexism is a personal and well as a societal attitude. Furthermore, there are certain items, especially in English, that can be regarded since English does not have a feminine form on its own; still, such items can always be avoided and other neutral items can be used instead. Finally, this study recommends that a feminist practical approach is required to track and omit gender bias in language from school books as it has a major effect on the ideology of society. It also recommends to developing a feminist method to raise the awareness against the indirect forms of sexism that plague literature.
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Ali, Hatim F., and Mahdi I. Al-Utbi. "A Feminist Rhetorical Analysis of Anti-feminist Poetry in English and Arabic." Al-Adab Journal 3, no. 139 (December 15, 2021): 9–26. http://dx.doi.org/10.31973/aj.v3i139.2280.
Full textAbstract:
Language is the fundamental element of communication and understanding in society. It relates immediately to human thoughts and is embodied in written or spoken signs or signals. The field that scientifically studies language (its forms and structures) is called Linguistics. Among the linguistic studies of language is Rhetoric which studies the importance of speech or texts for the audience. Rhetoric is the art of persuasion; it comprises different arguments raised by the speaker/writer depending on social, religious, moral or even traditional evidence in order to prove that the raised arguments are real. In this way, the writer/speaker associates the language to similar or related realities in order to reach the purpose of her/his language. However, presenting arguments and evidence it not always accurate because there are arguments that rely on weak evidence. The purpose of argumentative techniques is still to persuade the audience about a personal view or a societal concept. From this perspective, the feminist linguists suggest that rhetoric is actually masculine; that is, rhetoric is anti-feminist. Therefore, linguists presented a great deal of evidence to prove this theory and bring the feminist ideology into rhetoric. This study aims at providing a feminist rhetorical analysis of the anti-feminist poetry to study the status of women in rhetoric and whether the arguments that demean women are true or not. For this purpose, the current study utilizes Fiorenza’s (1995) model of analysis; a feminist rhetorical tool to analyze anti-feminist poems written by male poets in English and Arabic in order to study the arguments as well as the evidence the poets present against women.
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Einbinder, Susan L. "The Written Judeo-Arabic Poetry in North Africa: Poetic, Linguistic and Cultural Studies (In Hebrew)." Journal of Jewish Studies 48, no. 1 (April 1, 1997): 207–8. http://dx.doi.org/10.18647/1990/jjs-1997.
Full text
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Sheikh Al-Shabab, Omar A. "Construction and Interpretation Of Corpus-Based English Poetry Vocabulary Profile." International Journal of Applied Linguistics and English Literature 6, no. 5 (July 6, 2017): 51. http://dx.doi.org/10.7575//aiac.ijalel.v.6n.5p.51.
Full textAbstract:
Vocabulary Profilers (VPrs) are deeply rooted in pedagogical purposes. The current investigation, however, uses the Classic and Compleat VPrs to: 1) determine the distribution and content of vocabulary in an English poetry corpus 2) explain differences in the constituents of the vocabulary profile (VP), 3) explore the role of language users in constructing the VP. The corpus includes Extended Corpus (EC: 1.363.225 words), Micro Corpus (MC: 43.200 words) from thirty-six poets, and two poems translated into Arabic. The main results show that Types, Offlist words, Academic and Anglo-Saxon words outline the VP, and that the number of Types and the size of the Individual Mental Lexicon constitute the main features of the translator’s VP. The paper concludes that the poet’s construction of the poetry VP undergoes multilayer interpretation by the reader/analyst and the translator, who utilize their socio-environmental context to pin down the semantic potential of the VP anew.
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Salim Ali, Salah. "Pertinence and redundancy in poetic repetition." Babel. Revue internationale de la traduction / International Journal of Translation 51, no. 4 (December 31, 2005): 337–56. http://dx.doi.org/10.1075/babel.51.4.05sal.
Full textAbstract:
Abstract This paper tackles repetition in literary texts from a semantic, generic, and translatological perspective. It deals with repetition in Arabic texts as well as in Modern English poetry, and explains the problems that are likely to arise in translating repeated elements in English literary texts into Arabic. The theoretical framework rests on the supposition that a literary work in general, and poetry in particular must be examined as a total meaningful structure which entails the semantics and pragmatics of the text. In other words, repetition is a stylistic feature that involves a non-ordinary use of language, which does significantly shift the information content of the text. In translating literary works harbouring repetition from English into Arabic, significant problems usually emerge since what is considered stylistically and/or semantically marked in English might not be seen or conceived as such in Arabic. So, a translated text may miss important meaning elements intended by the English author. The effect is that the mental representation and understanding of the poem are drastically distorted. Moreover, this case applies to Arabic as well, for what is semantically and/or stylistically marked in Arabic repeated elements may lose its markedness in the English translation. The paper at hand addresses these issues providing several examples and suggesting some solutions. Résumé Cet article traite de la répétition dans les textes littéraires, dans une perspective sémantique, générique et traductologique. Il parle de la répétition dans les textes arabes, ainsi que dans la poésie moderne anglaise, et explique les problèmes qui risquent de surgir lorsqu’on traduit en arabe des éléments répétitifs dans les textes littéraires anglais. Le cadre théorique repose sur l’hypothèse qu’une oeuvre littéraire, en général, et la poésie en particulier, doit être envisagée comme une structure significative totale, englobant la sémantique et la pragmatique du texte. En d’autres termes, la répétition est une caractéristique stylistique qui implique une utilisation peu ordinaire de la langue, ce qui modifie considérablement le contenu informatif du texte. En traduisant de l’anglais en arabe des oeuvres littéraires comportant des répétitions, des problèmes significatifs surgissent habituellement, étant donné que ce qui est considéré comme marqué en anglais, du point de vue stylistique ou sémantique, peut ne pas être vu ou considéré comme tel en arabe. Ainsi, un texte traduit peut passer à côté d’un élément d’une signification importante, voulu par l’auteur anglais. En conséquence, la représentation et la compréhension mentales du poème sont considérablement déformées. En outre, ce raisonnement s’applique aussi à l’arabe, car ce qui est marqué dans des éléments répétitifs en arabe, du point de vue stylistique ou sémantique, peut perdre son caractère marqué dans la traduction anglaise. Cet article aborde ces problèmes en donnant plusieurs exemples et en suggérant quelques solutions.
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Pietrzak, Bartosz. "Cultural Conceptualizations of shame & dishonor in Early Poetic Arabic (EPA)." Polish Journal of the Arts and Culture New Series, no. 14 (2/2021) (November 18, 2021): 73–94. http://dx.doi.org/10.4467/24506249pj.21.018.15324.
Full textAbstract:
Persisting in a binary relationship with honor, shame was an important element of the pre-Islamic Arabic social evaluation system. In my study, I analyzed the two most important EPA concepts parallel to English shame – ˁayb and ˁār – applying the Cultural Linguistic approach. Based on the analyses on corpus of Early Arabic poetry and Classical Arabic dictionaries, I represented cultural schemata encoding the knowledge shared by pre-Islamic Arabs about those phenomena. The paper presents also metaphoric, metonymic, and image-schematic models, which account for the specifics of associated linguistic frames. Moreover, I posit a hypothesis on the existence of a schema subsuming the honor- and shame-dishonor-related schemata in form of social evaluation of usefulness, which seems to correspond to the historical and linguistic data.
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Pietrzak, Bartosz. "Cultural Conceptualizations of shame & dishonor in Early Poetic Arabic (EPA)." Polish Journal of the Arts and Culture New Series, no. 14 (2/2021) (November 18, 2021): 73–94. http://dx.doi.org/10.4467/24506249pj.21.018.15324.
Full textAbstract:
Persisting in a binary relationship with honor, shame was an important element of the pre-Islamic Arabic social evaluation system. In my study, I analyzed the two most important EPA concepts parallel to English shame – ˁayb and ˁār – applying the Cultural Linguistic approach. Based on the analyses on corpus of Early Arabic poetry and Classical Arabic dictionaries, I represented cultural schemata encoding the knowledge shared by pre-Islamic Arabs about those phenomena. The paper presents also metaphoric, metonymic, and image-schematic models, which account for the specifics of associated linguistic frames. Moreover, I posit a hypothesis on the existence of a schema subsuming the honor- and shame-dishonor-related schemata in form of social evaluation of usefulness, which seems to correspond to the historical and linguistic data.
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Semaan, Gaby. "The Hunt In Arabic Poetry: From Heroic to Lyric to Metapoetic." American Journal of Islamic Social Sciences 35, no. 3 (July 1, 2018): 76–79. http://dx.doi.org/10.35632/ajiss.v35i3.483.
Full textAbstract:
In his book, The Hunt in Arabic Poetry: from Heroic to Lyric to Metapoet- ic, Jaroslav Stetkevych traces the evolution of Arabic hunt poetry from its origins as an integral part of the heroic ode (qaṣῑda) to becoming a genre by itself (ṭardiyya) during the Islamic era, and then evolving into a meta- poetic self-conscious expression of poets in our modern time. The book is a collection of a revised book chapter and a number of revised articles that Stetkevych published between 1996 and 2013 discussing Arabic hunt poet- ry at different periods spanning from the pre-Islamic age, known in Arabic as “al-‘Aṣr al-jāhiliyya” (Age of Ignorance), to the contemporary era. This does not diminish the coherence of the book nor detract from Stetkevych’s welcomed thematic approach and his contribution to literary criticism on Arabic poetry and the socio-political and linguistic factors that influenced its development and evolution. Stetkevych divides his 256-page book into three parts. The first part, entitled “The Heroic and the Anti-Heroic in the Early Arabic Ode: The Qaṣῑdah,” consists of three chapters and discusses the evolution of the qa- ṣῑda (ode) during the Age of Ignorance. Stetkevych dissects the structure of the ode and shows how hunt poetry was an integral part of it (not an independent genre). In doing so, Stetkevych draws a vivid picture of the life and geosocial terrain of the period spanning from pre-Islamic to the mid-Umayyad eras. In the first chapter, “The Hunt in the Pre-Islamic Ode”, Stetkevych uses examples mainly from the Mu‘allaqāt of Rabī‘ah ibn Maqrum, Labād Ibn Rabī‘ah, and the famous Imru’ al-Qays to illustrate the different roles hunt poetry played based on where it fell in the structure of the ode. He further establishes that the hunt section of the ode served as the origin for what later became a genre in its own right, known as ṭardiyya. In the second and third chapters, “The Hunt in the Ode at the Close of the Archaic Peri- od” and “Sacrifice and Redemption: The Transformation of Archaic Theme in al-Ḥuṭay’ah”, Stetkevych distinguishes between the different terms for “hunt” and the ṭard that would be the “chivalrous hunt” that takes place from the back of a horse. Parsing these distinctions with poems from ‘Ab- dah Ibn al-Ṭabῑb, al-Shamardal, and ‘Amr Ibn Qamῑ’ah, among others, the author sketches how hunt poetry began taking its own shape as a freestand- ing genre during the Umayyad period: when hunt poetry “is no longer ex- plicitly ‘chivalrous’… we are now in the realm of falconry” (55). The second part of the book, “The Hunt Poem as Lyric Genre in Classi- cal Arabic Poetry: The Ṭardiyyah”, is made up of four chapters that discuss the maturation of the hunt poem under ‘Abbasid rule. During that period, the cultural, economic, scientific, and social renaissance left its impact on poets and poetry. Hunt poetry became a genre of its own, taking an inde- pendent form made of hunt-specialized shorter lyrics. Stetkevych begins this section in chapter 4, “The Discreet Pleasures of the Courtly Hunt: Abū Nuwās and the ‘Abbasid Ṭardiyyah”. He shows how the move of hunt po- etry from subjective to objective description was utterly distinctive under “Abu Nuwas, the master of archaic formulas, who is capable of employing those formulas in conceits that are no longer archaic” (102). Chapter 5, “From Description to Imagism: ‘Alῑ Ibn al-Jahm’s ‘We Walked over Saffron Meadows’,” shows how Ibn al-Jahm and other Abbasid poets such as Ibn al-Mu‘tazz and Abū Firās al-Ḥamdānī “exercise considerable stylistic freedom in developing their own markedly varied but distinctive ṭardiyyah-po- ems from the broadly imagist to the highly lyrical to the fully narrative” (131). Stetkevych shows how the rhythm of hunt poetry was liberated as the Abbasid poets moved from the rajaz meter used in pre-Islamic hunt poetry to modifying and modulating “the ṭawῑl meter to create the unique rhythmic qualities” (131). In chapter 6, “Breakthrough into Lyricism: The Ṭardiyyahs of Ibn al-Mu‘tazz,” the author uses multiple examples to show how “the ṭardiyyah not only found that new lyrical voice but also allowed it … to become a closely integrated and even more broadly formative part of that poet’s multi-genre ‘project’ of a ‘new lyricism’ of Arabic poetry” (183). Chapter 7, “From Lyric to Narrative: The Ṭardiyyah of Abu Firas al-Ḥam- danῑ,” demonstrates how the prince poet “abandons the short lyric mono- rhyme for the sprawling narrative rhymed couplets (urjuzah muzdawijah)” (9). Stetkevych notes that although this “shift did not result (yet) in the achievement of a separate narrative genre, it can …be rightfully viewed as a step in the exploration of the possibility of a large narrative form” (187). The third and final section, “Modernism and Metapoesis: the Pursuit of the Poem,” discusses the revival of hunt poetry by modernist poets after being neglected for centuries. Chapter 8, “The Modernist Hunt Poem in ‘Abd al-Wahhab al Bayatῑ and Aḥmad ‘Abd al Mu‘ṭῑ Ḥijazῑ,” examines two poems of the two poets, both entitled Ṭardiyyah. Stetkevych argues that the Iraqi free-verse poet, al-Bayatῑ, transformed the “genre-and form-bound, rhymed and metered lyric… into a formally free exploration of the dra- matic and tragic image of the hunted hare as a metaphor for the political and cultural predicament of modern man” (9). Meanwhile, Hijazi’s Ṭardi- yyah transforms “the poignant lyricism of the traditional hunt poem into an expression of the poet’s personal experience of political exile and poetic restlessness and frustration” (10). The author concludes that the two poets’ explorations into ṭardiyyah “helped not only to preserve and activate the classical metaphor of hunt/ṭardiyyah into modernity, but in equal measure to validate and enrich the achievements of modern Arabic poetry” (242). In the last chapter, “The Metapoetic Hunt of Muḥammad ‘Afῑfῑ Maṭar,” Stetkevych—through interpretation, comparison, and criticism—shows how Maṭar’s modern poetry while “hermeneutically connected to the old genre… [is] very personal mythopoesis” (10). Stetkevych’s book does not discuss Andalusian hunt poetry, such as that of ‘Abbās Ibn Firnās, Ibn Hadhyal and Ibn al-Khaṭīb, nor the Ṭardiyyah of the contemporary Egyptian poet ‘Abdulraḥman Youssef, published in 2011 after the revolution in Tunisia and two days before the Egyptian revolution started. While including such examples would have further bol- stered this already strong and convincing argument and further illustrated the evolution of hunt poetry from the pre-Islamic era into modern times, their absence does not take away from the book writ large. Stetkevych’s excellent English translations of the poetry cited make his examples more accessible to readers who do not know Arabic. Overall, the book is a very valuable addition to literary criticism of Arabic poetry written in English and will surely be a great asset for scholars, students, and others interested in Arabic poetry as a reflection of a cultural and humanistic experience.
Gaby SemaanAssistant Professor of ArabicUniversity of Toledo
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Semaan, Gaby. "The Hunt In Arabic Poetry: From Heroic to Lyric to Metapoetic." American Journal of Islam and Society 35, no. 3 (July 1, 2018): 76–79. http://dx.doi.org/10.35632/ajis.v35i3.483.
Full textAbstract:
In his book, The Hunt in Arabic Poetry: from Heroic to Lyric to Metapoet- ic, Jaroslav Stetkevych traces the evolution of Arabic hunt poetry from its origins as an integral part of the heroic ode (qaṣῑda) to becoming a genre by itself (ṭardiyya) during the Islamic era, and then evolving into a meta- poetic self-conscious expression of poets in our modern time. The book is a collection of a revised book chapter and a number of revised articles that Stetkevych published between 1996 and 2013 discussing Arabic hunt poet- ry at different periods spanning from the pre-Islamic age, known in Arabic as “al-‘Aṣr al-jāhiliyya” (Age of Ignorance), to the contemporary era. This does not diminish the coherence of the book nor detract from Stetkevych’s welcomed thematic approach and his contribution to literary criticism on Arabic poetry and the socio-political and linguistic factors that influenced its development and evolution. Stetkevych divides his 256-page book into three parts. The first part, entitled “The Heroic and the Anti-Heroic in the Early Arabic Ode: The Qaṣῑdah,” consists of three chapters and discusses the evolution of the qa- ṣῑda (ode) during the Age of Ignorance. Stetkevych dissects the structure of the ode and shows how hunt poetry was an integral part of it (not an independent genre). In doing so, Stetkevych draws a vivid picture of the life and geosocial terrain of the period spanning from pre-Islamic to the mid-Umayyad eras. In the first chapter, “The Hunt in the Pre-Islamic Ode”, Stetkevych uses examples mainly from the Mu‘allaqāt of Rabī‘ah ibn Maqrum, Labād Ibn Rabī‘ah, and the famous Imru’ al-Qays to illustrate the different roles hunt poetry played based on where it fell in the structure of the ode. He further establishes that the hunt section of the ode served as the origin for what later became a genre in its own right, known as ṭardiyya. In the second and third chapters, “The Hunt in the Ode at the Close of the Archaic Peri- od” and “Sacrifice and Redemption: The Transformation of Archaic Theme in al-Ḥuṭay’ah”, Stetkevych distinguishes between the different terms for “hunt” and the ṭard that would be the “chivalrous hunt” that takes place from the back of a horse. Parsing these distinctions with poems from ‘Ab- dah Ibn al-Ṭabῑb, al-Shamardal, and ‘Amr Ibn Qamῑ’ah, among others, the author sketches how hunt poetry began taking its own shape as a freestand- ing genre during the Umayyad period: when hunt poetry “is no longer ex- plicitly ‘chivalrous’… we are now in the realm of falconry” (55). The second part of the book, “The Hunt Poem as Lyric Genre in Classi- cal Arabic Poetry: The Ṭardiyyah”, is made up of four chapters that discuss the maturation of the hunt poem under ‘Abbasid rule. During that period, the cultural, economic, scientific, and social renaissance left its impact on poets and poetry. Hunt poetry became a genre of its own, taking an inde- pendent form made of hunt-specialized shorter lyrics. Stetkevych begins this section in chapter 4, “The Discreet Pleasures of the Courtly Hunt: Abū Nuwās and the ‘Abbasid Ṭardiyyah”. He shows how the move of hunt po- etry from subjective to objective description was utterly distinctive under “Abu Nuwas, the master of archaic formulas, who is capable of employing those formulas in conceits that are no longer archaic” (102). Chapter 5, “From Description to Imagism: ‘Alῑ Ibn al-Jahm’s ‘We Walked over Saffron Meadows’,” shows how Ibn al-Jahm and other Abbasid poets such as Ibn al-Mu‘tazz and Abū Firās al-Ḥamdānī “exercise considerable stylistic freedom in developing their own markedly varied but distinctive ṭardiyyah-po- ems from the broadly imagist to the highly lyrical to the fully narrative” (131). Stetkevych shows how the rhythm of hunt poetry was liberated as the Abbasid poets moved from the rajaz meter used in pre-Islamic hunt poetry to modifying and modulating “the ṭawῑl meter to create the unique rhythmic qualities” (131). In chapter 6, “Breakthrough into Lyricism: The Ṭardiyyahs of Ibn al-Mu‘tazz,” the author uses multiple examples to show how “the ṭardiyyah not only found that new lyrical voice but also allowed it … to become a closely integrated and even more broadly formative part of that poet’s multi-genre ‘project’ of a ‘new lyricism’ of Arabic poetry” (183). Chapter 7, “From Lyric to Narrative: The Ṭardiyyah of Abu Firas al-Ḥam- danῑ,” demonstrates how the prince poet “abandons the short lyric mono- rhyme for the sprawling narrative rhymed couplets (urjuzah muzdawijah)” (9). Stetkevych notes that although this “shift did not result (yet) in the achievement of a separate narrative genre, it can …be rightfully viewed as a step in the exploration of the possibility of a large narrative form” (187). The third and final section, “Modernism and Metapoesis: the Pursuit of the Poem,” discusses the revival of hunt poetry by modernist poets after being neglected for centuries. Chapter 8, “The Modernist Hunt Poem in ‘Abd al-Wahhab al Bayatῑ and Aḥmad ‘Abd al Mu‘ṭῑ Ḥijazῑ,” examines two poems of the two poets, both entitled Ṭardiyyah. Stetkevych argues that the Iraqi free-verse poet, al-Bayatῑ, transformed the “genre-and form-bound, rhymed and metered lyric… into a formally free exploration of the dra- matic and tragic image of the hunted hare as a metaphor for the political and cultural predicament of modern man” (9). Meanwhile, Hijazi’s Ṭardi- yyah transforms “the poignant lyricism of the traditional hunt poem into an expression of the poet’s personal experience of political exile and poetic restlessness and frustration” (10). The author concludes that the two poets’ explorations into ṭardiyyah “helped not only to preserve and activate the classical metaphor of hunt/ṭardiyyah into modernity, but in equal measure to validate and enrich the achievements of modern Arabic poetry” (242). In the last chapter, “The Metapoetic Hunt of Muḥammad ‘Afῑfῑ Maṭar,” Stetkevych—through interpretation, comparison, and criticism—shows how Maṭar’s modern poetry while “hermeneutically connected to the old genre… [is] very personal mythopoesis” (10). Stetkevych’s book does not discuss Andalusian hunt poetry, such as that of ‘Abbās Ibn Firnās, Ibn Hadhyal and Ibn al-Khaṭīb, nor the Ṭardiyyah of the contemporary Egyptian poet ‘Abdulraḥman Youssef, published in 2011 after the revolution in Tunisia and two days before the Egyptian revolution started. While including such examples would have further bol- stered this already strong and convincing argument and further illustrated the evolution of hunt poetry from the pre-Islamic era into modern times, their absence does not take away from the book writ large. Stetkevych’s excellent English translations of the poetry cited make his examples more accessible to readers who do not know Arabic. Overall, the book is a very valuable addition to literary criticism of Arabic poetry written in English and will surely be a great asset for scholars, students, and others interested in Arabic poetry as a reflection of a cultural and humanistic experience.
Gaby SemaanAssistant Professor of ArabicUniversity of Toledo
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Feinsod, Harris. "World Poetry: Commonplaces of an Idea." Modern Language Quarterly 80, no. 4 (December 1, 2019): 427–52. http://dx.doi.org/10.1215/00267929-7777806.
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AbstractThis essay offers a philological career of the term world poetry as poets and scholars employed it and close cognates across the twentieth century (the century in which it first appeared). This career emphasizes trajectories in three of the West’s imperial language formations—poésie mondiale in French, poesía mundial in Spanish, and world poetry in English—but also highlights kindred trajectories in non-Western languages, such as sheʿr-e jahān in Persian and shiʿr fi al-ʿalam in Arabic. Corroborating Édouard Glissant’s claim that “the amassing of commonplaces is, perhaps, the right approach to my real subject—the entanglements of worldwide relation,” the essay argues for an understanding of world poetry as the accumulated philological history of poetic folkways, habits of use, sociological institutions, formations, and conjunctures that group around the term itself.
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A. Sheikh Al-Shabab, Omar. "Linguistic Experience and Identity: Contextualizing the Mental Lexicon In English-Arabic Poetry Translation." International Journal of Applied Linguistics and English Literature 10, no. 6 (November 30, 2021): 38. http://dx.doi.org/10.7575/aiac.ijalel.v.10n.6p.38.
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Monolingual Language behavior rests on three components: human agent, code and message. Translation processing requires three more constructs: translator, two codes, and a message in two texts. Equivalence theories attempted to supersede faithfulness and sameness of meaning in translation, but equivalence is a “convenience”, and is “always relative” (Baker 1992). Translational commensurability and semantic transportation thwart obtaining equivalence; therefore, the Interpretive Frame includes experience and identity among the elements necessary for any translation (Author, 2008). To explore poetic aesthetics, experience is related to personality observed in the Mental lexicon, while identity is related to phonic appeal observed in euphony. These relations are investigated in Arabic translations of English poems by Coleridge, Keats, Tennyson, Wordsworth, and Auden. Preliminary results show that: 1) the Mental Lexicon and euphony vary according to experience and identity, 2) contextualizing lexical appropriateness, euphony and metaphors contributes to poetic aesthetics.
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Daragmeh, Abdelkarim, Ekrema Shehab, and Yasmin Radi. "Translating Arabic Poetry into English Rapping: A Study into the Form-Based Requirements." Translation Review 98, no. 1 (May 4, 2017): 29–48. http://dx.doi.org/10.1080/07374836.2017.1297276.
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Ouided, Sekhri. "Strategies Used in Translating Poetry from English to Arabic : A Contrastive Linguistic Study." الإشعاع في اللسانيات و الترجمة, no. 4 (June 2015): 9–21. http://dx.doi.org/10.12816/0016961.
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Castagna, Giuliano. "A Collection of Jibbali/Śḥərɛ̄́t Proverbs from Ali al-Shahri’s Publication The Language of Aad/لغة عاد." Old World: Journal of Ancient Africa and Eurasia 2, no. 1 (February 2, 2022): 1–89. http://dx.doi.org/10.1163/26670755-01010009.
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Abstract Jibbali/Śḥərɛ̄́t is a language belonging to the Modern South Arabian (msa) branch of Semitic. It is currently endangered and spoken by an estimate of 50,000 ~ 70,000 people living in the Omani governorate of Dhofar. Similarly to the other msa languages, it is unwritten, and the survival of its speakers’ traditional knowledge rests on their ability to memorise and retain a large amount of information in the form of poetry, songs, folk-tales and proverbs.In 2000, ʕAli al-Shahri, a Dhofari historian and native speaker of Jibbali/Shahret, published a bilingual English/Arabic monograph named The Language of Aad/لغة عاد which is intended as an introduction to a wide array of aspects of the local culture, ranging from the toponymy of Dhofar, its traditional dances, songs, poetry and proverbs, to more unusual topics such as star-names, children games, traditional land allotment and more. This paper focuses on one of the most prominent topics of the monograph in question, namely a collection of 210 proverbs. Each proverb in this collection is provided with a translation in English and Arabic, and is presented in al-Shahri’s work by means of an idiosyncratic transcription system based on the Arabic script, in which linguistic sounds specific to msa are represented by coloured Arabic characters, to the detriment of comprehension.This paper aims at providing a linguistically viable description of these proverbs, by presenting them in a standard Semitic transcription. The transcription presented proceeds from the analysis of al-Shahri’s original recording (which features al-Shahri himself uttering these 210 proverbs one by one) stored at the Semitische Tonarchiv (SemArch) at the University of Heidelberg. Additionally, the original English and Arabic translations provided by al-Shahri are reported. These are followed by a brief commentary containing a description of each relevant term, as well as a general account of the meaning of each proverb.The conclusions pinpoint some phonetic, phonological, morphological, syntactic and lexical characteristics of the material examined, and identify a number of divergences and commonalities with other present-day and ancient Semitic subgroups which bear witness to the long and unwritten history of the Jibbali/Śḥərɛ̄́t language.
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Morris, James W. "Qur'an Translation and the Challenges of Communication: Towards a ‘Literal’ Study-Version of the Qur'an." Journal of Qur'anic Studies 2, no. 2 (October 2000): 53–67. http://dx.doi.org/10.3366/jqs.2000.2.2.53.
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The concerns and observations outlined in this paper are largely the result of teaching and otherwise attempting to communicate the Qur'an and its meaning to English-speaking undergraduates and others with no first-hand knowledge of the Arabic Qur'an. Among the many possible aims of Qur'an translations (e.g. conveying the music or poetic impact of the Arabic recitation, providing a captivating and pleasing text for ritual purposes [cf. The King James Bible], preserving the jafrī/mathematical dimensions of the Arabic calligraphy, etc.) one important need – especially in contexts relating to Islamic Studies – is to provide a more ‘literal’ version of the Qur'an that would help the non-Arabist reader to grasp the inner connections between the Qur'anic text itself and the multiple dimensions of its inspiration and impact in all the relevant areas of the Islamic humanities; not only in subsequent literary interpretations and elaborations (the Arabic religious and legal sciences, philosophy, cosmology, spirituality, ‘sectarian’ readings), but also in other aesthetic domains (poetry, music, architecture, visual arts). Such a version clearly does not yet exist (in any major European language, to the best of my knowledge). This paper reviews a number of fundamental considerations which should be kept in mind in the process of creating a serious student's English version of the Qur'an, more accurately conveying the actual meanings and structures of the original Arabic.
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Al Jabri, Shatha. "(Im)Possibility of Translating Prosody in Classical Arabic Poetry: Muallaqat as a Case Study." Arab World English Journal For Translation and Literary Studies 8, no. 1 (February 15, 2024): 96–111. http://dx.doi.org/10.24093/awejtls/vol8no1.7.
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The translation of poetry has always been an issue for literary translators. They are of two prominent opinions: those who advocate rendering poetry into poetry while considering all prosodic elements, such as meter, and rhyme. The other group, however, is concerned with translating sense without considering prosody, particularly rhyme, meter, or foot, mainly when the translator’s competence and experience are not that advanced. This article investigates the translation of a selection of Muallaqat in The Muallaqat for Millennials (2020) into English to determine whether the translations retained the sound features in the target text (TT). It differs from other studies as it focuses on the form rather than the content since Muallaqat is regarded as one of the glorious productions of classical Arabic poetry with a unique form and particular prosodic features: rhyme and meter. The article concluded that the translations failed to capture the prosodic features of the original as they were barely concerned with conveying the meaning literally into the Target language (TT). In other words, the translations reflected the meaning as translators primarily relied on literal translation and free verse to convey the meaning. However, it is crucial to prioritize the prosodic features, especially the sounds, when translating Muallaqat. Therefore, new strategies must be developed to capture the auditory essence of the original work in the target language.
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Omar, Hassan Ali. "Rhetoric in Sabri's Poetry." JOURNAL OF LANGUAGE STUDIES 4, no. 3 (October 13, 2023): 327–39. http://dx.doi.org/10.25130/jls.4.3.22.
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Sabri was one of the greatest Kurdish classical poets in Kirkuk .And he magnified in figurative language, his impression demonstrates through his literary work. In this research which labeled (The Ornamentation of Sabri's poetry. I have chosen the famous poet in Kurdish literature who was the splendid poet and established the classical school in Kurdish poetry after the pioneers of classical poetry (Nali , Salim and Kurdi). The aim of the research is to personification of aspects of the marvelous figurative language through his poems. The research is divided into three parts -: -The first part is subdivided into two studies: First study : we define ornamention and all its types while in the second study we deal with the Ornamentation and discuss the art of figure of speech according to poetry image by Sabri's poetry. The second part ,we study the science of figurative of speech by meaning according to the Sabir's peoms. The last part ,we deal with the excellent complex from the superb figurative language Afterwards ,in addition we had mentioned the aim and summary in Arabic and English language also enrolled my listing margin and resources
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Ali, Salah Salim. "Hysteron-proteron: A Polyfunctional Rhetorical Device – with Reference to Arabic-English Translation." Meta 52, no. 3 (November 21, 2007): 401–11. http://dx.doi.org/10.7202/016727ar.
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Abstract Hysteron-proteron is one of the rhetorical devices present in all literary works and in almost all literate cultures. Linguistically, it is considered a kind of inversion, topicalization or permutation that occurs on the sentence level and involves deviation in the syntagmatic progression of sentences as well as a semantic shift encompassing scope, focus and emphasis (Jakobson 1972: 78-80) besides fulfilling certain grammatical processes such as interrogation and passivization (Jack et al. 1989). Literarily, hysteron-proteron has a great aesthetic and poetic relevance as it is one of the rhetorical devices that can structurally modify both the texture and sense of the text according to the writer’s taste and intention. In other words, it offers one of the stylistic options that will consequently exercise certain pragmatic impact on the reader. It goes without saying, however, that by virtue of its strong affinity to syntax, semantics and style, hysteron-proteron usually involves translation problems which acquire more salience when the languages hold two diametrically opposing standpoints as is the case with Arabic and English. After expounding hysteron-proteron and, diagrammatically, illustrating its polyfunctionality, an account is provided on its occurrence in prose, poetry and in Arabic sacred literature i.e., the Qur’an, tackling its deeper sedimented layers in the Arab mind. The paper also legislates for the unmistakable impact of Western style of literary expression on some Arabic narrative texts. This just projects one more benefit of translation when used as a probing device in detecting literary borrowing through awkward or blind literal rendering of purposefully-disrupted word-order in English into Arabic or vice versa.
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Abdul-Moujod, Haamid Muhammed M., and Shireen Abdulmonim Saeed. "Syntactic Deviation in Abdul-Wahhab Al-Bayyati Poetry With Reference to English Syntax A Functional Study." JOURNAL OF LANGUAGE STUDIES 6, no. 3, 1 (April 1, 2023): 111–28. http://dx.doi.org/10.25130/jls.6.3.1.8.
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This research is an attempt to study aspects of syntactic deviation in Abdul-Wahhab Al-Bayyati with reference to English. It reviews this phenomenon from an extra-linguistic viewpoint. It adopts a functional approach depending on the stipulates of systemic Functional Grammar as developed by M.A.K. Halliday and others adopting this approach. Within related perspective, fairly’s taxonomy (1975) has been chosen to analyze the types of syntactic deviation because it has been found suitable and relevant to describe this phenomenon. The research hypothesizes that syntactic deviation is pervasive in Arabic poetry, in general and in Abdul-Wahhab Al-Bayyati Poetry in specific, and can be analyzed in the light of systemic Functional Grammar. It also hypothesize that syntactic deviation intensifies cohesion in poetic texts and does not disrupt or dismantle links between the structures of the clause. The devices tackled in this research are: ellipsis, repetition, functional shift, and thematization.
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Tengour, Habib, and Teresa Villa-Ignacio. "The Mediator Serving Two Mistresses." Romanic Review 115, no. 1 (May 1, 2024): 110–14. http://dx.doi.org/10.1215/00358118-11012041.
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Abstract This essay is an Algerian-French poet-translator’s personal reflection on the indispensable role that translation has played in his poetic creativity. Emphasizing in particular his bilingual education in the colonial Algerian context, he observes that his translation of poets from English, Arabic, and German into French is thus “doubly foreign” because his French is steeped in his Arabic culture and language. The essay advocates for the peaceful coexistence of any two languages, and especially the postcolonial coexistence of Arabic and French, as one of mutual enrichment. Tengour shows how this inclusive translational approach to Algerian bilinguality informs not only his creative process but also his editorial work, including Diwân ifriqiya, volume 4 of the Poems for the Millennium series from the University of California Press, and Poèmes du monde, a series of poetry in translation from Éditions Apic in Algeria, which has published over twenty poets from at least a dozen countries.