Academic literature on the topic 'Mon Hatoum'
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Journal articles on the topic "Mon Hatoum"
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Leão, Allison. "Representações do intelectual em Relato de um certo Oriente." Aletria: Revista de Estudos de Literatura 16, no. 2 (December 31, 2007): 158–67. http://dx.doi.org/10.17851/2317-2096.16.2.158-167.
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Resumo: Este artigo se propõe a fazer uma leitura transversal do romance Relato de um certo Oriente, de Milton Hatoum, e Representações do intelectual, as Conferências Reith de 1993, de Edward Said. Entre outras coisas, o livro de Hatoum encena ficcionalmente uma série de conceitos e características do intelectual contemporâneo que podem ser lidos, no plano da teorização ensaística, nas conferências de Said. Entre as idéias que os aproximam, destaca-se a noção de intelectual como exilado, como sujeito à margem ou com distância crítica em relação às tradições e, ao mesmo tempo, como aquele que pode ocupar um espaço de mediação e intervenção pública. O interesse pelo “Oriente” como categoria de alteridade e a figura pública de ambos autores como intelectuais também são pontos comuns entre eles. Além disso, o fato de Hatoum ser o tradutor brasileiro das conferências de Said sugere uma afinidade político-intelectual com este último. Mas, Relato de um certo Oriente foi publicado quatro anos antes de Said ter proferido suas conferências, e isso indica que uma leitura inversa entre tradutor e traduzido também pode ser bastante profícua, como se, borgeanamente, já pudéssemos ler Edward Said em Milton Hatoum. Assim, num intercâmbio de vozes, conceito e prática que parece ser cara aos dois autores, tentaremos ouvir ecos de ambos na obra de um e de outro.Palavras-chave: intelectual; Milton Hatoum; Edward Said; alteridade.Abstract: This article analyzes the novel Relato de um certo Oriente, written by Milton Hatoum, and Representations of the Intellectual: The 1993 Reith Lecture, by Edward Said. Among other things, Milton Hatoum’s work presents fictionally a series of concepts and characteristics of the contemporary intellectual that could be read, on the theoretical level, in Said’s lectures. Among the concepts that bring them together is the notion of the banished intellectual, as a man on the border or with a critical thought about the tradition and, at the same time, as the one that occupies a space of mediation and public intervention. Other similarities are the interest in the Orient as a category of alterity and the public character of both authors as intellectuals. Besides, the fact that Hatoum is the Brazilian translator of Said’s conferences suggests a political-intellectual relationship among them. However, Relato de um certo Oriente was published four years before Said had conducted his conferences and this might indicate that a reverse reading between the translator and the translated author could also be fruitful, as if, like Borges, we could read Edward Said into Milton Hatoum. Thus, through an exchange of voices, concepts and practices that seems to be dear to both authors, we will try to hear one in the work of the other.Keywords: intelectual; Milton Hatoum; Edward Said; othering.
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Westphal, Bertrand. "La Méditerranée ou la forme de l’eau // The Mediterranean, or The Shape of Water // El Mediterráneo, o la forma del agua." Ecozon@: European Journal of Literature, Culture and Environment 4, no. 2 (October 23, 2013): 15–29. http://dx.doi.org/10.37536/ecozona.2013.4.2.526.
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RésuméJadis, un jeune home en quête de sagesse, s’enquit auprès d’un maître taoïste : « Quelle est la forme de l’eau ? ». Le maître répondit : « L’eau n’a point de forme ; elle prend la forme qu’on lui donne ».Andrea Camilleri, un écrivain originaire de la si méditerranéenne Sicile, s’est souvenu de cette anecdote. Il avait intitulé l’un de ses premiers romans consacrés au commissaire Montalbano La Forme de l’eau. Le dialogue taoïste semble en effet apte à définir la Méditerranée : une mer dépourvue de forme au milieu de beaucoup de terres dont chacune s’efforce paradoxalement d’établir des identités stables. Dans mon article, je vais tenter de rendre ce paradoxe plus explicite. En fait, la question sera de savoir s’il peut vraiment être résolu ou s’il s’agit d’une aporie, autrement dit d’un paradoxe insoluble. Au cours de cette exploration menée le long des côtes de la Méditerranée, plusieurs questions vont émerger : Quel est le lien entre une culture européenne eurocentrique et la Méditerranée ? Combien de rivages y a-t-il ? Par ailleurs, y a-t-il une relation entre la crise européenne (pas seulement financière) et la Méditerranée ?Qu’en est-il de l’unité de la Méditerranée ? Qu’en est-il des multiples frontières qui en font un lieu hétérogène ? (Cette réflexion nous conduira à suivre le performer mexicain Francis Alÿs.)Qu’y a-t-il au-delà du mythe idyllique d’une Méditerranée bleue ensoleillée et harmonieuse ? Que dire des guerres et des tragédies qui l’endeuillent aujourd’hui ? La question sera abordée à travers le cinéma et, encore une fois, l’œuvre de Francis Alÿs.Quel est le sens de la mer aujourd’hui ? On sollicitera quelques avis autorisés, comme celui du philologue Predrag Matvejević, et l’on réfléchira à la forme liquide des visages que décrit Yoko Tawada.Quel est en outre le rôle du design dans tous ces processus ? Plusieurs questions sont soulevées à ce propos par Giò Ponti, Mona Hatoum et Francis Alÿs. Pour conclure, on se demandera si Homère aurait pu être bolivien. La Méditerranée est-elle toujours dans la Méditerranée ? Abstract Once, a young man who was in search of wisdom asked a Dao master: “What is the shape of water?” The master answered: “Water has no shape; it takes on the shape that it is given.” Andrea Camilleri, a very Mediterranean writer from Sicily, remembered this Chinese anecdote, entitling one of the first books in his Montalbano series La forma dell’acqua. Indeed, the Daoist conversation seems appropriate for defining the Mediterranean: a sea without a shape in the middle of many lands, each aspiring paradoxically to establish stable identities. Through my paper, I will try to make this paradox more explicit, exploring if it may be solved or if, on the contrary, it constitutes an aporia, i.e. a paradox without solution. During this roundtrip along the shores of the Mediterranean, some questions will emerge: What is the link between Eurocentric European culture and the Mediterranean? How many shores are there? Furthermore, is there a link between the European crisis (not only the financial one) and the Mediterranean? What about the unity of the Mediterranean? What about the multiple frontiers which make it a heterogeneous place? (This reflection will bring us to the path of the Mexican performer Francis Alÿs.) Is there something beyond the idyllic myth of a sunny and harmonious blue Mediterranean? What about today’s wars and tragedies? We will take a quick survey via cinema and, once again, Francis Alÿs. What is the meaning of the sea today? This question will be explored with the help of some friends: Mediterranean philology and Predrag Matvejević, as well as the watery shape of the face according to Yoko Tawada. What is the role of design in the above processes? More questions arise among Giò Ponti, Mona Hatoum and… Francis Alÿs. In turn, we are lead to some concluding questions: Could Homer have been a Bolivian poet? Is the Mediterranean still in the Mediterranean? Resumen Una vez, un joven que iba en busca de la sabiduría preguntó a un maestro Dao: “¿Cuál es la forma del agua?” El maestro contestó: “El agua no tiene ninguna forma; toma la forma que se le da.” Andrea Camilleri, un escritor siciliano muy mediterráneo, recordó esta anécdota china, al titular uno de sus primeros libros en la serie de Montalbano La forma dell'acqua. Efectivamente, la conversación Daoista parece apropiada para definir el Mediterráneo: un mar sin forma en el medio de muchos países, cada uno de los cuales, paradójicamente, aspira a establecer identidades firmes. Con mi ponencia trataré de hacer más explícita esta paradoja, investigando si es posible resolverla o si, por contra, se trata de una aporía, o sea de una paradoja insoluble. Durante este viaje a lo largo de las costas del Mediterráneo, surgirán algunas preguntas: 1. ¿Qué relación existe entre la cultura europea eurocentrica y el Mediterráneo? ¿Cuántas costas hay? Y además: ¿hay un nexo entre la crisis europea (no sólo la crisis financiera) y el Mediterráneo? 2. ¿Qué pasa con la unidad del Mediterráneo? ¿Y las múltiples fronteras que lo convierten en un lugar heterogéneo? (Esta reflexión nos llevará a seguir las huellas/encontrar el camino* del artista mexicano Francis Alÿs.) 3. ¿Hay algo más allá del mito idílico de un Mediterráneo azul, solar y armonioso? ¿Qué decir de las guerras y las tragedias de nuestros días? Vamos a echar un vistazo vía cinema y, una vez más, Francis Alÿs. 4. ¿Cuál es el significado del mar, hoy? Este asunto se explorará con la ayuda de algunos amigos: la filología mediterránea y Predrag Matvejević, y también la forma acuosa de la cara, según Yoko Tawada. 5. ¿Que papel cumple el diseño en los procesos citados arriba? Más preguntas se entrelazan entre Giò Ponti, Mona Hatoun y... Francis Alÿs. A nuestra vez, somos inducidos a poner unas preguntas conclusivas: ¿Homero pudiera haber sido un poeta boliviano? ¿El Mediterráneo está todavía en el Mediterráneo?
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Hosseini, Fatemeh. "Social Tendencies of Poets, Case Study: Hatam1 Taei’s Poetry." International Journal of Social Sciences and Humanities Invention 5, no. 3 (March 28, 2018): 4540–43. http://dx.doi.org/10.18535/ijsshi/v5i3.10.
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A well-known Arab man, Hatam Taei was a generous, catholic, chivalrous, bountiful man in the pre-Islam period and the Arabs set him as an example of generosity and munificence. He was one of the most generous men of that time and the reputation of his bounty and benevolence is still widespread in all corners of the world. Not only known for generosity among Arab people, but also in other nations’ literatures, his name has been welcomed by poets and used with the hospitality and magnanimity attributes, thus embellishing their works. His poems are full of descriptions for generosity and benevolence and humanitarian characteristics as well as high moral and religious teachings. In the present paper, it was attempted to investigate humanitarian and social characteristics in Hatam Taei’s poems including chastity, hospitality, good fame, tolerance and patience, forgiveness, and lack of interest in worldly commodities.
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Chen, Kristina S., Rohini Khorana Hernandez, Jane M. Quigley, Melissa A. Pirolli, David Quach, Alexander Liede, and Jorge Arellano. "Prevalence of renal insufficiency (RI) in cancer (Ca) patients (pts) with bone metastases (BM)." Journal of Clinical Oncology 31, no. 15_suppl (May 20, 2013): e12508-e12508. http://dx.doi.org/10.1200/jco.2013.31.15_suppl.e12508.
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e12508 Background: Upon diagnosis of BM, cancer pts are at increased risk of serious debilitating bone complications. Of the U.S. approved bone-modifying agents (BMAs) [bisphosphonates (BPs), RANKL inhibitor] for the prevention of skeletal-related events (SREs) in these pts, BPs are nephrotoxic and may require dose adjustment or discontinuation. As low persistence to BMAs is associated with higher rates of SREs (Hatoum et al 2008), understanding the extent of RI in a real-world setting is warranted. K/DOQI guidelines recommend monitoring renal function using estimated glomerular filtration rate (eGFR) along with serum creatinine (SCr). Methods: Oncology Services Comprehensive Electronic Records (OSCER), a large electronic medical record database from U.S oncology clinics, was used. Cancer pts (age ≥ 18) with BM diagnosis in 2008 – 2012 were identified excluding acute renal failure, end-stage renal disease, and multiple myeloma. RI prevalence was examined using SCr and eGFR calculated with aMDRD and Cockroft-Gault formula. RI was defined as elevated SCr > 1.2 mg/dl or eGFR < 60 and < 90 ml/min/1.73m2. The analysis was also performed in the subgroup receiving BMAs. Results: The cohort included 15,623 pts (mean age 67.1±12.0, weight 76.5±18.5 kg; female; 56%). Using highest SCr during follow-up, 36% had elevated SCr, 87% eGFR < 90, and 47% eGFR < 60. Among pts with BM diagnosis in 2011 (n=3,839) and normal SCr (taken 1 month before or 3 months after diagnosis; n=3,192), almost 60% of the pts had mildly decreased renal function (eGFR < 90), and 8% had moderately decreased renal function (eGFR < 60) (table). Rates of RI based on eGFR estimated by both formulas were consistent. Conclusions: Nearly half of the cancer pts with BM had RI (eGFR < 60) during the course of their disease. As the risk of renal impairment is high in this population, assessment of renal function using eGFR and careful treatment consideration is imperative to achieve optimal therapeutic outcomes. [Table: see text]
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Damián, Miguel Ángel, Virginio Aguirre, Agustín Orihuela, Mariana Pedernera, Saúl Rojas, and Jaime Olivares. "Tiempo de manejo y algunas conductas relacionadas con el estrés al manejar grupos grandes o reducidos de ganado en mangas rectas." Revista Mexicana de Ciencias Pecuarias 11, no. 3 (September 21, 2020): 905–13. http://dx.doi.org/10.22319/rmcp.v11i3.5127.
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El objetivo del presente estudio fue evaluar el tiempo de manejo y el comportamiento indicativo de estrés en bovinos durante su paso por una manga recta. Se utilizaron ocho hatos de 50 animales Brahman x Pardo Suizo, cada hato constituido proporcionalmente por animales jóvenes, adultos, machos y hembras. Cuatro hatos se asignaron al azar a cada uno de los dos tratamientos: en el primer tratamiento, el hato se manejó en grupos de 4-5 animales (TS), mientras que, en el segundo, se manejó en grupos de 10 a 12 animales (TG). El manejo consistió en llevar los animales a través de una manga de 13 m de longitud donde recibieron una aplicación subcutánea de Ivermectina al 1%. Durante su paso por la manga, el tiempo promedio para manejar a los animales en cada tratamiento (42.5 ± 2.2 vs 51.04 ± 1.9 min; P<0.05), así como el número de animales que vocalizaron (5.5 ± 0.6 vs 7.7±0.2; P<0.05), se regresaron (6.3 ± 0.4 vs 9.5 ± 0.6; P<0.05) y saltaron sobre sus compañeros (2.7 ± 0.5 vs 5.2 ± 0.5; P<0.05), fue menor en TS que en TG. Sin embargo, no se encontró diferencia entre los tratamientos (P>0.05) para el número de animales que se golpearon (TS: 2.7 ± 0.4 y TG: 5.5 ± 1.7) o se cayeron (TS: 2 ± 0.4 y TG: 3.7 ± 1.0). Se concluye que el manejo de bovinos en grupos pequeños requiere menos tiempo y puede ser menos estresante y peligroso que cuando se manejan grupos más numerosos.
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Allan, Michael. "QUEER COUPLINGS: FORMATIONS OF RELIGION AND SEXUALITY IN ʿALAʾ AL-ASWANI'SʿIMARAT YAʿQUBYAN." International Journal of Middle East Studies 45, no. 2 (January 3, 2013): 253–69. http://dx.doi.org/10.1017/s0020743812001614.
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AbstractFaced with the possible censoring of the film adaptation ofʿImarat Yaʿqubyan, the book's author, ʿAlaʾ al-Aswani, responded, “Why aren't Italy, France, or the United States defamed by movies dealing with homosexuality?” Implicit in his defensive question is a perceived distinction between First World gay rights and social conservatism in the Third World. My paper considers this conventional coupling of gay rights and civilizational discourse in the global reception ofʿImarat Yaʿqubyan. Against the author's remarks, I argue that the story is remarkable for staging an interplay between the putatively opposed characters of Hatim Rashid, an openly gay newspaper editor, and Taha al-Shazli, a young man lured into a terrorist group. By uniting these two characters along parallel tracks,ʿImarat Yaʿqubyanqueerly couples the seemingly antagonistic forces endemic to the civilizational discourse of gay rights and offers us a means for imagining new constellations of queer politics.
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Kitani, K., S. Kanai, M. Ohta, and Y. Sato. "Differing transport maxima values for taurine-conjugated bile salts in rats and hamsters." American Journal of Physiology-Gastrointestinal and Liver Physiology 251, no. 6 (December 1, 1986): G852—G858. http://dx.doi.org/10.1152/ajpgi.1986.251.6.g852.
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It was recently suggested that the apparent biliary transport maximum (Tm, secretory maximum) for bile salts is primarily determined by their degree of cytotoxicity (the cytotoxicity hypothesis), based on experiments on male rats [Hardison, W. G., D. E. Hatoff, K. Miyai, and R. G. Weiner. Am. J. Physiol. 241 (Gastrointest. Liver Physiol. 4): G337-G343, 1981]. To confirm this hypothesis, we determined the Tm of three different bile salts, taurocholate (TC), taurochenodeoxycholate (TCDC), and tauroursodeoxycholate (TUDC) in female rats and hamsters. The order of Tm values in female rats was the same as that reported for male rats (TUDC greater than TC greater than TCDC), whereas in female hamsters it was TC greater than TCDC greater than TUDC. On the other hand, in hamsters, the order of cytotoxicity, evaluated in vivo by the biliary excretion of hepatocyte enzymes such as lactate dehydrogenase and alkaline-phosphatase and an increase in plasma lactate dehydrogenase, aspartate aminotransferase and alanine aminotransferase levels under a fixed rate infusion (0.6 and 1.2 mumol X min-1 X 100 g body wt-1) of bile salts, was inverse to the order of Tm values (TCDC greater than TC greater than TUDC) in rats, but in hamsters, too, TCDC was most cytotoxic. The order of Tm value in hamsters thus does not correspond to the order of cytotoxicity of these bile salts, suggesting that the cytotoxicity of bile salts may not be the sole determinant of bile salt Tm.
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Al Zeen, Adil Ali Aiyush. "الخلود في الشعر الجاهلي ودوره في تكوين شخصية الرجل المثال: مدخل تحليلي / Immortality in Pre-Historic Islamic Poem and its role in constructing the ideal man: An analytical approach." مجلة الدراسات اللغوية والأدبية (Journal of Linguistic and Literary Studies) 9, no. 1 (April 29, 2018): 143–65. http://dx.doi.org/10.31436/jlls.v9i1.615.
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ملخص البحث:
يعرض هذا البحث موضوع الخلود في الشعر الجاهلي، ودوره في تكوين شخصية الرجل المثال؛ إذ إن الجاهليين أرَّقَتهم مسألة الفناء، فبحثوا عن الخلود الجسدي وأدركوا أنه لا يمكن تحقيقه، وأمام رفضهم للفناء، اتضح لهم أن الخلود المعنوي هو السبيل الوحيد لبقاء الذكر بعد فناء الجسد، فعمد الرجل المثال في العصر الجاهلي إلى القيام بأفعالٍ حميدةٍ يذكره الشعراء في قصائدهم بها، ويفخر بها هو في أشعاره، كشهرة عنترة بالشجاعة، وحاتم بالكرم، والسموأل بالوفاء. ولإدراكهم أن أفعالهم تلك ستُبْقِي ذكرهم سائر العصور. توصل البحث إلى نماذج من أشعار الجاهليين، ليصل في النهاية إلى أنهم أدركوا أن خلودهم يتحقق معنوياً لا جسدياً. فيظهر لنا - من خلال الشعر – معنى الخلود ومعنى المثال، وإدراكهم لحقيقة الفناء بعد أن لمسوه في أنفسهم وفي مشاهد الطبيعة من حولهم، وطريقتهم في البحث عن الخلود المعنوي، ودور الشعر في تحقيق هذه الغاية. ثم يتبيَّنُ لنا إدراكهم أن الخلود لا يكون إلا من خلال المُثُلِ والقِيَمِ العربية التي كانوا يأتونها ويفخرون بها.
الكلمات المفتاحية: الجاهلي - الشعر - الرجل - المثال - الخلود.
Abstract
The paper discusses the topic of immortality in the pre-Islamic period and its role in constructing the character of an ideal man. Since the Arabs before Islam were softened by the issue of death, they dwelled on the topic of immortality though they knew it too well its impossibility. As they rejected mortality, they realized that the abstract immortality is the only way for them to be remembered after the mortality of the body that enticed the ideal man in the pre-historic period to do commendable deeds that other poets would mention them with or he would make it as a virtue in his poems; as ‘Antarah was known for his bravery, Hatim with his generosity and Samuel with his loyalty as they realized that their deeds will be remembered for the rest of the ages. The study highlighted on a number of the Pre-Islamic poems and concluded that those poets realized that their mortality was achievable in a subtle way but not physically. This seems to us- from the poems- the meaning of immortality, idealism and their realization of the meaning of mortality from what they witnessed from the natural scenes that take place around them; the means to immortalize themselves in a subtle way and the role of poems in achieving this aim. We also learned that they themselves were fully aware that immortality is possible only through the Arabic virtues that they so proudly adhered to.
Keywords: Pre-Islamic period, Poem, Man, Ideal, Immortality
Abstrak
Makalah ini membincangkan tema keabadian hidup dalam era Jahiliah dan peranannya dalam membentuk keperibadian manusia ideal. Memandangkan bangsa Arab sebelum Islam mudah dilunakkan dengan isu kematian, mereka tetap mencanangkan tema keabadian walaupun sedar tentang kemustahilan untuk mengelaknya. Apablila mereka cuba menolak kematian, mereka menyedari bahawa keabadian secara abstrak ialah satu-satunya cara untuk mereka diingati selepas kematian dan meninggalkan legasi manusia ideal dalam era Jahiliah ialah dengan menjadikan ingatan terhadap mereka itu ialah dengan kebaikan apa yang mereka lakukan dalam sebutan penyair-penyair lain ataupun dengan mereka sendiri menyebutnya dalam karya syair mereka sendiri. Demikianlah ‘Antarah dikenali dengan keberaniannya, Hatim dengan kemurahan hatinya, Samuel dengan kesetiaannya kerana kebaikan mereka akan dikenali sehingga bila-bila. Kajian ini menumpukan kepada beberapa syair Jahiliah dan menyimpulkan bahawa penyair-penyair tersebut menyedari bahawa keabadian mereka boleh dicapai secara halus dan bukan secara fizikal. Kita dapat merumuskan daripada syair-syair tersebut bahawa pernyataan maksud keabadian dan idealisma serta penyerlahan maksud keabadian oleh mereka melalui apa yang mereka lihat berlaku di sekeliling mereka; cara untuk mengabadikan diri mereka ialah dengan melalui syair. Kami juga memperoleh maklumat bahawa mereka juga amat menyedari yang keabadian adalah sesuatu yang dapat dicapai melalui nilai-nilai budaya Arab yang amat mereka banggakan.
Kata kunci: Era jahiliah, Syair, Manusia, Keabadian
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Rippin, Andrew. "Reason and Inspiration in Islam." American Journal of Islam and Society 23, no. 4 (October 1, 2006): 134–35. http://dx.doi.org/10.35632/ajis.v23i4.1593.
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Thirty-eight essays are brought together in this volume to honor HermannLandolt of the Institute of Islamic Studies at McGill University, Canada. Abroad range of participants, including former students and colleagues bothclose and distant, have contributed essays, most of which deal with aspects ofIsmaili, Ithna-ashari, or Sufi thought. Almost all of the essays are in English;four are in French, however. The range of topics is catholic, to say the least,and the rough chronological ordering of the essays can hardly contain them.The “classical” section features such figures as al-Junayd, al-Farabi, IbnTufayl, al-Qadi al-Nu`man, al-Kirmani, Abu Hatim al-Razi, and al-Waqidi;the “medieval” takes in al-Ghazzali, al-Suhrawardi, al-Qushayri, al-Shahrastani,Afdal al-Din Kashani, Jami’, Najm al-Din Kubra, Ibn Sina, and al-Sha`rani; the “pre-modern” includes Shah Tahir, Ahmad Sirhindi, MollaSadra, and Fayd al-Kashani; and the “modern” section features not so muchpeople as themes, such as dervish orders, Ginans, ulama, tradition, and modernization.It is worth noting that several articles in the last section focustheir attention on medieval as much as modern aspects (if not more so, as inthe case of Eric Ormsby’s interesting essay “The Faith of Pharaoh: ADisputed Question in Islamic Theology”). Their classification seems to bemore out of consideration for achieving balance in the book’s form than inaccurately reflecting the contents. Be that as it may, such a cornucopia (asthe editor describes it) cannot help but provide something of relevance toalmost everyone interested in Islamic thought.Two essays particularly drew my attention; they also left me wishingthat the two authors had had an opportunity to consider the conjunctionbetween their papers before they were published (but the absence of such is,of course, in the nature of most such collections). L. Clarke’s excellent paperon “The Rise and Decline of Taqiyya in Twelver Shi`ism” will reward everyreader. Clarke shows how two meanings of taqiyya – “precautionary dissimulationof belief” and “esoteric silence,” what she calls legal and esoterictaqiyya, respectively – became blended through the ages. Esoteric taqiyyawas “a necessary and integral part” of Twelver Shi`ism in early times, for the ...
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Sutiono, Riki. "TRADISI SUMPAH SERAPAH SUKU AKIT DESA BERANCAH KABUPATEN BENGKALIS DALAM PERSPEKTIF ISLAM." Jurnal PAI Raden Fatah 1, no. 4 (October 31, 2019): 445–63. http://dx.doi.org/10.19109/pairf.v1i4.4275.
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This research is here to reveal how Islam views a tradition carried out by the Akit tribe community in the Berancah village, Bengkalis Regency, namely the Oath Tradition. This problem was taken from the community's perception that the tradition of curses was a taboo for some people. This taboo assumption is caused by the curse contained in expletives. Curses are defined as hopes or prayers accompanied by words that result in distress or disaster to others.
From these problems the researchers formulated into several questions as follows: 1. how is the form of language use and meaning of expletive oaths of the Akit tribal community in Bengkalis Village? How is the oath of the Akit tribe of the Beralis Village in Bengkalis Regency viewed from an Islamic perspective? In connection with this question, researchers used a qualitative approach that developed a phenomenological model. Data collection methods used by researchers are observation, interview, and documentation.
The findings of this study indicate that the form of language use The form of expletives in this study is the Akit language, which is translated into Indonesian. The language style used tends to be sarcasm, which is a style that contains bitterness and is not pleasant to hear. The style of sarcasm is demonstrated through the use of diction which refers to bad conditions such as being eaten by crocodiles, being struck by lightning, being eaten by a land ghost, not being saved, and being eaten by a ghost pod. Dictation contained in expletives generally contain emotive and connotative meanings because it describes the feelings of the speaker. The components of expletive speech found in the Akit tribe are among them: "Eating Boye You!", "Not Save You!" "Yeng steals, right? Eaten Land Ghost ...!". The Islamic view of curses is Islam is strictly prohibited when people say or speak that is not good to other humans. This is confirmed by the authentic proposition narrated by Imam Ahmad which reads: "Man kaana yu 'minu billahi wal yaumil Akhir, fal yaqul khoiron au li yasmut". "Whoever believes in Allah SWT, he should say good or better be quiet." Imam Abu Hatim Ibn Hibban Al Busti said in his book, Raudhah A-Uqala wa Nazhah Al-Fudhala, p. 45, "People who have reason should be more silent than talk, because of how many people are sorry for talking and few are sorry for being quiet."
Dissertations / Theses on the topic "Mon Hatoum"
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Astore, Mireille. "The Maternal Abject." University of Sydney. Sydney College of the Arts, 2002. http://hdl.handle.net/2123/500.
Full textAbstract:
Abstract In this Research paper and through my Studio practice, I search for what binds me and separates me from my children. I investigate abjection theories through Julia Kristeva and Georges Bataille and focus on a particular form I call the maternal abject. This occurs at the time an infant separates from its mother, acquires language and maps its own body. I am proposing that the mapping of the body is the point at which an individual perceives social structures and learns about prohibitions and taboos, hence the abject. I also investigate the relationship between the maternal abject and the artistic process through the writings of Kristeva. Abjection is illustrated through the works of Mona Hatoum, Fiona Hall, Hieronymus Bosch, and Paul Quinn. The maternal abject is illustrated through the works of Mary Kelly, Cindy Sherman, Frida Kahlo, Louise Bourgeois. A possible reading of the maternal abject is given through the works of Gregory Crewdson, Joel-Peter Witkin and Francis Bacon. The studio work is in two parts. The first part is a series of layered photomedia images. The layers consist of a naked female body, which has been merged with Renaissance like Madonna and Child images. Texture, such as stones and spikes, is embedded to signify the fragility and strength of the body. Children are also present and are merged with the adult female body. All images are cradled in a darkened atmosphere in order to draw the viewer inside the images. The second part is a bassinet, which has been drilled and pierced by thousands of pearl-headed steel pins. This piece signifies the dichotomy of the motherhood experience, which on the one hand is rewarding and fulfilling and on the other an abject and isolating experience of no apparent economic value. The two parts interact so that the bassinet piece with its threatening exterior acts as an aggressor towards the photomedia images.
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Hammond, Katherine Eve. "Body and Homeland: Exploring the Art Practices of Zineb Sedira and Mona Hatoum." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1275523120.
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Pedersen, Courtney Brook. "The Indefinitive Self : Subject as Process in Visual Art." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16139/.
Full textAbstract:
THE INDEFINITIVE SELF:
subject as process in visual art
This doctoral study is comprised of both creative work and accompanying critical study and exegesis, each comprising 50 per cent of the total weight of submission. The body of research develops a feminist genealogical methodology to explore the study’s central idea: that envisioning the feminine subject as process rather than a fixed entity enables political agency without recourse to rigid essentialism.
The creative work, a public space installation in South Brisbane Cemetery at Dutton Park, is titled Last Drinks Gentlemen Please and traces the life and character of my great, great aunt Cecilia Mary Tennant (1875-1938). Documentation and discussion of this work is included in the exegesis and can also be viewed online at the web address http://www.GMTplus10.info/.
The thesis presents a critical contextualisation analysing the work of the artists Tracey Moffatt, Mona Hatoum and Pipilotti Rist, as well as my own practice, and identifies key strategies enabling the representation of identity as process. Finally, this study proposes the figure of the Aunt as an elective relationship that enables both intimacy and agency beyond patriarchal constructions of the feminine.
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Zander, Niclas. "Viljan att veta : en analys av Mona Hatoums verk Corps étranger via bio-politik och science fiction." Thesis, Södertörn University College, The School of Culture and Communication, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-976.
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In this paper Mona Hatoums installation Corps étranger is discussed via a post structuralized method based on associative and semiotic comparisons with vanitas, a post-modern self-portrait, and as a representative for modern visual art. The analyze touches upon pornography, science fiction and the quest for scientific conquest in outer and inner space. Theoretical references are Foucault, Freud, Lacan, Barthes, Dolar, Said and Virilio. Hatoum makes the observer a voyageur with the aid of the latest medical technology, endoscope, which gives her the opportunity to make an introvert self-portrait when she films her own throat and rectum. But at the same time she makes the portrait of us all. I interpret this as a fictious science with postcolonial ideas, and the reference to science fiction is close at range. Hatoum takes the role as the other, the woman or the stranger and might flirt with Jülich interpretation of Corps étranger as a sign of the visual cultures colonisation of the human body’s inside, that is a conscious reference to sexuality, ethics and the search for knowledge and power.
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Creissels, Anne. "Le travail du mythe dans l'art contemporain : la différence des sexes en question." Paris, EHESS, 2006. http://www.theses.fr/2006EHES0057.
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Comment la notion de différence des sexes, qui structure notre rapport au monde et à l'autre, pourrait-elle ne pas travailler les domaines de l'art et du mythe ? Loin d'en être absente, cette question est implicitement - et parfois explicitement - au cœur des structures mythiques et artistiques. Postuler un travail du mythe dans l'art contemporain oblige à évaluer le liens et les écarts entre rapports sexués et figurations de ces rapports. Une approche anthropologique et sociale paraît nécessaire pour prendre en compte le sens produit par les œuvres mais aussi ce qu'une société véhicule d'images identificatoires. L'art et les mythes sont-ils sexués ? Leur prétention à l'universalité suffit à installer le doute. Modes d'expression «libre», ne doivent-ils pas précisément être interrogés ? Outils d'instauration et de perpétuation d'un système de pensée dominant, ne pourraient-ils cependant être le lieu d'une appropriation et d'une possible déconstruction ?How does gender differences, wich structures our relationship to the world and to the other, could not shape the fields of art and myth ? Far from being absent, this implicitly - and sometimes explicitly - is at the heart of mythical and artistic structures. Postulating a "work" of the myth in contemporary art requires an evaluation of the links and the gaps between gender relationships and its representations. A social and anthropological approach seems necessary to take into consideration the meaning that works of art produce as well as identificatory images conveyed by society. Do art and myths have a gender ? Their claim to universality is sufficient to instill doubt. As "free" modes of expression, should they not be questionned ? As institution and perpetuation tools of a dominant thinking system, could they not however also be the place for an appropriation and possible deconstruction ?
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El-Herfi, Lina. "La frontière : un espace conflictuel dans l'art contemporain palestinien : la mémoire collective expulsée et l'identité-résilience comme expressions de la Nakba." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010509.
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Cette thèse en arts plastiques s'appuie sur les œuvres d'artistes palestiniens contemporains (Mona Hatoum, Taysir Batnijl, Ruia Halawani, Emily Jacir, Laila Shawa), ainsi que sur une pratique personnelle, pour interroger le concept de frontière. Une telle lecture se fait à travers un événement historique majeur : la Nakba. Elle démontre l'hypothèse selon laquelle l'expulsion des Palestiniens de leurs terres a fait émerger, dans les travaux des artistes, une nouvelle forme de frontière. La première partie présente les différents dispositifs de la frontière (vidéosurveillance. miradors, mur, checkpoints) qui imprègnent la création contemporaine et témoignent d'une souffrance qui laisse sa trace dans le paysage, par l'intermédiaire de la mémoire conçue comme un point d'ancrage dans le passé pour mieux comprendre le présent. La deuxième partie, axée sur la mémoire de la Nakba, que nous appelons « mémoire collective expulsée », permet une relecture de cette frontière du point de vue de l'art - grâce auquel la douleur de l'exilé se transforme en force créatrice. Nous aboutissons ainsi, dans un troisième temps, à l'« identité-résilience» qui traduit, chez les artistes palestiniens, leur survie par l'art à l'issue d'une prise de conscience du déracinement originel lié à la e; noyade» de leur patrie et de ses frontières. La frontière devient une blessure inscrite dans le passé sous laquelle l'histoire, la mémoire et l'identité se stratifient, dessinant les contours de nos propres travaux et des œuvres étudiées. Notre thèse, c'est que la Nakba est une fissure qui s'enracine viscéralement dans l'artiste et évolue avec son œuvre pour donner naissance à la « frontière-diaclase »This PhD dissertation in the field of visual arts builds on the artworks of contemporary Palestinian artists (Mona Hatoum, Taysir Batniji, Ruia Halawani, Emily Jacir, Laila Shawa) as well as on a personal practice, in order to question the border as a concept. The approach chosen draws upon a major historical event: the Nakba. It alms to demonstrate the hypothesis according to which the eviction of Palestinians from their land has allowed their different arts to express a new form of border. Part l exposes the multiple dimensions of the border (video monitoring, watchtowers, wall, checkpoints) which nurture the contemporary creation, while unveiling the trace of a suffering left in the landscape through memory. Memory is conceived as an anchor in the past, for a better understanding of the present. Part II of the dissertation centers on the Nakba as an "expelled collective memory" and provides a retrospective reading of borders, seen through art. By the medium of art, the pain of the exiled becomes his creative power. Hence part III focuses on the "resilience-identity" which expresses the survival of Palestinian artists after a realization of the original uprooting due to the "drowning" of their homeland and its borders. Borders become a wound in the past under which can be found memory, history and identity, which serve the understanding of both my personal work and the pieces studied. The thesis purports to show that the Nakba appears as a fissure deeply rooted in the artist's being and evolving with his work, eventually giving birth to "joint border"
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Guerra, Serres Laura. "Corps malade, corps créateur : fragmenter, rassembler, réparer." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H314/document.
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Le travail de recherche en Arts Plastiques propose de questionner et d’expliciter le processus qui conduit de l’expérience de la maladie à celle de la création. Comment le geste créateur se trouve-t-il activé, transformé par la maladie ? Le travail plastique articulé à l’écriture, tente de vérifier l’hypothèse suivante : c’est à travers le processus de fragmentation (Heinz Kohut), de rassemblement (Anne-Sophie Le Poder) et de réparation (Jeanine Chasseguet-Smirgel) que le corps, devenu créateur, se dépasse tout en reprenant chair, devient autre, traversé par ses propres peurs et douleurs, réparé ou reconstruit par leur passage. La première partie (fragmentation), qui interroge la notion d’espace, analyse des œuvres de Louise Bourgeois et Yayoï Kusama. La fragmentation du corps et sa représentation permettent-elles de figurer la manière dont l’expérience de la maladie s’incarne, s’incorpore dans la création, sans pour autant l’illustrer ? La seconde partie explore le rassemblement comme geste de conciliation avec le corps. Dans le travail de Mona Hatoum, Chiharu Shiota, ou Niki de Saint Phalle, comment le geste de rassemblement devient-il un sang qui soude (Agamben), tout en mettant à l’épreuve du regard la faille du temps ? Dans la troisième partie (réparation), la réflexion se poursuit avec les œuvres de Rebecca Horn, Berlinde de Bruyckere, et la pièce chorégraphique Körper de Sasha Waltz. Sont développées les questions de la mémoire, et de l’altérité dans le processus qui lie corps malade et corps créateur. Dans la singularité de leur plasticité, les matériaux deviennent des lieux pour réécrire le corps dans son expérience de la douleur, sans pour autant la figurerThe research in Arts suggests questioning and clarifying the process from the illness experience to creation. How is the creative gesture activated, transformed by the illness? The plastic work associated with the writing tries to verify the following hypothesis: it’s through the process of fragmentation (Heinz Kohut), of gathering (Anne-Sophie Le Poder) and mending (Jeanine Chasseguet-Smirgel) that the body, now a creator, surpasses itself while resuming flesh, turns itself into something different, through its own fear and pain, repaired or reconstructed by their passage. The first part (fragmentation), whith the notion of space, analyses Louise Bourgeois and Yayoï Kusama’s works. Does the fragmentation of the body represent the way the experience of the illness is embodied, incorporated into creation, without illustrating it? The second part explores gathering as a gesture of conciliation with the body. In Mona Hatoum, Chiharu Shiota, or Niki de Saint Phalle’s works, how does this gesture become a blood which welds (Agamben), while making us looking at a hole in time? In the third part (Repair), the reflection goes on with Rebecca Horn and Berlinde de Bruyckere ‘s works, and the choreographic play "Körper" by Sasha Waltz. Questions related to the illness and creative body will be linked to memory and otherness. In the peculiarity of their plasticity, materials become places to rewrite the body in its experience of pain, without representing it
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Fries, Katherine. "Ariadne’s Thread - memory, interconnection and the poetic in contemporary art." University of Sydney, 2008. http://hdl.handle.net/2123/5709.
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Master of Visual ArtsThis Dissertation explores the metaphor of Ariadne’s thread in terms of interconnection, when an element from the everyday is used as a locus linking broader concepts of time and space. Such experiences and associations are reflected in the work of Louise Bourgeois, Eva Hesse, Doris Salcedo, Lucio Fontana, Richard Tuttle, Mona Hatoum, Simone Mangos, Anya Gallaccio and Yoshihiro Suda. In relation to my own work, the metaphor of interconnecting thread allows a sense of freedom and journey of discovery. My studio and related research are closely aligned in developing my understanding of interconnection, through my studio process of making and continuing experiences of looking at and interpreting others artists’ work.
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Louw, Paula. "Language as visual and conceptual tool in selected video installations of Candice Breitz and Mona Hatoum." Thesis, 2008. http://hdl.handle.net/10539/4778.
Full textAbstract:
This research focuses on selected artworks by contemporary artists Mona Hatoum
and Candice Breitz to critically examine how they have explored language as a
visual and conceptual tool through the use of video and installation. The primary
aim is to consider how and why these artists have explored paradoxical aspects of
language and to examine the ways in which they have used their medium to question
or challenge the adequacy of communication through language. Born in Palestine
but exiled in Britain as a result of the outbreak of war in her home country, Mona
Hatoum’s artworks reach deeply into her own experience of exile. Her video work
Measures of Distance (1988) is concerned with language and its effectiveness in
communication between people separated by geographical and emotional distance, a
theme that is very close to the concerns I have in my own practical work. I critically
examine Hatoum’s artwork to demonstrate how the complex layering of spoken
word, written script and visual imagery, together with the complication of the
viewer’s position, merge to foreground contradictions and conflicting states. I
consider Candice Breitz’s investigations into the contradictory and provocative
nature of speech and language against the background of her upbringing in apartheid
South Africa and critically examine her concern with the ways in which identity is
culturally constructed. Her preoccupation with the relationship between the mass
media and the linguistic formation of self is examined. I have chosen to focus
mainly on her video installations: Babel Series (1999), Alien (2002), Karaoke
(2000), Four Duets (2000) and Legend (2004).
My own practical work is discussed alongside these concerns, particularly in relation
to contemporary electronic communication such as email and sms text messaging –
along with the frustration that results from its impersonal nature (in contrast to old
fashioned letter writing). I also discuss its impact on relationships separated by great
geographical distances.
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Vieira, Ana Rita Sousa Gaspar. "O quotidiano deslocalizado : o desenho como mapa." Doctoral thesis, 2015. http://hdl.handle.net/10451/25108.
Full textAbstract:
Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2016A presente tese teórico-prática tem como questão central de investigação o modo como o desenho, entendido em sentido lato, edifica um mapa do quotidiano, que antecipa o território antes de coincidir com ele, em termos temporais e espaciais. Neste sentido, o desenho, enquanto médium, fixa o gesto, regista e situa o quotidiano, dando a ver a minha circunstância privada, entendida como ponto notável desse mapa. A vertente teórica da investigação aborda, no primeiro capítulo, conceitos fundadores, como os de rotinas táticas e estratégicas, apoiados nas análises de Michel de Certeau; o de repetição, contemplando acasos e desvios, que introduzem a deslocalização do quotidiano e a diferença criativa, enunciada por Gilles Deleuze; e o desenho como operação cartográfica, abstrata, mental e intuitiva, operacionalizada a partir das qualidades de númen e tenor, teorizadas por Philip Rawson. O segundo capítulo é dedicado ao trabalho da artista brasileira Fernanda Gomes, como caso de estudo que informa os conceitos de casa como matéria-prima do projeto artístico, de modus vivendi como modus operandi e de objet trouvé, enquanto elementos estruturantes na edificação do mapa referido, presente no meu projeto artístico. O projeto artístico Mapas Para Efetivar o Quotidiano, alicerça-se nestes conceitos para refletir sobre a domesticidade, a repetição e os automatismos diários, materializados nas obras Caderno Diário e Reunião. Do mesmo modo, articulando o branco do papel como superfície geradora e a autenticidade dos gestos ou a solidez dos objetos, constrói o mapa do meu quotidiano, fazendo do dia a dia a matéria-prima, assunto e programa do projeto artístico.
This theoretical and practical thesis has as its central research question the way drawing, understood in a broad sense, edifies a map of the everyday life, which anticipates the territory before coinciding with it, in spacial and temporal terms. In this sense drawing, as medium, holds the gesture, records and locates the everyday, making visible my own private circumstance, understood as a notable point of that map. The theoretical side of this research focuses, in the first chapter, on key concepts such as tactical and strategic routines, supported by the work of Michel de Certeau; repetition, contemplating chance and detours which introduce the relocation of the everyday and the creative difference, as enunciated by Gilles Deleuze; and drawing as cartographic operation, abstract, mental and intuitive, operationalised from the qualities of númen and tenor, theorised by Philip Rawson. The second chapter is devoted to the work of Brazilian artist Fernanda Gomes as case study informing the concepts of home as the artistic project’s raw material, of modus vivendi as modus operandi, and of objet trouvé as structuring elements in constructing the mentioned map, present in my artistic project. The project Mapas Para Efetivar o Quotidiano builds on these concepts to reflect on domesticity, repetition and daily automatisms, materialised in the works Caderno Diário and Reunião. Similarly, articulating the white of the paper as generating surface and the authenticity of the gestures and solidity of the objects, it builds the map of my everyday life, making the day-to-day the raw material, subject and program of the artistic project.
Books on the topic "Mon Hatoum"
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Hatoum, Mona. Mona Hatoum. Portland, OR: Reed Institute, 2005.
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Hatoum, Mona. Mona Hatoum. Oaxaca, México]: Museo de Arte Contemporáneo de Oaxaca, 2003.
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Hatoum, Mona. Mona Hatoum. Paris: Editions du Centre Pompidou, 1994.
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Giorgio, Verzotti, and Castello di Rivoli (Museum : Rivoli, Italy), eds. Mona Hatoum. Milan: Charta, 1999.
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Hatoum, Mona. Mona Hatoum. Kassel: Museum Fridericianum, 1998.
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Hatoum, Mona. Mona Hatoum. Bristol: Arnolfini, 1993.
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Hatoum, Mona. Mona Hatoum. Rome: British School at Rome, 1995.
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1968-, Morgan Jessica, Cameron Dan, Museum of Contemporary Art (Chicago, Ill.), and New Museum of Contemporary Art (New York, N.Y.), eds. Mona Hatoum. Chicago, Ill: Museum of Contemporary Art, 1997.
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Guy, Brett, Zegher M. Catherine de, and Hatoum Mona 1952-, eds. Mona Hatoum. London: Phaidon Press, 1997.
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Hatoum, Mona. Mona Hatoum. Caracas, Venezuela: Sala Mendoza, 2001.
Find full textBook chapters on the topic "Mon Hatoum"
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Sawchuk, Kim. "9 Gut Reactions: Mona Hatoum’s Corps étranger." In Embodied Politics in Visual Autobiography, edited by Sarah Brophy and Janice Hladki, 153–70. Toronto: University of Toronto Press, 2014. http://dx.doi.org/10.3138/9781442666146-010.
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Monteiro, Stephen. "Private Dis-Pleasures: Mona Hatoum, Mediated Bodies and the Peep Show." In Screen Presence. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474403375.003.0004.
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In subject and mode of presentation, Mona Hatoum’s 1980s and 90s video works centring on the body drew on the history of pornographic and medical imaging techniques. Making comparisons to porn peepshows and MRI, both of which were newsworthy in Britain (for very different reasons) when Hatoum left Lebanon to study art in London in the 1970s, this chapter provides a close analysis of a handful of her installations, chief among them her Corps Etranger of 1994. It examines how Hatoum’s heavily mediated images and carefully constructed environments raised questions about gender, sexuality, and the identity politics of social space. Just as peepshows became political battlegrounds eliciting heavy government regulation by testing the rules of public space and social interaction, Hatoum’s installations tested the rules and expectations of art exhibition spaces. These works opened zones where visitors would become equally aware of the potential for transgression and surveillance in their own daily performance of body and self.
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Inhorn, Marcia C. "Love Stories." In The New Arab Man. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691148885.003.0004.
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This chapter discusses how husbands' loving commitments toward their wives are a major part of Middle Eastern conjugality and an important feature of emergent masculinities in the region. Even seemingly traditional men such as Hatem—a farmer from a “closed” rural Syrian community—defy masculine stereotypes. Although conventional wisdom suggests that Middle Eastern men routinely divorce their infertile wives, Hatem's case provides evidence to the contrary. His story suggests that enduring conjugal commitments are a key feature of emergent masculinities in the Middle East, even in the face of intractable infertility. According to studies, this is as true among lower-class Middle Eastern couples, both urban and rural, as it is among cosmopolitan elites.
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TZELEPIS, ELENA. "Vulnerable Corporealities and Precarious Belongings in Mona Hatoum’s Art." In Vulnerability in Resistance, 146–66. Duke University Press, 2016. http://dx.doi.org/10.2307/j.ctv11vc78r.12.
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"7 Vulnerable Corporealities and Precarious Belongings in Mona Hatoum’s Art." In Vulnerability in Resistance, 146–66. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822373490-010.
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"Beyond Words: The Acoustics of Movement, Memory, and Loss in Three Video Works by Martina Attille, Mona Hatoum, and Tracey Moffatt, ca. 1989." In Migratory Settings, 247–70. Brill | Rodopi, 2008. http://dx.doi.org/10.1163/9789401206068_014.
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Mitchell, Colin. "Man of the Pen, Pillar of the State: Hatem Beg Ordubadi and the Safavid Empire." In Safavid Persia in the Age of Empires. I.B.Tauris, 2021. http://dx.doi.org/10.5040/9780755633814.ch-003.
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"“Shaking Up” Vision: The Video Diary as Personal and Pedagogical Intervention in Mona Hatoum’s Measures of Distance." In Muslim Women, Transnational Feminism and the Ethics of Pedagogy, 212–31. Routledge, 2014. http://dx.doi.org/10.4324/9781315773988-17.
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