{"title":"A Musician's Life: An Interview with Kong Nay","authors":"Sharon May, Tola Say","doi":"10.1353/man.2021.0079","DOIUrl":"https://doi.org/10.1353/man.2021.0079","url":null,"abstract":"","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":"34 1","pages":"303 - 313"},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41363798","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Cambodian Buddhist poems are little known outside of Khmer-speaking communities in Southeast Asia and in the global diaspora. However, for the past seven hundred years, most Cambodians have practiced Theravada Buddhism, and their Khmer-language poetry reflects a deep intimacy with the Dharma. The three poems selected here from Until Nirvana's Time: Buddhist Songs from Cambodia (Shambhala Publications, 2022) were composed by anonymous authors in the eighteenth and nineteenth centuries.At one time, the majesty of the Khmer Empire held sway over much of what is now Laos, Thailand, and southern Vietnam. The terror unleashed by the Khmer Rouge was in some ways the culmination of the many traumas the Khmer people have faced in recent times: brutal warfare; colonial subjugation; migration and resettlement; poverty, violence, and erasure. Lost in this erasure have been the nation's many contributions to Buddhism, literature, and the arts. Khmer-language poems on Buddhist themes are among Cambodia's most precious gifts to the world.The poems translated here are "Dharma songs" (dharm pad, pronounced "thoa bot"), verse texts meant to be recited with complex melodies known as smot in dusk-to-dawn rituals of mourning, consecration, and remembrance. Khmer poetry is traditionally chanted aloud in dozens of different melodies, each of which has spawned several variations. Some melodies are fast paced and use only a few musical pitches. Others are slow, highly ornamented, and require a wide vocal range to reach their many notes. A single stanza can take up to three minutes to recite, a whole poem several hours. Each word of the Khmer is designed to linger in the air, carried by breath and music. As readers and listeners, we must be patient, letting the meaning gradually reveal itself to us. tw
{"title":"Buddhist Song Tradition: From Until Nirvana's Time","authors":"Trent Walker","doi":"10.1353/man.2021.0025","DOIUrl":"https://doi.org/10.1353/man.2021.0025","url":null,"abstract":"Abstract:Cambodian Buddhist poems are little known outside of Khmer-speaking communities in Southeast Asia and in the global diaspora. However, for the past seven hundred years, most Cambodians have practiced Theravada Buddhism, and their Khmer-language poetry reflects a deep intimacy with the Dharma. The three poems selected here from Until Nirvana's Time: Buddhist Songs from Cambodia (Shambhala Publications, 2022) were composed by anonymous authors in the eighteenth and nineteenth centuries.At one time, the majesty of the Khmer Empire held sway over much of what is now Laos, Thailand, and southern Vietnam. The terror unleashed by the Khmer Rouge was in some ways the culmination of the many traumas the Khmer people have faced in recent times: brutal warfare; colonial subjugation; migration and resettlement; poverty, violence, and erasure. Lost in this erasure have been the nation's many contributions to Buddhism, literature, and the arts. Khmer-language poems on Buddhist themes are among Cambodia's most precious gifts to the world.The poems translated here are \"Dharma songs\" (dharm pad, pronounced \"thoa bot\"), verse texts meant to be recited with complex melodies known as smot in dusk-to-dawn rituals of mourning, consecration, and remembrance. Khmer poetry is traditionally chanted aloud in dozens of different melodies, each of which has spawned several variations. Some melodies are fast paced and use only a few musical pitches. Others are slow, highly ornamented, and require a wide vocal range to reach their many notes. A single stanza can take up to three minutes to recite, a whole poem several hours. Each word of the Khmer is designed to linger in the air, carried by breath and music. As readers and listeners, we must be patient, letting the meaning gradually reveal itself to us. tw","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":"34 1","pages":"34 - 41"},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46250674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Suy Hieng is one of Cambodia's first female novelists. From her youth, war was present in her life and writing. In 1952, she published Veasna Nei Neang Nakry (Destiny of Miss Nakry), which begins with the American bombing of Phnom Penh in 1945, during Japan's occupation of Cambodia. In 1964, she had stopped writing for ten years but resumed after the tragedy of Chantrea—in which a town in Svay Rieng was destroyed when American and South Vietnamese forces bombed it with tons of ordnance and napalm. After going to the scene of devastation, Suy Hieng wrote the novel Chantrea: Khmer Territory, which was a huge success and adapted for the cinema. Its epigraph, "The Orphans," was later set to music by Pov Sipho. cm/sm
摘要:苏倩雯是柬埔寨最早的女小说家之一。从她年轻时起，战争就出现在她的生活和写作中。1952年，她出版了《纳克里小姐的命运》(Veasna Nei Neang Nakry)，从1945年日本占领柬埔寨期间美国轰炸金边开始。1964年，她停止了十年的写作，但在美国和南越军队用成吨的弹药和凝固汽油弹轰炸了色连(say Rieng)的一个小镇后，她又恢复了写作。在前往灾难现场后，Suy Hieng写了小说《Chantrea: Khmer Territory》，这部小说获得了巨大的成功，并被改编成电影。它的题词“孤儿”后来被Pov Sipho谱成音乐。厘米/ sm
{"title":"The Orphans","authors":"Suy Hieng, Chris Macquet, Sharon May","doi":"10.1353/man.2021.0034","DOIUrl":"https://doi.org/10.1353/man.2021.0034","url":null,"abstract":"Abstract:Suy Hieng is one of Cambodia's first female novelists. From her youth, war was present in her life and writing. In 1952, she published Veasna Nei Neang Nakry (Destiny of Miss Nakry), which begins with the American bombing of Phnom Penh in 1945, during Japan's occupation of Cambodia. In 1964, she had stopped writing for ten years but resumed after the tragedy of Chantrea—in which a town in Svay Rieng was destroyed when American and South Vietnamese forces bombed it with tons of ordnance and napalm. After going to the scene of devastation, Suy Hieng wrote the novel Chantrea: Khmer Territory, which was a huge success and adapted for the cinema. Its epigraph, \"The Orphans,\" was later set to music by Pov Sipho. cm/sm","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":"34 1","pages":"85 - 85"},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46200360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Here and Now, into the Future","authors":"Prumsodun Ok","doi":"10.1353/man.2021.0081","DOIUrl":"https://doi.org/10.1353/man.2021.0081","url":null,"abstract":"","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":"34 1","pages":"317 - 321"},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46547016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Chey Chap is one of the most respected living poets in Cambodia. A master of formal poetic forms, he taught Khmer rhetoric, writing, and poetry at the University of Phnom Penh for many years and held positions in the Ministry of Education. His verses are distinguished by their sonorous rhymes, alliteration, and clever word play, giving his work a formal beauty in Khmer that is impossible to capture in translation. He composed most of his poems in the 1980s and 1990s; the two poems translated here were composed in 1985 and 1986, respectively, and first published in his influential 1994 collection, O Khmer Land. In "Don't Fight the Wind," the Khmer word phlieng (rain) echoes phleng (music). cm/sm
摘要:蔡彻是柬埔寨当代最受尊敬的诗人之一。作为正式诗歌形式的大师，他在金边大学教授高棉修辞学、写作和诗歌多年，并在教育部任职。他的诗句以其铿锵的押韵，头韵和巧妙的文字游戏而闻名，使他的作品在高棉语中具有一种翻译不可能捕捉到的正式美感。他的大部分诗歌创作于20世纪80年代和90年代;这里翻译的两首诗分别创作于1985年和1986年，并首次发表在他1994年颇具影响力的作品集《哦，高棉之地》中。在《别斗风》中，高棉语phlieng(雨)与phleng(音乐)相呼应。厘米/ sm
{"title":"Two Poems","authors":"Chey Chap, Chris Macquet, Sharon May","doi":"10.1353/man.2021.0037","DOIUrl":"https://doi.org/10.1353/man.2021.0037","url":null,"abstract":"Abstract:Chey Chap is one of the most respected living poets in Cambodia. A master of formal poetic forms, he taught Khmer rhetoric, writing, and poetry at the University of Phnom Penh for many years and held positions in the Ministry of Education. His verses are distinguished by their sonorous rhymes, alliteration, and clever word play, giving his work a formal beauty in Khmer that is impossible to capture in translation. He composed most of his poems in the 1980s and 1990s; the two poems translated here were composed in 1985 and 1986, respectively, and first published in his influential 1994 collection, O Khmer Land. In \"Don't Fight the Wind,\" the Khmer word phlieng (rain) echoes phleng (music). cm/sm","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":"34 1","pages":"90 - 92"},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47548651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"From Letters from Home: A Multimedia Solo Play","authors":"Kalean Ung","doi":"10.1353/man.2021.0082","DOIUrl":"https://doi.org/10.1353/man.2021.0082","url":null,"abstract":"","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":"34 1","pages":"322 - 327"},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47161054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Command Me to Exist","authors":"S. Polin, Françoise Bénichou, Chris Macquet","doi":"10.1353/man.2021.0055","DOIUrl":"https://doi.org/10.1353/man.2021.0055","url":null,"abstract":"","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":"34 1","pages":"161 - 167"},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41699562","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Bound to His Father","authors":"Pen Samitthy, Chris Macquet, Sharon May","doi":"10.1353/man.2021.0039","DOIUrl":"https://doi.org/10.1353/man.2021.0039","url":null,"abstract":"","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":"34 1","pages":"95 - 95"},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41408858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：