Abstract:First published in 1947 in the weekly Kampuchea, Wilted Flower (Phka Srapon) remains one of the most widely read and influential pieces of modern literature in Khmer. Appearing in book form in 1959, it was incorporated into the official high school curriculum in 1969 and is still taught today. Within a tradition of Khmer literature as social critique, Nou Hach became one of the early Khmer writers to experiment with the novel form. Set in Battambang province, the story follows the journey of two young people on the cusp of adulthood. What sets it apart from other love stories of the period is the attention Nou Hach gives to the female protagonist. While the author endows Vitheavy with the outward virtues of a traditional Khmer woman, his portrayal lays bare her inner turmoil. The first two chapters, translated here, showcase his elegant and engaging style. vr
{"title":"From Wilted Flower","authors":"Nou Hach, Vaddey Ratner","doi":"10.1353/man.2021.0051","DOIUrl":"https://doi.org/10.1353/man.2021.0051","url":null,"abstract":"Abstract:First published in 1947 in the weekly Kampuchea, Wilted Flower (Phka Srapon) remains one of the most widely read and influential pieces of modern literature in Khmer. Appearing in book form in 1959, it was incorporated into the official high school curriculum in 1969 and is still taught today. Within a tradition of Khmer literature as social critique, Nou Hach became one of the early Khmer writers to experiment with the novel form. Set in Battambang province, the story follows the journey of two young people on the cusp of adulthood. What sets it apart from other love stories of the period is the attention Nou Hach gives to the female protagonist. While the author endows Vitheavy with the outward virtues of a traditional Khmer woman, his portrayal lays bare her inner turmoil. The first two chapters, translated here, showcase his elegant and engaging style. vr","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":"34 1","pages":"129 - 135"},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42535717","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}
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:This poem was years in the making, spanning decades of listening to and overhearing my mom share pieces of her eight-month journey from Phnom Penh to the border of Vietnam in 1975. It was impossible for me to learn all the details of her story in one sitting, especially one of bloodshed, which was told in a language other than English and occurred thirteen years before I was born in Saigon. I overheard the first fragment when I was eight and walked into a room where my mom was speaking softly to my crying older sister, telling her about seeing blood in a morning river, presumably from murdered Cambodian prisoners. One of the last pieces was told in a car on the way back from the hospital where my dad was dying; I asked my mom if she would have married him if they hadn't been forced to flee from the Khmer Rouge. Even now, I don't have the story right. The narrator in this poem is unreliable; the gaps are canyons filled with mist. But I work to see glimpses of something more on the other side.
{"title":"Ma's Canh Chua Recipe: April–December 1975","authors":"Mylo Lam","doi":"10.1353/man.2021.0049","DOIUrl":"https://doi.org/10.1353/man.2021.0049","url":null,"abstract":"Abstract:This poem was years in the making, spanning decades of listening to and overhearing my mom share pieces of her eight-month journey from Phnom Penh to the border of Vietnam in 1975. It was impossible for me to learn all the details of her story in one sitting, especially one of bloodshed, which was told in a language other than English and occurred thirteen years before I was born in Saigon. I overheard the first fragment when I was eight and walked into a room where my mom was speaking softly to my crying older sister, telling her about seeing blood in a morning river, presumably from murdered Cambodian prisoners. One of the last pieces was told in a car on the way back from the hospital where my dad was dying; I asked my mom if she would have married him if they hadn't been forced to flee from the Khmer Rouge. Even now, I don't have the story right. The narrator in this poem is unreliable; the gaps are canyons filled with mist. But I work to see glimpses of something more on the other side.","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":"34 1","pages":"120 - 121"},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46366389","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":"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:The Reamker (Ramakerti, "The Glory of Rama") is the title given to the Khmer versions of the Ramayana. The most famous version, Reamker I: Early Episodes, is also the oldest extant recension, having been composed in Middle Khmer during the sixteenth or seventeenth centuries. Of its twenty-one episodes, the first two are translated here. Much of the remaining narrative is found only in the eighteenth-century text Reamker II: Later Episodes. Both were likely composed for shadow-puppet theater. A number of other versions of the Reamker have survived in oral traditions, typically in prose. Whether performed on the stage or recited in village festivals, the Reamker remains one of the most beloved pieces of classical literature in contemporary Cambodia.The first episode introduces us to the might of Prince Rama (pronounced "Ream" in modern Khmer), known to Cambodians as both an avatar of the Hindu god Vishnu and a previous incarnation of the Buddha. The episode narrates Rama's slaying of a demon who disrupts a ritual at his teacher Vishvamitra's forest hermitage. The second episode begins with the birth of Sita, discovered in a furrow in a plowed field by her father, King Janaka of Mithila. Janaka holds a contest, offering Sita in marriage to anyone who can lift a magic bow. After all the other gods fail, Vishvamitra calls for Rama to try his hand; he wins easily.The poetic sensibility of the Reamker, particularly Reamker I, is among the finest in all of Khmer literature. The diction is by turns graceful and arresting. The emotions of humans and gods are more restrained than in Reamker II, but compelling nonetheless. tw
{"title":"Epic: From Reamker","authors":"T. Walker","doi":"10.1353/man.2021.0018","DOIUrl":"https://doi.org/10.1353/man.2021.0018","url":null,"abstract":"Abstract:The Reamker (Ramakerti, \"The Glory of Rama\") is the title given to the Khmer versions of the Ramayana. The most famous version, Reamker I: Early Episodes, is also the oldest extant recension, having been composed in Middle Khmer during the sixteenth or seventeenth centuries. Of its twenty-one episodes, the first two are translated here. Much of the remaining narrative is found only in the eighteenth-century text Reamker II: Later Episodes. Both were likely composed for shadow-puppet theater. A number of other versions of the Reamker have survived in oral traditions, typically in prose. Whether performed on the stage or recited in village festivals, the Reamker remains one of the most beloved pieces of classical literature in contemporary Cambodia.The first episode introduces us to the might of Prince Rama (pronounced \"Ream\" in modern Khmer), known to Cambodians as both an avatar of the Hindu god Vishnu and a previous incarnation of the Buddha. The episode narrates Rama's slaying of a demon who disrupts a ritual at his teacher Vishvamitra's forest hermitage. The second episode begins with the birth of Sita, discovered in a furrow in a plowed field by her father, King Janaka of Mithila. Janaka holds a contest, offering Sita in marriage to anyone who can lift a magic bow. After all the other gods fail, Vishvamitra calls for Rama to try his hand; he wins easily.The poetic sensibility of the Reamker, particularly Reamker I, is among the finest in all of Khmer literature. The diction is by turns graceful and arresting. The emotions of humans and gods are more restrained than in Reamker II, but compelling nonetheless. tw","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":"34 1","pages":"11 - 14"},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41426402","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":"An Archive of Haunting","authors":"Maria Hach","doi":"10.1353/man.2021.0070","DOIUrl":"https://doi.org/10.1353/man.2021.0070","url":null,"abstract":"","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":"34 1","pages":"271 - 275"},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41547561","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 Sky of the Lost Moon","authors":"Ty Chi Huot, Rinith Taing","doi":"10.1353/man.2021.0058","DOIUrl":"https://doi.org/10.1353/man.2021.0058","url":null,"abstract":"","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":"1216 42","pages":"184 - 190"},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41279054","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:Actor, playwright, and poet Pich Tum Kravel was one of the most famous performing artists in the 1960s and 1970s. After the Khmer Rouge regime ended, he was instrumental in restoring Cambodian arts from the 1980s until his death in 2015. "The Ox with the Broken Hoof" is written in me buon meter (four lines of four syllables), a very compressed form often used in folk songs. "Man and Krasang" is composed in Crow's Gait meter (seven-line stanzas of four syllables per line). "The Sun Turns Leprous" takes up a classical Khmer theme, since the fall of Angkor, of the "upside down world"—its surreal images of eclipses and comets draw on traditional Asian prophecies. cm/sm
摘要：演员、剧作家和诗人Pich Tum Kravel是20世纪60年代和70年代最著名的表演艺术家之一。红色高棉政权结束后，从20世纪80年代到2015年去世，他在恢复柬埔寨艺术方面发挥了重要作用。“断箍牛”是用四行四音节的米写的，这是民歌中经常使用的一种非常压缩的形式。“Man and Krasang”是用Crow的步态（每行四个音节的七行诗节）创作的。自吴哥沦陷以来，《太阳变麻风》采用了一个经典的高棉主题，即“颠倒的世界”——其日食和彗星的超现实图像借鉴了传统的亚洲预言。厘米/平方米
{"title":"From Songs of the Fighting Crickets","authors":"Pich Tum Kravel, Chris Macquet, Sharon May","doi":"10.1353/man.2021.0043","DOIUrl":"https://doi.org/10.1353/man.2021.0043","url":null,"abstract":"Abstract:Actor, playwright, and poet Pich Tum Kravel was one of the most famous performing artists in the 1960s and 1970s. After the Khmer Rouge regime ended, he was instrumental in restoring Cambodian arts from the 1980s until his death in 2015. \"The Ox with the Broken Hoof\" is written in me buon meter (four lines of four syllables), a very compressed form often used in folk songs. \"Man and Krasang\" is composed in Crow's Gait meter (seven-line stanzas of four syllables per line). \"The Sun Turns Leprous\" takes up a classical Khmer theme, since the fall of Angkor, of the \"upside down world\"—its surreal images of eclipses and comets draw on traditional Asian prophecies. cm/sm","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":"34 1","pages":"102 - 104"},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49242477","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:"Hymn to the Tree of Awakening" praises the bodhi tree, the sacred fig under which the Buddha awakened, and is a rare example of a Sanskrit inscription followed by a precise translation into Old Khmer. It is located in Phimeanakas, the same temple that bears the long Sanskrit poem of Queen Indradevi. tw
{"title":"Inscription: Hymn to the Tree of Awakening","authors":"Trent Walker","doi":"10.1353/man.2021.0016","DOIUrl":"https://doi.org/10.1353/man.2021.0016","url":null,"abstract":"Abstract:\"Hymn to the Tree of Awakening\" praises the bodhi tree, the sacred fig under which the Buddha awakened, and is a rare example of a Sanskrit inscription followed by a precise translation into Old Khmer. It is located in Phimeanakas, the same temple that bears the long Sanskrit poem of Queen Indradevi. tw","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":"34 1","pages":"6 - 7"},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47578551","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：