Pub Date : 2022-01-02DOI: 10.1080/1475262X.2023.2181572
A. Ghoogasian
ABSTRACT The study of Armeno-Turkish Literature, or Turkish written in Armenian script, has boomed of late, posing a challenge to Turkish literary historiography's neglect of Armeno-Turkish texts. Though this scholarship has argued against the exclusion of Armenians from late Ottoman cultural history, it has also unintentionally reproduced the nationalist, exclusionary logic that such segregation rested upon in the first place. This article offers a critique of the now dominant scholarly understanding of Armeno-Turkish as a “hybrid” of ostensibly distinct late Ottoman-era Armenian and Turkish languages and cultures. It does so by reframing Turkish as an Armenian language, moving beyond the shortcomings of hybridity theory toward a more productive, “depropriative” idiom for the study of Armeno-Turkish that denationalizes the Turkish language.
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Pub Date : 2022-01-02DOI: 10.1080/1475262X.2023.2170870
P. Carter
ABSTRACT In Aḥmad Fāris al-Shidyāq’s 1855 semiautobiographical picaresque al-Sāq ʿalā al-sāq (Leg Over Leg), the author’s double, the Fāriyāq, holds a series of jobs that parodically stand in for al-Shidyāq’s own employments. This article addresses the Fāriyāq’s career as an oneiromancer, reading it as an allegory of al-Shidyāq’s work as a Bible translator for European Protestant missionaries. By representing the muʿarrib (translator into Arabic) as the muʿabbir (dream interpreter), I argue, al-Shidyāq places the translator in a genealogy of professional interpreters, inheriting the tradition of early-modern Ottoman court interpreters who wielded the power of expertise against the social and economic power of their patrons. At a moment of historical shift from circuits of scribal patronage to a more horizontal print market, al-Shidyāq removes the oneiromantic tradition from its hierarchical patron economy and parodically reinscribes it in an emergent print culture, initiating an anonymous yet intimate community of laughter.
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Pub Date : 2022-01-02DOI: 10.1080/1475262X.2022.2131894
Molly Courtney
{"title":"Revolutions aesthetic: a cultural history of Ba'thist Syria","authors":"Molly Courtney","doi":"10.1080/1475262X.2022.2131894","DOIUrl":"https://doi.org/10.1080/1475262X.2022.2131894","url":null,"abstract":"","PeriodicalId":53920,"journal":{"name":"Middle Eastern Literatures","volume":"333 1","pages":"64 - 66"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86877428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/1475262X.2022.2131240
Wen-chin Ouyang
(and, in Chapter 1, cultural periodicals), leaving the reader uncertain whether the aesthetic responses Weiss identifies are also a feature of the broader Syrian cultural landscape, for example in poetry, drama, songs, or TV series. Although the monograph is written in clear and readable language, it is most accessible to a reader with some prior familiarity with Syrian and regional cultural and political history. The monograph is essential reading for anyone interested in Syrian cultural and intellectual history, contemporary Arabic literature and film, or the interactions between politics and aesthetic theory.
{"title":"Richard van Leeuwen. The Thousand and One Nights and Twentieth-Century Fiction: Intertextual Readings; and Muhsin J. al-Musawi. The Arabian Nights in Contemporary World Cultures","authors":"Wen-chin Ouyang","doi":"10.1080/1475262X.2022.2131240","DOIUrl":"https://doi.org/10.1080/1475262X.2022.2131240","url":null,"abstract":"(and, in Chapter 1, cultural periodicals), leaving the reader uncertain whether the aesthetic responses Weiss identifies are also a feature of the broader Syrian cultural landscape, for example in poetry, drama, songs, or TV series. Although the monograph is written in clear and readable language, it is most accessible to a reader with some prior familiarity with Syrian and regional cultural and political history. The monograph is essential reading for anyone interested in Syrian cultural and intellectual history, contemporary Arabic literature and film, or the interactions between politics and aesthetic theory.","PeriodicalId":53920,"journal":{"name":"Middle Eastern Literatures","volume":"251 1","pages":"66 - 68"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79407529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/1475262X.2023.2194163
Ranya Abdelrahman, Ferial Khalifa
Samira Azzam (Samīra ʿAzzām; 1927-1967) was widely recognized by her contemporaries as an accomplished author, and her work has been described as “one of the most mature experiments in the short story” among Arab writers of the 1950s. During her short life Azzam published four short story collections, the last of which – al-Sāʿa wal-insān (1963; The Clock and the Man) –was exceptionally well received. Two additional short story collections were published posthumously, and while Azzam had begun work on a novel it remained incomplete at the time of her early and sudden death. Despite the enthusiastic reception of her work as it came out, as the years passed Azzam’s books all but disappeared from print. Her work received relatively little attention, with only a few exceptions, leaving a regrettable gap in the landscape of Palestinian, Arabic literature, and indeed Postcolonial literary study. It is difficult to say precisely why Azzam’s stories have been so ignored, given their quality and the ubiquitous sense of their value expressed by the critics of her day. Some put it down to the rise of interest in the novel, and a shift away from the short story. Others have attributed her neglect to Arab readers’ expectations of more explicitly political literature after the 1967 war. This neglect, thankfully, has been begun to see some remedy. The publication of the translated volumeOut of TIme (trans. Ranya Abdelrahman), which brings together stories from across Azzam’s collections, joins Joseph Farag’s critical discussion of her in Politics and Palestinian Literature in Exile, reminding the field ofAzzam’s brilliance and making her work available to English readers. The following story, “Hal kāna Ramzī?” (1963; “Was he Ramzi?”) appears here for the first time in English. A deceptively simple, many-layered story, it exemplifies Azzam’s insightful writing. Set in a close-knit, unnamed, coastal community where neighbors are keenly aware of one another’s business (much like Acre, where Azzam was born and raised), the story describes the long-lasting effects of a child going missing. With her trademark “impressionistic” characterization, Azzam convincingly inhabits the psyche of the missing child’s friend, Samih, who, as an adult, narrates a traumatic event of the loss, which he experienced as a young boy. The disappearance of Samih’s friend, the titular Ramzi, the narrator relates, turned him into an introvert whose soul was weighed down by fear. While most of the narrative focuses on the disappearance of Ramzi and its immediate aftermath, the story also looks through a wider reflective lens at the impact of childhood trauma on someone’s life. Azzam
Samira Azzam (samr ā ra ā Azzām;1927-1967)被同时代人广泛认为是一位有成就的作家，她的作品被描述为20世纪50年代阿拉伯作家中“短篇小说中最成熟的实验之一”。在她短暂的一生中，阿扎姆出版了四部短篇小说集，其中最后一部是《al- sahu - a wal-insān》(1963;《钟与人》的反响特别好。阿扎姆死后又出版了两本短篇小说集，虽然她已经开始写一部小说，但在她英年早逝时，这部小说仍未完成。尽管她的作品刚问世时就受到了热烈的欢迎，但随着时间的流逝，阿扎姆的书几乎从印刷中消失了。她的作品受到的关注相对较少，只有少数例外，在巴勒斯坦文学、阿拉伯文学乃至后殖民文学研究领域留下了令人遗憾的空白。考虑到阿扎姆的作品的质量，以及她那个时代的评论家所表达的无处不在的价值感，很难确切地说，为什么阿扎姆的作品如此被忽视。一些人将其归因于人们对小说的兴趣上升，以及人们对短篇小说的兴趣减弱。其他人将她的忽视归因于1967年战争后阿拉伯读者对更明确的政治文学的期望。值得庆幸的是，这种忽视已经开始出现一些补救措施。翻译卷《不合时宜》(译)的出版。《兰娅·阿卜杜勒拉赫曼》(Ranya Abdelrahman)汇集了阿扎姆的作品，加入了约瑟夫·法拉格在《政治与流亡中的巴勒斯坦文学》中对她的批判性讨论，提醒了阿扎姆的才华，并将她的作品提供给了英语读者。下面的故事，“哈尔kāna拉姆兹?”(1963;“他是拉姆齐吗?”)第一次用英语出现在这里。这是一个看似简单、层次丰富的故事，体现了阿扎姆富有洞察力的写作。故事发生在一个联系紧密、不知名的沿海社区，那里的邻居们都对彼此的生意了如指掌(就像阿扎姆出生和长大的阿卡一样)，故事描述了一个孩子失踪后的长期影响。阿扎姆以她标志性的“印象派”特征，令人信服地居住在失踪儿童的朋友萨米的心灵中，萨米作为一个成年人，讲述了他小时候经历的一件关于失去亲人的创伤事件。叙述者说，萨米的朋友拉姆齐(Ramzi)的失踪使他变成了一个内向的人，他的灵魂被恐惧压垮了。虽然大部分的叙述都集中在拉姆齐的失踪及其直接后果上，但这个故事也通过更广泛的反思镜头来审视童年创伤对一个人生活的影响。阿赞
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Pub Date : 2022-01-02DOI: 10.1080/1475262X.2023.2165035
Aida Fahmawi Watad
ABSTRACT The article addresses a relatively neglected area of research: Palestinian literature for adolescents, adab al-yāfiʿīn [literature for adolescents] or Young Adult (YA) literature. It sheds light on how this literature addresses the unique problematics of growing up under occupation and considers how novels for young adults reflect the Palestinian teenager's consolidation of his or her identity in relation to the political and social conditions imposed by oppression. The essay surveys the phenomenon of Palestinian YA literature and focuses on a reading of Ahlam Bsharat’s novel Code Name: Butterfly [Ismī al-ḥarakī farāsha]. Bsharat's work is unique in the relatively limited tradition of Palestinian YA literature in its avoidance of ideology and didacticism, and in its attempt to turn the text itself into a holding space for Palestinian teens. Analysis shows how Butterfly legitimizes the experiences of young adults and gives voice to their lived experience.
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Pub Date : 2021-09-02DOI: 10.1080/1475262X.2022.2140582
Basilius Bawardi, Reem Ghanayem
ABSTRACT Walīd Ikhlāṣī (1935–2022) is a modernist Syrian playwright who was part of a broader Arab movement experimenting with the theatre of the absurd. His experimental writings are based on a fundamental refusal to accept ready-made values – literary, cultural, or philosophical. In this experimentation he developed a truly unique style, set apart from his contemporaries. Examining two one-act plays: Ṭubūl al-iʿdām al-ʿasharah (The Ten Drums of Execution) and al-Mutʿah 21 (Pleasure 21), both published in 1965, this paper looks at his use of juxtaposition to create a productive ambiguity, and how this ambiguity is underscored in the works using author comments/stage direction, and varied techniques of dialogue. In both works, we find the tensions created by his experimentation bring forth a powerful sense of despair and injustice.
瓦尔瓦德Ikhlāṣī(1935-2022)是一位现代主义的叙利亚剧作家，他参与了一场更广泛的阿拉伯运动，尝试荒诞派戏剧。他的实验作品是建立在拒绝接受现成的文学、文化或哲学价值的基础上的。在这个实验中，他发展了一种真正独特的风格，与同时代的人不同。本文考察了1965年出版的两部单幕戏剧:Ṭubūl al-i - dām al- al- ahu asharah(死刑的十鼓)和al- mut - ahu 21(快乐21)，研究了他使用并列来创造一种富有成果的模糊性，以及如何使用作者评论/舞台指导和各种对话技巧来强调这种模糊性。在这两件作品中，我们发现他的实验所造成的紧张带来了一种强烈的绝望和不公正感。
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Pub Date : 2021-09-02DOI: 10.1080/1475262X.2022.2150072
Chad G. Lingwood
ABSTRACT This article proposes that Bāgh-i iram, a Persian masnavī by Kamāl al-Dīn Shīr- ʿ Alī Banāʾī, the narrative of which presents a love triangle involving brother-dynasts—hence its alternative title, Bahrām va Bihrūz—is a work of moral and ethical advice. The study posits that Banāʾī composed Bahrām va Bihrūz, which survives only in manuscript form, to honor his deceased patron, Ya ʿ qūb b. Ūzūn Ḥasan, leader of the Aq Qoyunlu, whose reputation as a debauchee-turned-penitent ruler Banā’ī employs to impart advice on avoiding sin and comporting oneself with rectitude. The article sheds light on Banāʾī, but also the statesmen-advisers, Qāżī Ṣafī al-Dīn ʿĪsāʾ and Shaikh Najm al-Dīn Masʿūd, and their involvement in Sulṭān Yaʿqūb's abandonment of venality. The study concludes that Bahrām va Bihrūz is unique within the literary tradition, in that its character-types, twin-brothers, and its focus on the faults of the poet's former patron are subjects not typically encountered in Persian masnavīs.
本文认为Kamāl al- d n shhirr - al- al- banna - al- al- al- Bihrūz-is的波斯masnav (masnav) Bāgh-i iram是一部道德和伦理建议的作品，因此它的另一个标题Bahrām va Bihrūz-is是关于兄弟王朝的三角恋的叙述。研究认为，班纳基写了Bahrām va Bihrūz，只以手稿形式保存下来，以纪念他已故的赞助人，亚基qūb b. Ūzūn Ḥasan，他是阿克魁云路的领袖，他是一个放荡的悔过的统治者，班纳基利用他来传授避免犯罪和正直的建议。这篇文章不仅揭示了《班尼·哈尼》，而且还揭示了政治家顾问Qāżī Ṣafī al- d n- Īsā和谢赫·纳杰姆·al- d n-马斯·哈尼ūd，以及他们在Sulṭān Ya -哈尼·哈尼qūb放弃贪污罪中的作用。研究得出结论，Bahrām va Bihrūz在文学传统中是独一无二的，因为它的人物类型，双胞胎兄弟，以及它对诗人前赞助人的错误的关注是波斯大屠杀中通常不会遇到的主题。
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