Sunday, December 23, 2007
انت فين يا هنادي؟
Friday, November 23, 2007
Time to say NO?
While reading the chapter Contesting Languages, I could not help but to associate the story (Tawahin Bayrut) to that of Great Expectations. The protagonist Tamima seems to be repressed. What I mean is that before migrating to Beirut, she used to leave her father and brother to choose her destiny. It is only when she meets Rami and Hani that she begins to develop and mature. I feel sympathy towards her but at the same time I find her so naive that it just irritates me as a woman. May be I am too harsh to judge her that way. We cannot escape the fact that in the past women were not considered to vote and be active in political movements. Sadly it is still there, this segregation between sexes in Afghanistan even in most Arab countries. Another similarity that I found in Dickens's novel is the awareness of the unrequited love in Hani and Tamima's relationship. This same goes to Pip and Estella, and yet he still loves her. It is sad to see that both of these major characters know their situation and know what is best for them yet they go to the wrong direction. I might bore you with this but this is what I call a split personality in the major character and in Ramzi. In other words Tamima wants something yet she does the total opposite for the sake of not being rejected by society. Ramzi on the one hand knows what he wants and manipulates by showing off the values of society. I disliked Ramzi because he is a typical hypocrite and can obtain what he wants through his wittiness. That character reminds me of Hitler. Another thing I would like to add is how Hani is somewhat an open minded person and a pacifist. He is too ideal and that is what I like about him. He (Hani) reminds me of Jamal Abdul Nasser in a way when he suggested that there is no point in differentiating Arabs by their religion, Arabs should be unified.
Tuesday, November 20, 2007
life's beauty...is to stay unborn in you
Saturday, November 10, 2007
Midterm Time...Life is Crazy
so, work is stacking?
here is one more job for you
:)
this is your midterm
it will be out of 25
due 21st of November
submission in class
please type your answer on white paper
350 to 400 words
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We studied several Arabic poets from the Modern and Post Modern eras
examples:
Adunis
Gibran Khalil GIbran
Mahmoud Darwish
among many others
Choose one of the names discussed in our book and compare his or her work to that of an English poet you feel corresponds well with the Arabic work of your choice. Refer to specific work or works of both the Arabic and English writers.
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do not leave any comments on this post unless you have a question about the exem
please note that I might not be able to respond to questions until next Friday
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Good Luck
Sunday, October 28, 2007
قصة حبي
From what I understood, it discusses the uncertainties of life and how it is complex to interpret it, therefore the fragmentation of the poems. This can be related to T.S Eliot's The Wasteland, where the poem is filled with different speakers that are hard to identify. Arab poets of the modern period have similar characteristics. They comment about something at a distance rather than personalising their experiences. For instance, the poem "Criticiszing pain" consists of " [. . .] a totally controlled, unemotional,but still rich and humane,way. In a memory of a friend who died in south Lebanon [.]" The critic emphasized the way in which the poet addresses "the friend" rather than his friend.I would like to add another quote by the essayist, commenting about the positive aspect of fragmentation "The fragmented self is definately a freer self. It is, in a way, as if an iron encasement has been blown up and shattered, creating a feeling of panic and a certain degree of loss of direction and orientation. But in this state of dispersal and loss, the soul suddenly breathes the fresh breeze from virgin forests [.] This might be out of the subject but I couldn't help to resist the temptation of teasing those who hate psychoanalysis. You will understand what I mean by reading these few lines "[...] my first footstep to the first legs to light up my body, to make me recognize it and recognize the narcissus in me."Ok I have said enough I should give u the chance to comment on the chapter.
Wednesday, October 17, 2007
أنظر اليهم من بعيد، يعانقون الموت من أجل البقاء
Reading " Nasser and the Death of Elegy in Modern Arabic Poetry " I understood that the elegy or ( شعر الرثاء ) has been a central concern of the public since very long, and even earlier than that exists the competing of Arabic elegy as a private business.Before Islam elegies were supposed to be written by family or close relatives. Moving to the modern period, we see that the elegy's perception is to spread the public voice out loudly and to stand against colonialism. But after WW1 this public elegy was attacked by Arab Romantic schools who called for individualism. On the other side we have Jamal Abd Al-Nasir who had an active political life and a number of herioc actions. Nasir was seen as the Prophet Muhammad by the eyes of some Arabic poets like Nizar Qabbani and Zafir al-Sabuni. After the death of Nasser we see how ancient mythology came back again by linking Nasser with ancient myths and heros like Tammuz (God of rebirth).
I must say, i did not only find this chapter informative about the poetic Arabic tradition of elegy, but I also was deeply inspired by the story of Egyptian political hero, Jamal Abd al Nasser. It is hard to believe that one man could not only change the course of history, but also equally inspire nations and poets to stick to a kind of poetry that was retiring. As you have said, Fatima, after WWI Romantic poets attacked the poetic discipline of elegy, as it was seen as old-fashioned and collides with their individualistic, modern approach to poetry. However, the death of Nasser breathed life into a discipline that was once dying and allowed Arab poets to experiment with style rather than theme. This gave rise to younng poets and allowed prominent ones to affirm their poetic talents. "Nasser's death both created an oppurtunity for poets to use their elegaic talents to the fullest and made it difficult if not impossible, for them to duplicate their efforts at a later date. Thus, Nasser's death could be said to have decreed the death of elegy in modern Arabic Poetry."Forgive my long quote i just saw it to be perfect for my discussion :)I do have more to say about Darwishs enlightening yet real poem, "The Man with the Grren Shadow", but I will keep it for next time since i can sense someone yawning :P
This chapter was more interesting than the previous ones we have read, since most of us have background on Jamal Abdulnasser. We all know how he was such an important figure, but reading about how he was viewed as a prophet figure or visionary was very moving. Also, "elegy" or "ritha" is a kind of poetry that we had been taught in school. I recall clearly reading work by "Al Khansa'a", in arabic ofcourse and being touched by the intensity of emotion and mourning her loved ones.But I am still a bit confused about elegy being either public or private..If I understand correctly, after AbdulNasser's death, elegy became a public thing,where everyone could mourn publicly? I'm not too sure.As for the example on Nizar Qabani's poem, "Qatalnaka" I was very surprised that he could write with such political bluntness. I have read alot of his poems but they have all been love poetry..I reccomend his work for all you girls..it is simpler than most arabic poetry. Finally, Darwish's poem "The Man with the Green Shadow" was very inspiring and beautifully worded, especially the way he associates the color green with Abdulnasser which is "the color of veggetation and growth" (p 77). The language and style are very moving, speaking to us "privately" and publicly.
The chapter on ‘Nasser and the Death of Elegy’ I found really interesting as some of it was linked to a postcolonial class I took last semester. The effect colonialism has on poetry and other forms of literature whether it may be novels or critical essays we now see in this chapter on Arabic poetry. There’s something about being colonized and oppressed that stirs up the spirit and enhances the mood for national liberation, especially writers who believe that they can make a difference by expressing how they feel on behalf of the colonized citizens. This is called ‘’resistance literature’’ (pg64) which boosted the writing of arab elegy poems because of the ''violent interference of colonial and imperial history'' as Barbora Harlow described in her book.
Saturday, October 6, 2007
حر ومذهب كل حر مذهبي/ما كنت بالغاوي ولا المتعصب
“Only if you have threads of wind.”
Going through the comments of the last post, I sensed confusion as to the subject to be commented on
My original plan was to post a question or a comment about the "new" reading and then have you react to it one day before class at least
Meaning, I expect one comment, one day before class at the latest
Then, I expect another comment within the next four days after class on the same post
but
I loved all your comments from the last post
so, let's use them to guid as for our first assignment
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Here is what Taz said
First I must say how shocked I am that so many poems mentioned in this chapter use Greek Mythology! I ignorantly had an idea in my mind that Arab poetry mainly focused on nature and sailing the seas due to that being the general topics or should I say the most widespread and traditional subject for poetry.What I found particularly interesting in this chapter, leaving aside the history of how mythology came to the Arabs, was how new modern poets decided to use the characters in Greek myth ‘freely’ and ‘use only one or few aspects of the figure’’ (47) instead of limiting oneself to the original story.An example of this is by the poet ‘Mihyar’ who uses the Quranic story of the Prophet Muhamed’s journey (miraj) to the heavens. He only takes the basis of the Quranic story and replaces it with himself being guided by Ulysses (instead of the angel Gabriel) to the heavens. (58) This again is mentioned in chapter one when referring to Gibrans work where Lazarus taken form the bible is portrayed in a way that Gibran sees fit.(40)