Academic literature on the topic 'Arabic Patriotic poetry'

The rise of political consciousness in the Arab Provinces of the Ottoman Empire in the nineteenth century has long been referred to as an era of rebirth or resurrection (nahḍa), and from its earliest stages this period saw a dual process of aspirations to political emancipation and creative waves of cultural regeneration. Thus George Antonius was moved to attribute the beginnings of the Arab national movement to the foundation of a modest literary society in Beirut in 1847; the two figures who dominated the intellectual life of Syria in the mid nineteenth century—Nāṣīf al-Yāzijī and Buṭrus al-Bustānī—were ded icated to the resurrection of the lost world of classical Arabic literature, to the virtual re-creation of Arabic as one of the languages of the modern world, and to preaching the virtues of education based on inter-confessional tolerance and patriotic ideals. The most distinguished area of the early history of modern Arabic literature is neo-classical poetry, whose revival of the achievements of the golden age of the ‘Abbāsids provided the foundation on which the first tentative steps towards the renewal of the great tradition were to be based. Indeed the technical excellence of the neo-classical mode was such that it dominated poetry in Egypt at least until the late 1920s, and for even longer in Iraq and the rest of the Levant.

Reading about the Sundanese people of Bandung Regency after the 17th century, one can learn from the Wawacan literary works, which helped shape the collective minds of the people. Wawacan is strongly influenced by Islamic teachings, which are depicted in sagas in the form of poetry called dangding (poetic bond). This research examines Wawacan Nata Sukma, written anonymously by the people of Banjaran on the slopes of Mount Cupu Pangalengan in Bandung Regency. Writing using Pegon (Arabic) letters, Sundanese language, 1833 AD (18th century) during the "forced cultivation" period of growing coffee under Dutch colonialism. The story Wawacan Nata Sukma contains the metaphorical, wild, intriguing, and patriotic resistance of the character "Nata Sukma". Staged from 1930 to 1960 in Bandung Regency. Nata Sukma struggled beyond war and oppression. He succeeded in deepening knowledge, changing fate, and achieving a dignified life after defeating the kings of five countries. Wawacan Nata Sukma is a reportage and portrait of events that occurred during the "forced cultivation" period and is related to the politics of the national identity of the oppressed. Research uses a hermeneutic perspective and qualitative methods in describing and analyzing phenomena, events, social activities, attitudes, beliefs, perceptions, and thoughts of people individually and in groups.

The modern Arabic term for national homeland, waṭan, derives its sense from the related yet semantically different usage of this term in classical Arabic, particularly in classical Arabic poetry. In modern usage, waṭan refers to a politically defined, visually memorialized territory whose expanse is cognized abstractly rather than through personal experience. The modern waṭan is the geopolitical locus of national identity. The classical notion of waṭan, however, is rarely given much geographical content, although it usually designates a relatively localized area on the scale of a neighborhood, town, or village. More important than geographical content is the subjective meaning of the waṭan, in the sense of its essential place in the psyche of an individual. The waṭan (also mawṭin, awṭān), both in poetry and other types of classical writing, is strongly associated with the childhood/youth and primary love attachments of the speaker. This sense of waṭan is thus temporally defined as much as spatially, and as such can be seen as an archetypal instance of the Bakhtinian chronotope, one intrinsically associated with nostalgia and estrangement. The waṭan, as the site of the classical self’s former plenitude, is by definition lost or transfigured and unrecoverable, becoming an attachment that must be relinquished for the sake of virtue and glory. This paper argues that the bivalency of the classical waṭan chronotope, recoverable through analysis of poetic and literary texts, allows us to understand the space and time of the self in classical Arabic literature and how this self differs from that presupposed by modern ideals of patriotism.

الحريّة حقّ للناس لا فضل، والدولة الحرة أو المنطقة الحرة نشّطت قيم الناس الوطنية وصداقتها للوطن، وشعوره للنفس من جديد، وقد تحطم العالم العربي في النصف الأخير من القرن التاسع عشر من الناحية السياسية والاقتصادية، وقد سعى وتسلط كل من الفرنسيين والبريطانيين والروس على العالم العربي ونجحوا في ذلك، وكانت الخلافة التركية حينذاك ضعيفة جدا في زمن استعباد الامّة العربية ظهر بعض شعراء العربية الذين أصدروا الموضوعات الجديدة في شعرهم، وظهر في شعرهم الدعوة إلى حريّة البلاد والسيادة المطلقة والصداقة للوطن، واستقرار الحالة السياسية والاقتصادية المعاصرة؛ إذ إن الشاعر معروف الرصافي كتب قصيدة عن حكومة الانتداب ودمشق تندب أهلها والحرية في سياسة المستعمرين وغيرها، وكذلك كتب محمود سامي البارودي وحافظ إبراهيم وأحمد شوقي وغيرهم من الشعراء فيها، وتوسّع نفوذ هذه الأشعار في الامّة العربية، وتنبه الناس إليها، وحصلت الامّة العربية على حريّة بلادها، وبدأ تبعث حب الوطن، والنشاط في بث الروح الوطنية، لتكون البلاد سالمة وآمنة من خطر من الإرهاب والفساد، وهذا هو تصوير هذه المقالة. الكلمات المفتاحية: الشعر، مراحل الشعر، الإسلام، الشعراء، الحرية. Abstract Freedom is a right for people, not a grace. A free state or zone can revitalize the national values of the people, their patriotism and self-consciousness. The Arab world fell into serious political and economic crisis in the second half of the nineteenth century. In such juncture, France, the Great Britain and the Russia each of them, tried to establish their dominance on the Arab world and they became successful due to the weak administration of the Ottoman Empire. In this colonial era, poet and literary men have flourished their literary works introduced in a new horizon. In their poetry there was a call for freedom, sovereignty, patriotism and the stability of the contemporary political and economic situation. For example, the poet Maarof Al-Rasafi wrote about mandatory government, and how Damascus cried for their people and freedom in the policy of colonial. The same themes were written by other poets such as Mahmood Sami Al-Barudi. These all are portrayed in this paper. Keywords: Poetry, stages of poetry, Islam, poets, freedom.

Ka'ab bin Malik is considered one of the greatest poets of the Messenger of God, and witnessed various battles with the Messenger of God On the other hand, Mustafa Bisri is an Indonesian writer who deserved recognition for his activities in the field of Indonesian literature. This study deals with a comparison of Arabic poetry and Indonesian poetry between Kaab bin Malik and Mustafa Bisri. The study aims to reveal aspect of agreements and differences in potraying heroism between them. This study follows three approaches: the qualitative approach by describing the lives of the two poets and the analytical approach by studying the concept and tracing poems about the heroism between Kaab bin Malik and Mustafa Bisri. And the comparative approach to present a comparison of the images of heroism between the two writers. For the results of the study: The two poets agreed in the heroism that they are people of courage, although they expressed heroism in ways and methods that differ from each other, but the scope of courage is connected to the listeners and readers. In addition, the opinions of the two poets differed about the depiction of heroism in their poems. The researcher presents the heroism of Ka’ab bin Malik with three images: leadership, martyrdom, and jihad. Mustafa portrayed heroism in his poetry, five images: determination, fragrant flowers, patriotism, courage, and the best generation.

In the modern world, Globalization, Colonialism, Technology, Politics and Economy have changed many cultural identities and contributed to the appearance of multilingual literature. Code-Switching could occur in different institutional languages, slangs, dialects, and sociolects; so, translators should find strategies to tackle this literary phenomenon and preserve the source text identity. But how could the translator (who is a reader and a transmitter at the same time) deal with these types of literary texts? And how could he/she produce a target multilingual text that preserves the identity and the magic expressed in the source text? The multilingual text is a specific genre of literature which combines two or more languages in the desire to express a multilingual and multicultural reality inherent to a particular group of individuals. Multilingual Literature appeared for the first time during the Middle Ages, but it was called originally Macaronic literature. The term 'Macaronic' is commonly used to indicate any hybrid language that mixes the vernacular with Latin. This mixture was frequent during the Middle Ages in all romance literature. Macaronic literature is therefore a phenomenon that represents the cultivated, highly educated and sophisticated categories of society like academics, novelists and poets. However, translators who used to identify the translation as an inter-linguistic transfer between two formal systems (source and target institutional languages) have faced obstacles in working with multilingual texts in which the author uses code-switching as an alternative to reflect the unfair categorization of people and registers in modern societies). This paper aims to examine the different strategies proposed by Venuti, Cincotta, Bojanin, Qoates and other scholars to transfer the code-switching device in the literary texts; and eventually proposes an integrated strategy that will preserve the code-switching aspect in the translation process, namely in Farah CHAMMA’s poem ‘I am No Palestinian’. Our strategy aims at creating such equilibrium between the translator’s creativity and identity losses, which will allow the target reader to be an active participant in the understanding process and revealing the otherness of the source text. The poem of Farah CHAMMA is chosen as a case study in this research, because it reflects the human being struggle for independence and freedom. However, the independence in this context does not mean the liberation from the colonizer who enters with his armed forces and military weapons to your country, the colonizer nowadays enters your brain trough globalization, migration, media, internet, and all these factors contributed to the fusion of the traditional notion of identities. The Islamic Arabic identity is contaminated by the French, English, Spanish, German, Italian, Christian and Jewish identities due to this kind of colonialism which destroys all the identity and patriotism fundamentals such as: ethics, religion, thought, and of course language. This is why Farrah writes in her poem that she had lost her language and all the Arabic Palestinian identity that comes with, she masters many foreign languages but her mother tongue. She thinks, acts and does like the British, the French, The Portuguese poets and artists do, but she just knows little tales about the Palestinian poet Ziad RAFFIF who defends the Palestinian issue in his literary works. So, the poet Farah Chamma used the multilingualism in her poetry to draw a picture of the struggle that exists within herself, and to show us how a language can embody an identity with all its features. The multiplicity of identities may create a new identity for the writer of the source text. Thus, the translator will not deal anymore with all the different cultures that belong to the languages of the text, but he must instead, discover the new identity of this community that uses this kind of speech system i.e., the Code-Switching system.

This thesis examines selected poems of Egyptian writer Ṣalāḥ Ǧāhīn. The study includes the author's approach to portraying the ideological, political, cultural, and socio-economic aspects of patriotism and translations of his poems. A part of this study is devoted to the problem of colloquial poetry within modern Arabic literature. Key words: Ṣalāḥ Ǧāhīn, colloquial language, poetry, zaǧal

The chapter discusses the flowering of literary Arabic activities of immigrating Arab-Jewish writers in Israel during the 1950s. Among the writers, most of them from Iraq, it was already possible to discern two streams of thought parallel to the dominant trends of the local Arabic literature. The first trend was of the writers and poets close to the Israeli governmental establishment who were steeped in national pride. The second trend, that of the leftist and communist poets and writers, did not agree that Israeli patriotism implied absolute identification with the authorities. The difference in worldview between the two trends can be seen in the concept of “spring” so frequently used by both sides. According to the writers supported by the establishment, their hopes had been realized in the Jewish, independent Israel of the 1950s, as we find in the opening two words of the poet Salīm Sha‘shū‘a’s first poem in the collection The World of Light, “The Spring Has Arrived.” In contrast, the struggle was still in full force for the Communist writers, and their eyes gazed toward the future, as seen from the name of David Semah’s collectionTill Spring Comes.

The classical universe allows Tennyson perspective on China. While ‘Locksley Hall’ appears to endorse British progress and deride China, the metre distances the poet from modernity: Tennyson’s line has probably Persian or ancient Greek origins. Tennyson’s patriotism celebrates ancient values but is suspicious of Victorian progress. ‘Recollections of the Arabian Nights’ considers the paradox that Britain deems Asia both accomplished and stagnant. Britain was culpable for hindering China as the East India Company became increasingly reliant on the illegal opium-trade. In the ‘Lotos-Eaters’ Tennyson responds to the opium crisis in China as well as addiction in his family. Sara Coleridge wrote her own version of the ‘Lotos-Eaters’, intensifying the Chinese analogues by reference to her father’s ‘Kubla Khan’. In ‘The Ancient Sage’ Tennyson finds an alternative to Victorian progress in Laozi’s Dao De Jing, as translated by John Chalmers, although Tennyson interprets the philosopher in Augustinian terms.

All nations and societies need someone to defend them, protect them, and repel aggression and injustice, so that these sacrifices become the torch of freedom, the beacon of pride, and the throne of pride. And this testimony adds to him a human, patriotic and sanctity value, thus elevating his position among his people and his people. He who sees himself as part of his society, his issues are his cause, and his pain is his pain. With the catastrophe of Palestine in 1948, and the setback of June 1967, the Palestinian resistance appeared carrying weapons, believing in the principle of liberation by force, and alongside this resistance, Palestinian resistance poetry appeared, which supported the armed resistance with the literary poetic word, and gave a great space, and great attention to the cause of the Palestinian martyr who sacrificed the cause of the Palestinian martyr. The research aims to clarify the poetic image of the martyr in the Palestinian resistance poetry, and the motive for this is the status of the martyr in Arab thought on the one hand, and the status of the Palestinian cause, and its specificity among the Palestinians, Arabs, and Muslims on the one hand, and the international community on the other. The importance of the research lies in its goal and motive. The researcher will follow the descriptive and analytical approaches, and will clarify the concept of the martyr, and the testimony, and will address the image of the martyr with description and analysis of some poets of the Palestinian resistance, such as Mahmoud Darwish, Samih Al-Qasim, and others