Journal articles: 'Darwish'

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Nofal, Khalil Hasan. "National Identity in Mahmoud Darwish’s Poetry." English Language and Literature Studies 7, no. 3 (August 29, 2017): 66. http://dx.doi.org/10.5539/ells.v7n3p66.

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This paper is intended to examine the concept of national identity and how it is quested and portrayed in Mahmoud Darwish’s poetry. The paper explores Darwish’s quest for identity through different phases: language, homeland, roots and ancerstors, belonging, nature, culture, traditions, and exile. Palestine for Darwish is not only an origin or homeland, but it is an identity. Darwish adds some themes connected with the concept of homeland illustrated by references or images of mother, geography, history, farming, and folkloric heritage. Besides, identity for Darwish is three- dimensional: Palestinian, national, and human.

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Furani, Khaled. "After Criticism." boundary 2 47, no. 1 (February 1, 2020): 145–72. http://dx.doi.org/10.1215/01903659-7999544.

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A question drives my reading of Mahmoud Darwish’s Mural, chronicling a poet’s quest for his own becoming while facing death: What rhythms of freedom—or what forms of enlightenment—may a person inhabit when facing life’s end? I argue that to this question Mural responds with an ethical striving, guided by a principle Darwish calls “evanescence.” I contingently identify evanescence as an “ethics of oneness” oriented to composite unity, which Darwish practices on a series of dualities inhabiting his life in death’s company. In contrast to enacting sovereignty, this ethos solders opposites together. In digging under the separation required by any act of criticism, Darwish’s Mural reaches beyond criticism to attain the courage required for living with death.

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Dyer, Rebecca. "Poetry of Politics and Mourning: Mahmoud Darwish's Genre-Transforming Tribute to Edward W. Said." PMLA/Publications of the Modern Language Association of America 122, no. 5 (October 2007): 1447–62. http://dx.doi.org/10.1632/pmla.2007.122.5.1447.

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This essay provides an analysis of “Tibaq,” an elegy written in Edward W. Said's honor by the acclaimed Palestinian poet Mahmoud Darwish. Noting that the poem exhibits aspects of a number of genres and demonstrates Darwish's generally innovative approach to traditional literary forms, I consider how he has transformed the marthiya, the elegiac genre that has been part of the Arabic literary tradition since the pre-Islamic era. I argue that Darwish used the elegy-writing occasion to comment on Said's politics and to make respectful use of his critical methods, particularly his interdisciplinary borrowing of counterpoint, a concept typically used in music analysis. By reworking the conventional marthiya to represent Said's life in exile and his diverse body of work and by putting his contrapuntal method into practice in the conversation depicted in the poem, Darwish elegizes a long-lasting friendship and shores up a shared political cause.

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Ahmed, Hamoud Yahya, and Ruzy Suliza Hashim. "Resisting Colonialism through Nature: An Ecopostcolonial Reading of Mahmoud Darwish's Selected Poems." Holy Land Studies 13, no. 1 (May 2014): 89–107. http://dx.doi.org/10.3366/hls.2014.0079.

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Resisting colonialism remains the main theme of the poetry of the Arab Palestinian poet Mahmoud Darwish. This paper explores how Darwish employs nature as a new way for resisting the occupation of his homeland. His poems, throughout his writing life that spans fifty years, can be used to demonstrate how an ecopostcolonial perspective might contribute to an understanding of the poet's resistance through nature to the colonisers in his homeland. The theoretical framework used in this study is derived from both the ecocritical and postcolonial theories of reading literature. It is termed as ecoresistance as a new perspective of analysing resistance in the Arab literary studies, a non-western viewpoint and an original analytical lens for reading Darwish's work. The analysis reveals that Darwish uses the various forms of nature that range from the forms of the pure nature to the forms that have been cultivated. Through the ecopostcolonial perspective of the study, the employment of nature for resistance and the indication of Darwish as an ecopostcolonial poet of the Arab world are played out. The paper further proposes new insights into man's connection to land and is a step towards opening up the field of ecocriticism as a way of reading Arab poetry of resistance.

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Al-Sheikh, Nawal. "Metaphors Stemming from Nature in the Poetry of Mahmoud Darwish." Indonesian Journal of English Language Studies (IJELS) 7, no. 2 (October 14, 2021): 80–91. http://dx.doi.org/10.24071/ijels.v7i2.3448.

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This is a critical paper inspecting metaphors, the most artistic device, in Mahmoud Darwish's poetry. This research classified metaphors into three basic categories: metaphors of trees and plants such as wheat, metaphors of animals and birds such as butterfly, hoopoe, and dove, and metaphors of concrete and abstract natural elements. This study reports the fact that Darwish was brought up in a rural community. His father was a villager who grew crops for being food secure. Consequently, that rural environment affected the poetry of Darwish through metaphors and symbolism. Thus, it can be concluded that these poetic metaphors are a logic outcome of that rural atmosphere.

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Firmansyah, Fahmi. "ANALISIS STILISTIKA DALAM PUISI ما أنا إلّا هو KARYA MAHMŪD DARWῙSY." Tafhim Al-'Ilmi 10, no. 2 (May 1, 2019): 57–71. http://dx.doi.org/10.37459/tafhim.v10i2.3424.

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Mahmūd Darwīsy is a famous Palestinian poet. He is known as a humanist poet, most of whose poems are resistance themes. The style of poetry writing is more like the classical Arabic writing style with simple and beautiful words but rich in meaning. One of his poems that has a beautiful classic writing style is ما أنا إلّا هو (mā anā illā huwa). So, the stylistic study was seen as more appropriate to dissect the beauty of Mahmoud Darwish's poetry writing style. In accordance with the stylistic theory initiated by Syihabuddin Qalyubi, this analysis examines the style of poetic language ما أنا إلّا هو by Mahmūd Darwīsy from the domain of phonology, morphology, syntax, semantics and imaginary of the poet. It aims to find out how beautiful the poem is and what message the poet wants to convey to the listener and or poet reader ABSTRAK Mahmūd Darwīsy merupakan penyair kenamaan Palestina. Ia dikenal sebagai penyair humanis yang kebanyakan dari puisinya bertema perlawanan. Gaya penulisan puisinya lebih mirip gaya penulisan arab klasik dengan kata-kata yang sederhana dan indah namun kaya akan makna. Salah satu puisinya yang memiliki gaya penulisan klasik nan indah adalah ما أنا إلّا هو (mā anā illā huwa). Maka, kajian stilistika dipandang lebih tepat untuk membedah keindahan gaya penulisan puisi karya Mahmūd Darwīsy ini. Sesuai dengan teori stilistika yang digagas oleh Syihabuddin Qalyubi, analisis ini membedah gaya bahasa puisi ما أنا إلّا هو karya Mahmoud Darwish dari ranah fonologi, morfologi, sintaksis, semantik hingga imageri-nya. Ini bertujuan untuk mengetahui seberapa indah puisi tersebut dan pesan apa yang hendak disampaikan penyair bagi pendengar dan atau pembaca puisinya. Kata Kunci: Stilistika Puisi, Mahmoud Darwish, mā anā illā huwa.

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Al-Sakkaf, Ahmed Abdullah Ahmed, and Yahya Ameen Tayeb. "Consistency of Resistance and Nature in Mahmoud Darwish’s Poetry in Exile: Critical Reading in Selected Poems." Malaysian Journal of Social Sciences and Humanities (MJSSH) 7, no. 11 (November 30, 2022): e001879. http://dx.doi.org/10.47405/mjssh.v7i11.1879.

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The aim of this paper is to explore Mahmoud Darwish’s consistency of resistance and nature to the aggression of homeland occupation of Palestine as depicted in selected poems during his exile. In spite of Darwish exile from Palestine, the sense of resistance and opposition can be elicited from his poetic voice momentum regardless of the wide distance between him and his own homeland. In this research paper, the discussion will mainly focus on how Darwish metaphorically develops Palestinian nature creating a unique world full with righteous and justifiable opposition to the hatred colonizers of his homeland in his selected poems of exile. Theoretically, the framework of this study mainly relied on the postcolonial and the ecocritical theories of reading literature which is defined as an ecoresistance framework. Critically, the implications beyond the various notions of ecoresistance in the exile selected poems by an intellectual giant as Mahmoud Darwish, the researchers expect to provide new insights into man’s interrelation with land as an approach to resist the aggression of colonialism.

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SAZZAD. "Mahmoud Darwish:." Interdisciplinary Literary Studies 17, no. 1 (2015): 1. http://dx.doi.org/10.5325/intelitestud.17.1.0001.

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Hamzah, Hussain. "Resistance, Martyrdom and Death in Mahmoud Darwish's Poetry." Holy Land Studies 13, no. 2 (November 2014): 159–86. http://dx.doi.org/10.3366/hls.2014.0088.

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Struggle, personal sacrifice and death play significant roles in Palestinian poetry – a poetry of national struggle whose poets are driven to defend the existence of people and land by way of a fighting poetry which serves as a resistance to occupation. This article traces the evolution of the motifs of resistance and death in the poetry of Palestinian Mahmoud Darwish. It distinguishes between two main types of death in Darwish's poetry; these are collective death, which the author expresses by way of his people's experiences with death, and individual death, as reflected in the poet's own experience with death. The articleexplores each of these types and analyses their conceptual evolution. It shows how the changes which occurred in this motif are reflected in the poetic forms used by Darwish. In this paper we aim to show that Darwish's view of death is multi-faceted and takes into account chronological and geographical, as well as personal aspects. His attitude towards death is complex and is not limited to the ideological aspect. The paper provides a comprehensive investigation into this multiplicity in Darwish's poetry

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Mahfoodh, Hajar. "The Poetry of Darwish in the 1960s: Homeland and Exile." Arab World English Journal For Translation and Literary Studies 5, no. 3 (August 15, 2021): 70–81. http://dx.doi.org/10.24093/awejtls/vol5no3.6.

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The early poetry of Mahmoud Darwish (1941-2008) is characterised by its overt resistance and confrontational tone against the Israeli forces. This research paper explores the themes of homeland and exile in Darwish’s poetry during the 1960s, tracing how the 1967 defeat has changed his poetic tone from the highly confrontational to the articulate conversational. It, therefore, contributes to the fields of literary criticism and Arab literary studies focusing on modern poetry of resistance. Although Darwish was still living on Palestinian lands during this period, he never felt at home, expressing his feelings of strangeness and suffering in a usurped land by force. The theoretical framework of Edward Said (1935-2003) is employed in this paper to question whether the themes of exile and homeland shape and reshape the Darwish’s understanding of resistance. Based on the analyses of this paper, Darwish’s poetry of resistance has dramatically changed due to his severe disappointment by the 1967 defeat, marking the collapse of Arab nationalism and its propaganda of the Arab homeland. Still, this shift does not affect Darwish’s rejection of the Israeli existence in Palestine. Instead, his poetry by the end of this decade still questions the violent and aggressive nature of the Israeli soldier despite Darwish’s intimate and human conversational style of his poems, thereby adding to the controversial analyses of Darwish’s poetics.

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Shaleen Kumar Singh. "Exploring the Exile Poetry of Mahmud Darwish: A voice of angst, anger, and alienation." Knowledgeable Research: A Multidisciplinary Journal 1, no. 07 (February 28, 2023): 18–25. http://dx.doi.org/10.57067/pprt.2023.1.07.18-25.

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Mahmoud Darwish is one of the most prominent Palestinian poets of the 20th century, known for his powerful and poignant poetry that captures the angst, anger, and alienation of the Palestinian people during the Nakba (the Palestinian exodus). His poetry is marked by a deep sense of loss and exile, as well as a fierce resistance and determination to survive and thrive in the face of adversity. His poetry continues to resonate with readers around the world as an authentic voice of Palestinian identity and resistance. Exile poetry can be a form of protest against injustice and oppression, and is often characterized by themes of nostalgia, longing, and a sense of displacement. Mahmud Darwish's exile poetry is a prime example of this genre, reflecting the experiences of the Palestinian people due to the ongoing conflict in the region. Mahmud Darwish's poetry is known for its evocative themes of exile, displacement, and alienation. He explores the concept of home, the longing for a sense of belonging, and the idea of identity. He also writes about the impact of exile on the Palestinian community, how it has affected their cultural and social identity, and the struggle to maintain a sense of self in a foreign land. Despite the pain and suffering caused by exile, Darwish encourages his readers to never give up hope and to continue fighting for justice and freedom. The paper attempts to explore the theme of exile in the porty of Mahmud Darwish.

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Said, Edward W. "On Mahmoud Darwish." Grand Street, no. 48 (1994): 112. http://dx.doi.org/10.2307/25007730.

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Robins, S. "About Dr. Darwish." Canadian Medical Association Journal 186, no. 8 (May 5, 2014): 640. http://dx.doi.org/10.1503/cmaj.140242.

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Suharsono, Suharsono, Ivan Adilla, and Syofyan Hadi. "Kerinduan pada Tanah Air dalam Antologi Puisi ‘Āsyiq Min Falisṭīn Karya Mahmoud Darwish (Analisis Semiotika Riffaterre)." Jurnal Ilmiah Universitas Batanghari Jambi 23, no. 1 (February 25, 2023): 1. http://dx.doi.org/10.33087/jiubj.v23i1.3226.

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Anthology of poetry Mahmoud Darwish's work Āsyiq min Falisṭīn is a poem about longing, which shows the poet's love for his homeland. On the other hand, the poetry in the anthology also describes the condition of the poet who is in prison, isolated and without a family. To discuss the poetry anthology above, this thesis utilizes the semiotic theory developed by Michael Riffaterre. There are three problems studied in this thesis, they are: 1) What is the form of indirect expression in the poetry anthology of Āsyiq min Falisṭīn by Mahmoud Darwish, 2) What is the meaning contained in the anthology of poetry Āsyiq min Falisṭīn Mahmoud Darwish's work with heuristic and hermeneutic readings, 3) How are the matrices, models, and variants in the poetry anthology of Āsyiq min Falisṭīn by Mahmoud Darwish. The method used in this study is a qualitative descriptive that describes the results of research using Riffaterre's semiotics method. This research concludes the following. First, the indirect form of expression in the poetry anthology Mahmoud Darwish's work Āsyiq min Falisṭīn is in the form of changing meaning, distorting meaning, and creating meaning. Second, through heuristic and hermeneutic reading, it can be concluded that the poems in the anthology above describe the poet's longing for his land of Palestine. Third, the matrix, model, and variant in the poetry anthology Mahmoud Darwish's work Āsyiq min Falisṭīn shows the relationship between the themes of each stanza of his poetry.

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Salbiah, Rahma. "Gaya Bahasa dalam Puisi Aḥinnu ilá Khubzi Ummī Karya Mahmoud Darwish." Al-Ma‘rifah 19, no. 1 (April 30, 2022): 83–94. http://dx.doi.org/10.21009/almakrifah.19.01.07.

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Literature is an art mediated by language, while literary works are a product of imagination with the medium of language. A poem is a literary work that has a dense language of figures and symbols. Therefore, research is needed to analyse the meaning of a poem. One of the analyses of poem research is using stylistic analysis. The poem that is the object of this study is the poem Aḥinnu ilá Khubzi Ummī by Mahmoud Darwish. This poem describes the poet's longing for his mother, which is full of figurative language. This study aims to describe the various styles of language in the poem Aḥinnu ilá Khubzi Ummī by Mahmoud Darwish. The method used is a content analysis by describing the form of language style in Mahmoud Darwish’s poem. The results of this study indicate that the author uses several language styles in the poem, which include (1) hyperbole, (2) paradox, and (3) personification.

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Antoon, Sinan. "Mahmud Darwish's Allegorical Critique of Oslo." Journal of Palestine Studies 31, no. 2 (January 1, 2002): 66–77. http://dx.doi.org/10.1525/jps.2002.31.2.66.

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The Palestinian poet Mahmud Darwish occupies a unique space in Arab culture and in the collective memory of Arabs as "the national poet of Palestine." This article provides a reading of one of Darwish's poems, "A Non-Linguistic Dispute with Imru' al-Qays," which was written after the signing of the 1993 Oslo Accord. The poem is read as an allegorical critique of Oslo and, at the same time, a retrospective contemplation of Darwish's own role in Palestinian politics, written in a style that displays Darwish's exceptional poetical skill and his masterly use of Arabo-Islamic history and mythology.

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Alkhatib, Wafa Yousef. "Resistance in Mahmoud Darwish’s “I Come From There”: A Discourse Analysis." Theory and Practice in Language Studies 14, no. 6 (June 19, 2024): 1730–34. http://dx.doi.org/10.17507/tpls.1406.13.

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Postcolonial studies have dealt with the protest literature since they consider it as the voice of the oppressed people. In the same aspect, resistance literature begins in Palestine with Ghassan Kanafani and Mahmoud Darwish after 1948. Protest literature aims not only at freeing the oppressed from dominating powers and overturning the authority but also at liberating the humans from oppression. “The term resistance "Moqawamah" was first applied in a description of Palestinian Literature in 1966 by the Palestinian writer Ghassan Kanfani in his study "Resistance Literature in Occupied Palestine" (Harlow, 1987). Mahmoud Darwish has been involved in Palestine’s political affairs throughout his entire life. In “I Come from There”, Darwish tries to raise the voice of Palestinians; therefore, it can be heard all over the world. The theme of this poem assures his refusal to forget his country and unveils the struggle for a doomed homeland. By appropriating the descriptive and analytical method, along with the discourse analysis of Darwish’s terms and phrases in the poem “I Come from There”, this paper clarifies the symbolic meaning of the words to represent his sense of loss and sense of possession that he feels towards his land. Against this, the paper argues whether resistance protest literature succeeds in defending oppressed people and giving the subaltern their voices and whether literature helps the occupied people to get free and believe in non-violent resistance instead of violent resistance.

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Alderbashi, Bilal, and Aseel Alshbeekat. "The Translation of Mythical Intertextuality in Darwish’s Mural “Jidariat Darwish”." 3L The Southeast Asian Journal of English Language Studies 29, no. 2 (June 27, 2023): 70–84. http://dx.doi.org/10.17576/3l-2023-2902-06.

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M. Hafidzulloh, S.M, M. Hafidzulloh, S. M., and Aprinus Salam. "POTENSIALITAS PUISI BITHOQOH HAWIYAH KARYA MAHMUD DARWISH: MENILIK POLITIK KEDAULATAN NEGARA PALESTINA." Jurnal Pendidikan Bahasa dan Sastra 21, no. 1 (July 13, 2021): 51–64. http://dx.doi.org/10.17509/bs_jpbsp.v21i1.36658.

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Mahmud Darwish adalah penyair Arab berkebangsaan Palestina yang menyuarakan kebebasan dan kritik terhadap konflik Palestina-Israel melalui karya-karya sastranya. Sebuah karya sastra berpotensi memberikan kontribusi nyata untuk meneguhkan kedaulatan suatu Negara-bangsa. Puisi Bithoqoh Hawiyah merupakan karya fenomenal Mahmud Darwish yang mencerminkan identitas kebangsaan dan bentuk representatif warga untuk tetap mempertahankan kedaulatan Negara Palestina akibat invansi Negara Israel. Penelitian ini bertujuan mengungkap potensialitas dalam puisi Bithoqoh Hawiyah Mahmud Darwis. Puisi Bhitoqoh Hawiyah menghadapkan reduksi kehidupan ‘politis’ warga dalam kedaulatan Negara dengan kemerdekaan Negara yang imajiner. Potensialitas ditransformasikan secara aktual dalam karya sastra sebagai gambaran kehidupan manusia dengan motif untuk berdialektika dengan kenyataan. Kritik puisi Bithoqoh Hawiyah dieksplorasi lebih jauh melalui perspektif filsafat politik Giorgio Agamben, yang membentuk konsepsi tentang potensialitas politik warga, negara dan kedaulatannya. Potensialitas dalam puisi Bhitoqoh Hawiyah diasumsikan memiliki dualitas yang koheren dengan impotensialitasnya. Impotensialitas bekerja dalam ranah potensi penangguhan untuk menanggalkan nilai-nilai negatif yang terbingkai dari penjarahan Israel. Karena itu, artikel ini menunjukkan bahwa puisi Bithoqoh Hawiyah merupakan bentuk kritik terhadap berbagai peristiwa sosial-politik yang terjadi antara Palestina dan Israel, dan sebagai pengalaman kolektif warga Palestina untuk mengukuhkan kemerdekaan mereka.

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Meddeb, Abdelwahab. "Mahmoud Darwish (1941-2008)." Po&sie 125, no. 3 (2008): 6. http://dx.doi.org/10.3917/poesi.125.0006.

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Joudah, F. "Mahmoud Darwish: Two Poems." Literary Imagination 7, no. 2 (January 1, 2005): 160–61. http://dx.doi.org/10.1093/litimag/7.2.160.

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Khan, Muhammad Ajmal. "Concord between Palestinian Resistance and Literature: A Historico-Literary Analysis of Darwish’s Works." Review of Education, Administration & LAW 4, no. 1 (March 30, 2021): 101–12. http://dx.doi.org/10.47067/real.v4i1.115.

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This research explores the last seventy years of the Palestinian Arabs’ political struggle for their recognition as a sovereign nation-state as reflected in the poetic and prose works of Palestinian national poet, Mahmoud Darwish (1941-2008). Given the relationship between life and literature, the Palestinian situation can be best revealed through their own cultural productions, especially literature. Darwish has utilized his sense of exile and cultural memory to realize the ideals of Palestinian home and its requisite identity. His writings constitute an integral part of Palestinian resistance literature. His works are reflective of a deep aesthetic sense coupled with a profound political understanding of the ground facts within and outside Palestine. He contests the legitimacy of a sustained foreign occupation and at the same time stresses the need of preserving national cultural heritage. He stresses the need of both intellectual and political resistance to the gradual encroachment caused by the colonial settlement regime. The present research has sought to figure out the dimensions of Darwish’s poetic and intellectual contribution to the volatile geopolitical issue of the resistance to a hegemonic control.

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Hamzah, Hussain. "The Image of the Mother in the Poetry of Mahmoud Darwish." Holy Land Studies 8, no. 2 (November 2009): 159–94. http://dx.doi.org/10.3366/e1474947509000535.

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In Arab culture the mother comes closer than any other image to representing womanly perfection. The word ‘mother’ has no negative connotations in that culture, in contradistinction to ‘woman’. A woman who attains the status of mother thus obtains a kind of legitimacy in the male-oriented societies of the Middle East. Palestinian national poet Mahmoud Darwish describes the relationship he had with his mother in childhood as equivocal. He thought that his mother hated him; however, when he was arrested for the first time in Israel, at the age of sixteen, he came to feel that he was her favourite son. As a result of this relationship in childhood Darwish in his poetry gave expression to his lost childhood happiness and used it to compensate for the historical and political circumstances which encompassed him at every stage of his poetic career. The image of the mother in Darwish's poetry can be divided into five parts: his actual mother, the communal mother, mother earth, mother as cultural identity, and mother as poem.

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Dhillon, Balraj. "Subaltern Voices and Perspectives: The Poetry of Mahmoud Darwish." Illumine: Journal of the Centre for Studies in Religion and Society Graduate Students Association 9, no. 1 (July 23, 2011): 45–65. http://dx.doi.org/10.18357/illumine9120107777.

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This paper examines the complex use of poetry, identity, myth, and history as a subaltern method of resistance. Edward Said, in Culture and Imperialism, argues that the culture of postcolonial resistance manifests itself in literature by pulling away from separatist nationalism—and moves toward a literature that is liberating for humans—a more integrative view of society. This article argues that Mahmoud Darwish’s poetry uses identity, myth, and history to emblematize a collective Palestinian voice. By doing this, Darwish becomes the epitome of Said’s discussion—he resists separatist discourses through this poetry but at the same time resists the hegemonic structures of Israel and the West.

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Darwish, Amr, Osama Gamal, and Mohamed Kamal Mesregah. "Reply to the Letter to the Editor of Saxena A and Maffulli N Concerning “Ethibond Suture Granuloma Formation Following Repair of Acute Achilles Tendon Ruptures” by Darwish A, Gamal O, Mesregah MK [J Foot Ankle Surg (Asia Pacific) 2021;8(1):12–15.]." Journal of Foot and Ankle Surgery (Asia Pacific) 8, no. 2 (2021): 92. http://dx.doi.org/10.5005/jp-journals-10040-1152.

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How to cite this article: Darwish A, Gamal O, Mesregah MK. Reply to the Letter to the Editor of Saxena A and Maffulli N Concerning “Ethibond Suture Granuloma Formation Following Repair of Acute Achilles Tendon Ruptures” by Darwish A, Gamal O, Mesregah MK [J Foot Ankle Surg (Asia Pacific) 2021;8(1):12–15.]. J Foot Ankle Surg (Asia Pacific) 2021;8(2):92.

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Assadi, Jamal, and Mahmud Naamneh. "Mahmud Darwish: A Revived Sufi or a Sufi Reviver?" JOURNAL OF ADVANCES IN HUMANITIES 3, no. 1 (August 31, 2014): 152–60. http://dx.doi.org/10.24297/jah.v3i2.5117.

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This paper will discuss the mask of Farid Ed-Din Al-`Aattar as portrayed in the poetry of Mahmud Darwish with the aim of studying the concatenation between the Sufi mask and intertextuality, and between poetry and meta-poetry. To be more specific, this paper will investigate are some questions: Why did Darwish wear the mask of Al-`Attarr? Was it a mere fondness of an influential ancestor? Was it an act of protest against severe spiritual and intellectual deficiency and poverty which modern Arab literature suffers from? Was Al-`Attar simply used as a Sufi mask, or as a signal of inter-textuality? Did Darwish intend to pay homage to an ancient ancestor without whom he could not live his present and lead a successful struggle? In other words, did Darwish intend to resurrect Arab poetry and its revolutionary spirit by using Al-`Attar's heritage? If so, is Al-`Attar a revived Sufi living among us to guide in person the battle for freedom and to promote the level of Arab literature? Or was DarwÄ«sh given life by Al-`Attar, the Sufi saint?

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Al-Ghamdi, Naimah Ahmad, and Hadeel Esam Mukhtar Alarabi. "Modality Construction of the Arabic Identity in Mahmoud Darwish’s Poetry." ELS Journal on Interdisciplinary Studies in Humanities 2, no. 2 (June 1, 2019): 239–52. http://dx.doi.org/10.34050/els-jish.v2i2.6057.

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Identity expression can be seen at either a personal or a social level. It can be shown in several ways, particularly through poetry. Therefore, this paper seeks to examine how identity is expressed modally in Darwish’s famous poem “Identity Card”. Leech’s (1974) theory of “seven types of meaning” is used as the theoretical framework for the study. As the study aims to figure out how modality is constructed when expressing identity in the poem, this linguistic norm has been used to track the mood and attitude of the poets in the composition of the stanzas. The findings of the study revealed that identity is expressed modally in the sensations that Mahmoud Darwish carries for the Palestinian, Arab, National, Cultural, Geographical and Historical identities. His language enacted the way he feels towards these six components of his belongings. Nationalism is seen as an important perspective in the affiliations of Darwish. The national identity is, however, the central concept of the poem. The modality provides a rough picture of what is going on in his mind as he experiencing the loss of land. It also comes in harmony with the general cultural context that contributes to his poetic experiences.

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Tang, Jun. "The Sparkling Flower of Poetry on the Realism of Cruelty: A Chinese Reading in the Pluralism of Palestinian Identity in the Poetry of Mahmoud Darwish." Chinese and Arab Studies 2, no. 2 (December 1, 2022): 151–61. http://dx.doi.org/10.1515/caas-2022-2013.

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Abstract Mahmoud Darwish (1941-2008) is regarded as the Palestinian national poet, and the leader of Palestinian resistance poetry. The Chinese version of his poetry collection A Lover From Palestine was published in 2016, then republished in 2020. In the eyes of Chinese researchers and admirers of poetry and Arabic literature in China, Mahmoud Darwish has long been aware of the Palestinian identity crisis under the Israeli-Palestinian conflict, and endeavored, through his abundant works, to implement a dynamic poetic construction of the Palestinian national cultural identity, in order to unite, to maintain, and to expand Palestinian national identity on one hand, and to document and inherit Palestinian cultural legacy on the other hand. This paper, based on Darwish’s work, tries to explore the poet’s considerations of Palestinian national identity crisis, and his faith of the poetry’s indispensable role to build up the national cultural identity from three aspects: his awareness of the identity crisis, his poetic construction of a multiidentity, and his strategy of defending it. Thus the poet made a great effort to document, defend and expand the Palestinian authentic, multidimensional identity in his immortal work.

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Karmy Bolton, Rodrigo Antonio. "Los Palestinos de América." Interpretatio. Revista de hermenéutica 2, no. 2 (September 11, 2017): 37. http://dx.doi.org/10.19130/irh.2.2.2017.44.

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Los palestinos de América no es tanto un “ensayo” como un “comentario” al poema de Mahmud Darwish El discurso del Indio. El penúltimo ante el hombre blanco escrito en 1992. “Comentario” designa aquí un trabajo de traducción destinado a pensar filosóficamente el escrito poético y a poetizar al mismo discurso filosófico. El “comentario” plantea cuatro problemas que nos ofrece Darwish: a) los “indios” no solo son los habitantes americanos, sino también, los árabes, judíos y palestinos que han sido arrasados por el proceso de la Conquista “blanca”; b) que para Darwish existe una continuidad entre la Conquista americana y el dominio imperial de Medio Oriente; c) que la matriz de dicha continuidad asume un carácter teológico-político de un Dios sacrificial y d) que el poema no pretende “representar” la experiencia, sino constituir un campo de experiencia que resta a la violencia “blanca”.

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Mohammad, Ghada A., and Wafaa A. Abdulaali. "Mahmoud Darwish and Tanure Ojaide." Ars & Humanitas 14, no. 1 (June 23, 2020): 41–53. http://dx.doi.org/10.4312/ars.14.1.41-53.

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Darwish, the spokesman of Palestine, and Ojaide, the voice of Nigeria, are endowed with a faculty for articulating a message, a vision or an opinion for their nations. They are intellectuals essentially tied to the needs of their communities. Both poets belong to countries that witnessed different types of political, economic, and social turmoil. They inspire the oppressed nations to persist in their struggles against the regimes which deprive them of their right to live happily and peacefully. Darwish experienced many displacements that turned him into an embodiment of exile, in both existential and metaphysical terms, beyond the external, and the metaphorical, in his interior relations with self and poetry. His poetry of exile mirrors the socio-political atmosphere under the Israeli occupation. He utilizes poetry as a weapon in his fight to achieve freedom and independence. Similarly, Ojaide’s poetry is engaged with the crises of his homeland, the Niger Delta. He belongs to the generation of Nigerian writers who used their literary productions as a weapon against social injustice and an instrument in resisting imperialism. To him, there is a direct relationship between literature and social institutions. The principal function of literature is to criticize these institutions and eventually bring about desirable changes in society. This study aims at examining Darwish and Ojaide as poets of exile by observing their exilic experiences and investigating certain poems that typically help dive into their external and internal sense of displacement. The study also highlights the concepts of home and homelessness. It brings to light the poets’ deep yearning for a sense of belonging and their insistence on regaining the motherland toward which they show a profound attachment and permanent commitment. They use words as a therapeutic means to compensate for the lack of a physical homeland. A comparison between the two poets is also provided.

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Alcalay, Ammiel. "Who's Afraid of Mahmoud Darwish?" Middle East Report, no. 154 (September 1988): 27. http://dx.doi.org/10.2307/3012173.

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Sakhkhane, Taoufiq. "“Gradual Exile” by Mahmoud Darwish." Journal of Postcolonial Writing 50, no. 2 (March 4, 2014): 230–35. http://dx.doi.org/10.1080/17449855.2014.883181.

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Khalidi, Rashid. "Remembering Mahmud Darwish (1941––2008)." Journal of Palestine Studies 38, no. 1 (2008): 74–77. http://dx.doi.org/10.1525/jps.2008.38.1.74.

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Sarnat, Harvey B. "Husam Zaki Darwish, 1945-2002." Canadian Journal of Neurological Sciences / Journal Canadien des Sciences Neurologiques 29, no. 3 (August 2002): 291–92. http://dx.doi.org/10.1017/s0317167100002109.

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Robinson, Kristina K. "Diaspora: Breakfast with Mahmoud Darwish." Baffler 22 (March 2013): 36–37. http://dx.doi.org/10.1162/bflr_a_00137.

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Ababneh, Mohammad D., Bakri H. Al-Azzam, Baker Bani-Khair, and Abdullah M. Al-Amar. "White as a Symbol of Death and Eternity in Darwish’s and Lorca’s Poetry: A Comparative Study." Journal of Language Teaching and Research 14, no. 4 (July 1, 2023): 1108–16. http://dx.doi.org/10.17507/jltr.1404.29.

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This article investigates the symbolism of white color in the works of the Palestinian poet Mahmoud Darwish and the Spanish Federico Garcia Lorca. The white color is exceptionally employed in their poetry, which is different from its normal symbolism in Arabic and Spanish cultures. In their poetry, the white color is used to symbolize a duality of opposites, death as an end to mortal life and eternity as an infinity phase of afterlife. This paradoxical use of the white color cannot be grasped by readers without considering the poetic context. This color is employed by the two poets to reflect their psychology, feelings, and emotions toward death and eternity. The color white symbolizes death in all forms; the self-death as shown in Darwish’s poem Mural, the death of the other as illustrated in Lament for the Death of a Bullfighter of Lorca, the divine death as in Lorca’s The Martyrdom of Saint Eulalia and the instant death of humans as in Remainder of a Life of Darwish. In addition, the white color is used to symbolize eternity as an afterlife phase. The two poets have exploited the white color to express their interrogation about man’s destiny after death being eternal or not.

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Alshaer, Atef. "Identity in Mahmoud Darwish's Poem 'The dice player'." Middle East Journal of Culture and Communication 4, no. 1 (2011): 90–110. http://dx.doi.org/10.1163/187398611x553670.

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AbstractThis article focuses on Mahmoud Darwish's long and creative journey in the world of poetry in the context of the Palestinian struggle as represented in his great poem 'The dice player'. The Darwishian world as he portrays it in the 'The dice player' is populated with images of existence, resistance and creativity. Darwish's role in modern Arab poetry and culture is widely acknowledged and celebrated. His voice was unique, authentic and in tune with the music of many souls in Palestine, the Arab world and even worldwide. Indeed, Darwish contributed definitively to the construction of Palestinian identity, and the Palestinian people informed and featured prominently in Darwish's poetry. Darwish's 'dice player' is highly praised in Arabic poetry becaues it embodies emblems of intellectual maturity and identity that are personal and plural, worldly and local. It is crafted with an aesthetic balance that ripples with consciousness, art and humanity.

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Ismail Mahmoud Ehtoob, Ismail Mahmoud Ehtoob. "The Sufi Experience in Mahmoud Darwish's Poetry- the Hoopoe poem as a model: التجربة الصوفية في شعر محمود درويش- قصيدة الهدهد أنموذجًا." مجلة العلوم الإنسانية و الإجتماعية 5, no. 11 (September 29, 2021): 18–1. http://dx.doi.org/10.26389/ajsrp.c300121.

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This study is based on the analysis of the influence of Sufi thought on the poet Mahmoud Darwish in the poem "Hoopoe", which is combined with the book of Farid al- Din al- Attar "The Logic of the Bird." It turns out that Darwish turned to the world of brightness in order to take advantage of the mystical terminology of immersion, depth in the image, and difficulty in coding. In fact, his textual relevance in this experiment is not limited to his crucible in the crucible of "bird logic" alone, but extends to all sources of Persian mysticism, and therefore the researcher sought to reveal the references between the "bird logic" and the foundations of Sufi thought, and then monitor their reflections, taking into account Consider that the issue of belonging to the land or shifting from it is one of the most serious issues in the process of Mahmoud Darwish, and the reason is the stark contrast between his revolutionary and Sufi tolerant thought.

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Akter, Sultana Nazia. "Arab in Diaspora and Exile: Reading Edward Said and Mahmoud Darwish Today." Journal of English Language and Literature 9, no. 3 (June 30, 2018): 865–70. http://dx.doi.org/10.17722/jell.v9i3.365.

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This research tries to investigate the intricate politics of diaspora, exile and recent refugee issue all over the world by looking at Edward Said and Mahmoud Darwish’s memoir. Representation of exile by writing memoir, therefore, is significant as it narrates the experience of displacement and homelessness which resonates others. This article examines how Edward Said and Mahmoud Darwish aesthetically respond to exile and displacement both within the borders of their own nation space and outside. I argue that the idea of home and homelessness, place or out of place “in setting without real connection” dominates the mind of every exile; every refugee and exile can be both physical and psychological. In today’s context, both Edward Said and Mahmoud Darwish’s works express the solidarity and legitimation towards the struggle of distinct temporalities. Every de-territorialized community seeks for an identity and their lost homeland is always t heart. This study shows how Edward Said and Mahmoud Darwish’s identity are blurred where they have been living in Exile and Diaspora. That is why; both of them develop a contrapuntal consciousness in understanding their split identity which represents millions of others. From that point of view, Mahmoud Darwish’s memoir Memory for forgetfulness, August, Beirut, 1982, and Edward Said’s Out of Place: A Memoir can be representation of all recent refugee and exile issue.

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Davis, Megan. "Exiled Poetics." Art/Research International: A Transdisciplinary Journal 7, no. 2 (December 4, 2022): 351–68. http://dx.doi.org/10.18432/ari29676.

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Taking up the writings of Louise Glück and Mahmoud Darwish, this essay (re)searches the place and potential of a transnational, Edenic imagination as a vision of belonging amidst the alienation of modern life. Where a transnational poetics rejects ossified borders and boundaries, seeking porosity and imaginative possibilities that work across, around, through, and in-between, an Edenic imagination embraces a consciousness that simultaneously holds holy memory alongside longing for transcendence; so too do these ways of reading and seeing refract in the art-making I attempt as I seek the invisible web of connective, human tissue present in the poetic renderings of Eden by Glück and Darwish. As forces of modernity, colonization, and globalization maim and sever, a transnational, Edenic imagination gives language and location to our thirst for sacred inhabitance. As a method of inquiry, such a reading invites both researcher and reader to dwell in the liminal space of poetics. Guided by the poetic explorations of Eden and exile by Glück and Darwish, I work to consider how poetry itself becomes a hybrid site of belonging. The hope is that, through a deep (re)reading of the verses in which Glück and Darwish employ Eden as a metaphor, poetic inquiry might provide a way for us to more fully traverse categories of life, death, time, longing, space, and culture, exploring the complex matrices of our human experience and pursuit of home.

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Aguilar Gil, Yasnaya Elena. "Poesía en lenguas negadas Una nota sobre la traducción al mixe de un poema de Mahmud Darwish." Interpretatio. Revista de hermenéutica 2, no. 2 (September 11, 2017): 57. http://dx.doi.org/10.19130/irh.2.2.2017.46.

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Gana, N. "War, Poetry, Mourning: Darwish, Adonis, Iraq." Public Culture 22, no. 1 (January 1, 2010): 33–65. http://dx.doi.org/10.1215/08992363-2009-015.

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Booth, Marilyn. "Mahmoud Darwish,If I Were Another." Translation Review 80, no. 1 (September 2010): 72–76. http://dx.doi.org/10.1080/07374836.2010.10524155.

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El Bagoury, Mahmoud. "Mahmoud Darwish and the Quest for a Postcolonial Utopia: Israel's War on Gaza and Reimagining the Colonial Waste Land." Journal of Holy Land and Palestine Studies 23, no. 1 (April 2024): 109–26. http://dx.doi.org/10.3366/hlps.2024.0328.

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This article investigates how Mahmoud Darwish introduces a postcolonial utopian rhetoric whereby Israelis and Palestinians would create a better milieu than what presently exists by adopting new human and universal commonalities and by eliminating what Fredric Jameson labels ‘the root of all evil’. Israel's current colonial project against Gaza as forced displacement can be deconstructed through such rhetoric. Darwish's postcolonial utopia aligns with Bill Ashcroft's appeal to the creation of a better world free from hate, categorisation and the desire for annihilation. Strangely, Gaza's anti-colonial project for national independence has been unjustly categorized and distorted by Zionist Israel that espouses the ‘categorise and colonise’ slogan for imperial expansionism. Darwish's discourse introduces liberal-humanist cosmopolitan aesthetics to foreground a categorisation-free dialogue between Israelis and Palestinians through dissemination of the ethics of negotiation rather than negation. Darwish's rhetoric of postcolonial utopia comprises as such: the human promise; the entanglement of self and other.

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Brenes, Manuel, and Roberto Guzmán. "Mahmud Darwish’s Prose and Poetry as Means of Peaceful Resistance for the Palestinians: The Importance of Re-Writing the History of Palestine." Theory in Action 16, no. 2 (April 30, 2023): 40–78. http://dx.doi.org/10.3798/tia.1937-0237.2309.

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Mahmud Darwish was undoubtedly one of the major Palestinian poets of the peaceful resistance against Israeli aggression, expulsions of Palestinians from their own lands, their houses and their other properties. Darwish also wrote prose, like for example Fi Hadrat al-Ghiyab (In the Presence of Absence) work in which he emphasized the need to re-write the history of Palestine, since Israel has constantly destroyed Palestinian villages, and has expelled the Palestinians from their own towns. Israel has systematically substituted these villages and their names by Hebrew ones. This way Israel conveys the notion that they are Hebrew villages. On the other hand, it is possible to notice that Israel denies the pre-existence of the Palestinian settlements, towns and villages in those places. For Darwish, therefore, there is a clear need to re-write the history of Palestine, in order to show that where there are nowadays many Jewish towns, there were Palestinian villages in the past. [Article copies available for a fee from The Transformative Studies Institute. E-mail address: journal@transformativestudies.org Website: http://www.transformativestudies.org ©2023 by The Transformative Studies Institute. All rights reserved.]

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Faizun, Mochammad, and Andrew Dedita Dwiki Kawa. "Michael Riffaterre's Semiotic Analysis of the Poem 'Ila Ummi' by Mahmoud Darwish." Diwan : Jurnal Bahasa dan Sastra Arab 9, no. 2 (December 31, 2023): 224–41. http://dx.doi.org/10.24252/diwan.v9i2.29399.

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يهدف هذا البحث إلى دراسة القصيدة إلى أمي لمحمود درويش باستخدام نظرية سيميائية لريفاتير. درويش من أحد الشعراء ولد في فلسطين. وقصيدته إلى أمي تحكي عن حنينه لأمه. كلمة الأم في هذه القصيدة يمكن أن نفسرها بالأم البيولوجية التي ولدته والأم باعتبارها المكان الذي نشأ فيه أي وطنه. وهذان المعنيان المحتملان نفسرها من خلفية كتابة القصيدة. ولإثبات هذه الفرضية سيتم فحص القصيدة باستخدام النظرية السيميائية لريفاتير. يستخدم هذا البحث أساليب البحث المكتبي مع تحليل البيانات باستخدام تقنيات الوصفية النوعية. فإن سيميائية لريفاتير تبحث أيضًا عن الهيبوغرامات (Hipogram)، فهي مناسبة لتفسير القصيدة. وتظهر نتائج البحث أن هذه القصيدة هي في الأساس تعبير عن الحزن والشوق والاكتئاب. ويوصف هذا التعبير بأنه حنينه إلى أمه البيولوجية، والتي يمكن تفسيرها أيضاً على أنها وطنه، مدينة ميلاده، أي فلسطين. وفي نفس الوقت فإن نقش هذه القصيدة عندما عاش محمود درويش عام 1965 في أحد السجون في إسرائيل وهيبروغرام من هذه القصيدة هي قصيدة أمي لعبد الله البردوني. Abstract This article explores the poem "Ila Ummi" by Mahmoud Darwish through the lens of Riffaterre's semiotic theory. Darwish, a prominent Palestinian poet, penned this poem expressing his deep longing for his mother. The word "mother" in the poem carries a twofold significance: it refers both to the biological mother who gave birth to him and to the symbolic motherland, Palestine, the place where he was nurtured. This dual interpretation is informed by the socio-historical context surrounding the poem's creation. To substantiate this hypothesis, the poem is analyzed using Riffaterre's semiotic framework. The research methodology employs a desk research approach, with data analysis utilizing qualitative descriptive techniques. Riffaterre's semiotics also seeks to identify hypograms, hidden textual patterns, which enrich the interpretation of the poem. The research findings reveal that the poem serves as a poignant expression of sadness, longing, and profound grief. This sentiment is rooted in Darwish's yearning for his biological mother, which simultaneously echoes his longing for his homeland, Palestine, specifically the city of his birth. It is noteworthy that the poem was written in 1965 while Darwish was imprisoned in Israel, adding a layer of subtext to its emotional resonance. Furthermore, the hypogram identified within the poem is "My Mother" by Abdullah Al-Baradouni, hinting at intertextual influences and shared themes of maternal and patriotic longing.

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Belqes Saif Abdulelah Al-Sowaidi. "The Translatability of Qur’anic Allusions in Darwish’s Poetry: A Comparative Transtextual Approach." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 62, no. 1 (March 15, 2023): 408–27. http://dx.doi.org/10.36473/ujhss.v62i1.1927.

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This study investigates the translation of the Qur’anic allusions in the poetry of Mahmoud Darwish and how transtextuality has shaped his literary work. This study’s analysis of the translation of Mahmoud Darwish’s poem, ʾanā Yūsuf yā ʾabī incorporated Ritva Leppihalme’s (1994) classification of references as well as Julia Kristeva’s (1980) and Gérard Genette’s (1992) transtextuality models to construct a translation transtextual- based model. It is mainly qualitative in nature, which allows the translation to be analyzed based on an eclectic approach. This study concludes that the literal translation of the poem captures only the surface meaning of the original. Therefore, the translation lacks the textual dimensions that connect it to the original text and to the poem’s Qur’anic references.

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LARBI OUIS, Lamisse. "THE SPATIAL STRUCTURE IN THE PRESENCE OF THE DARWISH POETIC TEXTS." International Journal Of Education And Language Studies 03, no. 02 (September 1, 2022): 45–54. http://dx.doi.org/10.47832/2791-9323.3-3.5.

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The poetic arena witnessed the progression of a theme that dared at paces that did not yet know the pace, reluctance, stammering, and the heavy lines of poetic fingertips poured out rattles of words that were not like words, I read in the vault of poems, announcing a victory, emerging from marginal shackles that were sluggish and prolonged, to a louder flight. A theme that became famous in the horizons of the poetic field by the name of the place. The technology of the place took its place in the spaciousness of the poetic milieu, and it was an obsession for the poets’ mood, and they reached the bondmen and the plot of the association with the glosses of their poetic text, how not and the place is the source of existence, the hotbed of the past and the theater of memory, and as we turn the pages of Darwish poems we witness spatial whiffs that departed from the stage of the crouching al-Iknan to the Fattouh edifice. Al-Muton and we feel invoking the place of Abu Al-Attar, the intensity of its frequency, striking the presentation of the verses, in a sublime flight of escape, came to the door of poetry to win Hayam Darwishi, who threw him in his experiences loaded with anthropological charges that bound the memory of the past with the present, so the place rebelled from its physical place into a space that knows no bounds a place, regardless of the place The illusory geographical boundaries to the ecstasy of a long-awaited predecessor, a spatial presence that established its dramatic tendency par excellence and directed its lense he aimed at reality to capture closeup scenes with a clear vision that canceled the camouflage. The poet Mahmoud Darwish tweeted a place in the presence of his poems, why not, and the place is nothing more than having Khalil solitude, Anis solitude, and Anis loneliness. Bahia Lammt between its covers, deep meanings, deep concepts, pulsating with a resounding voice, insisting on his eternal process, which foretold his immortality in the collective memory. Darwish adopted the place in his poetry with an eagerness to evoke it, as we encounter it in his poem right and left, laden with an abundance of interpretations that remained in contact with a delicate line of feeling in which reality fused with imagination, so the place became an elixir on the throne of poetic experiences expressing the hidden feelings, how not, and it is the only refuge and the first affiliation and The established entity must have its memory inevitable in the presence of absence

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Boullata, Issa J. "Nothing More to Lose by Najwan Darwish." World Literature Today 89, no. 2 (2015): 66–67. http://dx.doi.org/10.1353/wlt.2015.0167.

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Kenan, Yael. "“Dialogue in Monologue”: Addressing Darwish in Hebrew." Yearbook of Comparative Literature 61 (December 2017): 320–27. http://dx.doi.org/10.3138/ycl.61.320.

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Journal articles on the topic 'Darwish'

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