Academic literature on the topic 'Middle Eastern literature – Translations into English'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Middle Eastern literature – Translations into English.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Middle Eastern literature – Translations into English"
1
Mahfouz, Safi Mahmoud. "Tragedy in the Arab Theatre: the Neglected Genre." New Theatre Quarterly 27, no. 4 (2011): 368–85. http://dx.doi.org/10.1017/s0266464x11000686.
Full textAbstract:
In this article Safi Mahmoud Mahfouz investigates the current state of tragedy in the Arab theatre and suggests some of the reasons behind the lack of an authentic Arabic tragedy developed from the Aristotelian tradition. Through analyses of the few translations and adaptations into Arabic of Shakespearean and classical tragedy, he both confirms and questions the claims of non-Arabic scholars that ‘the Arab mind is incapable of producing tragedy’. While the wider theatre community has been introduced to a handful of the Arab world's most prominent dramatists in translation, many are still largely unknown and none has a claim to be a tragedian. Academic studies of Arabic tragedy are insubstantial, while tragedy, in the classical sense, plays a very minor role in Arab drama, the tendency of Arab dramatists being towards comedy or melodrama. Safi Mahmoud Mahfouz is Head of the Department of English Language and Literature at UNRWA University, Amman, Jordan. His research interests include American Literature, Arabic and Middle Eastern literatures, modern and contemporary drama, contemporary poetics, comparative literature, and synchronous and asynchronous instructional technology.
2
Chaudhuri, Sukanta. "Shakespeare Comes to Bengal." Multicultural Shakespeare: Translation, Appropriation and Performance 27, no. 42 (2023): 31–46. http://dx.doi.org/10.18778/2083-8530.27.03.
Full textAbstract:
India has the longest engagement with Shakespeare of any non-Western country. In the eastern Indian region of Bengal, contact with Shakespeare began in the eighteenth century. His plays were read and acted in newly established English schools, and performed professionally in new English theatres. A paradigm shift came with the foundation of the Hindu College in Calcutta in 1817. Shakespeare featured largely in this new ‘English education’, taught first by Englishmen and, from the start of the twentieth century, by a distinguished line of Indian scholars. Simultaneously, the Shakespearean model melded with traditional Bengali popular drama to create a new professional urban Bengali theatre. The close interaction between page and stage also evinced a certain tension. The highly indigenized theatre assimilated Shakespeare in a varied synthesis, while academic interest focused increasingly on Shakespeare’s own text.
 Beyond the theatre and the classroom, Shakespeare reached out to a wider public, largely as a read rather than performed text. He was widely read in translation, most often in prose versions and loose adaptations. His readership extended to women, and to people outside the city who could not visit the theatre. Thus Shakespeare became part of the shared heritage of the entire educated middle class. Bengali literature since the late nineteenth century testifies strongly to this trend, often inducing a comparison with the Sanskrit dramatist Kalidasa. Most importantly, Shakespeare became part of the common currency of cultural and intellectual exchange.
3
ROZHCHENKO, Zoya, and Amirreza MOLLAAKHMADI-DEKHAHI. "THE GREAT POET OF IRANIAN MODERNITY SIMIN BEHBAHANI AND SOME INTERPRETING PROBLEMS IN THE TRANSLATION OF PERSIAN GHAZAL INTO INDO-EUROPEAN LANGUAGES." Folia Philologica, no. 2 (2021): 61–74. http://dx.doi.org/10.17721/folia.philologica/2021/2/6.
Full textAbstract:
Simin Behbahani is the most outstanding contemporary Iranian poet famous for her participation in political actions for civil freedoms such as women’s rights, against cruel forms of punishment and against Iran-Iraq war. She participated in the movement of mothers of political prisoners as well. But she became more famous in Iran for her lyrical poetry written in a traditional form of ghazal and not for her political activities. The aim of the article is to make the analyses of Simin Behbahani’s poetry and to consider the problems of its translation into different European languages. Such problems can be explained by the different ways of poetry in the eastern and western cultures: 1) the problem of keeping the metrics of ghazal; 2) the problem of keeping the sense of ghazal. Ghazal as the form originated in the Arabic literature was spread through the Near and Middle East culture and it was not known in Europe until 19th century. From the very beginning ghazal was performed against the backdrop of playing stringed musical instruments. According to the last researchers, ghazal became a base for the development of European sonnet. The authors of this article make a short review of the rhythmical features of ghazal and define its main components, such as bayt, matlaa, radif and others, that should be present at the translated text. It is important to keep these components in verse while translating because rhythmical characteristics of the ghazal are primary relatively to its sense. Scientific novelty. Simin Behbahani is known as a pioneer, who combined in her poetry genres and style of qasida and ghazal. This article deals with the translation of the ghazals by Simin Behbahani into different European languages, such as English and Romanian. Various poems by Simin Behbahani were translated by several interpreters who based their work on different reproduction principles of the original text. Metric and rhythmic of Persian verses were not kept even by the best translators into English. Farzane Milani used in her adaptation the free verse (vers libre) which had become the national form in the English poetry of the 20th century. This choise is good for translator who was born in Iran and now works at the University of Virinia. She made Persian verse understandable for native English speaker and focused at the main substance of poetry. In conclusion, Romanian translator reproduced metric and rhythmic features of the English translation but not of the Persian original. That’s why Ukrainian translators must take in account such experience and use the original text for reading.
4
ROZHCHENKO, Zoya, and Amirreza MOLLAAKHMADI-DEKHAHI. "THE GREAT POET OF IRANIAN MODERNITY SIMIN BEHBAHANI AND SOME INTERPRETING PROBLEMS IN THE TRANSLATION OF PERSIAN GHAZAL INTO INDO-EUROPEAN LANGUAGES." Folia Philologica, no. 2 (2021): 61–74. http://dx.doi.org/10.17721/folia.philologica/2021/2/6.
Full textAbstract:
Simin Behbahani is the most outstanding contemporary Iranian poet famous for her participation in political actions for civil freedoms such as women’s rights, against cruel forms of punishment and against Iran-Iraq war. She participated in the movement of mothers of political prisoners as well. But she became more famous in Iran for her lyrical poetry written in a traditional form of ghazal and not for her political activities. The aim of the article is to make the analyses of Simin Behbahani’s poetry and to consider the problems of its translation into different European languages. Such problems can be explained by the different ways of poetry in the eastern and western cultures: 1) the problem of keeping the metrics of ghazal; 2) the problem of keeping the sense of ghazal. Ghazal as the form originated in the Arabic literature was spread through the Near and Middle East culture and it was not known in Europe until 19th century. From the very beginning ghazal was performed against the backdrop of playing stringed musical instruments. According to the last researchers, ghazal became a base for the development of European sonnet. The authors of this article make a short review of the rhythmical features of ghazal and define its main components, such as bayt, matlaa, radif and others, that should be present at the translated text. It is important to keep these components in verse while translating because rhythmical characteristics of the ghazal are primary relatively to its sense. Scientific novelty. Simin Behbahani is known as a pioneer, who combined in her poetry genres and style of qasida and ghazal. This article deals with the translation of the ghazals by Simin Behbahani into different European languages, such as English and Romanian. Various poems by Simin Behbahani were translated by several interpreters who based their work on different reproduction principles of the original text. Metric and rhythmic of Persian verses were not kept even by the best translators into English. Farzane Milani used in her adaptation the free verse (vers libre) which had become the national form in the English poetry of the 20th century. This choise is good for translator who was born in Iran and now works at the University of Virinia. She made Persian verse understandable for native English speaker and focused at the main substance of poetry. In conclusion, Romanian translator reproduced metric and rhythmic features of the English translation but not of the Persian original. That’s why Ukrainian translators must take in account such experience and use the original text for reading.
5
Orsini, Francesca. "From Eastern Love to Eastern Song: Re-translating Asian Poetry." Comparative Critical Studies 17, no. 2 (2020): 183–203. http://dx.doi.org/10.3366/ccs.2020.0358.
Full textAbstract:
This essay explores the loop of translations and re-translations of ‘Eastern poetry’ from Asia into Europe and back into (South) Asia at the hands of ‘Oriental translators’, translators of poetry who typically used existing translations as their original texts for their ambitious and voluminous enterprises. If ‘Eastern’ stood in all cases for a kind of exotic (in the etymological sense of ‘from the outside’) poetic exploration, for Adolphe Thalasso in French and E. Powys Mathers in English, Eastern love poetry could shade into prurient ethno-eroticism. For the Urdu poet and translator Miraji, instead, what counted in Eastern poetry was oral, rhythmic and visual richness – song.
6
Abdullayeva, Elnara. "ENGLISH TRANSLATIONS OF MEDIEVAL CLASSICAL AZERBAIJAN LITERATURE." Scientific Journal of Polonia University 54, no. 5 (2022): 8–15. http://dx.doi.org/10.23856/5401.
Full textAbstract:
Summary After the restoration of state independence in Azerbaijan, within 20–25 years, a rich translation literature covering various types and genres of our national word art was created in English. At the same time, books and monographs, literary-critical and theoretical-scientific articles were written in English about Azerbaijani literature. Many of the publications in English were published in the USA, Great Britain and other foreign countries, and some of them were published in Baku. At that time, it was impossible to fully cover the translation literature created by translating from our mother tongue within the framework of one article. The translated works we reviewed show that our literary examples translated from our mother tongue into English have been successfully presented. However, each of the translations we talked about in the form of a summary deserves a wider analysis and study from the point of view of translation studies. The purpose of the article. It is a comprehensive study of the relations of Azerbaijani literature in the context of world literature. Methodology and methods used. The methodological basis of the article is based on historical-comparative, comparative-typological, analytical-critical methods of approach. In the context of Azerbaijani-Western scientific-aesthetic thought, as well as in the level of scientific-theoretical parallels of Azerbaijani-English relations in the medieval period and XIX– XX centuries, in 1991–2011, the translation of examples of modern Azerbaijani literature into English and the study of these works in English-language literary studies were dedicated. The main scientific innovation put forward. In the presented article, the author made innovations in the field of translation studies and scientific-theoretical aspects of the problems of studying Azerbaijani literature in the English-language literary studies of 1991–2011. Here, the materials have been filtered by literary and critical analysis, and the adequacy of the same theory of translation has been evaluated. The scientific novelty of the research was also developed by the analysis of the problems of studying Azerbaijani literature in Englishlanguage literary studies. The following result was obtained in the article: Summarizing our analysis and research on the subject, we come to the following conclusions. 1) There is a history of approximately four hundred years of translation of a number of examples of classical and modern Azerbaijani literature into English and studying them in English-language literary studies. 2) Many examples of Azerbaijani literature in different types and genres have been translated into English and published separately as books. So, a rich material has been created for the study and research of the translated literature of the mentioned period. 3) Classical Azerbaijani literature, at different stages of historical development, has more or less established relations with a number of Eastern and Western literatures through more translations. The research conducted on existing translations has led to further expansion of our relations. Classical masterpieces of Azerbaijani artistic thinking have been the focus of English literary thought for many centuries, and hundreds of our ancient historical manuscripts have become rare exhibits of individual libraries, scientific centers, and museums of Great Britain. There is no doubt that the works of our rich literary treasure – especially the works of Nizami, Nasimi, Fuzuli, Vagif, Akhundzade, Mirza Jalil, Sabir, Jabbarli, Vurgun, Anar, Elchin have created a high aesthetic appeal in English literary circles, have given impetus to the translation of their works into English and the study of their creativity in the international world.
7
Gibbs, Tanya. "Seeking economic cyber security: a Middle Eastern example." Journal of Money Laundering Control 23, no. 2 (2020): 493–507. http://dx.doi.org/10.1108/jmlc-09-2019-0076.
Full textAbstract:
Purpose The transformation of the United Arab Emirates (UAE) into an important global economic player has been accompanied by digitalization that has also left it at a risk to cybercrime. Concurrent with the rise in technology use, the UAE fast became one of the most targeted countries in the world. The purpose of this paper is to discuss how the UAE has tried to cope with accelerating levels of cyber threat using legislative and regulatory efforts as well as public- and private-sector initiatives meant to raise cybersecurity awareness. Design/methodology/approach The paper surveys the UAE’s cybersecurity legislative, regulatory and educational initiatives from 2003 to 2019. Findings Because the human factor still remains the number one reason for security breaches, robust cyber laws alone are not enough to protect against cyber threats. Building public awareness and educating internet users about cyber risks and safety have become essential components of the UAE's efforts in building a more secure cyber environment for the country. Research limitations/implications The paper relies on English-language translations of primary sources (laws) originally in Arabic, as well as English-language studies from local media. This should not be considered a problem, as English is established as the language of business and commerce in the UAE. Practical implications The paper provides a detailed overview of the country’s cybersecurity environment to guide and aide practitioners with risk assessment and legal and regulatory compliance. Originality/value The paper presents a comprehensive overview of the UAE’s cybersecurity legislative, regulatory and educational environment. It also surveys government and private sector initiatives directed in protecting the country’s cyberspace.
8
Baloyan, Varduhi. "Translations of English Children’s Literature in the Armenian Periodicals in India." Translation Studies: Theory and Practice 2, no. 2 (4) (2022): 49–56. http://dx.doi.org/10.46991/tstp/2022.2.2.048.
Full textAbstract:
Translations had a significant role both in the popularization of Eastern Armenian and the establishment of literary and cultural ties between the Armenian community and the British. The purpose was to further the international outlook, understanding and emotional experience of foreign environments and cultures, on the one hand, next was to make more literature available to children and to contribute to the development of the readers’ set of values. 
 It should be noted that literary relations first of all contributed to the emergence of bilingual dictionaries. Shmavonian published an English-Armenian dictionary which was intended “for the entertainment of studious children” (Mkhitaryan 2016:81).
 19th century was marked by social political changes and created conditions for the development of new Armenian literature which was so important for shaping the mind set and behavior of the Armenian children. Thus, Armenian translators translated literature in connection with social and economic forces.
 The Armenian printing business in India operated for a century and published almost 200 books, booklets and more than ten periodicals. In this article some translations published in Azdarar (The Intelligencer, 1794, Madras), Azgaser (the Patriot, 1845, Calcutta), Azgaser Araratian (Patriot Araratian, 1848. Calcutta), and Hayeli Kalkatian (Mirror of Calcutta, 1820, Calcutta) are examined.
9
Byrne, Aisling. "From Hólar to Lisbon: Middle English Literature in Medieval Translation, c.1286–c.1550." Review of English Studies 71, no. 300 (2019): 433–59. http://dx.doi.org/10.1093/res/hgz085.
Full textAbstract:
Abstract This paper offers the first survey of evidence for the translation of Middle English literature beyond the English-speaking world in the medieval period. It identifies and discusses translations in five vernaculars: Welsh, Irish, Old Norse-Icelandic, Dutch, and Portuguese. The paper examines the contexts in which such translation took place and considers the role played by colonial, dynastic, trading, and ecclesiastical networks in the transmission of these works. It argues that English is in the curious position of being a vernacular with a reasonable international reach in translation, but often with relatively low literary and cultural prestige. It is evident that most texts translated from English in this period are works which themselves are based on sources in other languages, and it seems probable that English-language texts are often convenient intermediaries for courtly or devotional works more usually transmitted in French or Latin.
10
Turk, Thomas N. "Search and Rescue: An Annotated Checklist of Translations of Gray's Elegy." Translation and Literature 22, no. 1 (2013): 45–73. http://dx.doi.org/10.3366/tal.2013.0099.
Full textAbstract:
This is a checklist of the more than 260 known published translations of Gray's poem, without restriction as to language or period, with supplementary information on the trasnslators, where their work may be found, etc. Forty different languages are involved, with Latin (44 translations), French (39), and Italian (28) numerically leading the list. Known translations peak in the Romantic era and continue to the present day. It has been claimed that all English and American poets owe something to the Elegy, but it has also been a singular influence on other languages, especially Indian, Japanese, and the languages of Eastern Europe.
Dissertations / Theses on the topic "Middle Eastern literature – Translations into English"
1
Hackenburg, Clint R. "An Arabic-to-English Translation of the Religious Debate between the Nestorian Patriarch Timothy I and the 'Abbāsid Caliph al-Mahdī." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245399770.
Full text
2
Alzahrani, Mohammed Omar. "THE READER'S TURN: THE PACKAGING AND RECEPTION OF CONTEMPORARY ARABIC LITERATURE IN ARABIC AND IN ENGLISH TRANSLATION." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1606425465610702.
Full text
3
Alblooshi, Fatima Khalifa. "The Role of Paratextual Elements in the Reception of Translation of Arabic Novels into English." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1617719565200925.
Full text
4
Clark, Allen Stanley. "The Crisis of Translation in the Western Media: A Critical Discourse Analysis of al-Qācida Communiqués." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1257195409.
Full text
5
Mattar, Karim. "The Middle Eastern novel in English : literary transnationalism after Orientalism." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:dae20213-59d9-4889-9cc2-e64c66668115.
Full textAbstract:
This thesis focuses on the production, circulation, and reception of contemporary Middle Eastern literatures in Britain and the United States. I'm particularly interested in the novel form, and in assessing how both translated Middle Eastern novels and anglophone novels by migrant writers engage with dominant Anglo-American discourses of politics, gender, and religion in the region. In negotiation with Edward Said's Orientalism, I develop a materialist postcolonial critical model to analyse how such discourses undergird publishing and marketing strategies towards novels by Ibrahim Nasrallah, Hisham Matar, Yasmin Crowther, Orhan Pamuk, and others. I argue that as Middle Eastern novels travel, whether via translation or authorial acts of migration, across cultures and languages, they are reshaped according to dominant audience expectations. But, I continue, they also retain traces of their source cultures which must be brought to the surface in critical readings. Drawing on the work of David Damrosch, Pascale Casanova, Franco Moretti, and Aamir Mufti, I thus develop a reading practice, what I call 'post-Orientalist comparatism', that allows me to read past the domesticating strategies framing these novels and to newly reveal their more local, thus potentially transgressive, takes on Middle Eastern socio-political issues. I cumulatively suggest that Middle Eastern novels in English formally embody a dialectic of 'East' and 'West', of the local and the global, thus have important implications for our understanding of the English and world novel traditions. I conceive of my thesis as a dual intervention into the fields of postcolonial studies and world literature. I am primarily concerned to reorient postcolonial theory around questions of Middle Eastern literary and cultural production, areas that have been traditionally neglected due to an entrenched, but unsustainable, anglophone bias. To do so, I turn to the work of Edward Said, and rethink the foundational problematic of Orientalism with an eye towards political, material, and cultural developments since 1978, the year in which Orientalism was first published, and towards the unique transnational positionality of the genre of the Middle Eastern novel in English. I also turn to theorists of world literature such as David Damrosch in order to develop a reading practice thoroughly attentive to issues of circulation, but, along the lines set out by Aamir Mufti, seek to interrogate their work for its occlusions of the impact of orientalist discourse in the historical development of the category of 'World Literature'. My thesis thus not only draws on postcolonial and world literary theory to analyse its object, the Middle Eastern novel in English, but also demonstrates how proper attention to this object necessitates a theoretical recalibration of these fields.
6
Jenigar, Andrea Rita. "Nahnh Laysna Ajanib [We Are Not Foreigners]: Bridging Cultural Gaps Through Middle Eastern Young Adult Literature in the Secondary Language Arts Classroom." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429880989.
Full text
7
Shabangu, Mohammad. "In search of the comprador: self-exoticisation in selected texts from the South Asian and Middle Eastern diasporas." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017770.
Full textAbstract:
This thesis is concerned with transnational literature and writers of the Middle Eastern and South Asian diasporas. It argues that the diasporic position of the authors enables their roles as comprador subjects. The thesis maintains that the figure of the comprador is always acted upon by its ontological predisposition, so that diasporic positionality often involves a single subject which straddles and speaks from two or more different subject positions. Comprador authors can be said to be co-opted by Western metropolitan publishing companies who stand to benefit by marketing the apparent marginality of the homelands about which these authors write. The thesis therefore proceeds from the notion that such a diasporic position is the paradoxical condition of the transnational subject or writer. I submit that there is, to some degree, a questionable element in the common political and cultural suggestions that emerge upon closer evaluation of diasporic literature. Indeed, a charge of complicity has been levelled against authors who write, apparently, to service two distinct entities – the wish to speak on behalf of a minority collective, as well as the imperial ‘centre’ which is the intended interlocutor of the comprador author. However, it is this difference, the implied otherness or marginality of the outsider within, which I argue is sometimes used by diasporic writers as a way of articulating with ‘authenticity’ the cultures and politics of their erstwhile localities. This thesis is concerned, therefore, with the representation of ‘the East’ in four novels by diasporic, specifically comprador writers, namely Salman Rushdie’s Midnight’s Children, Hanif Kureishi’s The Buddha of Suburbia, and Khaled Hosseini’s The Kite Runner and A Thousand Splendid Suns. I suggest that the ‘third-world’ and transnational literature can also be a selling point for the transnational subject, whose representations may at times pander to preconceived ideas about ‘the Orient’ and its people. As an illustration of this double-bind, I offer a close reading of all the novels to suggest that on the one hand, the comprador author writes within the paradigm of the ‘writing back’ movement, as a counter-discourse to the Orientalist representations of the homeland. However, the corollary is that such an attempt to ‘write back’, in a sense, re-inscribes the very discourse it wishes to subvert, especially because the literature is aimed at a ‘Western’ audience. Moreover, the template of the comprador could be used to explain how a transnational post-9/11 text from an Afghan-American, for instance, may be put to the service of the imperial machine, and read, therefore, as a supporting document to the U.S. policy on Afghanistan.
8
AlAjmi, Alanoud Badah. "Uncharted Waters." University of Dayton / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1311263424.
Full text
9
Mattawa, Khaled. "When the Poet Is a Stranger: Poetry and Agency in Tagore, Walcott, and Darwish." Diss., 2009. http://hdl.handle.net/10161/1289.
Full textAbstract:
<p>ABSTRACT</p><p>This study is concerned with the process of the making of a postcolonial poet persona where the poet is addressing multiple audiences and is trying to speak for, and speak to, multiple constituencies through poetry. The poets examined here, Rabindranath Tagore, Derek Walcott, and Mahmoud Darwish--arguably among the best-known poets of the modern world--sought to be heard by various sensibilities and succeeded in reaching them. Outside the fold of the Western Metropolitan world, they as a trio have much to teach us about how poets living under three different phases of colonial hegemony (colonial India, postcolonial West Indies, and neocolonial Palestine/Israel) manage to speak. Their presence in their poetry, or the pressure their life stories and their poet personae, becomes an essential part of reading their work. Desiring to speak themselves, the poets chosen here have necessarily had to speak for their regions, peoples and cultures, alternately celebrating and resisting the burden of representation, imposed on them by both their own people and by the outsiders who receive them. How does a postcolonial poet address changing contingencies--personal, social and political-- while continuing to hold the attention of a global readership? How have their formal and esthetic approaches shifted as they responded to contingencies and as they attempted intervene in local and global conversations regarding the fate and future of their societies? An examination of the genre of poetry and postcolonial agency, this study addresses these and other related questions as it looks at the emergence and evolution of Tagore, Walcott, and Darwish as postcolonial world poets.</p><br>Dissertation
10
(8850251), Ghaleb Alomaish. "“DOUBLE REFRACTION”: IMAGE PROJECTION AND PERCEPTION IN SAUDI-AMERICAN CONTEXTS: A COMPARATIVE STUDY." Thesis, 2020.
Find full textAbstract:
<p>This dissertation aims to create a scholarly space where a seventy-five-year-old “special relationship” (1945-2020) between the Kingdom of Saudi Arabia and the United States is examined from an interdisciplinary comparativist perspective. I posit that a comparative study of Saudi and American fiction goes beyond the limitedness of global geopolitics and proves to uncover some new literary, sociocultural, and historical dimensions of this long history, while shedding some light on others. Saudi writers creatively challenge the inherently static and monolithic image of Saudi Arabia, its culture and people in the West. They also simultaneously unsettle the notion of homogeneity and enable us to gain new insight into self-perception within the local Saudi context by offering a wide scope of genuine engagements with distinctive themes ranging from spatiality, identity, ethnicity, and gender to slavery, religiosity and (post)modernity. On the other side, American authors still show some signs of ambivalence towards the depiction of the Saudi (Muslim/Arab) Other, but they nonetheless also demonstrate serious effort to emancipate their representations from the confining legacy of (neo)Orientalist discourse and oil politics by tackling the concepts of race, alterity, hegemony, radicalism, nomadism and (un)belonging.</p>
Books on the topic "Middle Eastern literature – Translations into English"
1
Khadra, Jayyusi Salma, ed. Anthology of modern Palestinian literature. Columbia University Press, 1992.
Find full text
2
Khadra, Jayyusi Salma, ed. Anthology of modern Palestinian literature. Columbia University Press, 1992.
Find full text
4
Thacher, Jean-Louise N. An annotated partial bibliography of contemporary Middle Eastern and North African poetry, prose, drama, and folktales. 4th ed. Published by the Middle East Outreach Council, 1991.
Find full text
5
Bar-Yosef, Ḥamuṭal. Night, morning: Selected poems of Hamutal Bar-Yosef. Sheep Meadow Press, 2007.
Find full text
6
Miriam, Cooke, and Rustomji-Kerns Roshni, eds. Blood into ink: South Asian and Middle Eastern women write war. Westview Press, 1994.
Find full text
7
Shihab, Nye Naomi, ed. The space between our footsteps: Poems and paintings from the Middle East. Simon & Schuster Books for Young Readers, 1998.
Find full text
9
Nayef, al-Kalali, and Kavchak Lisa, eds. Republic of love: Selected poems in English and Arabic. K. Paul, 2003.
Find full text
10
Xälilov, Sälahäddin. Şärq ruhunun qärb häyatı: Aida İmanquliyevanın yaradıcılıq axtarışlarının izi ile. Şärq-Qärb, 2009.
Find full textBook chapters on the topic "Middle Eastern literature – Translations into English"
1
"Middle Eastern and Oriental Literature." In The Oxford History of Literary Translation in English, edited by Stuart Gillespie and David Hopkins. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199246229.003.0009.
Full textAbstract:
Abstract This chapter yokes together, perhaps not without violence, three rather heterogeneous areas: two great collections of oriental texts—the Arabian Nights and the Bible—and the diverse work of the polymath who, arriving on the scene well after these books had made their mark, drove forward a new phase in orientalism and oriental translation. The beginnings of an academic interest in oriental languages and literatures in Britain can be traced back to the early seventeenth century; there were both religious and secular reasons for this.
2
Zholudeva, Liubov I. "An Approach to Reassessing Medieval Translations Typology: Translations and Adaptations of Boethius’ “Consolatio Philosophiae” into Modern European Languages." In Translation, Interpretation, Commentary in the Eastern and Western Literature. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0710-6-78-89.
Full textAbstract:
The paper focuses how approaches to translation evolved in the late Middle Ages. The author uses the example of 13–14 cc. English, French and Italian translations of S. Boethius’ “The Consolation of Philosophy” to show how the idea of adaptation gradually changes as the translators become more and more keen on rendering the source text’s meaning (or, if possible, both its meaning and form) more accurately. After confronting a number of translations of “The consolation of philosophy” the author proposes a pragmatic criterion for the typology of medieval translations. Medieval translated texts can be placed inside a continuum in which one pole is the translator’s focus on following the original text as closely as possible, and the other pole is focusing on adapting the text for a given target group, with its needs and expectations. Further development of translation techniques and approaches took into account the experience of Late Medieval translators: it has become necessary both to follow the original text closely and to adapt the language and style of translation to the expectations of modern audience.
3
Larrington, Carolyne. "Words, taxonomies and translations." In Approaches to emotion in Middle English literature. Manchester University Press, 2024. http://dx.doi.org/10.7765/9781526176141.00007.
Full text
4
Nenarokova, Maria R. "The “Winter Morning” by Alexander Pushkin: the Tradition of English Translation." In Translation, Interpretation, Commentary in the Eastern and Western Literature. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0710-6-209-244.
Full textAbstract:
The article focuses on the problem of reception of translations of Russian classical poetry in the English-speaking culture. The object of study is the poem “The Winter Morning” by A.S. Pushkin, translated into English from 1888 to 2016. The subject of study was the particularities of conveying the content of Pushkin’s poem in English translations. The material for the research was twelve translations of Pushkin’s poem “The Winter Morning”, made by both English and Russian native speakers. The main objective of the research is to determine, with the help of the close reading method, what difficulties translators of Russian poetry may face while translating the poem in question. The study showed that translation of culturally specific vocabulary may become a problem for translators, since some of the realia are typical of Russian everyday life. Sometimes translators introduce into their texts the realia that are lacking in the original. The “key words” of Russian culture are almost impossible to translate due to the differences in the cultural codes of Russia and the English-speaking world. Due to the abundance and variety of texts, close reading of Pushkin’s translations can serve as an excellent training for translators.
5
Mills, Simon. "The English Reformation in an Eastern Key." In A Commerce of Knowledge. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198840336.003.0008.
Full textAbstract:
Chapter 7 explores the attempts of a series of chaplains and merchants to foster links with the Arabic-speaking Christian churches in the Ottoman Empire. It begins with the Arabic translations of liturgical, catechetical, and apologetic literature by Pococke, setting Pococke’s work alongside the more substantial Roman Catholic missions in Ottoman Syria, and documenting Robert Huntington’s attempts to distribute books in Aleppo and beyond. The chapter then traces the chaplains’ initiatives in charitable work among the Eastern Christians, drawing on reports in Robert Frampton’s letters to two English archbishops. The second part of the chapter reconstructs the more ambitious project of the Society for Promoting Christian Knowledge to produce and to distribute Arabic translations of the Psalms and the New Testament. It uncovers the essential contribution of two travelling Syrians: Solomon Negri and Theocharis Dadichi. Yet the most influential figure behind the SPCK’s work in Aleppo was a merchant called Rowland Sherman, whose activities as a translator and friendship with two Melkite patriarchs of Antioch – Athanasius III Dabbās and Sylvester of Antioch – the final part of the chapter illuminates.
6
Sanders, Andrew. "Old English Literature." In The Short Oxford History of English Literature. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198711575.003.0002.
Full textAbstract:
Abstract The term ‘Old English’ was invented as a patriotic and philological convenience. The more familiar term ‘Anglo-Saxon’ has a far older pedigree. ‘Old English’ implied that there was a cultural continuity between the England of the sixth century and the England of the nineteenth century (when German, and later British, philologists determined that there had been phases in the development of the English language which they described as ‘Old’, ‘Middle’, and ‘Modern’). ‘Anglo-Saxon’ had, on the other hand, come to suggest a culture distinct from that of modern England, one which might be pejoratively linked to the overtones of’ Sassenach’ (Saxon), a word long thrown back by angry Celts at English invaders and English cultural imperialists. In 1871 Henry Sweet, the pioneer Oxford phonetician and Anglicist, insisted in his edition of one of King Alfred’s translations that he was going to use ‘Old English’ to denote ‘the unmixed, inflectional state of the English language, commonly known by the barbarous and unmeaning title of “Anglo-Saxon”‘. A thousand years earlier, King Alfred himself had referred to the tongue which he spoke and in which he wrote as ‘englisc’. It was the language of the people he ruled, the inhabitants of Wessex who formed part of a larger English nation. That nation, which occupied most of the fertile arable land in the southern part of the island of Britain, was united by its Christian religion, by its traditions, and by a form of speech which, despite wide regional varieties of dialect, was already distinct from the ‘Saxon’ of the continental Germans. From the thirteenth century onwards, however, Alfred’s ‘English’ gradually became incomprehensible to the vast majority of the English-speaking descendants of those same Anglo Saxons. Scholars and divines of the Renaissance period may have revived interest in the study of Old English texts in the hope of proving that England had traditions in Church and State which distinguished it from the rest of Europe.
7
France, Peter, and Kenneth Haynes. "Literatures of Medieval and Modern Europe." In The Oxford History Of Literary Translation In English. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199246236.003.0006.
Full textAbstract:
Abstract In the eighteenth century the great majority of translations were from the classical languages and from the modern Romance languages, above all French. While these continued to bulk large, the period covered by the present volume saw an increasing interest in the other literatures of Europe, from modern literature to the writings of the Middle Ages and the folk literature of countries from Portugal to Serbia.
8
Robertson, Ritchie. "3. Classical art and world literature." In Goethe: A Very Short Introduction. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780199689255.003.0003.
Full textAbstract:
‘Classical art and world literature’ shows that Goethe’s knowledge of art and literature was wide-ranging and explains that, in both, he came to believe that the works produced by the ancient Greeks formed a standard that could never be surpassed. In art, he explored the classical tradition that descended via the Renaissance to the neoclassicism of the 18th century. In literature, his taste was much wider. He read easily in French, Italian, English, Latin, and Greek, and in his later life he eagerly read translations of Asian texts—novels from China, epics and plays from India, and the Arabic and Persian poetry that would inspire his great lyrical collection, the West-östlicher Divan (West-Eastern Divan).
9
Bubb, Alexander. "A Century of Translation." In Asian Classics on the Victorian Bookshelf. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198866275.003.0001.
Full textAbstract:
Abstract This chapter gives a chronological account of English orientalism from the late eighteenth to the late nineteenth centuries, identifying which key texts are translated, and at what time, into English from Arabic, Persian, Sanskrit, Hindi, Chinese, and Japanese. It proposes that in the middle of the nineteenth century a new kind of translation begins to emerge, targeted not at specialists but at the general reader, and that this trend is epitomized by an anthology published in 1845, the Rose Garden of Persia by Louisa S. Costello. The chapter defines two opposed terms that recur throughout the rest of the book, ‘popular translation’ and ‘scholarly translation’, and charts the rise of the ‘popularizer’ of Asian literature. It concludes by demonstrating how, by the early twentieth century, there existed an ‘open market’ in translations in which readers could choose between two, three, or as many as a dozen alternative translations of a given Asian text.
10
Bohlman, Philip V. "Singing the Sacred Body." In Song Loves the Masses. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520234949.003.0006.
Full textAbstract:
With his three-chapter book, Lieder der Liebe (Songs of Love), Herder not only contributed to the long tradition of translating the biblical Song of Songs (Hebrew, Shir ha-shirim), but published critical new perspectives on the confluence of religion and literature with an aesthetic formed from embodiment and sexuality. Herder combines earlier translations, especially those in the Middle High German repertories of medieval minnesingers and from the sixteenth-century Martin Luther Bible, and weaves his own paraphrases of the songs into them, emphasizing the beauty and sensuality of the biblical poetry. The English translation in chapter 3 of Song Loves the Masses captures what Herder called “the spirit of Hebrew poesy” and the ways it engenders a modern musical aesthetic.
Conference papers on the topic "Middle Eastern literature – Translations into English"
1
Storozhuk, Alexander. "PU SONGLING’S LITERARY HERITAGE AND ITS TRANSLATIONS INTO RUSSIAN." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.06.
Full textAbstract:
While speaking of Pu Songling’s (1640–1715) impact on the Chinese literature one can’t help mentioning his short stories about fox turnskins and other wonders, known in English as Strange Tales from the Chinese Studio (Liao Zhai zhi yi). Commonly here the general survey concludes, and the main efforts are directed to analysis of the author’s pencraft and concealed political implications, since most of the plots are believed to be not original but adopted from earlier oeuvre. Thus the two major implied notions can be worded in the following fashion: 1) Strange Tales are the only work by Pu Songling to be mentioned and 2) they happen to be quite a secondary piece of literature based on borrowed stories and twisted about to serve the new main objective — mockery on social and political routine of the author’s present. The chief idea of the article is to cast a doubt on both of these notions and to show diversity and richness of Pu Songling’s genres and subjects as well as finding out the basis of these texts’ attractiveness for readers for more than 300 years. The other goal of the paper is to give a short overview of Pu Songling’s translations into Russian and their influence on the literary tradition of modern Russian prose. The main focus is put on the difficulties any translator is to face, on the quest for the optimal form of reproduction of the original’s peculiarities. Since the language of Pu Songling’s stories is Classical Chinese (wenyan), the author’s mastership in reproduction of different speech styles including common vernacular is also to be mentioned and analyzed.
2
Baldanmaksarova, Elizabeth. "MEDIEVAL MONGOLO-CHINESE LITERARY RELATIONSHIPS." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.32.
Full textAbstract:
The article is devoted to the study of Mongolian-Chinese literary relations during the Middle Ages. The literary process of medieval Mongolia is characterized by the development in a wide context of literary and cultural relationships with the literatures of Central Asia, South Siberia and the Far East, which was due to both the geographical location and the socio-political situation of the country, starting from the 13th century. When studying the problems of Mongolian-Chinese relations, it is important for us to consider the creative synthesis of two neighboring cultures, which stimulates the development and mutual enrichment of literary and folklore traditions. Mongolian-Chinese literary relations are characterized by development in two stages. The first stage is associated with the formation of the Yuan dynasty of the Mongols in China (1271–1368). It was during this period that the foundations were laid for the unification, synthesis of two different cultures within the framework of one state and the further development of the process of historical and cultural relations. The second stage is characterized by the entry of Mongolia into the Manchu Qing Dynasty of China (1644–1911). It was during this period that the synthesis of the Mongolian-Chinese folklore and literary traditions reached its apogee: a new genre appeared called “book tale” (bensen uliger); numerous translations of Chinese narrative prose, in particular novels, lead to the creation of the genre of the novel — historical, family and everyday — in Mongolian literature. A notable achievement in this genre was the work of the outstanding writer, the first Mongolian author of novels, V. Injannash.