Academic literature on the topic 'Poesia palestina'
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Journal articles on the topic "Poesia palestina"
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Soares, Luís Eustáquio, Fábio Henrique Araújo Santos, and Marcos Rocha Matias. "A poesia Palestina como resistência a barbárie." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, no. 36 (September 15, 2021): 406–26. http://dx.doi.org/10.12957/palimpsesto.2021.59968.
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RESUMO: Este texto tem como objetivo analisar a questão do antissemitismo contra os árabes, a partir da análise de poemas (de diferentes poetas palestinos) presentes na antologia intitulada Poesia Palestina de Combate (1981), organizada por Abdellatif Laâbi. Para tanto, sem deixar de analisar as diferenças e semelhanças entre o antissemitismo judaico e árabe, partiremos de uma perspectiva teórica interdisciplinar, em interlocução com Edward Said, de A questão palestina (2012) e Orientalismo: o Oriente como invenção do Ocidente (1990); com o historiador britânico, Arnold Toynbee, de A história e a moral no Oriente Médio (1970); com o filósofo da história, Domenico Losurdo, de A linguagem do império: léxico da ideologia estadunidense (2010); com, finalmente, György Lukács, de Estetica: Cuestiones previas y de principio (1966) e Marx e Engels como historiadores de literatura(2016).
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Thomas de Antonio, Clara María. "POESÍA FEMENINA SOBRE PALESTINA." Revista Internacional de Culturas y Literaturas, no. 15 (2014): 153–67. http://dx.doi.org/10.12795/ricl.2014.i15.13.
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En este trabajo se presentan poemas de mujeres palestinas del exilio, de otras que siguen viviendo en su tierra o de mujeres árabes solidarias con su causa. Si en un principio sus temas preferidos eran el amor, la introspección o la búsqueda de la propia identidad, pronto perciben que la lucha por la emancipación femenina no puede separarse del combate nacional por la tierra y la independencia. Por ello su obra se centra principalmente en la denuncia de los atropellos sufridos y en el canto a Palestina y a sus gentes.
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Abdel Wahed, Husni. "La poesía: un puente entre Palestina y nuestra América." Interpretatio. Revista de hermenéutica 2, no. 2 (September 11, 2017): 15. http://dx.doi.org/10.19130/irh.2.2.2017.49.
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Desde tiempos remotos, la poesía ha sido el género literario por excelencia para los árabes. Antes del Islam, se celebraba anualmente un Festival poético en la Meca. Se llamaba “Suq Uqaz”. Ahí competían los poetas. El poema ganador tenía como premio ser colgado en la Kaaba. Hasta ahora se estudian los Poemas Colgantes, considerados como lo mejor que se ha escrito en árabe.El fenómeno de la Poesía de Resistencia es el favorito de la mayoría lectora. Este fenómeno tuvo grandes exponentes, entre los que destacan Mahmud Darwish, Samih Al Qasem, Tawfiq Zayyad y Rashed Husein, quienes fueron parte del pueblo palestino que se quedó en su tierra palestina al ser ocupada por el movimiento sionista que estableció el Estado de Israel en 1948.
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Stocchi, Giulio. "Poesie per la Palestina (1970-2009)." HISTORIA MAGISTRA, no. 1 (April 2009): 88–99. http://dx.doi.org/10.3280/hm2009-001009.
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Cuadrado-Fernandez, Antonio. "Rethinking the Green Line: “Dwelling” in the Mediterranean Environment in Contemporary Israeli and Palestinian Poetry // Reinventemos la Línea Verde: Habitando la naturaleza mediterránea en la poesía contemporánea israelí y palestina." Ecozon@: European Journal of Literature, Culture and Environment 4, no. 2 (September 30, 2013): 133–49. http://dx.doi.org/10.37536/ecozona.2013.4.2.533.
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Since the creation of the state of Israel in 1948, Israeli national identity has been constructed on the basis of national narratives that have excluded the Mediterranean environment. Similarly, an ethno-symbolic, construction of identity has antagonised Israel from both with the Mediterranean environment and its neighbours, especially the Palestinians. However, despite the weight of their different cultural and historical trajectories, a number of contemporary Israeli poets have featured elements of the Mediterranean flora in ways that suggest an ecological convergence with fellow Palestinian poets. This ecological affinity can be seen in the writers’ depiction of humanised elements of the Mediterranean flora, which project a sort of continuity or interrelatedness between human and nature, aligned with the fellaheen’s ecologically sustainable adaptation to the Mediterranean natural cycles, and away from subject-object constructions of identity that lead to the perpetuation of conflict and environmentaldegradation in the Middle East.In this essay I propose to adopt a phenomenological approach to the humanised imagery of the poetry in question based on developments in cognitive and embodiment theories, which conceive body, language and the environment as interconnected. In line with Tim Ingold’s conception of dwelling perspective, which sees the organism-person as unfolding in active engagement with the environment, I pursue an integrated and holistic approach to the writers’ cognitive and sensory engagement with the ecological dynamics of Mediterranean geography. Israeli and Palestinian poetry can be seen as making an important contribution to the creation of alternative constructions of identity in the Middle East based on the ecological dynamics of that which, for centuries, has united the Mediterranean basin beyond cultural and religious differences: the Mediterranean environment. ResumenDesde la creación del estado de Israel en 1948, su identidad nacional se ha construido en base a narrativas nacionales de las cuales el entorno mediterráneo ha sido excluido en favor de una concepción identitaria etno-simbolica que ha alienado a Israel tanto de la cultura mediterránea como de sus vecinos en la zona, en especial de los palestinos. Sin embargo, algunos poetas contemporáneos israelíes sí que han incluido el mediterráneo como parte de su imaginario poético, y lo hacen desde perspectivas que podrían alinearles con tendencias similares en la poesía palestina, a pesar del peso de sus diferentes trayectorias histórico-culturales. Podríamos decir que esta afinidad ecológica compartida se manifiesta principalmente en la presencia de una naturaleza mediterránea humanizada que proyecta una continuidad o interrelación entre los humanos y la naturaleza. Asimismo, esta visión ecológica coincide con las practicas agricultoras sostenibles de uno de los ocupantes ancestrales de esas tierras, el fellaheen, cuya integración sostenible al duro entorno mediterráneo de Oriente Medio se contrapone a construcciones identitarias basadas en el dualismo sujeto-objeto, que tienden a perpetuar el conflicto y la degradación ambiental en Oriente Medio.En este ensayo propongo un acercamiento fenomenológico a las imágenes de naturaleza humanizada presentes en ambas tradiciones poéticas. Este acercamiento está basado en los avances que se han producido en el campo de las teorías cognitivas y las teorías del cuerpo, que coinciden en concebir cuerpo, lengua y mundo desde una perspectiva integradora. En línea con la perspectiva del “habitar” desarrollada por el antropólogo Tim Ingold, la cual concibe al individuo-organismo en proceso de interacción activa con el entorno, propongo aportar un análisis holístico e integrador de la relación cognitiva y sensorial de la poesía en cuestión con las dinámicas ecológicas mediterráneas que emergen en las imágenes de naturaleza humanizada. De este modo, la poesía Palestina e Israelí puede contribuir a la creación de una construcción alternativa de la identidad basada en las dinámicas ecológicas de lo que, durante siglos, ha unido al Mediterráneo más allá de sus diferencias culturales o religiosas: la naturaleza mediterránea.
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Garcia dos Santos, Laymert. "Mahamoud Darwich, Palestino e Pele-Vermelha." Exilium Revista de Estudos da Contemporaneidade, no. 1 (October 9, 2020): 57–70. http://dx.doi.org/10.34024/exilium.2020.v.11289.
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Este ensaio trata da atualidade da obra do poeta palestino Mahamoud Darwich, especialmente para o contexto de desespero e de tragédia presente no Brasil. Darwich extrai do passado os acontecimentos que seguem ressoando no presente e vê com clareza como a condição agonizante do Palestino sobrepõe-se à do Índio, mais precisamente Pele-Vermelha. É como poeta, como homem que busca a fonte da poesia no continuum da relação cósmica, mítica, com a natureza, que ele se vê na pele vermelha. Mais do que através de uma abstrata noção de pátria, a relação justaposta Pele-Vermelha = Palestino se desenha como intensidade de parentesco com a natureza e seu caráter cósmico, através da Terra, tecendo, assim, uma relação essencial para as nossas futuras gerações apreenderem a paixão de um povo pelo seu lugar no mundo.
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Mohammadi Shirmahaleh, Shekoufeh. "Traducción al farsi del poema El discurso del indio de Mahmud Darwish." Interpretatio. Revista de hermenéutica 2, no. 2 (September 11, 2017): 77. http://dx.doi.org/10.19130/irh.2.2.2017.45.
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Mahmud Darwish es uno de los más importantes poetas palestinos contemporáneos y su poesía sigue inspirando los movimientos de resistencia en muchos países. Su humanismo hace que su palabra traspase cualquier frontera y se presente firme y vigente en distintas épocas y geografías. La presente traducción al farsi de su poema Discurso del “Indio”. El penúltimo ante el “Hombre Blanco”construye un puente entre el mundo árabe y el mundo persa desde la cercanía de un dolor compartido y de una contagiosa esperanza.
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Prieto Velasco, Paola. "La poesía de Fawziyya Abū Jālid y su repercusión en la sociedad saudí actual." Anaquel de Estudios Árabes 31 (July 16, 2020): 169–77. http://dx.doi.org/10.5209/anqe.68260.
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Fawziyya Abū Jālid es una poeta de Arabia Saudí, nacida en Riad en 1955. Sus poemas son apreciados por su forma y especialmente por su contenido. A través de versos libres y blancos, Abū Jālid expresa todo tipo de preocupaciones humanas que comparte con muchas de sus compatriotas, como la libertad de la mujer, su relación con el hombre y su identidad. Puede que, en un contexto occidental, estos temas sean admirables pero no salidos de lo común. Sin embargo, hay que situarse en una Arabia Saudí en la que, en pleno siglo XXI, la mujer aún está sometida al hombre en la mayoría de las situaciones. Estas reprimendas son a las que la poeta hace frente, mediante un lenguaje con que se acerca a todos los públicos y con una valentía que le ha valido convertirse en la voz de muchas mujeres saudíes. Aparte de tener este importante papel, Fawziyya Abū Jālid es reconocida como una de las poetas más relevantes del panorama árabe actual por centrarse en ideas como la identidad nacional y el apoyo a la causa palestina por medio de la palabra.
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Moreira, Pedro. "As Missões Culturais do Secretariado de Propaganda Nacional e o papel de Eurico Tomás de Lima (1940 – 1941)." Diacrítica 35, no. 2 (August 13, 2021): 66–84. http://dx.doi.org/10.21814/diacritica.695.
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As Missões Culturais do Secretariado de Propaganda Nacional (SPN) constituíram uma importante iniciativa no início dos anos 40 e tinham como objetivo a realização de vários concertos musicais, com uma palestra temática e recitação de poesia, em várias cidades e vilas de Portugal. O presente artigo procura abordar as missões culturais na sua dimensão política, na ação do SPN de chegar às classes médias dos pequenos centros urbanos, e qual o papel desempenhado pelo pianista e compositor Eurico Tomás de Lima enquanto chefe daquelas missões entre 1940 e 1941. A pesquisa permitiu, a partir de diferentes fontes documentais, perceber: a organização e orgânica das Missões Culturais, contribuindo para um conhecimento mais profundo no âmbito dos objetivos propagandísticos do Estado Novo; o papel central desempenhado por Eurico Tomás de Lima, que tinha várias responsabilidades na implementação e execução desta iniciativa; os intuitos artísticos e musicais dos programas escolhidos.
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Gemignani, Beatriz Negreiros. "Poesia como expressão de solidariedade nacional e consciência política." Revista Criação & Crítica, September 4, 2020, 69–82. http://dx.doi.org/10.11606/issn.1984-1124.v0ispep69-82.
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Neste artigo, traduzimos poemas dos poetas palestinos Tawfiq Zayyad (1929-1994), Ahmad Dahbur (1946-2017) e Khairi Mansur (1945-2018). A tradução busca preservar os sentidos originais dos poemas ao mesmo tempo em que se propõe poética, para que o resultado sejam poemas também em português. Os poemas trazem imagens da resistência palestina, na forma da permanência no território palestino ocupado ou na nota que destaca a opressão nos países do exílio. Ao mesmo tempo em que fazem o leitor sentir a solidão e a privação, acentuam o amor e a fé encorajante desse povo.
Dissertations / Theses on the topic "Poesia palestina"
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Abu-Hejleh, Norma Ismail Mohamad. "Fadwa Tuqan: a poetisa palestina." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8159/tde-14032014-102737/.
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Mulher, poetisa, guerrilheira sem armas, mas com alma feminina, a qual Moshe Dayan, ex-ministro da guerra israelense, disse, referindo a ousadia e a coragem da poetisa no uso das expressões nos seus poemas: \"cada um dos poemas de Fadwa Tuqan faz dez guerrilheiros\". Fadwa Abdel Fattah Agha Tuqan, uma grande poetisa palestina que se destacou e deixou sua marca por diversas gerações através da literatura, das palavras expressas, antecipando por décadas a liberdade de expressão. Tinha coragem e ousadia numa época na qual a tradição era a lei de maior autoridade, na qual o homem era o único dono da verdade e o único digno de liberdade, onde era proibida a pronúncia da palavra amor pelo gênero feminino. A rígida sociedade árabe tem negado a muitas das poetisas e dos poetas árabes revelar suas ricas experiências emocionais, incluindo Fadwa que teve muitas experiências de amor humano, riquíssimas de intensidade, tornou-se a dama da poesia árabe moderna e encantou-nos com as suas melodias poéticas recheadas com muita sensibilidade e fortes expressões. Para Fadwa, o amor representa o vigor máximo da força feminina, e através dele a mulher exerce tudo o que lhe foi negado, tudo sob o nome do amor, por isso o amor é uma tábua de salvação. Casou-se com a poesia, e deu à luz centenas dos seus belos poemas, que foram lançados no livre espaço árabe, mesmo prisioneira de tradição, e da arbitrariedade das relações sociais e familiares do sistema rígido, que não lhe permitiu revelar, em sua autobiografia, quem eram seus amores secretos no mundo árabe, o que a obrigou a ocultá-los totalmente em sua autobiografia. Demonstrou em seus poemas e poesias as tragédias, privações, mortes, separações, raiva e a reprimida revolução silenciosa. Fadwa Tuqan é uma das poucas poetisas árabes que estabeleceu uma ligação entre a poesia antiga com o Movimento de Inovação e Modernidade, saindo dos métodos clássicos da poesia Árabe Antiga, de maneira simples e não artificial, adquirindo pontos importantes em sua força interior, conservando o ritmo musical antigo e o ritmo interno moderno, formulando sua poesia musical. Suas poesias caracterizam-se pela força do vocabulário e pela excelente combinação e forte tendência para a narrativa e para as questões existenciais, baseadas em argumentos prontos, fazendo dos seus poemas diálogos com as idéias, ao invés de uma demonstração dos sentimentos.Woman poet, guerrilla unarmed, but with the feminine soul, which Moshe Dayan, ex- Israeli minister of war, said of the daring and courage of the poet in use of words in her poems: \"every poem of poems by Fadwa Tuqan makes ten guerrillas\". Fadwa Abdel Fattah Agha Tuqan, a great Palestinian poet who stood out and left her mark on several generations through literature, the words uttered, anticipating by decades the freedom of expression. She had courage and boldness at a time when tradition was the law of higher authority, in which man was the master of truth and worthy of freedom, where it was forbidden to pronounce the word \"love\" for women. The Arab rigid society has denied many of the Arab poets and poetesses of revealing the rich emotional experiences, including Fadwa had many experiences of human love, very rich intensity. Became the queen of modern Arabic poetry and delighted us with his poetic melodies filled with great sensitivity and strong expressions. For Fadwa, love is the maximum force strength of women, and through it the woman does all she has been denied, all under the name of love, so love is a siege of save. Se married poetry and gave birth to hundreds of his beautiful poems, which were launched in the free Arabic space, even those who wrote these poems, being a prisoner of tradition, and the arbitrariness of social and family relationships of the system drive, did not allow her in diseases in her autobiography who his secret loves in the Arab world, which forced to hide them completely in her autobiography. Shown in her poems and poetry tragedies, hardships, deaths, separations, anger and repressed silent revolution. Fadwa Tuqan is one of the few Arab poets who established a link between the ancient poetry with the Movement for Innovation and Modernity, leaving traditional methods of ancient Arabic poetry, simply and not artificial, gaining important points in your inner strength, keeping the musical rhythm and pace antic domestic modern musical formulating her poetry. His poems are characterized by the strength of your vocabulary and excellent combination and a strong tendency for narrative and existential questions based on arguments ready, making the dialogues of her poems with the ideas, rather than a statement of feelings.
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Sales, Anselma Garcia de. "A construção da identidade palestina: análise discursiva do poema \'Carteira de identidade\', de Mahmud Darwich e outros textos palestinos." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8154/tde-10112010-095517/.
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A criação do Estado de Israel, em 1948, provocou grandes transformações que influenciaram a vida cultural e política da Palestina. No caso da poesia, observa-se a partir de 1948 a presença de temas que tratam da resistência e da afirmação da identidade. Assim, o presente trabalho terá como objetivo analisar, sob a ótica da Análise de Discurso, um corpus representativo da poesia palestina após 1948, de modo a compreender de que forma o confronto entre o simbólico e o político representa as relações entre o ethos discursivo e a construção da identidade num momento histórico particular.The creation of Israel State, in 1948, had caused many changes that had an influence on palestinian culture and politics. After 1948, the palestinian poetry started to talk about resistance and affirmation of identity. Thus this work had an intention to analyse, by Discourse Analysis, a representative corpus of the palestinian poetry wrote after 1948, in order to understand how the confrontation between the discoursive ethos and the construction of identity.
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Takahashi, Isamu. "From Palestine to India : Bishop Heber's poetic pilgrimage." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615654.
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Beituni, Nabil El. "Das Motiv der Heimat in der palästinensischen Dichtung seit dem ersten Weltkrieg bis in die Gegenwart : Dissertation... /." Saarbrücken, 1989. http://catalogue.bnf.fr/ark:/12148/cb354114427.
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Månsson, Anette. "Passage to a new wor(l)d : exile and restoration in Mahmoud Darwish's writings 1960-1995 /." Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2003. http://publications.uu.se/theses/91-554-5525-5/.
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Rand, Michael Chaim. "Introduction to the grammar of Hebrew poetry in Byzantine Palestine /." Piscataway (N.J.) : Gorgias press, 2006. http://catalogue.bnf.fr/ark:/12148/cb412737947.
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ISMAIL, YOSEF. "Muin bsisu sa vie et son oeuvre poetique." Strasbourg 2, 1992. http://www.theses.fr/1992STR20011.
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Cette etude a pour sujet la vie et l'oeuvre poetique de muin bsisu, poete palestinien ne en 1924 a gazza. C7est dans cette ville qu'il commenca ses etudes primaires et termina sa scolarite. En 1948, il s'inscrivit a l'universite americaine du caire ou il obtint sa licence es lettres en 1952, date a laquelle il publia son premier recueil al-maraka (la bataille); il travaille dans l'enseignement de 1952 a 1966, periode laquelle il fut conduit en prison en egypte, a plusieurs reprises, pour delit d'opinion politique. Il abandonna l'enseignement pour travailler comme journaliste a damas, au caire et, enfin, a beyrouth. Il mourut le 23 janvier 1984, dans sa chambre d'hotel a londres a la suite d'une crise cardiaque. Il laisse une oeuvre poetique, une oeuvre theatrale et de nombreux livres en prose. Ce travail consacre a sa vie et a son oeuvre poetique comprend treize chapitres et une annexe, repartis en trois parties: la vie et le milieu d'origine du poete, une etude thermique et, enfin, une etude critique de sa poesieThis study teats the life and the poetic works of muin bsisu, palestinian poet born in gazza in 1924. He accomplished his primary and secondary studies in gazza. In 1948 he joined the american university of cairo, where he obtained his bachelor of arts in 1952. In the same year, he published his first collection of poetry al-maraka (the battle). Between 1952 and 1966 he was teacher in different arab countries. During this period he was arrested and improsond for several times because of his political opinions. In 1966 he gave up teaching and became a journalist in damascus, cairo and finaly in beirut. The 23thd of january 1984 he died in a hotel room in london, he was a victim of a heart attack. Bsiru left a great literary work covering poetry, poetic theater and prose. This thesis is divide into three parts. The first deals with the life of bsisu in its different aspects: his family, his youth, his culture and personality. . . The second part is a thematie study: poetic stories, historical projection, animal symbol,. . . The last part is a critical study of the whole poetic works of bsisu
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Carmesund, Ulf. "Refugees or Returnees : European Jews, Palestinian Arabs and the Swedish Theological Institute in Jerusalem around 1948." Doctoral thesis, Uppsala universitet, Teologiska institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-129819.
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In this study five individuals who worked in Svenska Israelsmissionen and at the Swedish Theological Institute in Jerusalem are focused. These are Greta Andrén, deaconess in Svenska Israelsmissionen from 1934 and matron at the Swedish Theological Institute from 1946 to 1971, Birger Pernow, director of Svenska Israelsmissionen from 1930 to 1961, Harald Sahlin director of the Swedish Theological Institute in 1947, Hans Kosmala director of the Swedish Theological Institute from 1951 to 1971, and finally H.S. Nyberg, Chair of the Swedish board of the Swedish Theological Institute from 1955 to 1974. The study uses theoretical perspectives from Hannah Arendt, Mahmood Mamdani and Rudolf Bultmann. A common idea among Lutheran Christians in the first half of 20th century Sweden implied that Jews who left Europe for Palestine or Israel were not just seen as refugees or colonialists - but viewed as returnees, to the Promised Land. The idea of peoples’ origins, and original home, is traced in European race thinking. This study is discussing how many of the studied individuals combined superstitious interpretations of history with apocalyptic interpretations of the Bible and a Romantic national ideal. Svenska Israelsmissionen and the Swedish Theological Institute participated in Svenska Israelhjälpen in 1952, which resulted in 75 Swedish houses sent to the State of Israel. These houses were built on land where until July 1948 the Palestinian Arab village Qastina was located. The Jewish state was supported, but, the establishment of an Arab State in Palestine according to the UN decision of Nov 1947 was not essential for these Lutheran Christians in Sweden. The analysis involves an effort to translate the religious language of the studied objects into a secular language.
Books on the topic "Poesia palestina"
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Figueroa, David Figueroa. La poesía con sus pupilas milenarias: (al pueblo de Palestina). Yaracuy: Fundación Editorial Perro y Rana, 2008.
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Before there is nowhere to stand: Palestine/Israel : poets respond to the struggle. Sandpoint, Idaho: Lost Horse Press, 2012.
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Dolfi, Anna, ed. Stabat mater. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-688-0.
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Lo stabat mater, come pochi altri oggetti della tematologia, vede una stessa postura tradursi in linguaggi diversi, registra il modificarsi e il persistere di una gestualità che dà voce all’inaccettabilità della perdita e alla durata immobile del dolore. Dalle mères en deuil dell’antichità classica al venir meno di Maria ai piedi delle crocifissioni che hanno scandito la storia dell’arte, da Jacopone da Todi, dal Giotto degli Scrovegni ad oggi, rilievi in pietra e in marmo, pannelli lignei, affreschi, vetrate, incisioni, tempere, olii, manoscritti, scrittura, accanto alle note di Palestrina, Vivaldi, Scarlatti, Pergolesi, Boccherini, Rossini…, hanno riproposto la figura della madre dolente. In questo libro si è cercato di registrare le costanze e le alterazioni del topos, sottolineando le differenze che esistono tra espressioni verbali, musicali, visive in relazione al mutamento dei tempi, al rovesciamento del ruolo. Se la narrativa, soprattutto italiana, è presente con Manzoni, Fogazzaro, D’Annunzio, Gadda, Vittorini, Pavese, Dessí, la Morante, Calvino…; la poesia con Gatto, Jaccottet, la Szymborska, la Merini, Yves Bichet…, quanto intriga, in questo complesso volume ideato e curato da Anna Dolfi , è il tentativo di muoversi su terreni quasi di confine, facendo parlare il cinema (Pasolini), l’architettura, facendo interagire la musica con la letteratura e i libretti d’opera, intrecciando colonne sonore con film di successo, dando modelli figurativi alla fotografi a (con gli scatti di Letizia Battaglia). Testi poetici di De Signoribus e Vegliante, per l’occasione ricondotti al tema, sigillano una ricerca che si interroga su modelli e tipologie, mostrando anche l’esistenza di un ulteriore recente rovesciamento, quello, inedito, che vuole che sia la pietas del figlio a posare accanto alla madre.
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Melville, Herman. Clarel: A poem and pilgrimage in the Holy Land. Evanston: Northwestern University Press, 1991.
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Melville, Herman. Clarel: A poem and pilgrimage in the Holy Land. Evanston, Ill: Northwestern University Press, 2008.
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Before the Next Bomb Drops: Rising Up from Brooklyn to Palestine. Haymarket Books, 2015.
Find full textBook chapters on the topic "Poesia palestina"
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Carlsen, Lila McDowell. "Identity and Poetic Memory in Lina Meruane’s Volverse Palestina." In Cultural and Literary Dialogues Between Asia and Latin America, 37–52. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-52571-2_3.
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Levy, Lital. "From the “Hebrew Bedouin” to “Israeli Arabic”." In Poetic Trespass. Princeton University Press, 2014. http://dx.doi.org/10.23943/princeton/9780691162485.003.0002.
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The current relationship between Hebrew and Arabic in Israel/Palestine is the outgrowth of over a century of sociolinguistic, political, and cultural developments; though the two languages had shared a long and storied past, Zionism catalyzed their reunion in the context of modern nationalism. This chapter surveys that historic landscape to offer a counternarrative of Israeli language and culture, arguing that Arabic has played a central, formative, yet paradoxical role in the self-definition of Modern Hebrew from the very outset. The repressed story of Arabic and Hebrew in Israel/Palestine is inseparable from the triangulated history of Ashkenazi Jews, Palestinian Arabs, and Mizraḥi Jews, each group having faced distinct yet interrelated dilemmas of language. In excavating this multilayered site of memory, the chapter traces pre-state linguistic practices, the institutionalization of Modern Hebrew, and the continuing evolution of Hebrew and Arabic in the political scene, concluding with the question of literary translation between the two languages.
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Nasser, Tahia Abdel. "Palestine Song: Mahmoud Darwish and Mourid Barghouti." In Literary Autobiography and Arab National Struggles. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474420228.003.0004.
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This chapter explores a new form of poetic autobiography by Palestinian poets Mahmoud Darwish and Mourid Barghouti. The chapter explores the relationship of the poets to Palestine and its effects on autobiographical form in Darwish’s Memory for Forgetfulness, his 1986 memoir of the Israeli siege of Beirut, and Mural, his 1999 autobiographical epic focusing on mortality and Palestine. Barghouti’s memoirs I Saw Ramallah and I Was Born There, I Was Born Here explore the poet’s return to Palestine. Darwish and Barghouti rework the genre to explore the life of the poet in relation to Palestine and the tension between the poet’s solitude and his public role.
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Levy, Lital. "Palestinian Midrash." In Poetic Trespass. Princeton University Press, 2014. http://dx.doi.org/10.23943/princeton/9780691162485.003.0005.
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This chapter turns to the Hebrew poetics of Palestinian Arab writers. It presents a close reading of poetry by Anton Shammas and his contemporaries Salman Masalha and Na'im 'Araidi. It argues that their poetry offers us a different window onto the question of Hebrew writing in a Palestinian hand. It reads their Hebrew verse as a poetics formed between languages, cultures, and national traditions, replacing the hermeneutics of antithesis (Palestinian or Israeli? Israeli or Jewish?) with one of “in-betweenness.” Furthermore, the chapter moves away from debating the identitarian definition of Hebrew to explore the nuanced relationship of Palestinian writers with Hebrew's cultural heritage and with the traditional Jewish modes of reading and interpretation embedded therein. Through an analysis of allusion and metalinguistic discourse in Palestinian Hebrew poetry, it illustrates the intertextual practice called “Palestinian midrash.”
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"Chapter 4. Palestinian Midrash." In Poetic Trespass, 141–86. Princeton University Press, 2014. http://dx.doi.org/10.1515/9781400852574-008.
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Ball, Anna. "Wingwomen." In Post-Millennial Palestine, 191–208. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348271.003.0012.
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The motif of flight is prominent in Palestinian creative work, yet in its contemporary connotations, it assumes increasingly multiple dimensions as it migrates creatively across generational, gendered, spatial, and formal contexts. In the work of artist Sama Alshaibi and poet Lisa Suheir Majaj, aerial and avian images reappear and the motif of flight animates each woman’s ability to explore her complex relationship not simply to the homeland and Palestinian history, but also to her own embodied positionality as a twenty-first century diasporic female subject. In exploring a selection of Alshaibi and Majaj’s poetic engagements, this chapter gestures towards flight not simply as motif but also as sociocultural movement (simultaneously spatial, gestural, and political) within the post-millennial Palestinian creative imagination. This is a movement defined by a distinctively feminocentric poetics, through which it becomes possible to envisage new forms of spatial, psychological, and creative relationships to Palestine fitting for this new century.
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Levy, Lital. "“So You Won’t Understand a Word”." In Poetic Trespass. Princeton University Press, 2014. http://dx.doi.org/10.23943/princeton/9780691162485.003.0007.
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This chapter continues the discussion began in Chapter 5 through readings of poetry and a transgeneric short story/prose poem. Focusing on the idea of the “presence of absence,” it explores the imaginative ways second- and third-generation Mizraḥi authors used language not only to rewrite but to unwrite the idea of Israeli Hebrew, rejecting it altogether. Their ingenious linguistic prestidigitation entails devising “secret” languages as well as writing in archaic forms of Hebrew and in pseudo-languages, while Arabic eventually becomes a metaphor of sorts, a “place holder” for a sense of fragmented identity and the loss of origins. At the same time, the “presence of absence” informs Palestinian writing and art on the erasure of Arabic and of Palestinian memory. The chapter also incorporates visual representations of the Mizraḥi relationship to language. Collectively, these texts and images reimagine Israeli Hebrew as a language intimately intertwined with Arabic and other Middle Eastern languages.
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Levy, Lital. "Bialik and the Sephardim." In Poetic Trespass. Princeton University Press, 2014. http://dx.doi.org/10.23943/princeton/9780691162485.003.0003.
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This chapter reexamines the history and indeed the idea of Modern Hebrew literature through the tension between its dominant narrative, associated with Ashkenazi Jews, and the suppressed perspectives that emerge from the literary and scholarly activities of Arab Jews and Mizraḥim both before and after the founding of the state. It illustrates this history through the saga of a multigenerational affair: the passionate and conflicted romance of the so-called Sephardim (Sephardi, Mizraḥi, and Arab Jews) with Modern Hebrew literature's leading persona, Ḥayim Naḥman Bialik. Their story takes us from the 1920s to 1930s Levant—Baghdad, Jerusalem, and Cairo—to present-day Israel/Palestine, with the spirit of al-Andalus (Islamic Spain) accompanying us all along the way.
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Levy, Lital. "The No-Man’s-Land of Language." In Poetic Trespass. Princeton University Press, 2014. http://dx.doi.org/10.23943/princeton/9780691162485.003.0001.
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This introductory chapter sets out the book's purpose, which is to examine the lives and afterlives of Arabic and Hebrew in Israeli literature, culture, and society. Hebrew is the spiritual, historical, and ideological cornerstone of the State of Israel, and Hebrew literature, having accompanied the national project from its inception, is an integral part of Israeli society. Yet in its broader geopolitical context, Hebrew is the language of a small state that views itself as an embattled island in a hostile Arabic-language sea. The book presents an alternative story of the evolution of language and ideology in the Jewish state. It takes a long historical perspective, beginning not in 1948 with the foundation of the state but rather at the turn of the century, with the early days of Zionist settlement in Palestine. An overview of the subsequent chapters is also presented.
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Levy, Lital. "Exchanging Words." In Poetic Trespass. Princeton University Press, 2014. http://dx.doi.org/10.23943/princeton/9780691162485.003.0004.
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This chapter juxtaposes the Arabic prose fiction of the Palestinian Israeli writer Emile Habiby (1922–1996) and the Iraqi Jewish writer Samir Naqqash (1938–2004). Habiby was a major figure in the Israeli political and cultural landscapes as well as in Modern Arabic literature. Naqqash was the most important contemporary Jewish writer of Arabic, yet remains virtually unknown. As two native speakers of Arabic who wrote Arabic prose fiction in Israel, they offer an illuminating, if unorthodox, point of comparison. The chapter explores the poetics of misunderstanding in their fiction, elucidating how they thematize communicative failure as one means of contesting dominant historical narratives and undermining their faulty logic. It also offers the first comparative study of Habiby's critical reception in both Arabic and Hebrew, based on a bilingual reading of his masterpiece al-Mutasha'il (The Pessoptimist).
Conference papers on the topic "Poesia palestina"
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Méndez Landa, Francisco Javier. "ATACAR LA FRONTERA: LA POESÍA COMO POLÍTICA EN LA OBRA DE FRANCIS ALŸS." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10288.
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Desde finales de los años 90’s el artista belga radicado en México, Francis Alÿs (1959) ha extrapolado su labor artística al abandonar el Centro Histórico de la Ciudad de México como su principal laboratorio social, para incidir en diversas regiones del mundo -principalmente territorios de conflicto bélico, socioeconómico, político y migratorio-, en un afán de imaginar realidades distintas a las establecidas por medio de la activación de relatos urbanos, fábulas, moralejas, actividades fútiles y juegos de niños; deviniendo en variadas y aparentemente inocentes metáforas que esconden complejas y poderosas reflexiones sociales. El presente trabajo plantea trazar una acupuntura que sigue algunas acciones de Francis Alÿs fuera del territorio mexicano para construir un imaginario global desde lo poético de su labor: en un mundo gobernado por la desesperanza, y las tensiones generadas por las fronteras de los países, la voz de Alÿs se vuelve un bálsamo necesario que permite visualizar otras soluciones posibles a los conflictos políticos derivados de la independencia y la consecuente autonomía de un determinado territorio. I. En 1997, Alÿs viaja de Tijuana, Baja California, México a San Diego, California, EUA, -ciudades vecinas separadas únicamente por la valla Internacional-; pero el artista lo hace sin cruzar la frontera norte; imaginando una nueva y absurda ruta migratoria que evade la burocracia necesaria para ingresar legalmente a los Estados Unidos; iniciando su viaje en Tijuana, y prosiguiendo por Ciudad de México, Panamá, Santiago de Chile, Auckland, Sydney, Singapore, Bangkok, Rangún, Hong Kong, Shanghái, Seul, Anchorage, Vancouver, Los Ángeles y concluir finalmente en San Diego, California, arribando 35 días después de haber iniciado su travesía. II. En 2005, Alÿs convoca a lancheros voluntarios de Cayo Hueso, Florida, EUA y de La Habana, Cuba, a construir con sus endebles barcas un sólido puente que permita enlazar estas dos naciones sobre el Golfo de México. III. En 2004, Alÿs recorre la ‘Línea verde’, demarcación establecida para promover un alto al fuego entre Israel y Palestina, con una lata de pintura verde agujereada, trazando con su andar una línea verde, que materializa esta división naturalmente imaginaria. IV. En 2008, Alÿs invita a niños de las comunidades pesqueras de Tánger, Marruecos y Tarifa, España a construir una línea humana que permita liberar pequeños barcos de juguete para navegar de norte a sur, y viceversa el Estrecho de Gibraltar. Para Alÿs, la poesía posee una cualidad disruptiva, capaz de hacernos imaginar otros futuros posibles.