Academic literature on the topic 'Yahya Haqqi'

This research is an attempt to trace and corelate the evolution of short story in the Arabic and Urdu languages besides highlighting contributions made by the most prominent pioneers and the trends prevailing in different eras of both the languages. The short story is one of the most famous and widely read genres of fiction that seems to answer almost everything near to the nature of human being and whenever it is narrated it feels as if, something exceptional has been created which contains substance of our inferred experience and transitory sense of our common, tempestuous journey of life. Irrespective of the prevailing belief that short story also belongs to the West, its roots in the Arabic language go back to the pre-Islamic times and especially the Golden Age of Islamic civilization which spans from the 8th to the 14th centuries. Anecdotes of the Bedouins and the rhymed Ma’qama were the early foundations of short story in the Arabic language. Then this art reached its epitome in the modern era by the big names like al-Manfaluti, Tawfiq al-Hakim, Naguib Mahfouz, Yahya Haqqi, Ihsan Abdul Quddus, Yusuf Idris and Hasib Kayali. Likewise, the Urdu language that is a product of centuries long interaction between the native Indians and the invading Muslim culture, has borrowed the genre of short story form diverse sources. Then it was matured in the early 20th century by the pioneers like Rashid al-Khairi, Sajjad Haider Yaldram, Saadat Hasan Manto, Ahmed Nadeem Qasmi, Mansha Yaad and Intizar Hussain.

Foucault described translation as an instance of two languages colliding; Spivak calls translation “the most intimate act of reading.” Considering the two Egyptian novels ‘Uṣfūr min al-sharq by Tawfīq al-Ḥakīm (1938) and Qindīl umm hāshim by Yaḥyā Ḥaqqī (1944), this paper argues that the particularly subtle type of translation that they employ from French and English into Arabic can be best analyzed with a theoretical model of translation that, following Foucault and Spivak, emphasizes the material properties of languages, and specifically, their capacity to engage each other physically through acts of colliding, coupling, and reproducing. Such a method of analysis suggests fruitful new implications for looking at how language and literature traveled between Egypt and Europe during the so-called Arab Renaissance (the nahḍa) of the nineteenth and early twentieth centuries, including what possibilities for the Arabic language might have emerged in its intimate engagement with the languages of the European other. Moreover, this model of translation allows us to move beyond the politicized paradigms that dominate the field of contemporary translation studies and embrace the contradictions and paradoxes inherent in any encounter between cultures, societies, and languages, and in any act of translation.
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