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نتائج ل
"Arabic poetry Translations into German."
صنف حسب:
“A Third Reading”: The German, the Hebrew and (the Arab)
In the Nachwort to his translations of Yehuda Halevi's liturgical poems published in Berlin in 1927, Franz Rosenzweig writes about a certain element that makes the Hebrew poem so different, so foreign, and therefore so difficult to translate into German.1 It is the prosodic element of Hebrew, what he calls \"die stumme Silbe,\" the silent syllable, which, he writes, was an original prosodic element developed by the Spanish Jewish writers in order to distinguish the Hebrew metrics from the prominent Arabic ones.2 Rosenzweig refers here to the prosodic invention of the Hebrew poet Dunash Ben Labrath of the tenth century, introducing the quantitative metric system from Arabic into the world of Hebrew letters. Since Hebrew lacks a clear differentiation between long and short vocal movements that are common in Arabic, an equivalent prosodic order had to be developed in Hebrew-the order of yated and tenuah, based on combinations of regular and short syllables. The task of the translator, Rosenzweig writes, is \"das Deutsche umzufremden,\" making German into a foreign language.6 German thus experiences (through translation) a foreignness within itself-becoming other than itself. In reconsidering translation projects and philological and literary enterprises since the age of Enlightenment and the Jewish Haskalah, during the years of Wissenschaft des Judentums and through the modernist period, investigating also migration of knowledge, transformations of identities, dialectics of memory, and political criticism expressed between Hebrew and German, before and after 1945, and in looking also at new complexities appearing after the Wende (1989), the comparative study of German and Hebrew becomes one of the most intricate and rich fields of research, offering us ambiguous yet productive perspectives on the question of \"being Jewish.\" Hebrew-German studies could thus be considered a realm in itself-a field of study that might enjoy its own coherency, length, and volume, based on comparative, bilingual frameworks of research and teaching.
Journal Article
Arabic Lexical Borrowings in German Rap Lyrics: Religious, Standard and Slang Lexical Semantic Fields
Hebblethwaite introduces the Arabic lexical field in German rap lyrics. Hip-hop music spread from the US to France and Germany in the mid-1980s and has become a behemoth of their respective music industries since the mid-1990s. In Germany, the descendants of Arabic-speaking or Muslim immigrants, have become a significant presence in the genre over the last two decades. Arabic lexical influences are increasing. The Arabic lexicon in German rap lyrics can be divided into the religious, the everyday standard, and Arabic slang based on the semantic fields displayed in rap texts themselves.
Journal Article
TRANSCENDING BABEL IN THE CULTURAL TRANSLATION OF FRIEDRICH RÜCKERT (1788–1866)
A tension between cosmopolitanism and nationalism characterizes the career of the poet–philologist Friedrich Rückert. The German orientalist and mentor to Paul de Lagarde translated remarkable quantities of Sanskrit, Farsi, and Arabic verse, while earning popular acclaim for his Biedermeier celebrations of the German Heimat. The contradiction in these scholarly pursuits can be reconciled by examining the intersection of the local, national, and global in Rückert's conception of language. In the German Pietist tradition, national tongues embodied both the divine word of God and the particular historical circumstances of speakers. Through feats of translation Rückert expected to transform German into a universal language of spiritual reconciliation, thereby transcending Babel and distinguishing the German nation as a chosen people. This article investigates the process of cultural translation through which Rückert made “world poetry” intelligible to a German audience, arguing that cosmopolitanism underlay a German claim to cultural dominance in post-Napoleonic Europe.
Journal Article
The Nature of Influence: Fu'ād Rifqa's Wilderness Poetry at the Intersection of Nation and Modernity
Fundamental changes in the form and content of Arabic poetry occurred rapidly in the first half of the twentieth century, resulting in the development of free verse and prose poetry as well as the jettison of traditional requirements including end-stopped two-hemistich long lines, strict adherence to meter, and monorhyme. These changes draw from innovation within Arabic poetry, competing nationalist agendas, increased translation of European texts into Arabic, and the productive engagement of Arab poets with Western literatures. In 1957, Syrian poet Fu’ād Rifqa embarks upon a five-decade poetic project of intentional intertextuality that acknowledges these sometimes collaborative, sometimes competing narratives. Rifqa’s poetry creates a dialectic between literary and cultural influences through shifting metaphors drawn from the natural world and Mesopotamian and Greek mythology while also reflecting the evolution of form and content from both Arab Romanticism and Modernism as well as his extensive engagement with German Romantic and post-Romantic poets Friedrich Hölderlin and Rainer Maria Rilke. This dissertation examines the interplay between influence and innovation throughout Rifqa’s self-aware poetry by first examining the development of Rifqa’s preferred combination of landscape and character, the forest-philosopher, in Arab Romantic poetry. Romantic Mahjar poets writing from Lebanese and Syrian diaspora communities in the Americas quieted the declamatory tone of poetry as they transformed the poet from rational orator into questioning youth in the setting of the forest, rather than urban or desert settings of classical import. Alongside his avant-garde contemporaries, Rifqa’s early work mobilizes natural and mythological metaphors from the first-person perspective in service of the ideological agenda of the Syrian Social Nationalist Party. After breaking with the party in 1961, Rifqa’s forest philosophers complete the Romantic move away from the oratorical mode through their silence and narrative distance. Rifqa’s revisions on this theme demonstrate the role of the poet as reflective mediator of modernity through the synthesis of influences from German Romanticism that resonate with his experience of transition. Engaging contemporary structural innovations in Arabic avant-garde poetry, Rifqa underscores poetry’s role in individual and cultural transformation, and cultural exchange’s role in poetry, through a poetic based largely in landscape.
Dissertation