The Qur'an in the Novels of Naguib Mahfouz (in Arabic)

2014 ◽  
Vol 16 (3) ◽  
pp. 126-104
Author(s):  
M.A.S. Abdel Haleem
Keyword(s):  
Creative Writing ◽  
Nobel Prize ◽  
Literary Works ◽  
Modern Education ◽  
Ubiquitous Presence ◽  
Structural Aspects ◽  
Artistic Talent ◽  
Naguib Mahfouz

With a rich, productive career spanning over 60 years, culminating in the award of the Nobel Prize for Literature in 1988, Naguib Mahfouz's literary works have naturally attracted numerous studies and critiques. These studies have covered a great many aspects of Mahfouz's creative writing, but, perhaps because of the secular, modern education Mahfouz received (both at school and in the Department of Philosophy in Cairo University), and his personal lifestyle, they have concentrated on the socialist, materialist, and structural aspects of his work. Perhaps because of this, one important aspect of his writing has largely escaped attention: his artistic use of the language of the Qur'an. Mahfouz does not signal that a given phrase or reference is Qur'anic, leaving it to blend with the text, and making it easy to miss the fact that the Qur'an played any part in Mahfouz's use of language. However, to a reader who knows the Qur'an by heart the presence of Qur'anic language in his works is obvious, and equally obvious is Mahfouz's artistic talent in using it. Eventually, he himself announced at the end of his life that he had always had an intimate interest in the Qur'an, read it daily, and benefited from it. This article seeks to demonstrate the ubiquitous presence of Qur'anic language in Mahfouz's works, and the skill and subtlety with which he used it.

scholarly journals Samotność przemijania. Synteza biograficzna schyłku życia Elizy Orzeszkowej

2021 ◽  
Vol 60 ◽  
pp. 41-53
Author(s):  
Hanna Miera
Keyword(s):  
Nobel Prize ◽  
Arranged Marriage ◽  
Literary Works ◽  
Almost All

The article is a study of the melancholic nature of Eliza Orzeszkowa, an attempt to notice Orzeszkowa not as a writer, but an unhappy woman. The main aim is to show the sorrow at different times in her life. Difficult events from her biography were recalled in the article. Paying attention to such issues allows us to better understand the creations of the heroes in her literary works — especially distanced, snippy mothers. Selected works, letters and the diary Dnie were analysed. Orzeszkowa spent almost all her life in the region of her origin. The first painful experiences for her were the remarriage of her mother and then the death of her sister. The arranged marriage with Piotr Orzeszko did not last long. Also, she did not find happiness in her long-term relationship with Stanisław Nahorski. She constantly missed love. Although Orzeszkowa was appreciated as a writer (she was nominated for the Nobel Prize in Literature twice), lifelong she felt inferior and sometimes even hated herself. From childhood she experienced states of melancholy. Her house in Grodno (where she was interned) was always full of guests — loved ones, friends, readers, pupils; however, her letters and the diary are the testimony of a deep solitude, and the experience of sadness is in almost all of her works.

von Heidenstam, (Carl Gustaf) Verner (1859–1940)

2018 ◽  
Author(s):  
Irina Hron
Keyword(s):  
Nobel Prize ◽  
Sharp Contrast ◽  
The South ◽  
Conservative Movement ◽  
Literary Works

Verner von Heidenstam was a Swedish poet and prosaist whose name is closely associated with modern Swedish nationalism. He is counted among the most influential advocates of the conservative movement throughout early Swedish modernism and was also attacked by Strindberg during the famous Strindberg Feud. The national romantic tendencies in his literary works, as well as their idealistic historicism, stand in sharp contrast to the realistic, socio-critical slogans of the 1880s. As of 1912, Heidenstam was a member of the Swedish Academy, and in 1916 he received the Nobel Prize in Literature. In 1910 he acquired the manor Övralid in the south of Sweden where he died in 1940.

scholarly journals Translation, Littérisation, and the Nobel Prize for Literature

2016 ◽  
Vol 8 (1) ◽  
pp. 57
Author(s):  
Kelly Washbourne
Keyword(s):  
Cultural Capital ◽  
Qualitative Analysis ◽  
Nobel Prize ◽  
Cultural Economics ◽  
Future Research ◽  
Symbolic Form ◽  
Literary Works ◽  
Cross Language ◽  
Over Time

This work is a cultural economics study of the problem of translation production and assessment in and leading up to the literary Nobel Prize deliberations. I argue that the constraints of assessing an unevenly and partially translated body of literary works, many of them from less common languages, present an unbreachable expertise gap. Translation as a sacralization, or consecration in Casanova’s (2004) term, of a writer’s work is considered in the context of the award. Ultimately the prize is shown to depend upon translations carried out in dissimilar circumstances for each candidate. The award of the Nobel is part of the founder’s call for works to be more widely circulated, not to reward fame; thus a Nobel is more an invitation to translate than a recognition of an author in translation, although evidence suggests that the post-Nobel translational impact may vary by writer and over time. This study sheds light on the degree to which the Prize is an authority-mediated phenomenon, and while critiquing the quixotic task of judging disparate forms and amounts of cultural capital side by side, and never from a point of neutrality, it also attempts to show how translation shapes this symbolic form of prestige in the struggle for existence. I posit that alternative prizes and prize-awarding in general as fraught with similar cross-language challenges. Possibilities for future research, qualitative analysis of the Nobel and translation demand, among other consequences, are briefly sketched.

Gao Xingjian

2016 ◽  
Author(s):  
Jianmei Liu
Keyword(s):  
Twentieth Century ◽  
Nobel Prize ◽  
Individual Freedom ◽  
Literary Works ◽  
Garden Of Eden ◽  
Gao Xingjian ◽  
The Aesthetic ◽  
Nobel Prize Laureate

This chapter looks at how Gao Xingjian, the 2000 Nobel Prize laureate in literature, has brought Zhuangzi’s spirit of absolute liberation and freedom to the highest level. A discussion of his novelSoul Mountainand the poems “As Free as a Bird” and “Roaming Spirit and Metaphysical Thinking” shows how Gao’s self-exile and his persistent pursuit of the aesthetic spirit of literature embody Zhuangzi’s spirit of individual freedom and liberation. By successfully turning the meaning of “exile” from negative to positive, Gao has recreated a nature, or a Garden of Eden, in which he can transcend all kinds of restrictions and wander freely in the literary world. Gao Xingjian’s tropes of fleeing and self-exile, closely associated with his literary works, represent one of the most compelling cases of the interplay between literature and individual freedom at the end of the twentieth century.

scholarly journals The present is a thing of the past: Possible linguistic motivations for the ‘present tense writing tradition’ in Afrikaans prose

Literator ◽  
2013 ◽  
Vol 34 (2) ◽  
Author(s):  
Adri Breed
Keyword(s):  
Creative Writing ◽  
Literature Survey ◽  
Literary Works ◽  
The Past ◽  
Narrative Prose ◽  
Present Tense

There exists a long-standing tradition in Afrikaans creative writing to present narrative prose in the present tense, and not in the simple past as in English and Dutch. It is, however, difficult to prove the existence of such a tradition or to conduct a literature survey in order to determine the reasons for the origin and perpetuation of this tradition. This article firstly demonstrates from a creative writing perspective that the ‘present tense writing tradition’ does exist in Afrikaans. Secondly, two possible motivations for this tradition are proposed from a linguistic perspective. The goal of this article is not to question the validity of this tradition, but rather to open a discussion on the legitimacy of the tradition, as well as the implication it has for the writing, reading and interpretation of Afrikaans literary works.

scholarly journals Linguistic Means of Homeland Characterization in M. A. Asturias’s Mister President

2021 ◽  
Vol 9 (SPE2) ◽  
Author(s):  
Nuriya R. Davitova ◽  
Tatiana I. Kolabinova ◽  
Ekaterina Alekseevna Iurina
Keyword(s):  
Nobel Prize ◽  
The Novel ◽  
Linguistic Context ◽  
Literary Works ◽  
Linguistic Differences ◽  
The People ◽  
Linguistic Means

The present research is devoted to the concept ‘patria’ (homeland) analysis in the Nobel Prize-winning Guatemalan writer Miguel Angel Asturias’s novel El señor presidente (Mister President). The verbalizations of the studied concept in the novel are counted and their linguistic context is analysed. The totalitarian society described by the writer is not fully fictional. The dictatorship of Estrada Cabrera, though unnamed in the novel, is depicted. The linguistic realization of the studied concept is based on two groups of antithesis. The perception of homeland by real patriots, who are now considered the traitors of their homeland, and that of the people, who conform to the current conditions, but it is obvious that they are the ones who are ready to betray. The second antithesis is the fear of the president and calling the president the honoured citizen, the father and the defender of the homeland. The analysis of the linguistic means used to verbalize the concept ‘homeland’ in the studied novel shows that the said concept can be used by a totalitarian society as a tool of manipulation. Further analysis of the concept ‘homeland’ in other literary works by the authors writing in Spanish and belonging to different Hispanic countries will reveal the linguistic differences of the national variants of Spanish.

scholarly journals Psychological analysis of novel “Amba” by Lakme Pamuntjak

2019 ◽  
Vol 1 (2) ◽  
pp. 131-139
Author(s):  
Adernarsy Avereus Rahman
Keyword(s):  
Data Collection ◽  
Creative Writing ◽  
Qualitative Method ◽  
Literary Work ◽  
Data Sources ◽  
The Novel ◽  
Literary Works ◽  
Life And Death ◽  
Psychological Analysis ◽  
Aesthetic Values

Literary work is the result of creative writing containing aesthetic values and the values of life conveyed through the meanings of the story. Narrating a story of literary works involves the roles’ of the characters as the main figures that is consistent with the story and a psychological analysis of literary. The method used in this research was descriptive qualitative method. The data sources used were documents such as the review of the Novel amba. Data collection was done by using documentation and interviews. The results of this research are as follows: (1) dispositive key figures were illustrated by using the method of standpoint. (2) id aspect of the characters in the novel of Amba comes from life and death instincts as the form of survival or fulfilling the needs. (3) aspects of ego that exists in figures Novel amba are served as a means of meeting the needs and as a determinant in deciding any actions to take in response to the problems that occur within the characters. (4) aspects of the superego is depicted through the picture of them obeying the rules that exist in the society.

scholarly journals The Female Characters in Oe Kenzaburo’s Early Literary Works - Focusing on our Age and Sexual Beings

MANUSYA ◽  
2006 ◽  
Vol 9 (3) ◽  
pp. 54-66
Author(s):  
Duantem Krisdathanont
Keyword(s):  
Nobel Prize ◽  
Nobel Prize Winner ◽  
Early Years ◽  
The Other ◽  
The Political ◽  
Human Beings ◽  
Female Characters ◽  
Literary Works ◽  
Male Characters ◽  
Patriarchal Society

Oe Kenzaburo, the 1994 Nobel Prize winner, is one of the most talented authors of the contemporary literary world. However, he has been criticized for lacking an interest in portraying female characters clearly especially in his early years of writing. Considering himself to be a member of the postwar generation, Oe wrote Our Age and Sexual Beings in 1959 and 1963 to illustrate two types of human beings in his generation, the political being (seiji teki ningen) and the sexual being (sei teiki ningen). While the political being is an active hero who opposes others, refusing to conform to any existence in opposition to him, the sexual being neither confronts nor competes with others and yields without any protest. Also in order to expose the despair and alienation of these post-Ampo Japanese youths, Oe creates male characters to portray this theme, while female characters play only supporting roles. In addition, though the female characters in these two novels are developed from those in earlier works, they are still flat characters and not sufficiently developed in the story compared with the male characters. They are still created as the 'other' in the society. In this essay, I will examine in detail how female characters in Oe's Our Age and Sexual Beings are created as human beings who are inferior in the patriarchal society.

Contemporary Chinese Literature in Translation—A Review Article

1985 ◽  
Vol 44 (3) ◽  
pp. 561-567 ◽  
Author(s):  
Leo Ou-fan Lee
Keyword(s):  
Creative Writing ◽  
Chinese Literature ◽  
Review Article ◽  
Foreign Languages ◽  
Literary Works ◽  
Contemporary Chinese Literature ◽  
English Translations ◽  
Contemporary Chinese ◽  
Husband And Wife

This article surveys the available English translations of contemporary Chinese literature from the People's Republic. In view of the post-Mao Party policy of relative freedom for creative writing, more works are pouring out of China than ever before. Of the most recent translations, the largest share belongs to Panda Books, a publishing subunit of the Foreign Languages Press in Beijing. Under the leadership of the Yangs (Xianyi and Gladys), a husband-and-wife team of great renown, this new Panda series has published more than a dozen titles as of 1984, and new ones continue to be received.Despite its voluminous production, the editors of the Panda series have made certain choices that are of dubious value. Especially weak is the representation of traditional literary works, which are often drastically abridged or collected in slender anthologies. In comparison, coverage of modern and contemporary works is more exciting. The translations are generally correct, the most felicitous from the hands of Gladys Yang. However, the translations suffer from a certain uniformity of style and sometimes from severe cuts. Volumes in the series are nevertheless a useful addition to the increasing library of English translations of contemporary Chinese literature, now more than adequate for an undergraduate course.

scholarly journals La scène de mentorat – (Se) raconter la création littéraire en plein travail

2017 ◽  
Author(s):  
Johanne Mohs ◽  
Marie Caffari
Keyword(s):  
Creative Writing ◽  
Specific Interaction ◽  
Literary Text ◽  
Literary Works ◽  
Writing Courses ◽  
Writing Processes ◽  
Literary Publishing ◽  
Creation Litteraire ◽  
Ongoing Dialogue

Résumé Dans les formations en écriture créative et dans les maisons d’édition, le travail littéraire des auteur-e-s est souvent accompagné par un-e autre auteur-e ou lecteur/-trice professionnel-le (chargé-e de supervision, mentor, éditeur/trice), intervenant dans le processus d’écriture. L’article analyse les échanges de quatre duos de mentorat ainsi que leur impact sur le processus d’écriture.  En référence à la « scène d’écriture », l’article décrit cette pratique littéraire ouverte par la présence d’un-e autre en tant que « scène de mentorat », dans laquelle le texte littéraire s’élabore au cours d’un dialogue continu. La scène de mentorat est aussi envisagée comme un dispositif performatif, dans lequel le texte a la fonction de script du dialogue. Quant à l’interaction entre texte, auteur-e et mentor, elle peut être comprise en tant qu’une chaîne de feedbacks. AbstractIn creative writing courses and in literary publishing situations, authors contribute to the writing of their colleagues, as editors, supervisors or ‘mentors’. Literary works in progress are thus critically discussed and reviewed within an ongoing dialogue. The literary text is at the centre of this setting, in which the writing scene is not reserved to the author alone, but opened by the presence of another and can thus be considered as a ‘mentoring scene’. The article analyses the dialogues of four ‘mentoring duos’, evaluating their impact on the writing processes.  It considers this specific writing scene as potentially performative, whereby the text acts as the script of the dialogue and finally considers the specific interaction between text, author, mentor/supervisor as a ‘feedback series’.

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