Ce travail tente de répondre à la problématique suivante : de quelle façon un écrivain, en l’occurrence Ibrahim Al Koni, peut-il témoigner de l’histoire et de la culture de son peuple, les Touaregs (en danger d’extinction), sans verser dans le discours ethnographique ou le manifeste politique ? La réponse qui vient immédiatement à l’esprit c’est : par l’écriture.Or l’oralité étant le mode d’expression et de transmission principal de la société touarègue, l’auteur va se trouver dans la nécessité d’user d’une langue « étrangère » (l’arabe), et d’une forme exogène (le roman) pour accomplir cette œuvre. Mais la gageure ne s’arrête pas là : Al Koni se propose de restituer à son peuple des valeurs et un mode de vie menacés par l’oubli et la dislocation de l’espace traditionnel nomade. Il lui faut alors inventer une matrice originale capable de véhiculer ces valeurs et de retrouver l’oasis perdue « Waw » baignant dans la parole première du livre des Ancêtres « Anhi ». C’est par l’investissement des mythes fondateurs touaregs dans la trame des intrigues romanesques qu’il réussira cette alchimie et parviendra à fonder un genre nouveau dans la littérature arabe et mondiale contemporaines : Le Roman du désert. / This work aims at answering the following question : how can a writer, in this case Ibrahim Al Koni, testify to the history and culture of his people, the Touaregs (endangered), without producing neither an ethnographic speech nor a political manifest ? The answer just immediately to mind is : by writing. However, the main mode of expression and transmission in the touareg society is orality. That is why the author will need to use a “foreign” language (arabic) and an exogenous form (the novel) to accomplish this mission. But the challenge does not stop here : Al Koni intends to give back to his people many values and a way of life threatened by oblivion and by the collapse of the traditional nomadic space. He than needs to invent an original matrix able to convey these values and find “Waw”, the lost oasis, bathing in the prime speech of the ancestors book, “Anhi”. By investing touaregs founding myths in the frame of romanesques intrigues, Al Koni manages to succeed this alchemy and builds a new genre in the arab and contemporary world literature : The Novel of the desert.

O Livro das Mil e Uma Noites, na forma como se encontra em seu grupo de manuscritos mais antigo, o chamado ramo sírio, configura-se como um grande compêndio de narrativas árabes de cunho erótico, em sua maioria. As cenas encontradas nessas narrativas, quase sempre explícitas, revelam mulheres sensualíssimas, donas de corpos desejados, e homens desejosos desses corpos e, na maioria das vezes, traídos por suas mulheres. Porém, uma narrativa em especial se destaca fortemente nesse universo carnal das Noites: a história de \"Nūruddīn ͨ Alī Bin Bakkār e Šamsunnahār\". O amor que tem lugar nessa narrativa beira o divino e inefável, e suas descrições, sempre imprecisas, revelam a dificuldade em se descrever um amor tão distante da carne e de seus desejos. Mas não é só no livro em questão que tal narrativa se destaca: dentro de toda a tradição amorosa da época a que pertence (entre os séculos IX e XI, no apogeu do Califado Abássida), tal como a conhecemos hoje, essa história de amor se mostra como única. O presente trabalho tem como objetivo analisar justamente esse destaque da narrativa de \"Nūruddīn ͨ Alī Bin Bakkār e Šamsunnahār\" dentro de seus contextos: primeiramente dentro do Livro das Mil e Uma Noites e, posteriormente, dentro da literatura amorosa abássida. Busca-se comparar a narrativa dos dois amantes com todas as outras narrativas erótico-amorosas das Mil e Uma Noites, demonstrando suas diferenças substanciais. Além disso, busca-se mapear a tradição literária amorosa abássida, demonstrando como Nūruddīn e Šamsunnahār nada têm que ver com os amantes das narrativas de amor da época. Ao final do trabalho, enumerando-se e analisando-se pormenorizadamente essas características de destaque, aproximamos a narrativa dos dois amantes a outras obras, contemporâneas a ela, que se declaram platonizantes. Assim, situamos a história de Nūruddīn e Šamsunnahār num pequeno e pouco estudado grupo de obras árabes medievais: o grupo que compartilha características que se assemelham às das obras platônicas e neoplatônicas. / The Book of the Thousand and One Nights, in the way it is written in its oldest group of manuscripts, the Syrian branch, is composed as a big compendium of erotic Arabic stories, in its majority. The scenes found in those stories, which are almost always explicit, reveal very sensual women, owners of desired bodies, and men who desire those bodies, and who are, almost always, betrayed by those women. However, one story in special contrasts from the others in this carnal universe of the Nights: the story of \"Nūruddīn ͨ Alī Bin Bakkār and Šamsunnahār\". The love described in this narrative approaches the divine and ineffable love, and its descriptions, always imprecise, reveal the difficulty of describing a love, which is so distant from the body and its desires. But, the narrative of the two lovers is not a highlight only in this book: in the whole erotic tradition to which it belongs (the Abbasid love, between the IX and X centuries), this story shows itself as a unique one. The present dissertation aims to analyse these highlights of the narrative of \"Nūruddīn ͨ Alī Bin Bakkār and Šamsunnahār\" in its contexts: first, inside the Book of the Thousand and One Nights and, after that, inside the erotic Abbasid literature. We do it by comparing the story of the two lovers to all the other erotic narratives of the Nights, demonstrating all the substantial differences among them. Besides that, we draw a map of the whole erotic Abbasid literary tradition, demonstrating how Nūruddīn and Šamsunnahār have nothing in common with the other Abbasid lovers, described in the erotic stories of that time. At the end of the dissertation, by enumerating and analysing carefully those characteristics of highlight, we approach the narrative of the two lovers to other works, contemporary to it, which declare themselves to be platonic. By doing that, we situate the story of Nūruddīn and Šamsunnahār in a very small and not studied group of Arabic medieval works: the group, which shares similar characteristics with the platonic and neoplatonic works.

Dans les ouvrages contemporains traitant des arts visuels dans la tradition artistique 'chrétienne' ou 'occidentale' les analyses des œuvres d'art sont souvent effectuées à l'appui d'une approche interdisciplinaire intégrant les méthodes de recherche et les questionnements des sciences sociales ainsi que d'autres disciplines, comme la littérature. Sur se modèle, je tente d’élaborer une méthode de recherche complexe pour l’appliquer dans l’étude de l’iconographie arabe médiévale. Les sources principales de mon travail sont les manuscrits iconographiés de deux 'bestsellers' de la littérature arabe médiévale : les Maqâmât d'al-Harîrî et la traduction arabe de Kalîla wa Dimna de Bîdpây, copiés et peints, pour les premiers au XIIIe siècle, et, pour les seconds, au XIVe siècle, respectivement en Irak, en Syrie et en Egypte. Pour étudier les manuscrits, je propose une approche dont le leitmotiv est l'observation de la relation entre les textes et les images en les considérant comme un ensemble et comme éléments qui constituent des œuvres d'art complexes. Les manuscrits médiévaux contenant des images deviennent ainsi, en tant qu'objets matériels mais aussi comme des produits intellectuels et artistiques, des sources primaires de l’histoire intellectuelle arabe médiévale. / In contemporary studies dealing with visual art within the « Western » or « Christian » world, the artworks’ analysis are often proposed on the basis of an interdisciplinary approach integrating methods of different scientific fields such as social sciences, and literature. Following this model, I try to develop a complex method in order to study medieval Arabic iconography. My work’s principal sources are the illustrated manuscripts of the two « bestsellers » of medieval Arabic literature: al-Harîrî’s Maqâmât and the Arabic translation of Bîdpây’s tales, the Kalîla wa Dimna, copied and painted during the second half of the 13th and the first half of the 14th centuries in Irak, Syria and Egypt. In the analysis of the manuscripts, I concentrate on the relationship between text and images while I consider them as elements of a complex artwork, as a whole. While doing so, medieval manuscripts containing images become primary sources of Arabic intellectual history as material objects but also as intellectual products.

The Arabic cultural scene in Sweden is characterized by its richness and diversity, encompassing various forms of cultural expressions such as books, artistic events, films, and online platforms. These productions reflect a synthesis of values derived from both the host society and the longstanding Arabic cultural heritage. However, despite the abundance of cultural content, there exists a significant knowledge gap concerning their creation and development, necessitating further investigation. To gain a comprehensive understanding of this landscape, it is crucial to explore the social networks of Arabic-speaking writers. This entails examining the nature of their production, their geographical distribution, literary genres, and the dynamics of their interactions within postmigration contexts. The main objective of this research is to explore the efficacy of Arabic-speaking social networks in facilitating the movement of writing and creativity within the postmigration context in Sweden. The theoretical frameworks of Postmigration and Social Networks are applied to inform the research design, which incorporates a combination of qualitative and quantitative methods including surveys and semi-structured interviews. The findings reveal the capacity of Arabic-speaking writers to establish extensive networks that transcend both their countries of origin and the host country. These networks encompass various domains such as geographic connections, publishing networks, and professional associations. Furthermore, the professionalization of the Swedish language has created opportunities for writers to forge new networks within Swedish society. This study serves as a foundation for future research endeavors that seek to delve deeper into the Arabic-speaking cultural productions. Moreover, it contributes to the broader discourse on postmigration research that explores the intersections of art, literature, and cultural expressions.

This dissertation brings together a study of French and Arabic literature and the cultural history of post-independence Lebanon (1943—1975). It is intended first as a contribution to post-colonial criticism and historical literature on decolonization. Second, as a contribution to literary and historical research on multilingualism, as it undergoes various changes to recover “sub-national” narratives, gestures and behaviours that subvert ideas about homogenous national identities. It begins with a set of questions about language: in the context of multi-ethnic and multi-religious societies, such as Lebanon, what is the place of language in configurations of diversity, and what is its relationship with religion? What relationships do minorities seek or preserve with the national language at or after decolonization, and how does this affect their relationship with the state? Why do some collectives assert linguistic homogeneity and why do others promote more room? Finally, can language acquire indigeneity? While multilingualism in modern-day Lebanon is a wide-spread social practice, it is far from simple. I argue that in the aftermath of independence in 1943, a forgotten and eventually failed project of bilingualism was promoted by a conservative, nationalist and mainly Christian Maronite network of intellectuals, writers and academics attached to the Francophone university in Beirut. The project raised red flags for partisans of Arabic in Lebanon who argued that bilingualism was nothing more than a conceptual “fig leaf” for maintaining a colonial tie with France as well as an established cultural and political status quo that worked in favor of Lebanon’s Maronites. The project therefore failed to be adopted by a wider, national collective. Well before the start of the Lebanese Civil War in 1975, the project was dropped even by those who had initially rallied to its cause. This work analyzes bilingualism at the encounter of literature, law and the social sciences, both as disciplinary approaches and respective local discourses. In this way, I examine how descriptive, prescriptive and imaginary genres converge in the discourse of nation-building. Through a constellation of readings of debates over the place of bilingualism in legal education, cultural anthropology, and the literary field, and a close reading of French and Arabic literary works, this study asks how the strategic use of language by newly independent citizens casts a light on bilingualism as a multidimensional social and discursive reality and not a purely linguist or literary phenomenon as is often considered. My theoretical point of departure, therefore, is to study how language can play a role in constructing a knowledge-based discourse that incorporates law, literature, and the social sciences. There are two crucial aspects of this story that run throughout the histories and texts I engage with in this project. The first is that the project of bilingualism was part of a wider interest in making national identity defined by bilingualism. In so doing, it diluted the radical alterity nominally attached to multilingualism in the national setting. Yet the bilingual project might also be considered a radical one. In part, it setting out to enforce the re-signification of bilingualism in a postcolonial era, it sought, to an extent, to attenuate the centrality of the confessional structures of state. The project therefore draws our attention to the kinds of thought experiments that developed in the process of decolonization and the early years of the Cold War, a mode of creative thinking that was dropped and replaced by more hegemonic structures. But its failure indicates why, when this idea was deployed, it became the price to pay for the expected unity of the national collective. Ultimately, the bilingual project was vulnerable to critique and the failure of its re-signification was due to it being slated as an elite postcolonial project legitimizing Christian power in “cultural” terms. A second crucial aspect of this story is that the project, while representing a failure, is nevertheless conceptually critical for several reasons. This project of linguistic diversity engendered a new politics of interpretation of text and society that led intellectuals, academics, writers and politicians to articulate the cultural stakes of the new nation-state. Indeed what we risk missing in the representation of bilingualism —as elite, conservative, confessional and colonial— is that the project generated a culture of textual critique based on the language of diversity and difference in law, the social sciences and literature. The bilingual project demonstrates the extent to which the disciplines of law, social sciences and literature in Lebanon co-constituted one another after independence. The failure of bilingualism therefore produced new forms of cultural knowledge, and is a small but important feature of post-independence Lebanon.

Cette recherche s’inscrit dans une double démarche : restitution d’une cohérence globale à l’œuvre d’Ibn Qutayba et essai de définition de la littérature d’adab. Elle s’articule autour de la fonction auteur dans les 'Uyºn al-AÏbær, et dans ce type de textes, ainsi que de la fonction rhétorique de cet ouvrage qui l’apparente à un recueil d’exempla de l’Occident médiéval. La parenté des 'Uyºn al-AÏbær avec le genre de l’encyclopédie y est également abordée. Enrichie d’un éclairage comparatiste apporté par la littérature médiévale occidentale, la confrontation critique de ce texte avec les interprétations qui en ont été données est fondée sur l’analyse rhétorique et stylistique du prologue des 'Uyºn al-AÏbær, ainsi que sur la lecture transversale des introductions des trois ouvrages fondamentaux d’adab d’Ibn Qutayba, que sont l’Adab al-Kætib, les 'Uyºn al-AÏbær et les Ma'ærif. La traduction annotée des deux dernières citées accompagne cette recherche. / The objectives of this thesis were twofold : the first was to restore to the work of Ibn Qutayba its overall coherence ; with this primary objective in view, it was necessary to elucidate its literary context : adab literature.The analysis is conducted firstly in terms of the author-function both in the 'Uyûn al-Akhbâr and in texts similar to it, and secondly in terms of the rhetorical function wich allies it with the Medieval exempla collections of the Western tradition. Drawing on rhetorical and stylistic analysis of the Prologue of the 'Uyûn al-Akhbâr, as well as on a transversal reading of the introductions to the three primary adab works : the Adab al-Kâtib, the 'Uyûn al-Akhbâr and the Ma'ârif of Ibn Qutayba, it was possible to confront the original with critical interpretations of the work. Annotated translations of the introductions to two of these three sister works (the 'Uyûn al-Akhbâr and the Ma'ârif) accompany this study.

Predominantemente representados a partir de imagens estereotipadas difundidas pelas grandes mídias internacionais, os povos árabes são sempre associados ao contexto de guerras, terrorismo e fundamentalismo religioso. Muito embora detenham uma cultura literária vastíssima, são pouco lidos através da produção de seus grandes escritores, tendo sua identidade cultural construída a partir do que se diz nas manchetes jornalísticas. Considerando o potencial que a tradução tem de formar identidades culturais nas comunidades receptoras e constituir-se uma forma de resistência, inovação e mudança cultural, no presente trabalho, propomos a tradução de excertos do romance Innah London ya azz, da escritora libanesa Hanan Al-Shaykh. Temos por objetivo realizar uma tradução que reconheça e evidencie traços da alteridade e receba o Outro enquanto Outro. Embora também defendamos que nenhum texto é capaz de transmitir uma visão geral de outra cultura, mas, pelo contrário, provê elementos que, de certa forma, somam-se às imagens que representam uma cultura, de modo a manifestar elementos para autodefinição. Disto decorre que o texto traduzido nunca compreende completamente um gênero existente em uma certa cultura, mas contribui para o processo dinâmico do diálogo no sistema literário. Além disso, o texto traduzido não transmite o mesmo significado produzido na língua de partida, pois as interpretações possíveis são concebidas baseadas nos recursos e limitações presentes na língua, no imaginário social, e sistema literário da comunidade de recepção. Portanto, os efeitos produzidos através de um texto traduzido no sistema literário não podem ser previstos, embora funcione como uma força de representação da alteridade e de autorrepresentação. / Predominantly represented by stereotyped images spread by the international media, Arab peoples have always been related to the context of war, terrorism, and religious fundamentalism. Although they possess a vast literary culture, they are hardly read through the production of their great writers, having their cultural identity constructed based on what is said about them in the journalistic headlines. Thus, we propose to present the translation of excerpts from the novel Innah London ya azz (2001), written by the Lebanese writer Hanan Al-Shaykh, considering the potential of the translation in shaping cultural identities in host communities. We aim to perform a translation which recognizes, and evidences traces of otherness receives the other as Other. Although, we also defend that no translated text is able to convey a full survey of another culture, but provides elements, which somehow add to the images of culture and as such provides material for self-definition. Hence translated text never comprehend totally an existent genre in a certain culture; instead, it contributes to the dynamical process of dialogue into the literary system. Besides that, no translated text conveys the same meaning produced in source-language; for the possible interpretations are conceived based on the limitations and resources present in the target language, the social imaginary, and the literary system of the target-community. Therefore, the effects produced by a translated text into the receptor literary system cannot be foreseen, although it certainly will function as a force of representation of others and self-definition.

Thesis (Ph.D.)--Georgetown University, 2010. / Includes bibliographical references.

Bc. Adéla Provazníková Strategies of literary translation during the Nahḍa Abstract: The thesis deals with the topic of literary translation in the Arab world during the Nahḍa. It falls within the framework of descriptive translation studies and is based methodologically on Gideon Toury's model (1995), which determines its structure and goals. Following a brief historical and literary context the thesis systematically describes attitudes towards translation in given period and finds that translational terminology and requirements were changing during the 19th century and only yet stabilizing. The core of this thesis lies in the textual analysis of two novels and three short stories, which reveal individual translational strategies. It shows that Arab translators in the colonial context dealt with the source text in a creative manner and accommodated translated texts to the cultural and historical particularities of a contemporary Arab reader. Keywords: translation strategies, modern Arabic literature, Nahḍa, paraliterature, Adib Ishaq, Labiba Hashim, cultural encounter

Ce travail tente d’une part, d’étudier les origines de la thématique du retour d’exil et ses différentes formes dans la littérature arabe : la forme de retour chez les écrivains arabes contemporains et celle des poètes du Mahğar. Puis, la forme du retour dans la poésie classique, notamment chez les poètes qui sont rentrés chez eux après une longue absence. Enfin, la forme de retour chez les poètes préislamiques, telle qu’elle se manifeste dans « al-Muqaddimaẗ al-ṭalaliyyaẗ » (l’introduction des ruines). D’autre part, notre étude tente d’explorer la thématique de retour dans la littérature palestinienne contemporaine et de montrer la particularité de ce phénomène chez les auteurs palestiniens revenus en Palestine après les Accords d’Oslo en 1993. En effet, plusieurs d’entre eux abordent la thématique du retour dans des œuvres littéraires variées. Ils y expriment souvent l’échec et la déception face à la réalité retrouvée. En outre, cette étude s’intéresse à la complexité du retour dans la littérature palestinienne. En effet, deux problématiques principales émergent : la première est liée au phénomène du retour d’exil et la deuxième est liée au contexte socio-politique particulier de la Palestine. Ces deux problématiques font du cas du retour palestinien un phénomène à part dans la littérature arabe contemporaine. / This research attempts on one hand, to study the origins of the theme of return and its various forms in Arabic literature : as perceived by contemporary arab writers versus by poets of Mahğar. Then, the shape of the return in classical poetry, especially among poets who have returned back home after a long absence. Eventually, the shape it adopted among pre-Islamic poets, as illustrated in « al-muqaddimaẗ ṭalaliyyaẗ » (the introduction of the ruins). On the other hand, our study intents to explore the theme of return in contemporary Palestinian literature and to demonstrate the peculiarity of this phenomenon among Palestinian returnee authors after Oslo agreements in 1993. Indeed, many of them oftently expressed the failure and disappointment facing the newfound reality. Furthermore, this research addresses the return’s complexity in Palestinian literature. Indeed, two main issues were raised : the first one is related to the phenomenon of return from exile and the second one, to the specific political context of Palestine. These two issues render unique the Palestinian return, a phenomenon in contemporary Arabic literature.