Arabic literature mirrors the aspirations, sufferings and hopes of the Arabic people from the past to the future. In 1920, the Exiled Arab men of letters from Syria and Lebanon formed a literary guild, al-Rābiṭa al-galamiyya (The Pen League) which advocated innovation in Arabic literature to fortify their society in the struggle for liberation and progress. Iliya Abu Madi became the most celebrated poet of al-Rābiṭa; with the poetry of his third diwān (collection), al-Jadāwil (The Brooks), he cast a magnificent pearl into the treasury of Arabic literature. These poems portray the poet's views about his art, his struggle with life in the Exile and his hopes and fears for the homeland. Philosophically his poetic ideals are transmitted through a naturalistic imagry that gives a universal hue to his humanistic perspectives. It is hoped that the English translation of these poems, not previously translated from Arabic, will allow the English reader to feel and sense the universalistic world of The Brooks.

This study offers a dual aspect bridging Western and Eastern literary traditions, specifically the tragic-heroic literature of the British Renaissance and the prevailing Iranian tradition. This study demonstrates that the concept of the hero in both Western and Eastern traditions is an evolving one. Primarily, this work treats the Iranian heroic tradition. The several fantastic heroes selected for analysis have since been glorified in prayers, epics, novels, and in a tradition of sacred dramas, so much so as to appear almost legendary and mythological today. This paper suggests that these heroes developed in direct response to the most dire of human suffering, and miseries. This gradual development of the concept provides one kind of insight into the changing subtleties of mind and world view of each generation as traced through the three principal periods of Iran's literary tradition. The Pre-Islamic period includes an analysis of the Shahnameh of Ferdowsi, the Iranian national epic. The first chapter investigates several of the most significant stories and their prominant heroes. Chapter two further crystalizes the evolutionary thesis of this study by illustrating its contribution to the process of hero creation and emphasizes heroic elements drawn from Ta'ziyeh, the passion play tradition. Chapter three, the Modern period, analyzes a vastly popular tragic literary and film hero, Shir Mammad of Tangsir by Sadeq Chuback. Finally, the study projects a description of the next most likely phase in the evolution of the hero concept. Part II concludes the study with an exemplum of the central thesis in the form of an original play in English by the author. The plot of this original drama is based upon an ancient and popular tale, The Story of Sohrab and Rostam. Reflected in this new version of the ancient tale, the reader will find a new definition of the hero which expresses some of the aspirations of the contemporary Iranian mind. / Source: Dissertation Abstracts International, Volume: 43-08, Section: A, page: 2690. / Thesis (Ph.D.)--The Florida State University, 1982.

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The translation of the postcolonial Arabic novel into English and French is an interesting case in which cultural representation can be examined in a way to shed light on its diverse aspects and repercussions as well as explore the role of the translators, among other agents, in negotiating the cultural distance between Arab novelists and the target audience, namely the Western one. This thesis looks closely at the notions of assimilation and non assimilation. It aims at reviewing their function, effect and axiological value as well as reconsidering some common assumptions about translation and its representational dimension. A historicist and more inclusive approach is adopted so as to study the novels and (re)translations selected, to highlight the complexity of literary translation and to further explore the ways in which cultural traits, especially the situation of women, are rendered in the translated versions.Moreover, this study offers a brief overview of the translation of Arabic literature into French and English from 1968 to 2004. It illustrates several aspects of the latter, including economic, (geo)political, literary and cultural factors. In addition, it presents an evaluation of relevant studies and analyses conducted on the translation of Arabic literature into these languages. An attempt is made to promote a different vision of this translation, one that is more favourable to the creation of diversified tastes for Arabic literary works and to greater convergence of the worldviews of Arab and Western cultures at a time when mutual understanding is crucial and the debate on the relations between Self and Other (the Arab and/or the Muslim) has proven increasingly relevant since the beginning of the third millennium. The ethics of the translation from Arabic into English and French is discussed not only in terms of the preservation or omission of cultural alterity, the effects of which are not necessarily predictable, but also according to the undeniable aesthetic issues raised by this activity. / La traduction du roman arabe postcolonial en français et en anglais présente un cas intéressant où la question de la représentation culturelle peut être explorée de manière à mettre au jour ses aspects et enjeux divers et à montrer le rôle des traducteurs et des traductrices, entre autres acteurs, dans la négociation de la distance culturelle entre le romancier ou la romancière arabe (ou local-e) et le public cible, notamment occidental. Cette thèse est aussi une réflexion approfondie sur l'assimilation et la non assimilation. Elle vise à problématiser leur fonction, effet et valeur axiologique ainsi qu'à remettre en cause certains présupposés sur le fait traductif et sa dimension représentationnelle. Nous adoptons une approche historiciste plus inclusive afin d'étudier les romans et les (re-)traductions de notre corpus, de faire ressortir la complexité de la traduction littéraire et d'enrichir la réflexion sur les modalités de la transposition des traits culturels, notamment la situation de la femme, dans les versions produites.Notre étude offre également un aperçu de la traduction de la littérature arabe entre 1968 et 2004. Elle illustre plusieurs aspects de ce mouvement, y compris ses facteurs économiques, (géo-)politiques, littéraires et culturels. En outre, elle comprend une évaluation d'études déjà faites sur des aspects de cette traduction. Nous y essayons aussi de promouvoir une autre vision de la traduction et de la réception de cette production littéraire plus favorable à la création de goûts diversifiés chez le lectorat et au rapprochement des points de vue des cultures arabes et occidentales à un moment où la connaissance mutuelle est cruciale et où le débat sur le Soi et l'Autre (l'Arabe, le musulman/la musulmane) ne cesse de susciter de l'intérêt au début de ce troisième millénaire. L'éthique de cette traduction est considérée non seulement en termes de préservation ou de gommage de l'altérité, dont les effets ne sont pas nécessairement prévisibles, mais également selon les enjeux esthétiques incontournables de cette activité.

This thesis looks at four novels, Ghassan Kanafani's Rijal fi al-Shams (trans: Men in the Sun) published first in 1964 (Chapter One), Imil Habibi's Al-Waqa'i' Al-Gharibah fi Ikhtifa' Sa'id Abi Al-Nahs Al-Mutasha'l (trans, Said the Ill-Fated Pessoptimist) which was published in serial beginning 1973 (Chapter Two), Sahar Khalifah's Al-Subbar (trans, Wild Thorns) published in 1974 (Chapter Three), and finally, Al-Duffah al-Thalithah li-Nahar al-Urdun (while there is no English translation of the work, the title translates as The Third Bank of the Jordan River) by Husayn Al-Barghuthi (Chapter Four). It analyzes the different ways in which the works construct identity of Palestinian characters using a variety of literary techniques, puts the novels into their historic contexts, and attempts to draw some broad conclusions about the construction of identities in the Palestinian novel in general. / Ce mémoire étudie quatre romans, Rijal fi al-Shams (trans: Men in the Sun) par Ghassan Kanafani, édité d'abord en 1964 (chapitre un), Al-Waqa'i' Al-Gharibah fi Ikhtifa' Sa'id Abi Al-Nahs Al-Mutasha'l (trans, Said the Ill-Fated Pessoptimist) par Imil Habibi, qui a été publié dans une publication périodique au début de l'année 1973 (chapitre deux), Al-Subbar par Sahar Khalifah (trans, Wild Thorns) édité en1974 (chapitre trois), et, enfin, Al-Duffah al-Thalithah li-Nahar al-Urdun (il n'y a pas de traduction anglaise officielle, mais le titre peut se traduire par La troisième banque du fleuve jordanien) par Husayn Al-Barghuthi (chapitre quatre). Il analyse les différentes façons dont ces ouvrages construisent l'identité des personnages palestiniens en employant une variété de techniques littéraires, replace les romans dans leur contexte historique et essaye d'élaborer quelques conclusions générales sur la construction des identités dans le roman palestinien en generale.

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In this study, I will argue that the difference between profane love and sacred love, as examined in Jāmī's masnavī Yūsuf va Zulaykhā, can be conceptualized through vision and narrative planning. Jami's tale centers on Zulaykhā's love for Yusuf and her subsequent conversion to monotheism. The text makes extensive use of the sense of sight, especially through the trope of jelvah-i maḥbūb, the blinding hierophany of the beloved, to create meaning and to illustrate the transformation of Zulaykhā's profane love into sacred love. This transformation occurs in several stages, each of which conveys philosophical and mystical doctrines from Ibn 'Arabī. / Lors de cette étude, nous argumenterons que la différence entre l'amour profane et l'amour sacré, tel que présentée par Jāmī dans le masnavī Yūsuf va Zulaykhā, peut s'exprimer par la vision et la répartition du récit. Le récit de Jāmī se concentre autour de l'amour de Zulaykhā pour Yūsuf et sa conséquente conversion au monothéisme. Le texte utilise le sens de la vue , surtout à travers la figure de style jelvah-i maḥbūb, la hiérophanie éblouissante du bien-aimé, afin d'illustrer et de donner un sens à la transformation de l'amour profane de Zulaykhā en amour sacré. Cette transformation a lieu en plusieurs étapes, chacune communiquant des doctrines mystiques et philosophiques d'Ibn 'Arabī.