The religious history of the Turkish people of Anatolia in the first few centuries after their entry into the peninsula remains obscure. This obscurity can be partially dispersed only through detailed analyses of the few religious works of early Muslim-Turkish literature. One such work, namely the legendary biography of the pir of the Bektasi order known as the Manakib-i Haci Bektasi Veli, or simply the Vilayet-name, is here subjected to a critical analysis with the purpose of identifying the survivals of pre- Islamic Turkish beliefs within it. After an initial effort to place the Vilayet-name into its proper historical context, an overall view of the religious life of Turkish nomads prior to their Islamization is given. This is followed by a comparative analysis of the text in the light of the information already presented, and it is demonstrated that this central work of the heterodox-antinomian Bektasi tradition of Turkish Anatolia is clearly imbedded in the pre-Islamic culture of nomadic Turkish peoples. / L'histoire religieuse des Turcs pendant les premier siecles de leur existence en Anatolie nous est encore assez obscure. Toutefois nous pensons que cette obscurite peut etre dissipee dans une large mesure a travers I' etude detaillee des premiers ecrits de la litterature religieuse turque-musulmane. Dans cet ordre d'idees, la presente etude consiste en une analyse critique de l'une de ces oeuvres, Ie Manakib-i Haci Bektasi Veli, connu aussi sous Ie titre de Vilayet-name, avec Ie but de relever des survivances de croyances preislamiques dans cette biographie legendaire du pir de l'ordre des Bektasi. Apres un premier effort de placer Ie Vilayet- name dans son propre contexte historique, sera trace un apercu general de la vie reIigieuse des nomades turcs avant leur conversion a l'Islam. Finalement, a la lumiere des materiaux ainsi exposes, une analyse comparative de notre document sera elabore afln de demontrer que cette oeuvre capitale de la tradition quasiment antinomique de l'heterodoxie Bektasi d'Anatolie s'incruste dans 1e culture preislamique des nomades turcs. fr

Thesis (Ph.D.)--Indiana University, Dept. of Near Eastern Languages and Cultures, 2008. / Title from PDF t.p. (viewed on May 11, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 3166. Adviser: Hasan El-Shamy.

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Interest in Joyce Mansour has centered mostly on the ambiguity and the lack of "subjective identity" in her poetic works. This dissertation proposes to investigate that notion and demonstrates that Mansour's discourse is that of a woman poet's assertive, complex, and universal voice in the realm of post-surrealism. Chapter 1 introduces Mansour's poetic corpus, and provides the theoretical approach of our study in view of various critics' interpretations of Joyce Mansour's lack of "subjective identity," as well as other recent, more positive readings of her literary production. Chapter 2 provides pertinent information about the surrealist movement and its founder, Andre Breton. It also considers the role of women and their artistic contribution to the movement. Chapter 3 expounds on the uniqueness of Mansour's assertive voice via the technique of poetic-collage, and highlights the function of eroticism as a liberating force. Georges Bataille's study of Eroticism in literature and surrealism contributes to our study. This chapter also recognizes Mansour's use of Egyptian myths as one of the pillar of her narrative structure. It will show that the poet favors a language of self-regeneration in which the dichotomies between light versus dark, and life versus death are underscored. Chapter 4 explores the role of archetypal images in Mansour's poetry. While the Mother archetypal images demonstrate the universality of her poetry, the Jungian concept of a collective unconscious further clarifies Mansour's poetic discourse. An analysis of archetypes in women literature contributes to the identification of other archetypes, (The Devil, God, and Aphrodite) present in Mansour's discourse. Chapter 5 acknowledges Mansour's pronominal gender play. Monique Wittig's approach on gender theories and our textual concordances of Mansour's poems will provide the underlying theory for discussion. The conclusion supports the notion that Mansour's discourse of plurality is that of a woman who, fearful of humanity's inevitable fate, confronted death through a literary exuberance that has become her identity and personal signature. Our conclusion reveals the existence of two texts that are not part of Mansour's published collection. These texts contribute to a better understanding of Mansour's literary contribution.

This study addresses the translatability of emotive expressions in the poetry of the distinguished Palestinian poet Mahmoud Darwish. The study gives translators and readers an example of how to look at emotiveness in the Arabic poetry by studying main sources of emotiveness like cultural expressions, figures of speech such as rhetorical questions and repetitions as well as expressions of direct emotiveness such as proper names. The ambition of this study is to enrich the literature on translation with new examples of emotiveness by pointing out the expected problem areas when translating emotive expressions. Furthermore, this study is significant since it attempts to answer the question of whether emotiveness constitutes a problem when translating from Arabic into English and whether the meaning and the musicality of poetry are translatable or not. The English translations are selected from: 1. Unfortunately, It Was Paradise translated and edited by Munir Akash and Carolyn Forche with Sinan Antoon and Amira El-Zein (2003) e 2. The Butterfly's Burden translated by Fady Joudah (2007). The original poems can be found in Darwish's most recent poetry collections included in the 2009 edition of The Complete Recent Works by Mahmoud Darwish, published in Beirut. The emotive expressions selected from the English collections and compared to the Arabic original are divided into three categories: the cultural expressions, the linguisticexpressions, and the political expressions. The study highlights different emotive devices used in the selection of poems, by carrying out an analysis of the English translation as well as the Arabic original text. The emotive expressions selected are carefully analyzed to show how the translation was able to render the emotive meaning expressed and intended by the poet in the text in its original form.