Thesis (doctoral)--Jāmiʻat al-Qāhirah, 1988. / Includes bibliographical references (p. 337-349)

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 180-183).

Thesis (M.A.)--York University, 2006. Graduate Programme in Sociology. / Typescript. Includes bibliographical references (leaves 101-106). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR19642

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Obituary in memory of Mu'Allim Yahya Ali Omar, a Swahili scholar

This study was written in the belief that FitzGerald did not so much translate a poem as invent a persona based on the Persian astronomer and mathematician (but not poet) Omar Khayyám. This 'invention' opened two different lines of interpretation and scholarship, each forming its own idea of a 'real' Omar based on FitzGerald's invention. One line sees Omar as a hedonist and nihilist; the other as a mystic or Sufi. My argument first is that the historical Omar was neither the former nor the latter; second, FitzGerald's Rubáiyát is a 'Victorian' product even if the raw material of the poem belongs to the eleventh-century Persia. ¶ The Introduction tries to find a place for the Rubáiyát in the English nineteenth-century era. ¶ Chapter One sets FitzGerald's Rubáiyát in perspective. First, it surveys the general background and context to the lives and careers of Edward FitzGerald and Omar Khayyám in order to show how FitzGerald's life was affected by some of the main concerns of the period; and that Omar was neither a hedonist nor a mystic; Secondly, it surveys four major critical studies which have generated different approaches to and emphases in the study and the translation of the rubáiyát attributed to Omar Khayyám. ¶ Chapter Two reviews some examples of Persian language and literature as they were perceived by British readers and authors and shows the reception of Persian poetry in general up to and including the Victorian period. Then it traces FitzGerald's progress with Persian literature, showing how the other Persian poets he read influenced his understanding or 'creation' of the Rubáiyát, and how he discarded the great Persian poets but retained Omar Khayyám as 'his property.' ¶ Chapter Three traces FitzGerald's career as a translator and attempts to give general characteristics of Victorian poetry to show how FitzGerald's version can be seen a Victorian product. Study of the poetry of the period shows the heterogeneity of Victorian poetry and FitzGerald's poem is another example of this multiplicity. The Rubáiyát should be read as a revolt against general Victorian values: optimism, earnestness, Puritanism, and science development. ¶ Chapter Four accounts for the initial neglect of the poem and then for the popular reception of the Rubáiyát by the Pre-Raphaelites and shows aspects in particular appealed to his contemporaries (like R. Browning) which, in turn, is a way of measuring the success of FitzGerald's 'Victorian' invention.

Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 232-251).

Thèse (Ph. D.)--Université Laval, 2005. / Bibliogr.: f. 303-320. Publié aussi en version électronique.

Made available in DSpace on 2016-12-08T16:19:09Z (GMT). No. of bitstreams: 1 wagner.pdf: 3055659 bytes, checksum: 2f9b155877ef1311c8f91c5f076d1fbf (MD5) Previous issue date: 2011-10-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This present research aims to analyze the relationship between cinema and contemporary art by using certain moments of artistic and theoretical production of Arthur Omar. The beginning of his artistic trajectory is marked by rupture with traditional documentary filmmaking, period when he will introduce the notion of antidocumentário in the context of the Brazilian audiovisual production. From that moment on, he takes a path that goes from cinema to visual arts, passing through video, photography e video installations. In 2006, he performs the exposition Zooprismas: Ciência Cognitiva dos Corpos Gloriosos containing video and photographic images in many ways of displaying and projecting. These are works designed from the softening of the boundaries that separate photography, cinema, video e visual arts. Think about the pictorial devices becomes fundamental for a reflection on the artistic experience nowadays. Therefore, the research dialogues with the notion of cinema effect, procedure of filmmakers / artists whosometimes use the film material directly in production, sometimes invent forms of presentation that make you think or are inspired by effects or cinematic forms / A presente pesquisa tem por objetivo analisar a relação entre cinema e arte contemporânea abordando determinados momentos da produção artística e teórica de Arthur Omar. O início de sua trajetória artística é marcado pelo movimento de ruptura com o cinema documentário tradicional, período em que o artista vai introduzir a noção de antidocumentário no contexto da produção audiovisual brasileira. A partir desse momento realiza um percurso que vai do cinema às artes plásticas, passando pelo vídeo, fotografia e instalações de vídeo. Realiza ainda em 2006 a exposição Zooprismas: Ciência Cognitiva dos Corpos Gloriosos, constituída por imagens videográficas e fotográficas em variadas possibilidades de exposição e projeção. São trabalhos concebidos a partir da suavização das fronteiras que separam fotografia, cinema, vídeo e artes visuais. Pensar sobre os dispositivos imagéticos torna-se desta maneira tarefa fundamental para uma reflexão sobre a experiência artística na atualidade. Para tanto, a pesquisa dialoga com a noção de efeito cinema, procedimento de cineastas/artistas que ora utilizam diretamente o material fílmico em sua produção, ora inventam formas de apresentação que fazem pensar ou se inspiram em efeitos ou formas cinematográficas

Cette thèse vise à procéder à une analyse minutieuse de la transformation de la forme et du sens dans la traduction des Robâïât de Omar Khayyám, dans quatre importantes traductions – deux en anglais et deux en français, des XIXe et XXe siècles. Les traducteurs des traductions sélectionnées sont Edward FitzGerald, Arthur John Arberry, Jean-Baptiste Nicolas et Gilbert Lazard. Les traductions réalisées par ces traducteurs ont offert des possibilités d’investigation dans un cadre linguistique donné. En effet, on peut se demander si les traducteurs ont transformé la signification et la forme des quatrains perses. Si oui, quelles procédures ont-ils utilisées ? Plus précisément, comment les réseaux signifiants sous-jacents ont-ils été rendus par les plus importants traducteurs anglais et français des XIXe et XXe siècles ? Par ailleurs, il s’agira d’essayer d’évaluer la qualité de l’écriture dans la langue cible de chaque traduction. En somme, cette thèse cherche à comprendre si les traducteurs sont parvenus à saisir l’importance de la signification du sous-texte et l’élégance de la forme poétique des Robâïât. Cette thèse propose une application scientifique des concepts théoriques de différents chercheurs en traductologie, linguistique et littérature. Les théories dominantes utilisées dans la présente étude sont celles d’Antoine Berman, de Henri Meschonnic, Peter Newmark, Eugene Albert Nida, Susan Bassnett, Mona Baker, Geoffrey N. Leech, I.A. Richards, Roger T. Bell, George Lakoff, Mark Johnson, Michael Hanne, et Max Black. En outre, il doit être indiqué que cette thèse vise à créer un équilibre entre deux pôles de la traductologie, à savoir celui qui s’intéresse aux traductions orientées vers la langue cible et celui qui s’intéresse aux traductions orientées vers la langue source.La traduction des Robâïât dans les langues germaniques et romanes est un sujet digne d’intérêt et propice à la discussion. Cette recherche vise à montrer que l’étude des traductions des Robâïât pourrait contribuer à mettre en évidence les difficultés et même l’impossibilité qu’il y a à rendre certaines caractéristiques de l’original persan en anglais et en français. / This thesis aims to carry out a meticulous analysis of the transformation of form and meaning in the rendition of the Rubáiyát in four significant 19th and 20th-century translations—two in English and two in French. The translators of the selected translations are Edward FitzGerald, Arthur John Arberry, Jean-Baptiste Nicolas, and Gilbert Lazard. The translations produced by these translators have offered opportunities of investigation within linguistic boundaries. In fact, one may wonder if the translators have transformed the meaning and the form of the Persian quatrains. If so, which procedures have they employed? More precisely, how are the underlying networks of signification rendered by the most significant English and French translators of the 19th and 20th centuries? Furthermore, what is the quality of the writing in the target language in each translation? On the whole, this thesis seeks to appreciate whether the translators have been successful in understanding the significance of the subtext and the elegance of the poetic form of the Rubáiyát.This dissertation provides its readers with a scientific application of the theoretical concepts of different theorists in translation studies, linguistics, and literature. The most salient theories employed in the present research are those of Antoine Berman, Henri Meschonnic, Peter Newmark, Eugene Albert Nida, Susan Bassnett, Mona Baker, Geoffrey N. Leech, I.A. Richards, Roger T. Bell, George Lakoff and Mark Johnson, Michael Hanne, and Max Black. In addition, it must be indicated that this thesis sets out to create a balance between two poles in translation studies, i.e. target-oriented and source-oriented translations.The translation of Omar Khayyám’s Rubáiyát into Germanic and Romance languages is an interesting and controversial subject to discuss. This research seeks to prove that the study of the translations of the Rubáiyát can contribute to highlighting the difficulties and the impossibilities of the rendition of certain issues from Persian into English or French.