Ustadh Mau ni jina la hirimu la Mahmoud Ahmad Abdulkadir. Ni muAmu halisi: ni mzaliwa wa Amu, alikuwa mwanafunzi kule, na leo ni miongoni mwa viongozi wa dini wa Amu. Pia ni mfadhili wa miradi mingi. Umaarufu wake umeeneya kwa sababu ya vipaji vyake vya ushairi. Utungaji wa Kiswahili ni mfano mmoja katika vipaji hivi. Mashairi haya, alioandika kwa herufi za kiArabu, yanatafautisha hali ya kiSwahili ilivyokuwa zamani na ilivyo sasa. Ustadh Mau analalamika kukhusu hali ya lugha hii, hasa katika sehemu za uSwahili wa kaskazini. Katika wakati ujao kiSwahili kitakuwa hali gani?

Cinq auteurs nous permettent d’avoir une vision plurilatérale du conflit israélo-palestinien, aussi notre travail porte-t-il sur l’étude comparative de textes de Mahmoud Darwich, d’Edward Saïd, David Grossman, Jean Genet, et Philip Roth. Pour chacun, nous avons choisi un texte qui traduit leur rapport avec ce conflit, et au-delà leur lien avec un territoire et un peuple. C’est de ce lien dont il est question : soit l’écriture reflète, chez certains auteurs, les liens familiaux, ancestraux, originaires qui lient l’écrivain à sa communauté. Soit l’écriture étend ses marges vers d’autres nouages pour trouver des « branchements » en dehors du même. Entre les deux attitudes se jouent deux conceptions du politique, deux acceptations différentes du « démos » de la démocratie ; l’acceptation ou non de l’étrangeté. Ce sont alors également deux approches différentes de la littérature. Celle-ci n’a pas forcément à perpétuer nos « représentations » mais à les questionner pour que s’ouvre un autre rapport à l’autre et à nous-même. Les représentations dominantes chez les uns et les autres, chez les Israéliens comme chez les Palestiniens, sont marqués par un fantasme de plénitude qui exclut toute approche de l'autre. Le texte littéraire, inspiré de ces jeux de miroir avec le politique, devrait défaire ce fantasme afin que l'accès à l'autre et à sa reconnaissance soit libre. / Five authors provide give us a vision of plurilateral Israeli-Palestinian conflict. Our work also focuses on the comparative study of texts of Mahmoud Darwish, Edward Saïd, David Grossman, Jean Genet, and Philip Roth. For each of them, we chose a text that reflects their relationship to this conflict, and beyond their relationship with a territory and a people. This link is in question: is the writing reflects some authors, family ties, ancestral origin that binds the writer to his community. Either writing extends its margins to other knotting to find "connections" outside the same. Between the two attitudes are two conceptions of politics, two different meanings of "demos" of democracy and acceptance or not of strangeness. It then also two different approaches to literature, it did not necessarily perpetuate our "representations" but question them in order to open another relative to each other and ourselves that is no longer conditioned by them. Against the cult of the full and full of fantasy players raging on both sides of the Israeli-Palestinian conflict, the literary text and the political will revise each other, so we can perhaps due recognition of otherness.

Notre étude consiste à retracer l'histoire du genre narratif arabe et plus précisément la nouvelle arabe de la fin du XIXème siècle jusqu'à 1969. Dans un premier temps, nous faisons un rappel historique et littéraire incluant la floraison du genre narratif en Egypte. Dans un second temps, nous analysons, à travers les préfaces de Mahmoud Taymour, l'évolution et les changements que le genre narratif arabe a subis dans la première moitié du XXème siècle. Enfin, la troisième partie illustre le gain en maturité du genre romanesque et plus précisément la nouvelle, à travers les oeuvres de Naguib Mahfouz, dans lesquelles nous trouvons un tableau complet de la société égyptienne et arabe de l'époque. / Our study consists on tracking the history of the arab narrative type, more precisely the arab novel since end of nineteenth century till 1969. First, we start in the first chapter by a litterature and historical reminder of the birth of the narrative type in Egypt. Then, we analyze in the second chapter, through the Mahmoud Taymour introductions, the changes and evolutions that occur on this arab narrative type in the first half of the twentieth century. Finaly, the third chapter is the occasion to illustrate the gain in maturity of the narrative litterature and more specificaly the novel. This illustration is done through Naguib Mahfouz novels where we find a complete drawing of the egyptian and arab society at that time.

Ustadh Mau ni jina la hirimu la Mahmoud Ahmad Abdulkadir. Ni muAmu halisi: ni mzaliwa wa Amu, alikuwa mwanafunzi kule, na leo ni miongoni mwa viongozi wa dini wa Amu. Pia ni mfadhili wa miradi mingi. Umaarufu wake umeeneya kwa sababu ya vipaji vyake vya ushairi. Utungaji wa Kiswahili ni mfano mmoja katika vipaji hivi. Mashairi haya, alioandika kwa herufi za kiArabu, yanatafautisha hali ya kiSwahili ilivyokuwa zamani na ilivyo sasa. Ustadh Mau analalamika kukhusu hali ya lugha hii, hasa katika sehemu za uSwahili wa kaskazini. Katika wakati ujao kiSwahili kitakuwa hali gani?

Este estudo consiste em apresentar aspectos da poesia de Mahmud Darwich e também em propor uma tradução, do árabe ao português brasileiro, de seu livro Ars (Bodas). Para tal, descrevemos a vida do autor, seu contexto histórico-cultural, sua linguagem e seu fazer poético, coletando as imagens e metáforas mais recorrentes na sua obra. / This study aims at presenting aspects of the poetry of Mahmoud Darwish. It also proposes a translation, from Arabic to Brazilian Portuguese, of his book Aras (Weddings). We describe the author\'s life, his historical and cultural context, his language and his poetry making, collecting images and recurring metaphors in his work.

This thesis examines the work of two of the twentieth century’s foremost cultural figures, the Palestinian-American literary critic Edward Said (1935-2003) and the Palestinian poet Mahmoud Darwish (1941-2008), and focuses specifically on the formulation and representation in their respective work of the theme of identity. It explores the depictions of this concept in their writing; comparing and contrasting their personal viewpoints on the various facets of their own identity as Palestinian Arabs and cosmopolitan global citizens expressed through their chosen literary medium, prose for Said and poetry for Darwish. At the same time, this analysis of the creative writing of these two authors will serve to shed light on the complex and ongoing process which is involved in identity formation and maintenance, and conceptualization of the self. Said and Darwish’s multi-conceptualisations of self-identity take place in Chapter Three, which is divided into seven zones of self-identity. Their understanding of self-identity is observed through the spaces of their names, language, family relationships, friendships, ethnicities, nationalism, hybrid identities, and cosmopolitanism. The concept of post-Nakba and Naksa literature maps the critical developments in evaluations of Arabic literature and, more particularly, Palestinian literature. The understanding of Palestinian cultural context requires an adequate assimilation regarding the impact of Nakba and Naksa in Palestinian literature, linked strongly with the general impact of Nakba in all Arab literature. The thesis begins by establishing the major socio-political, cultural and historical contexts which shaped the lives and work of Said and Darwish. Then using an innovative theoretical framework which draws on elements of post-colonial theory Said’s own contrapuntal technique and close textual analysis, the thesis explores a number of key facets pertaining to identity construction which it can be argued are of particular relevance to the Palestinian case. These include trauma, collective cultural memories, displacement, the Diasporic experience and the dream of return. At the same time, the thesis reveals how whilst both Said and Darwish remained dedicated to the Palestinian cause they adopted a cosmopolitan identity which was reflected in their respective work and its identification with diverse groups of oppressed peoples.

Este estudo consiste em apresentar aspectos da poesia de Mahmud Darwich e também em propor uma tradução, do árabe ao português brasileiro, de seu livro Ars (Bodas). Para tal, descrevemos a vida do autor, seu contexto histórico-cultural, sua linguagem e seu fazer poético, coletando as imagens e metáforas mais recorrentes na sua obra. / This study aims at presenting aspects of the poetry of Mahmoud Darwish. It also proposes a translation, from Arabic to Brazilian Portuguese, of his book Aras (Weddings). We describe the author\'s life, his historical and cultural context, his language and his poetry making, collecting images and recurring metaphors in his work.

The correction, authentication, validation and identification of the original texts in Hafez’s poetry among 16 or so old versions of his Divan has been a challenge for scholars. The semantic analysis of poetry with modern Digital Humanities techniques is also challenging. Analyzing latent semantics is more challenging in poetry than in prose for evident reasons, such as conciseness, imaginary and metaphorical constructions. Hafez’s poetry is, on the one hand, cryptic and complex because of his era’s restricting social properties and censorship impediments, and on the other hand, sophisticated because of his encapsulation of high-calibre world-views, mystical and philosophical attributes, artistically knitted within majestic decorations. Our research is strongly influenced by and is a continuation of, Mahmoud Houman’s instrumental and essential chronological classification of ghazals by Hafez. Houman’s chronological classification method (Houman, 1938), which we have adopted here, provides guidance to choose the correct version of Hafez’s poem among multiple manuscripts. Houman’s semantic analysis of Hafez’s poetry is unique in that the central concept of his classification is based on intelligent scrutiny of meanings, careful observation the evolutionary psychology of Hafez through his remarkable body of work. Houman’s analysis has provided the annotated data for the classification algorithms we will develop to classify the poems. We pursue to understand Hafez through the Houman’s perspective. In addition, we asked a contemporary expert to annotate Hafez ghazals (Raad, 2019). The rationale behind our research is also to satisfy the need for more efficient means of scholarly research, and to bring literature and computer science together as much as possible. Our research will support semantic analysis, and help with the design and development of tools for poetry research. We have developed a digital corpus of Hafez’s ghazals and applied proper word forms and punctuation. We digitized and extended chronological criteria to guide the correction and validation of Hafez’s poetry. To our knowledge, no automatic chronological classification has been conducted for Hafez poetry. Other than the meticulous preparation of our bilingual Hafez corpus for computational use, the innovative aspect of our classification research is two-fold. The first objective of our work is to develop semantic features to better train automatic classifiers for annotated poems and to apply the classifiers to unannotated poems, which is to classify the rest of the poems by applying machine learning (ML) methodology. The second task is to extract semantic information and properties to help design a visualization scheme to assist with providing a link between the prediction’s rationale and Houman’s perception of Hafez’s chronological properties of Hafez’s poetry. We identified and used effective Natural Language Processing (NLP) techniques such as classification, word-embedding features, and visualization to facilitate and automate semantic analysis of Hafez’s poetry. We defined and applied rigorous and repeatable procedures that can potentially be applied to other kinds of poetry. We showed that the chronological segments identified automatically were coherent. We presented and compared two independent chronological labellings of Hafez’s ghazals in digital form, pro- duced their ontologies and explained the inter-annotator-agreement and distributional semantic properties using relevant NLP techniques to help guide future corrections, authentication, and interpretation of Hafez’s poetry. Chronological labelling of the whole corpus not only helps better understand Hafez’s poetry, but it is a rigorous guide to better recognition of the correct versions of Hafez’s poems among multiple manuscripts. Such a small volume of complex poetic text required careful selection when choosing and developing appropriate ML techniques for the task. Through many classification and clustering experiments, we have achieved state-of-the-art prediction of chronological poems, trained and evaluated against our hand-made Hafez corpus. Our selected classification algorithm was a Support Vector Machine (SVM), trained with Latent Dirichlet Allocation (LDA)-based similarity features. We used clustering to produce an alternative perspective to classification. For our visualization methodology, we used the LDA features but also passed the results to a Principal Component Analysis (PCA) module to reduce the number of dimensions to two, thereby enabling graphical presentations. We believe that applying this method to poetry classifications, and showing the topic relations between poems in the same classes, will help us better understand the interrelated topics within the poems. Many of our methods can potentially be used in similar cases in which the intention is to semantically classify poetry.

L'objectif de ce travail de recherche est de mettre en lumière, à travers ces deux entrées que sont la métaphore et la traduction, l'universalité dont se réclame la poésie arabe contemporaine. Nous étudierons à cet effet les recueils traduits en français de Badr Chaker Es-Sayyâb, d'Abdelwahab Al Bayati, de Mahmoud Darwich et d'Adonis, poètes qui demeurent fidèles à un héritage métaphorique remontant à la poésie arabe traditionnelle mais qui s'inspirent dans le même moment de métaphores appartenant à l'imaginaire occidental pour renouveler le "vivier métaphorique" de la poésie arabe. Nous nous intéresserons également aux mécanismes grâce auxquels ces métaphores sont traduites de l'arabe au français car si le poète arabe se donne pour tâche d'atteindre l'universalité, son traducteur doit veiller à ce que transparaisse dans le texte cible ce désir d'unité et de totalisé qui anime la poésie arabe contemporaine. / The objective of this research is to highlight, through the meticulous study of metaphor and translation, the universality of contemporary Arabic poetry. The study will dwell on the French translations of the poetry collections of Badr Chaker Es-Sayyâb, Abdelwahab Al Bayati, Mahmoud Darwich and Adonis, poets who remain faithful to the metaphoric heritage of traditional Arabic poetry and yet, at the same time, seek inspiration from metaphors pertaining to the western imagination as to renew the "metaphoric pond". This research will equally draw on the mechanisms through which these metaphors were translated from Arabic to French for if the Arab poet does not aim at reaching universality, his translator must ensure that the target text convey the desire for unity which animates contemporary Arabic poetry.

Ce mémoire propose l'analyse de l'approche du candidat présidentiel Barack Obama à l'égard du dossier nucléaire iranien. Plus particulièrement, nous cherchons à déterminer s'il y a cohérence entre les promesses électorales de Barack Obama concernant l'Iran et la politique étrangère des États-Unis à l'égard de l'Iran mise en oeuvre durant la première moitié de son mandat à la Maison-Blanche (2009-2011). Menace à la sécurité nationale étatsunienne, l'Iran représente un enjeu capital lors de la campagne présidentielle américaine de 2008 en raison de son programme nucléaire. Contrairement au candidat républicain John McCain, le candidat démocrate Barack Obama préconise le dialogue et le multilatéralisme. Malgré l'impossibilité pour les Américains de rétablir les relations diplomatiques avec les Iraniens, en rupture depuis la crise des otages de 1980, il tend la main à cet ennemi des États-Unis. Durant la campagne, Obama s'est engagé à prévenir l'acquisition de l'arme nucléaire par l'Iran, principalement en conduisant une diplomatie agressive sans toutefois écarter l'option militaire.Ce mémoire conclut qu'il y a bel et bien cohérence entre les promesses électorales et la politique étrangère du président Obama, car celui-ci a respecté la presque totalité de ses engagements électoraux concernant l'Iran. Dans les deux premières années de son mandat, il s'est par exemple adressé directement aux leaders iraniens dans l'espoir d'ouvrir un dialogue avec ceux-ci, il a révisé la posture nucléaire américaine et a conclut [i.e. conclu] un nouveau traité avec la Russie en matière de désarmement nucléaire, et il a été en mesure de mobiliser une coalition internationale afin d'imposer de nouvelles sanctions au régime iranien.