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Cet article présente l’analyse d’un poème du poète tunisien nationaliste ‘Abd ar-Rahmān al-Kāfī, un barde originaire du village de Jendouba qui militait, au début du XXème siècle, contre le Protectorat français en Tunisie. Composé en arabe dialectal, ce poème a circulé longtemps dans la clandestinité et, considéré comme obscène pour son langage et ses contenus, est souvent rappelé encore aujourd’hui sous le nom de Zabbūbiyya. L’article propose un encadrement historique et culturel du poème, ainsi que sa transcription scientifique à partir du dialectal, sa traduction, et une analyse linguistique du dialecte employé.
In: Mohamed Meouak, Pablo Sánchez, Ángeles Vicente (eds.): De los manuscritos medievales a internet: la presencia del árabe vernáculo en las fuentes escritas. Universidad de Zaragoza, pp. 333-347.
South Tunisian Bedouin Poetry in Written Sources2012 •
ROMANO-ARABICA XIX Curses and Profanity in the Languages and Cultures of the Middle East and North Africa editura universităţii din bucureşti ® 2019
AL-MAQĀMA AL-KĀFIYYA OF ʿALĪ AL-MŪRĀLĪ (C. 1950): AN ARCHIVE OF TUNISIAN CURSING2019 •
Horvat, Bohdan. An ‘Ammiyya Poem in Fuṣḥa: Reading Fuad Qaud’s fi Maḥmūd Bayram at-Tūnisī. In: Proceedings of the 2nd International Conference on Arabic Literature, eds. Olena Khomitska & Bohdan Horvat. Kyiv: Mayster Knyh, 2018, p. 100-110.
An ‘Ammiyya Poem in Fuṣḥa: Reading Fuad Qaud’s fi Maḥmūd Bayram at-Tūnisī2018 •
The paper focuses on an example of poetry in standard language in a corpus of dialect poetry2. Fuad Qaud (Fu’ād Qā‘ūd, 1936–2006), a prominent Egyptian poet, used almost exclusively Egyptian Arabic/‘āmmiyya in his creative work. However, there is a poem written in Standard Arabic/fushá in the first volume of his collected works. It is dedicated to Bayram at-Tunisi (Bayram at-Tūnisī, 1893–1961) who is believed to be the predecessor and the patriarch of the so-called ‘āmmiyya poetry movement that began to originate in Egypt in the 1950s and is connected with the names of Salah Jahin and Fuad Haddad. In this paper, I intend to discuss his use of the official literary language as a stylistic means in the poetry of the unofficial tongue. Horvat, Bohdan. An ‘Ammiyya Poem in Fuṣḥa: Reading Fuad Qaud’s fi Maḥmūd Bayram at-Tūnisī. In: Proceedings of the 2nd International Conference on Arabic Literature, eds. Olena Khomitska & Bohdan Horvat. Kyiv: Mayster Knyh, 2018, p. 100-110.
Description and partial edition of a religious text composed in the Berber-speaking island of Djerba (Tunisia) at the beginning of the 19th century. (Article in Italian, several verses in Berber with facing Italian translation)
2019 •
https://www.koeppe.de/titel_the-voice-of-the-text-and-its-body Minerba, Emiliano.2022. Coming back to text in literary analysis: A review of Roberto Gaudioso’s The Voice of the Text and its Body. The Continuous Reform of Euphrase Kezilahabi’s Poetics: " Gaudioso here distinguishes himself by investigating this question from a literary rather than a cultural perspective, and by doing so he emancipates Kezilahabi’s free verse from the perception of it as a Western influence that poses a threat to Swahili poetry. Instead, he demonstrates clearly that free verse is functional in Kezilahabi’s conception of poetry as an ‘event lived’ — that is the precise expression employed by Kezilahabi (34) — that is able to go beyond its language and also the cultural environment it is born in, without rejecting it or betraying it (35). [...] Gaudioso explains the role of induction in literature mainly through analogy, referring above all to the extensive monograph by Enzo Melandri (2004). Analogy is the basis of the two main tools that allow us to experience the text as a body: comparison and translation.[...] Here, Gaudioso devotes his analysis first to the sound of the poems in this collection which is very elaborate and rich in musicality. This contributes to invalidating the idea that free verse has no rules, and it shows the close connection of Kezilahabi’s poetry with orality.[...] In all these three chapters, Gaudioso’s original analysis provides us with much more than just a better knowledge of Kezilahabi’s poetry. First, in all of them, comparison with poets and authors from different cultures is widely employed: not only Hussein and Topan, but also Heidegger and Nietzsche as philosophers, the Austrian poets Ingeborg Bachmann and Rainer Maria Rilke, the Italians Leopardi, Pasolini and Montale, the Tanzanian singer Remmy Ongala, and, coming back to Italy, the songwriter Fabrizio De Andrè. All these comparisons provide us with really interesting results and challenge several axioms — not to say taboos — of literary studies in Africa: comparison with Western authors outside the frame of the colonial experience proves to us that literature and art are not cultural, but universal phenomena, that go beyond the boundaries of different cultures, to use Kezilahabi’s words. Moreover, placing Kezilahabi alongside songwriters such as Remmy Ongala and Fabrizio De Andrè is a stimulation to overcome other literary classifications, such as oral vs. written and élitist vs. popular. https://www.tandfonline.com/doi/abs/10.1080/23277408.2022.2027085?src=&journalCode=real20 Rosenberg, Aaron ESTUDIOS DE ASIA Y ÁFRICA, VOL. 57, NÚM. 1 (177), 2022, PP. 201-204: "La amplia y profundamente informada serie de análisis de Gaudioso pasa de un posicionamiento cuasi histórico del trabajo de Kezilahabi dentro de —y en desacuerdo con— varias tradiciones poéticas swahili y de África Oriental a una discusión sobre la manera en la que su poesía, constantemente reformulada, debe entenderse en el contexto de la expresión poética como performance somática. Si bien no siempre hay un vínculo directo y obvio entre los elementos contextuales o las obras literarias específicas citadas, Gaudioso siempre se cuida de explicitar el uso particular que hace de estas partes y es muy claro acerca de la naturaleza aparente o implícita de tales asociaciones [...] El verdadero valor de estas intervenciones tan exitosas es que, invariablemente, ayudan al lector a comprender las sutilezas y las fortalezas de las obras expresivas de Kezilahabi y la forma en la que su creatividad dialoga de modo sostenido con el pensamiento profundo de varias comunidades, y Gaudioso debe ser elogiado por su atención al detalle y la adecuada realización de su obra en cada caso, ya que no elude la lectura profunda de las obras y la reunificación de cada caso con su tema central." https://estudiosdeasiayafrica.colmex.mx/index.php/eaa/article/view/2751/2674
Arabic and its Alternatives: Religious Minorities and their Languages in the Emerging Nation States of the Middle East (1920-1950), hg. H. Murre-van den Berg, K. Sanchez Summerer und T.C. Baarda, Christians and Jews in Muslim Societies 5 (Leiden, Boston: Brill)
“Those Who Pronounce the Ḍād”: Language and Ethnicity in the Nationalist Poetry of Fuʾad al-Khatib (1880–1957)2020 •
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