...jALA"LU'D-DfN PREFACE to thank Mr. R. A. Nicholson for kind and generous permission to use selections from his Dwani Shamsi Tabriz, and I DESIRE his also his publishers, the Cambridge Press. I am deeply indebted to Mr. E. H. Whinfield for allowing me to use quotations from his rendering I of the Masnavi (Triibner's Oriental Series). also cordially thank Mr. John Hastie for giving permission to quote a few passages from the " " Festival of Spring late Rev. Professor Hastie's (James Maclehose and Sons, Glasgow). The poems quoted from this volume are entitled : "Thy Rose," "I saw the Winter weaving," " " Love sounds the Music of the Spheres," The " The Beloved All in Souls Love-moved," and All the other translations from the lyrical All." poetry of Jalalu'd-Din Rumi are by Mr. R. A. me Nicholson. To these gentlemen, 7 and to those 8 I have left PREFACE unnamed, I tender my warmest thanks my for their help, sympathy, and interest in " attempt to popularise the wisest of the Persian Stiffs." F. LONDON, January 22, 1907. HADLANB DAVIS. CONTENTS INTRODUCTION I. 11 . . . ORIGIN OF SUFHSM. .11 14 II. III. IV. V. THE EARLY SUFIS THE NATURE OF SUFIISM THE INFLUENCE OF SUFIISM ANALYSIS OF THE RELIGION OF LOVE . . . . -20 .27 . . 31 THE LIFE AND WORK OF JALILU'D-DIN KtiMf 34 I. LIFE SHAMSI TABRIZ . . II. . . 34 36 III. IV. THE STORIES OP AL-AFLAKI AND THE DEATH...
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...walking in a garden to know it. The body itself is a screen to shield and partially reveal the light that’s blazing inside your presence. Water, stories, the body, all the things we do, are mediums that hide and show what’s hidden. Study them, and enjoy this being washed with a secret we sometimes know, and then not. -Jalal ad-Dīn Muhammad Rumi STORY WATER A story is like water that you heat for your bath. It takes messages between the fire and your skin. It lets them meet, and it cleans you! Very few can sit down in the middle of the fire itself like a salamander or Abraham. We need intermediaries. A feeling of fullness comes, but usually it takes some bread to bring it. Beauty surrounds us, but usually we need to be walking in a garden to know it. The body itself is a screen to shield and partially reveal the light that’s blazing inside your presence. Water, stories, the body, all the things we do, are mediums that hide and show what’s hidden. Study them, and enjoy this being washed with a secret we sometimes know, and then not. -Jalal ad-Dīn Muhammad Rumi EDITORIAL Jalal ad-Dīn Muhammad Rumi, a 13th century Persian Muslim poet, theologian and Sufi mystic wrote the poem, Story Water, describing how we interact with reality through a medium. A story is a medium reflecting life’s realities, bridging relations, communicating insights, uncovering truths and hoping for transformation. This newsletter is a compilation of stories....
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...MAWLANA JALAL-UL-DIN BALKHI “RUMI” Jalal-Ul-Din Muhammad Balkhi also known as Rumi is one of the world’s most well-known philosophers. He was born in the city of Balkh, 30th of September, 1207, but spent most of his time abroad and died in Konya, Turkey 17th of December 1275. Rumi studied Islamic Law in Syria and had sustainable knowledge in fields of public speaking, Sufism, and poetry (Qemar). He was thought by the best scholars of his time, he learned poetry and Sufism from his father Bahudin Balkhi and his mentor Burhanudin Termizi. Rumi adopted a significant interest in literature and philosophy. He wrote two famous poems, Masnavi and Divan-I Kabir (The Great Collection of Poems). The first poem, Masnavi adopts its name from music where it is flowing in rhythm. Rumi wrote 18 couplets and dictated the rest.He told many stories of his own, but also borrowed from Arabic, Persian, Jewish sources, Quran and Hadith. Masnavi was completed in 14 years and arranged in 6 chapters which was written by Rumi himself. The writings was naturally and unplanned, it was like a theater, a play show involving many characteristics (Whinfield). The second famous poem Rumi wrote was Divan-I Kabir (The Great Collection of Poems), it is also called Divan-I Shams due to its last couplets. Divan-I Kabir contained 35,000 couplets about love and spiritual joy and was dictated in ecstasy and whirling. Rumi had several writings, he wrote Fifi Ma Fih (What is in it is in it) it contained 71 talks and lectures...
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...A Revival: Transformation of Mevlevism in Turkey Hande DEVRİM KÜÇÜKEBE Ege University State Conservatory of Turkish Music Final Essay for IPEDAK- Erasmus Project- Intensive Programme 2010 Revival can be defined as a social movement aiming to restore and protect a tradition which is believed to be disappeared or partly neglegted. This essay will focus on how revival is discussed as a concept in the works written by Egil Bakka, Andriy Nahachewsky, Mohd Anis Md Nor and Ayhan Erol and the case of The whirling Dervishes in Turkey will be elaborated using this concept of revival. In his article ‘Whose dances? Whose authenticity?’ Egil Bakka, mentions folk dance revival in Norway as an ‘organized folk dance movement as opposed to popular tradition’. He presents two dance categories. The first one contains ‘dances staying alive because of their own strength and popularity’ and the second category consists of ‘dances being consciously cultivated, taught and sustained by a desire to preserve, nurture or utilize’ (60) In the first category there are the dances common in Norwegian rural areas and he states that there aren’t any systematic teaching and efforts to keep these dances alive. The dances in the second category are the ones which are subjected to the revival or ‘organised folk dance movement’ Bakka states that the revival process requires to move...
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...Making Use of English Subtitled K-Pop MV in Exploring Students’ Extensive Reading Comprehension YUNINGSIH Telkom University, Indonesia yuningsihlegiman@gmail.com ABSTRACT Studies on captions and subtitles in EFL learning gave positive effects on comprehension and vocabulary acquisition (Chung, 1996, Neurnan & Koskinen, 1992; Price, 1983; Vanderplank, 1988, 1993). Using song in ELT was highly impressive and motivating (Murphey, 1992; Lied, 2000). This study was designed to investigate the use of English-subtitled K-Pop MV in exploring students’ extensive reading ability. In this case study, five students, four girls and one boy, were selected. To collect the data, document analysis and an in-depth interview were conducted. The findings showed in comprehending the song, the students’ interpretations were still shallow and relying heavily on summary of narrative with very low-level inference. Meanwhile in vocabulary acquisition, it helped their better understanding wider range vocabulary, either in English or Korean. In addition, using K-Pop for learning English was more interesting and enjoyable, it is also motivating. Overall, using English-subtitle on K-Pop can be used as an alternative way to enliven extensive reading. Keywords: Subtitle, comprehension, extensive reading, interpretation, inference. INTRODUCTION The Korean wave—”hallyu” in Korean—refers to a surge in the international visibility of Korean culture, beginning in East Asia in the 1990s and continuing...
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...CHALLENGES OF HUMOUR TRANSLATION IN FICTION Reda Baranauskienė, Laura Pociūtė Šiauliai University Introduction Humour is not a modern invention nor is humorous literature. However, what concerns its perception, it appears that humour is highly dependent on cultural background of the perceivers not to mention different cultures and different languages in which people express themselves. All these factors affect the understanding of humorous material and its ability to travel from one culture to the other. Although humour has been studied from philosophical and psychological point of view in the first place, linguistics is not an exception. The patterns of humour and its mechanisms have been studied by Hazlitt (1903), Raskin (1994), Attardo (1994), Alexander (1997), Chiaro (2010) and Berger (2010). The problems of translation have been studied by Nida and Taber (1969), Newmark (1991), Bell (1991) and Chiaro (2010). What concerns translation into Lithuanian valuable contribution has been made by the Lithuanian linguists Armalytė and Pažūsis (1990). Translation of humour has been researched by Alexieva (1997), Chiaro (2010) and Lithuanian linguist Pažūsis (2006). The novelty of the work: the problems of translating English humour into Lithuanian have not been thoroughly studied, therefore it has been chosen as a subject of this paper. The article reveals the complexity of humour phenomenon which exists in every part of the world, nevertheless, travels from one language to another...
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...Discuss the roles of language and reason in history. History as the area of knowledge is virtually indivisible from language and reasoning. Language is one of the most potent means of interpreting and reporting historical information that is derived from the sources pertinent to the events and occurrences. The sources themselves, in their turn, are frequently presented by the written documents, recorded anecdotal experiences, and works of art, archeology, anthropology and photography which, yet again, are interpreted through the language in conjunction with the context of a historical event. It appears to be an endless loop, where language is the alpha and omega, the main vehicle of conveying history. However, to arrive to the valid interpretation of a certain historical event or development, historians frequently use reasoning to connect the factual data of the tangible sources since the latter ones often come in the form of fragments, related to a particular aspect of the happening. Ideally, reasoning, applied to the interpretation of historical data, should be impersonal, unaffected by predominant views and opinions and completely untainted by political agenda. Yet, it is hard to imagine that throughout the centuries those who held power would willingly allow the contemporary historians relate to the masses the adequate information on the details of their governing techniques and actions. As Winston Churchill pointed out, “History will...
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...A Translator’s Coming of Age by Omaya Ibrahim Khalifa Through studying the three translations of Shakespeare’s Romeo and Juliet done by Mohammed Enani in 1965, 1986 and 1993 respectively, this study adopts a diachronic approach. In addition to examining the historical dimension, this study attempts to address itself to crucial questions related to the process of translating a literary text. A few of these are: how a translator can approach a given text in three different ways and how each translation changes according to the approach and the methods chosen by the translator. More importantly, the study proposes to discuss the pragmatic conditions governing the act of translation and how far these result in prominent modifications in the relationship between the source and target texts. The first part of this study discusses the problem or problems which confront a translator attempting to transpose Shakespeare’s Romeo and Juliet into Arabic, and the second analyses the three translations and how each deals with the problems discussed. Mohammed Enani, in his introduction to his third translation of Romeo and Juliet, singles out tone as the main difficulty that faces any translator attempting a rendering of the play. In the Elizabethan era romance was regarded as a subject for comedy and as such allowed playful treatment. Harry Levin explains that Shakespeare’s Romeo and Juliet was an innovation at the time. He reveals the effect of the play on contemporary audiences...
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...Memory Management Paper Edward Mellon POS355 6/10/13 BHUPINDER SINGH There are several policies associated with memory management, and in order for it to function properly, there are several requirements that need to be met. First is relocation. When a source code program is translated into object code by a translator or interpreter or assembler, it does not know by itself where the code will be loaded when the program is run. It may actually occupy a different area of memory each time the program is run. A program can be swept in and out of memory; it may occupy different address locations at different times. This is because the translator cannot assign absolute physical addresses to instructions and data values in programs, but once the program is run, the CPU and OS must be able to reference those physical addresses. With relocation, the logical referenced addresses are converted to a physical address so that the code and values can be seen. Next is protection. Program access space includes process control information, program code, data segment and stack or heap space. The operating system must protect the address space of a process from that of another process. It must be able to block unauthorized access...
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...A Discussion of “Those Winter Sundays” The words of “Those Winter Sundays” by Robert Hayden encapsulate a single repetitious memory for the speaker. The emotion-filled recollection serves as the vehicle to express the true theme of this poem: guilt. The speaker recalls his father’s small acts of love, like starting a fire to warm the house or shining the speaker’s shoes for church, that were unappreciated during his childhood. The statements supporting the underlying theme of guilt vary in their degree of literalness, but the speaker’s remorse remains steady. “Those Winter Sundays” represents the memories of a child as considered by the perspective of an adult. The resulting conclusion is one of guilt and regret that the speaker failed to thank his father for the sacrifices he made to the family. The opening stanza of this poem describes the father’s Sunday morning routine before work. The poet utilizes imagery and sensory descriptions to represent the toll that difficult labor took on the dedicated father’s body and spirit. “With cracked hands that ached,” the father lived a life of sacrifice as he dressed in the cold and worked six days a week. Less literal, but equally important, is the indication from this stanza that the speaker’s family was monetarily poor. The necessity to work diligently six days a week and the inability to heat the house throughout the night support the likelihood that this family struggled to meet basic needs. The final line of the first stanza...
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...Poetry Analysis Bilingual Sestina by Julia Alvarez Julia Alvarez was born in March 27th 1950 in New York City. When she was only 3 months old her family decided to return to their homeland in Dominican Republic. It seems they wanted to make a difference in their country which at that time was being ruled by the dictator General Rafael Trujillo. In 1960 her family returns to the United States because his father was part of a plot to overthrow country's dictator which it failed and under these circumstances put the whole family in jeopardy and they had to flee the island. Coming to this country and adapting to the language and the culture wasn't easy for Julia. She faced discrimination from the children at school because of her Hispanic ethnicity. Julia always loved stories since she was little she adored hearing them and also telling them, but is when she came to this country she developed her writing skills. Hispanic culture is more oral expression than written, is not very common for a child or teenager to keep a daily journal but it is for an American. Thankfully to this experiences in her life she was able to transformed them into wonderful written pieces. Since Julia went through the experience of adapting to a different country, culture and language, in this poem she tries to portray what Spanish feels to her and she wants her readers to know this in English with a hint of Spanish, which to me is like a cherry on top. This poem is about...
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...STUDY GUIDE: MODULE 1 Fee and Stuart. 1. Know: Hermeneutics is the art and science, or as some would say the theory and practice, of interpretation. 2. What do they say is the aim of a good interpretation? What is not the aim? The aim of good interpretation is not uniqueness; one is not trying to discover what no one else has ever seen before. 3. According to Fee and Stuart, what is the antidote to bad interpretation? Is not no interpretation but good interpretation, based on commonsense guidlelines. 4. They define “The Bible” in part as… The Bible is not a series of… propositions and imperatives; it is not simply a collection of “sayings from chairman God,” as though he looked down on us from heaven and said: “hey you down there, learn these truths. Number 1, there is no God but One, and I am he. Number 2, I am the Creator of all things, including humankind” – and so on, all the way through proposition number 7,777 and imperative number 7777. 5. Know the kinds of “communication” mentioned that God uses to convey his Word. Narrative history, genealogies, chronicles, laws of all kinds, poetry of all kinds, proverbs, prophetic oracles, riddles, drama, biographical sketches, parables, letters, sermons, and apocalypses. 6. “To interpret properly the “then and there” of the biblical texts, you must…” not only know some general rules that apply to all the words of the Bible, but you also need to learn the special rules that apply to each of...
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... anatomically known as the pericardium. Medical terms always consist of at least one "root", although they may contain more. The root of a word is that part which contains the essential meaning of the word. An example of this was seen above in the term "pericarditis". The root of the word - card - refers to the heart, so any prefix or suffix added to the root (card) will only function to add to the specificity of that word. An example of this would be the prefix "brady", which means "slow". If "brady" is added to the root "card", the term "bradycard" - which roughly means "slow heart" - is created. Then, if the suffix "ia" - which means "a condidtion or state " - is added to "bradycard", the medical term "bradycardia" is formed. The translation of bradycardia (brady - card - ia) is slow - heart - state, or the condition of a slow heart rate. As was discussed above, a medical term must have at least one root, but does...
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...The Interaction between Imagery and Allusions in translating Chinese PoetryBased on Tu Fu’s Poems Shih-ying Liaw Prof. Wang Linguistics and Translation June 18 2012 Shih ying Liaw1 Shih-ying Liaw Prof. Wang Linguistics and Translation June 18 2012 The Interaction between Imagery and Allusions in translating Chinese PoetryBased on Tu Fu’s Poems Though Chinese poetry has been translating for almost a hundred years, there are still many questions about the translation strategies and situations worth discussing. In this paper, the interaction between imagery and allusions when translating are discussed and the practical situation used when translating are presented. To discuss the interaction between imagery and allusions, the first thing is to identify and define each term. First is imagery. Imagery is thought to be the most important factor to the poetry. I use Ezra Pound’s word as definition because he is not only a pioneering translator in Chinese poetry and also a great poet. He says that “an image' is that which presents an intellectual and emotional complex in an instant of time.” Further explanation is given by Professor Liu in “The Art of Chinese Poetry” by putting imagery into two categories. The first is “simple imagery,” which is defined as “a verbal expression that evokes a mental picture, which not merely picture in words but also arouses emotional associations and enriches the poetic context”. The Shih ying Liaw2 second category...
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