Friday, January 9, 2009
The Etymology of 'Macon' and ‘Cacon’ in Waiting For Godot
The Etymology of 'Macon' and ‘Cacon’ in Waiting For Godot
Beckett, in his Waiting for Godot, employs two strange terms – the “the Macon Country and the Cacon Country”. These terms are, of course, fictional regions. The question is: Have they got any sense? If so, why does Beckett use them here? Have they got any relation to Prophet Mohammad (PBUM)?
Below is my point of view. I tend to the etymology of the two terms in order to understand their sense. 'Macon' is a Middle English form etymologically derived from two sources; the first one is a variation among more than 50 others of the name of the Prophet Mohammad.
There are other variations of the Prophet's name such as ' Mahound, Mahum, Mahun, Mahoune,. Mahown,.Macon, Mahount, Mahownde, Machound, Manhound, Maumet, .Mahom, .Mahum, Mahu, Maho '.etc. See also the entry for "Mahu" and "Maho". (See the enteries of "Mahound"and "Mahu" in The Oxford English Dictionary, 1970 Repr.VI.)
All these .variations of the Prophet's name, according to the Medieval populace and writers as well, stand for the meanings of 'the devil', 'the infidel', 'the idol' or 'the dictator of Hell'. 'Macon', for example, was used by Harrington in 1591 and by Faifax in his Tasso in 1600.
To Beckett, 'Macon' in Waiting carries the nuances of the two etymological sources. 'Macon' alludes to the USSR since for the 'Christian' West the 'Soviets' at a time were the most abhorred materialist Infidels of Europe who dominated the Eastern part of the Continent where 'horror and disbelief' spring from a "decayed Unreal "City ... over the mountains", to quote Eliot, the poet of The Waste Land (1922) who, "being hypocrite .. .mon semblable, avoids mentioning, among a list of other unreal cities as he enumerates Jerusalem Athens Alexandaria / Vienna, London', the name of the City which 'is trying the experiment of attempting to form a civilized but non-Christian mentality'. The name of the decayed Unreal City that is meant is Moscow. In his essay Thoughts After Lambeth (1931), Eliot concludes that ' the experiment (i.e., the October Revolution) will fail' ". So, as Eliot many years ago indirectly disparaged in his poem this experiment, Beckett in W F G throws at the same experiment some vitriolic remarks, and, the study has so far shown only two – the first is "the knook", the second " the Macon Country". Still there are other ones and to spot light on them lies out of the scope of this study the aim of which is not to set a political reading of the play since such a reading dictates a certain approach to deal with the text. Martin Esslin, as setting the historical background for the Absurd movement in drama, though he does not recommend a political interpretation of any sort of the play, writes that "there is no doubt that a sense of disillusionment with the hopes of radical social revolution as predicted by Marx after Stalin had turned the Soviet Union into a totalitarian tyranny ... is but one characteristic feature of our own times ..[and] of the plays that we have classed under the label of me Theatre of the Absurd". And I Beckett may have been aware of this feature.
The second term “Cacon” was derived from an Italian word for 'machine'. There are other variations for the etymology of this word such as 'Machun, Machoun, Masun, Mazoun, Macon, Masowne, Machio, Machina' etc . (See "Mason," in The Oxford English Dictionary, 1970Repr. VI.)
The 'Cacon' Country, in the Play, alludes to the disgusting and contemptuous image of the West itself after relapse into barbarism, mass murder and genocide ... during the Second World War and in the aftermath of that War" and the spread, among sensitive minds, of such a belief that their Western World "of the mid twentieth century has lost its meaning and has simply ceased to make sense". The West, hence, becomes represented in the play as the 'Cacon' Country.
Moreover, the word 'Cacon' is "a pun on the French child's word for excrement 'cach'". While in the 'Macon' Country Big Brothers, as Vladimir and Estragon narrated, controlled the whole scene with firm grips and iron heels; in the 'Cacon', Vladimir and Estragon would see a similar image of despotism - a multi-master world; Vladimir and Estragon would meet masters like those hostile "others", the invisible "Godot" and the cruel Pozzo. Vladimir and Estragon who were two dissidents or ' non - conformists', fled from one bloody vassalage to another more horrible in the new stash - the Free World itself! And both the phases of their vassalage (paradoxically contradicted with each other and intermingled with horror and death) are invisible to the external observer!
As such, Beckett's Waiting comes to mockingly vituperate, in one stroke, both the Free World and the Eastern Block; the play, in this case, neither pays lip service to the West nor regards it animated and dynamic and free of horrors as Gunther Andres wishfully thought, when he wrote in a 1954 article "Being Without Time: On Beckett's Play Waiting for Godot", under, of course, the obsessions of the Cold War between the then two big powers, that Pozzo and Lucky are:
“the motor of time: for time is history; and history in the eyes of dialectical philosophy, owes its movement exclusively to antagonism (between man and manor class and class); so exclusively that at the moment when these antagonisms came to an end, history itself would cease, too”.
Gunther Andres considered “Pozzo and Lucky as the Hegelian symbol of history steps onto the stage.... on which, so far, nothing had reigned but 'being without time'.... It is quite understandable that the entrance of this new pair intrigues the spectator. First for aesthetic reason: the stagnation which, at the beginning, he had rejected as hardly acceptable, but finally accepted as the 'law of the Godot world', is suddenly disturbed by the intrusion of characters that are undeniably active. It is as though before our very eyes a still photo turned into a movie”.
But 'the law of the Godot world' under the hold of which Vladimir and Estragon came after their flight from the 'Macon' Country, is only one, among other corpuses juris that govern all regions of the Free World! They in their new habitat witnessed once again ages of incessant anxiety and blood-cuddling awe and exhaustive illusion. They were deceived by the recurrent message that "Godot will not come today but surely he will come tomorrow". It is due to this deception that whenever they saw a new comer, they were moved and put to alert thinking their 'saviour-bogle' has arrived: their passions, startled, would come to spontaneous ascendancy.
For Full Reading of the This Study, Press The Invisible Vassalage
Beckett, in his Waiting for Godot, employs two strange terms – the “the Macon Country and the Cacon Country”. These terms are, of course, fictional regions. The question is: Have they got any sense? If so, why does Beckett use them here? Have they got any relation to Prophet Mohammad (PBUM)?
Below is my point of view. I tend to the etymology of the two terms in order to understand their sense. 'Macon' is a Middle English form etymologically derived from two sources; the first one is a variation among more than 50 others of the name of the Prophet Mohammad.
There are other variations of the Prophet's name such as ' Mahound, Mahum, Mahun, Mahoune,. Mahown,.Macon, Mahount, Mahownde, Machound, Manhound, Maumet, .Mahom, .Mahum, Mahu, Maho '.etc. See also the entry for "Mahu" and "Maho". (See the enteries of "Mahound"and "Mahu" in The Oxford English Dictionary, 1970 Repr.VI.)
All these .variations of the Prophet's name, according to the Medieval populace and writers as well, stand for the meanings of 'the devil', 'the infidel', 'the idol' or 'the dictator of Hell'. 'Macon', for example, was used by Harrington in 1591 and by Faifax in his Tasso in 1600.
To Beckett, 'Macon' in Waiting carries the nuances of the two etymological sources. 'Macon' alludes to the USSR since for the 'Christian' West the 'Soviets' at a time were the most abhorred materialist Infidels of Europe who dominated the Eastern part of the Continent where 'horror and disbelief' spring from a "decayed Unreal "City ... over the mountains", to quote Eliot, the poet of The Waste Land (1922) who, "being hypocrite .. .mon semblable, avoids mentioning, among a list of other unreal cities as he enumerates Jerusalem Athens Alexandaria / Vienna, London', the name of the City which 'is trying the experiment of attempting to form a civilized but non-Christian mentality'. The name of the decayed Unreal City that is meant is Moscow. In his essay Thoughts After Lambeth (1931), Eliot concludes that ' the experiment (i.e., the October Revolution) will fail' ". So, as Eliot many years ago indirectly disparaged in his poem this experiment, Beckett in W F G throws at the same experiment some vitriolic remarks, and, the study has so far shown only two – the first is "the knook", the second " the Macon Country". Still there are other ones and to spot light on them lies out of the scope of this study the aim of which is not to set a political reading of the play since such a reading dictates a certain approach to deal with the text. Martin Esslin, as setting the historical background for the Absurd movement in drama, though he does not recommend a political interpretation of any sort of the play, writes that "there is no doubt that a sense of disillusionment with the hopes of radical social revolution as predicted by Marx after Stalin had turned the Soviet Union into a totalitarian tyranny ... is but one characteristic feature of our own times ..[and] of the plays that we have classed under the label of me Theatre of the Absurd". And I Beckett may have been aware of this feature.
The second term “Cacon” was derived from an Italian word for 'machine'. There are other variations for the etymology of this word such as 'Machun, Machoun, Masun, Mazoun, Macon, Masowne, Machio, Machina' etc . (See "Mason," in The Oxford English Dictionary, 1970Repr. VI.)
The 'Cacon' Country, in the Play, alludes to the disgusting and contemptuous image of the West itself after relapse into barbarism, mass murder and genocide ... during the Second World War and in the aftermath of that War" and the spread, among sensitive minds, of such a belief that their Western World "of the mid twentieth century has lost its meaning and has simply ceased to make sense". The West, hence, becomes represented in the play as the 'Cacon' Country.
Moreover, the word 'Cacon' is "a pun on the French child's word for excrement 'cach'". While in the 'Macon' Country Big Brothers, as Vladimir and Estragon narrated, controlled the whole scene with firm grips and iron heels; in the 'Cacon', Vladimir and Estragon would see a similar image of despotism - a multi-master world; Vladimir and Estragon would meet masters like those hostile "others", the invisible "Godot" and the cruel Pozzo. Vladimir and Estragon who were two dissidents or ' non - conformists', fled from one bloody vassalage to another more horrible in the new stash - the Free World itself! And both the phases of their vassalage (paradoxically contradicted with each other and intermingled with horror and death) are invisible to the external observer!
As such, Beckett's Waiting comes to mockingly vituperate, in one stroke, both the Free World and the Eastern Block; the play, in this case, neither pays lip service to the West nor regards it animated and dynamic and free of horrors as Gunther Andres wishfully thought, when he wrote in a 1954 article "Being Without Time: On Beckett's Play Waiting for Godot", under, of course, the obsessions of the Cold War between the then two big powers, that Pozzo and Lucky are:
“the motor of time: for time is history; and history in the eyes of dialectical philosophy, owes its movement exclusively to antagonism (between man and manor class and class); so exclusively that at the moment when these antagonisms came to an end, history itself would cease, too”.
Gunther Andres considered “Pozzo and Lucky as the Hegelian symbol of history steps onto the stage.... on which, so far, nothing had reigned but 'being without time'.... It is quite understandable that the entrance of this new pair intrigues the spectator. First for aesthetic reason: the stagnation which, at the beginning, he had rejected as hardly acceptable, but finally accepted as the 'law of the Godot world', is suddenly disturbed by the intrusion of characters that are undeniably active. It is as though before our very eyes a still photo turned into a movie”.
But 'the law of the Godot world' under the hold of which Vladimir and Estragon came after their flight from the 'Macon' Country, is only one, among other corpuses juris that govern all regions of the Free World! They in their new habitat witnessed once again ages of incessant anxiety and blood-cuddling awe and exhaustive illusion. They were deceived by the recurrent message that "Godot will not come today but surely he will come tomorrow". It is due to this deception that whenever they saw a new comer, they were moved and put to alert thinking their 'saviour-bogle' has arrived: their passions, startled, would come to spontaneous ascendancy.
For Full Reading of the This Study, Press The Invisible Vassalage
Samuel Beckett and Prophet Mohammad (PBUH)
Beckett, in his Waiting for Godot, employs two strange terms – the “the Macon Country and the Cacon Country”. These terms are, of course, fictional regions. The question is: Have they got any sense? If so, why does Beckett use them here? Have they got any relation to Prophet Mohammad (PBUM)?
Below is my point of view. I tend to the etymology of the two terms in order to understand their sense. 'Macon' is a Middle English form etymologically derived from two sources; the first one is a variation among more than 50 others of the name of the Prophet Mohammad.
There are other variations of the Prophet's name such as ' Mahound, Mahum, Mahun, Mahoune,. Mahown,.Macon, Mahount, Mahownde, Machound, Manhound, Maumet, .Mahom, .Mahum, Mahu, Maho '.etc. See also the entry for "Mahu" and "Maho". (See the enteries of "Mahound"and "Mahu" in The Oxford English Dictionary, 1970 Repr.VI.)
All these .variations of the Prophet's name, according to the Medieval populace and writers as well, stand for the meanings of 'the devil', 'the infidel', 'the idol' or 'the dictator of Hell'. 'Macon', for example, was used by Harrington in 1591 and by Faifax in his Tasso in 1600.
To Beckett, 'Macon' in Waiting carries the nuances of the two etymological sources. 'Macon' alludes to the USSR since for the 'Christian' West the 'Soviets' at a time were the most abhorred materialist Infidels of Europe who dominated the Eastern part of the Continent where 'horror and disbelief' spring from a "decayed Unreal "City ... over the mountains", to quote Eliot, the poet of The Waste Land (1922) who, "being hypocrite .. .mon semblable, avoids mentioning, among a list of other unreal cities as he enumerates Jerusalem Athens Alexandaria / Vienna, London', the name of the City which 'is trying the experiment of attempting to form a civilized but non-Christian mentality'. The name of the decayed Unreal City that is meant is Moscow. In his essay Thoughts After Lambeth (1931), Eliot concludes that ' the experiment (i.e., the October Revolution) will fail' ". So, as Eliot many years ago indirectly disparaged in his poem this experiment, Beckett in W F G throws at the same experiment some vitriolic remarks, and, the study has so far shown only two – the first is "the knook", the second " the Macon Country". Still there are other ones and to spot light on them lies out of the scope of this study the aim of which is not to set a political reading of the play since such a reading dictates a certain approach to deal with the text. Martin Esslin, as setting the historical background for the Absurd movement in drama, though he does not recommend a political interpretation of any sort of the play, writes that "there is no doubt that a sense of disillusionment with the hopes of radical social revolution as predicted by Marx after Stalin had turned the Soviet Union into a totalitarian tyranny ... is but one characteristic feature of our own times ..[and] of the plays that we have classed under the label of me Theatre of the Absurd". And I Beckett may have been aware of this feature.
The second term “Cacon” was derived from an Italian word for 'machine'. There are other variations for the etymology of this word such as 'Machun, Machoun, Masun, Mazoun, Macon, Masowne, Machio, Machina' etc . (See "Mason," in The Oxford English Dictionary, 1970Repr. VI.)
The 'Cacon' Country, in the Play, alludes to the disgusting and contemptuous image of the West itself after relapse into barbarism, mass murder and genocide ... during the Second World War and in the aftermath of that War" and the spread, among sensitive minds, of such a belief that their Western World "of the mid twentieth century has lost its meaning and has simply ceased to make sense". The West, hence, becomes represented in the play as the 'Cacon' Country.
Moreover, the word 'Cacon' is "a pun on the French child's word for excrement 'cach'". While in the 'Macon' Country Big Brothers, as Vladimir and Estragon narrated, controlled the whole scene with firm grips and iron heels; in the 'Cacon', Vladimir and Estragon would see a similar image of despotism - a multi-master world; Vladimir and Estragon would meet masters like those hostile "others", the invisible "Godot" and the cruel Pozzo. Vladimir and Estragon who were two dissidents or ' non - conformists', fled from one bloody vassalage to another more horrible in the new stash - the Free World itself! And both the phases of their vassalage (paradoxically contradicted with each other and intermingled with horror and death) are invisible to the external observer!
As such, Beckett's Waiting comes to mockingly vituperate, in one stroke, both the Free World and the Eastern Block; the play, in this case, neither pays lip service to the West nor regards it animated and dynamic and free of horrors as Gunther Andres wishfully thought, when he wrote in a 1954 article "Being Without Time: On Beckett's Play Waiting for Godot", under, of course, the obsessions of the Cold War between the then two big powers, that Pozzo and Lucky are:
“the motor of time: for time is history; and history in the eyes of dialectical philosophy, owes its movement exclusively to antagonism (between man and manor class and class); so exclusively that at the moment when these antagonisms came to an end, history itself would cease, too”.
Gunther Andres considered “Pozzo and Lucky as the Hegelian symbol of history steps onto the stage.... on which, so far, nothing had reigned but 'being without time'.... It is quite understandable that the entrance of this new pair intrigues the spectator. First for aesthetic reason: the stagnation which, at the beginning, he had rejected as hardly acceptable, but finally accepted as the 'law of the Godot world', is suddenly disturbed by the intrusion of characters that are undeniably active. It is as though before our very eyes a still photo turned into a movie”.
But 'the law of the Godot world' under the hold of which Vladimir and Estragon came after their flight from the 'Macon' Country, is only one, among other corpuses juris that govern all regions of the Free World! They in their new habitat witnessed once again ages of incessant anxiety and blood-cuddling awe and exhaustive illusion. They were deceived by the recurrent message that "Godot will not come today but surely he will come tomorrow". It is due to this deception that whenever they saw a new comer, they were moved and put to alert thinking their 'saviour-bogle' has arrived: their passions, startled, would come to spontaneous ascendancy.
For Full Reading of the This Study, Press The Invisible Vassalage
Below is my point of view. I tend to the etymology of the two terms in order to understand their sense. 'Macon' is a Middle English form etymologically derived from two sources; the first one is a variation among more than 50 others of the name of the Prophet Mohammad.
There are other variations of the Prophet's name such as ' Mahound, Mahum, Mahun, Mahoune,. Mahown,.Macon, Mahount, Mahownde, Machound, Manhound, Maumet, .Mahom, .Mahum, Mahu, Maho '.etc. See also the entry for "Mahu" and "Maho". (See the enteries of "Mahound"and "Mahu" in The Oxford English Dictionary, 1970 Repr.VI.)
All these .variations of the Prophet's name, according to the Medieval populace and writers as well, stand for the meanings of 'the devil', 'the infidel', 'the idol' or 'the dictator of Hell'. 'Macon', for example, was used by Harrington in 1591 and by Faifax in his Tasso in 1600.
To Beckett, 'Macon' in Waiting carries the nuances of the two etymological sources. 'Macon' alludes to the USSR since for the 'Christian' West the 'Soviets' at a time were the most abhorred materialist Infidels of Europe who dominated the Eastern part of the Continent where 'horror and disbelief' spring from a "decayed Unreal "City ... over the mountains", to quote Eliot, the poet of The Waste Land (1922) who, "being hypocrite .. .mon semblable, avoids mentioning, among a list of other unreal cities as he enumerates Jerusalem Athens Alexandaria / Vienna, London', the name of the City which 'is trying the experiment of attempting to form a civilized but non-Christian mentality'. The name of the decayed Unreal City that is meant is Moscow. In his essay Thoughts After Lambeth (1931), Eliot concludes that ' the experiment (i.e., the October Revolution) will fail' ". So, as Eliot many years ago indirectly disparaged in his poem this experiment, Beckett in W F G throws at the same experiment some vitriolic remarks, and, the study has so far shown only two – the first is "the knook", the second " the Macon Country". Still there are other ones and to spot light on them lies out of the scope of this study the aim of which is not to set a political reading of the play since such a reading dictates a certain approach to deal with the text. Martin Esslin, as setting the historical background for the Absurd movement in drama, though he does not recommend a political interpretation of any sort of the play, writes that "there is no doubt that a sense of disillusionment with the hopes of radical social revolution as predicted by Marx after Stalin had turned the Soviet Union into a totalitarian tyranny ... is but one characteristic feature of our own times ..[and] of the plays that we have classed under the label of me Theatre of the Absurd". And I Beckett may have been aware of this feature.
The second term “Cacon” was derived from an Italian word for 'machine'. There are other variations for the etymology of this word such as 'Machun, Machoun, Masun, Mazoun, Macon, Masowne, Machio, Machina' etc . (See "Mason," in The Oxford English Dictionary, 1970Repr. VI.)
The 'Cacon' Country, in the Play, alludes to the disgusting and contemptuous image of the West itself after relapse into barbarism, mass murder and genocide ... during the Second World War and in the aftermath of that War" and the spread, among sensitive minds, of such a belief that their Western World "of the mid twentieth century has lost its meaning and has simply ceased to make sense". The West, hence, becomes represented in the play as the 'Cacon' Country.
Moreover, the word 'Cacon' is "a pun on the French child's word for excrement 'cach'". While in the 'Macon' Country Big Brothers, as Vladimir and Estragon narrated, controlled the whole scene with firm grips and iron heels; in the 'Cacon', Vladimir and Estragon would see a similar image of despotism - a multi-master world; Vladimir and Estragon would meet masters like those hostile "others", the invisible "Godot" and the cruel Pozzo. Vladimir and Estragon who were two dissidents or ' non - conformists', fled from one bloody vassalage to another more horrible in the new stash - the Free World itself! And both the phases of their vassalage (paradoxically contradicted with each other and intermingled with horror and death) are invisible to the external observer!
As such, Beckett's Waiting comes to mockingly vituperate, in one stroke, both the Free World and the Eastern Block; the play, in this case, neither pays lip service to the West nor regards it animated and dynamic and free of horrors as Gunther Andres wishfully thought, when he wrote in a 1954 article "Being Without Time: On Beckett's Play Waiting for Godot", under, of course, the obsessions of the Cold War between the then two big powers, that Pozzo and Lucky are:
“the motor of time: for time is history; and history in the eyes of dialectical philosophy, owes its movement exclusively to antagonism (between man and manor class and class); so exclusively that at the moment when these antagonisms came to an end, history itself would cease, too”.
Gunther Andres considered “Pozzo and Lucky as the Hegelian symbol of history steps onto the stage.... on which, so far, nothing had reigned but 'being without time'.... It is quite understandable that the entrance of this new pair intrigues the spectator. First for aesthetic reason: the stagnation which, at the beginning, he had rejected as hardly acceptable, but finally accepted as the 'law of the Godot world', is suddenly disturbed by the intrusion of characters that are undeniably active. It is as though before our very eyes a still photo turned into a movie”.
But 'the law of the Godot world' under the hold of which Vladimir and Estragon came after their flight from the 'Macon' Country, is only one, among other corpuses juris that govern all regions of the Free World! They in their new habitat witnessed once again ages of incessant anxiety and blood-cuddling awe and exhaustive illusion. They were deceived by the recurrent message that "Godot will not come today but surely he will come tomorrow". It is due to this deception that whenever they saw a new comer, they were moved and put to alert thinking their 'saviour-bogle' has arrived: their passions, startled, would come to spontaneous ascendancy.
For Full Reading of the This Study, Press The Invisible Vassalage
Tuesday, January 6, 2009
Kuwaitian Poetess Muna Kareem - Life Tragedy
Life Tragedy
By Muna Kareem/ Kuwait
Translated by
Abdul-Settar Abdul-Latif/ Iraq
"Only Truth is revolutionary",
Gramci
1. Truth is easy:
Then go search inside yourself,
You'll find a divine animal loving philosophy!
2. The Woman of this age
Does the act of nausea
On a man's moustache
3. Day after day
The hangman pours more zeroes
In front of the numbers of the dead and the poor
4. Cancer hugs the collar of the stage
And Flu eschews the incongruity of the truth
That woman alone ambitions for!
5. Our rebellion ideas
Turned to be pulled up
Even at the dentist's.
6. ….
7. ….
8. Sin
Repents
Goes in recluse
Becomes virgins
Then be as among the flock:
A woman.
9. The ancient sun cleans our shadow
By a fig leaf having sacks of faintness!
تراجيديا الحياة
للشاعرة منى كريم / الـكـويـت
الترجمة للانكليزية أ.عبد ا لستار عبد اللطيف
"ان الحقيقة وحدها ثورية"
غرامشي
1. الحقيقة سهلة:
ابحث في نفسك ,
تجد حيوانا ألهيا يعشق الفلسفة.
2. المرأة في هذا الزمن
تمارس فعل الغثيان
على شاربي الرجل
3. يوميا
يصب الجلاد المزيد من الاصفار
امام اعداد الموتى و الفقراء
4.السرطان يعانق المسرح
و الزكام يتحاشى نشاز الحقيقة
التي تنشدها المرأة وحدها
5. افكارنا التمردية
باتت تستأصل
حتى عند طبيب الاسنان
6. ....
7. ...
8. الخطيئة
تتوب
تعتزل
تصبح عذراء
ثم تكون كباقي القطيع:
_ امرأة _
9. الشمس العتيقة تغسل ظـلـنـــــا
بورقـة تـوت لها أكياس من الشحوب
By Muna Kareem/ Kuwait
Translated by
Abdul-Settar Abdul-Latif/ Iraq
"Only Truth is revolutionary",
Gramci
1. Truth is easy:
Then go search inside yourself,
You'll find a divine animal loving philosophy!
2. The Woman of this age
Does the act of nausea
On a man's moustache
3. Day after day
The hangman pours more zeroes
In front of the numbers of the dead and the poor
4. Cancer hugs the collar of the stage
And Flu eschews the incongruity of the truth
That woman alone ambitions for!
5. Our rebellion ideas
Turned to be pulled up
Even at the dentist's.
6. ….
7. ….
8. Sin
Repents
Goes in recluse
Becomes virgins
Then be as among the flock:
A woman.
9. The ancient sun cleans our shadow
By a fig leaf having sacks of faintness!
تراجيديا الحياة
للشاعرة منى كريم / الـكـويـت
الترجمة للانكليزية أ.عبد ا لستار عبد اللطيف
"ان الحقيقة وحدها ثورية"
غرامشي
1. الحقيقة سهلة:
ابحث في نفسك ,
تجد حيوانا ألهيا يعشق الفلسفة.
2. المرأة في هذا الزمن
تمارس فعل الغثيان
على شاربي الرجل
3. يوميا
يصب الجلاد المزيد من الاصفار
امام اعداد الموتى و الفقراء
4.السرطان يعانق المسرح
و الزكام يتحاشى نشاز الحقيقة
التي تنشدها المرأة وحدها
5. افكارنا التمردية
باتت تستأصل
حتى عند طبيب الاسنان
6. ....
7. ...
8. الخطيئة
تتوب
تعتزل
تصبح عذراء
ثم تكون كباقي القطيع:
_ امرأة _
9. الشمس العتيقة تغسل ظـلـنـــــا
بورقـة تـوت لها أكياس من الشحوب
Tuesday, November 11, 2008
Peter Lang AG Issues "Studies in English"
The Staff of the Department of English/ College of Education has been honoured by Peter Lang AG's publication of the first born book for the Department Members who agreed to contribute with their papers. These papers represent a cross-section of the research work conducted in the Department. The publication of the book signifies a lot to us. It would not only propel future studies on relevant topics but also it would open new vistas for Iraqi academics and place them in an international perspective for the first time in decades. The Papers represent work in various fields of study including phonetics and phonology, linguistics, ELT, pragmatics, discourse analysis, and literary stylistics. The Book printed in Germany and coming in 306 pages is entitled "University of Basrah: Studies in English" edited by Jinan Fedhil Al-Hajaj and Dr Graeme Davis. Al-Hajaj is a lecturer in the Department, University of Basrah, whose interests are in literature, literary stylistics and discourse analysis while Dr Davis is a lecturer in English Linguistics at the Open University, UK, and a researcher in English historical linguistics and the study of the North Atlantic region in the Middle Ages.
Thanks to Miss Jinan and Dr. Davis for offering this chance as we are looking forward for further cooperation in future.
Here are the Contents:
Contents
Preface 9
Acknowledgements 15
MAJEED HAMEED JASIM and JINAN FEDHIL AL-HAJAJ
Introduction 17
JINAN FEDHIL AL-HAJAJ
Intertextuality and the Linguistic Perspective: A Stylistic
Study of Thomas Hardy’s ‘The Going’ and ‘The Haunter’ 23
FATIMA H. AZIZ and AMIN U. GHAILAN
Dramatic Monologue in Robert Browning’s ‘My Last
Duchess’: A Pragma-Stylistic Study 45
MAJEED HAMEED JASIM and AMIN U. GHAILAN
Paul Morel, Son and Man: A Stylistic Study 69
MAJEED HAMEED JASIM and IBTISAM HUSSEIN NAIMA
Free Indirect Discourse in Virginia Woolf’s
To the Lighthouse: A Stylistic Narrative Study 111
ABDUL-SETTAR ABDUL-LATIF
The Invisible Perfidy in Waiting for Godot 133
ALA’ HUSSEIN ODA and NAGHAM JAAFAR HUSSEIN
Presupposition as a Linguistic Theory in Samuel Beckett’s
Waiting for Godot in Terms of Karttunen’s Approach 181
ALA’ HUSSEIN ODA and MEHDI M. MOHAMMAD
The Impact of Linguistic Context on Metaphoric
Proverb Comprehension by Iraqi EFL Learners 209
BALQIS I.G. RASHID
Further Evidence for the Separation Hypothesis:
The Case of Advanced Iraqi Learners 243
ISRA’ MAHMOOD SALMAN and BALQIS I.G. RASHID
Difficulties in the Pronunciation of English Proper
Nouns Encountered by Advanced Iraqi Learners 259
RANA ABDUL SETTAR ABID and NADA SALIH ABDUL RIDHA
A Study of Coherence in the Writings of EFL Advanced
Iraqi Learners 281
Wednesday, October 8, 2008
هونج كونج تعيش مع درويش في أمسية غير مسبوقة
هونج كونج تعيش مع درويش في أمسية غير مسبوقة!
حضر الصينيون فملأوا أماكن الجلوس والوقوف ، وغاب العرب!!
الندوة العربية - هونج كونج - 5 أكتوبر 2008
كتب: سيد جودة - هونج كونج
لم تكن أمسية عادية تلك التي نظمها الشاعر الصيني الكبير "بي داو" ، الذي التقى بمحمود درويش عدة مرات كان آخرها في برلين منذ ثلاث سنوات. كانت أمسية تليق بمحمود درويش ، أكبر شاعر عربي ، وتليق بـ "بي داو" ، أكبر شاعر صيني في وقتنا الراهن. لا أذكر أمسية شعرية في هونج كونج ، التي أقطنها منذ ستة عشر عاماً ، امتلأت فيها القاعة هكذا ، حتى أماكن الوقوف امتلأت
حضر الصينيون فملأوا أماكن الجلوس والوقوف ، وغاب العرب!!
الندوة العربية - هونج كونج - 5 أكتوبر 2008
كتب: سيد جودة - هونج كونج
لم تكن أمسية عادية تلك التي نظمها الشاعر الصيني الكبير "بي داو" ، الذي التقى بمحمود درويش عدة مرات كان آخرها في برلين منذ ثلاث سنوات. كانت أمسية تليق بمحمود درويش ، أكبر شاعر عربي ، وتليق بـ "بي داو" ، أكبر شاعر صيني في وقتنا الراهن. لا أذكر أمسية شعرية في هونج كونج ، التي أقطنها منذ ستة عشر عاماً ، امتلأت فيها القاعة هكذا ، حتى أماكن الوقوف امتلأت
الامسية الرائعة
بدأت الأمسية في تمام الرابعة عصراً بكلمة للشاعر الصيني "بي داو" عن محمود درويش قال فيها إن يوم الخامس من أكتوبر 2008 ليس يوماً عادياً ، فهناك أكثر من مائة مدينة في أنحاء العالم تحيي ذكرى درويش بقراءة أشعاره بلغات مختلفة ، وقال "بي داو" بأنها ربما تكون أول مرة يحدث هذا في التاريخ. ثم قرأ "بي داو" قصيدة كتبها عام 2002 بعد زيارته لرام الله والتقائه بمحمود درويش ، وتحدث عن مقال كتبه في ذلك الوقت وأثار غضب واعتراض الحكومة الإسرائيلية آنذاك. كانت الفقرة التالية قراءة لقصيدة "أنا من هناك" و أجزاء من قصيدة "لاعب النرد" بإلقاء الشاعرة الأمريكية مادلين ماري سلافيك للنسخة الإنجليزية ، والشاعر الصيني زن داني للنسخة الصينية ، والشاعر المصري سيد جودة للأصل العربي. أعرب الحاضرون عن دهشتهم حين ألقى جودة القصيدتين من الذاكرة دون القراءة من ورقة ، وسألوا الشاعر كيف تسنى له حفظ كل هذا. أجاب جودة بأنه كان يستطيع أن يقرأ من الورقة ولكنه أراد أن يرسل رسالة للحاضرين بأن كلمات محمود درويش ستظل في قلوبنا وسنظل نرددها حتى بعد رحيله!
توالت قراءات الشعراء الصينيين المقيمين في هونج كونج و الزائرين لها من ماكاو و الصين الشعبية خصيصاً لحضور الأمسية. كما شارك في القراءة الشاعر الإنجليزي مارتن ألكسندر بقراءته الترجمة الإنجليزية لقصيدة "إلى أمي". جديرٌ بالذكر أنه تم طباعة كتيب من خمس وثلاثين صفحة قطع متوسط يحتوي على عدد اثنتين وعشرين قصيدة لمحمود درويش مترجمة للغة الصينية وأربع قصائد مترجمة للغة الإنجليزية.
تخلل القراءات عزف على الجيتار من الموسيقار الصيني وانج وانكواي صاحبه غناء وقراءة للفنانة الصينية بريسيلا لونج. كما تحدثت الصحفية الصينية تشيو يونج عن زيارتها لفلسطين عام 2002 ولقائها بمحمود درويش أكثر من مرة وذكرياتها وانطباعها عن الشاعر الكبير. ذكرت تشيويونج أنه سألها ذات مرة عن عبارة "أنا أحبك" باللغة الصينية ، وحين سألته عن السبب قالها لها بكل جدية: "لأننا افتقدنا الحب بيننا ، ويبدو أنه انتهى في لغتنا ، ولهذا فإنه من الجميل أن نسمع هذه العبارة بلغات أخرى لعلها تلهمنا الحب الذي نفتقده"
.
توالت قراءات الشعراء الصينيين المقيمين في هونج كونج و الزائرين لها من ماكاو و الصين الشعبية خصيصاً لحضور الأمسية. كما شارك في القراءة الشاعر الإنجليزي مارتن ألكسندر بقراءته الترجمة الإنجليزية لقصيدة "إلى أمي". جديرٌ بالذكر أنه تم طباعة كتيب من خمس وثلاثين صفحة قطع متوسط يحتوي على عدد اثنتين وعشرين قصيدة لمحمود درويش مترجمة للغة الصينية وأربع قصائد مترجمة للغة الإنجليزية.
تخلل القراءات عزف على الجيتار من الموسيقار الصيني وانج وانكواي صاحبه غناء وقراءة للفنانة الصينية بريسيلا لونج. كما تحدثت الصحفية الصينية تشيو يونج عن زيارتها لفلسطين عام 2002 ولقائها بمحمود درويش أكثر من مرة وذكرياتها وانطباعها عن الشاعر الكبير. ذكرت تشيويونج أنه سألها ذات مرة عن عبارة "أنا أحبك" باللغة الصينية ، وحين سألته عن السبب قالها لها بكل جدية: "لأننا افتقدنا الحب بيننا ، ويبدو أنه انتهى في لغتنا ، ولهذا فإنه من الجميل أن نسمع هذه العبارة بلغات أخرى لعلها تلهمنا الحب الذي نفتقده"
.
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