Feeds:
Posts
Comments

Posts Tagged ‘arabic’

In ancient times, Arabic translations of Greek helped spur scientific inquiry.

You may have seen that there are contemporary publishers planning to use artificial intelligence to translate texts. Ha! What could possibly go wrong? If you have ever used Google Translate, you know the answer to that: AI works only up to a point.

Today’s excerpt from Josephine Quinn’s book How the World Made the West, focuses on benefits that came from the traditional type of translation.

“In the eighth-century CE the Abbasids undertook to collect the wisdom of the world in their new capital at Baghdad. … The operation was lavishly funded by [the second Abbasid caliph, al-Mansur] as well as by members of his household, courtiers, merchants, bankers, and military leaders. …

“What is often now called the ‘Translation Movement’ … was part of a wider commitment by Islamic scholars and political leaders to scientific investigation that also saw caliphs commission new works of science, geography, poetry, history, and medicine.

The real legacy of the Arabic translations is the impetus they gave to further thought. 

“It is well-known that classic works of Greek science and philosophy were translated into Arabic before they were translated into other European languages — including Latin. What is less well-known is that the point of translating foreign works was not to preserve them but to build on them. As links around the Mediterranean continued to increase, that Arabic scholarship began to reach western Europe, and to change the way people there thought.

“Back in Baghdad, as so often happened, cultural change began from the outside — and in this case with the collection and comparison of foreign knowledge. The fundamental model and first material for the Abbasid translation project came from Iran, where sixth-century Sasanian shahs had commissioned Persian translations of important Indian and Greek works.

“Living Iranians were an inspiration too. … Persian scholars had already started to translate classic works of their own literature into Arabic. This ensured their preservation, and advertised the history and high culture of Iranian lands. Sasanian intellectuals also maintained useful links with scientific traditions farther east, above all with Indian mathematicians, the most advanced in the ancient world, and they had already translated important works from Sanskrit into their own language. …

“Incorporating the work of Greek thinkers into the Arabic canon was by contrast a declaration of cultural hegemony over the rump Roman empire at Constantinople, where older learning had been set aside in favor of Christian genres from sermons to saints’ lives, and where ancient science and philosophy now moldered in archives and monasteries.

“More immediately, the project took inspiration from the contemporary intellectual culture of western Asia, revitalized by the unification under Islam of regions once subject to either Persia or Rome. … This world produced well-traveled intellectuals expert in topics from military strategy to astrology, and comfortable in Greek, Syriac, Middle Persian (Pahlavi), and now Arabic as well.

“The final key component came from farther east. Paper had been invented in China in the second century BCE and by the second century CE it is found in the trading oases of the Tarim Basin. … As paper was much cheaper to produce than papyrus, it finally made writing in great quantity a practical prospect.

“In the early ninth century scientific scholarship in Baghdad coalesced around a library called the ‘House of Wisdom’ (Bayt al-Hikma), and the translation efforts were put on a more organized footing. … Persian scholars translated into Arabic works that had already been translated from other languages into their own, and since there was comparatively little direct Greco-Arabic bilingualism, Arabic translations of Greek works were often made from Syriac versions. …

“We have a useful guide to the foreign works considered worthy of investigation in the form of an encyclopedia entitled Keys of the Sciences written by Muhammad ibn Musa al-Khwarizmi (c. 780–850), a Persian-speaking mathematician and astronomer from the central Asian oasis of Khwarazm, south of the Aral Sea, who worked at the House of Wisdom.

“He divided the work into two books: one describes ‘Islamic religious law and Arabic sciences,’ defined as law, theology, grammar, secretaryship, poetry, and history; the other is devoted to ‘the sciences of foreigners such as the Greeks and other nations’: philosophy, logic, law, medicine, arithmetic, geometry, astronomy/astrology, music, mechanics, and alchemy. …

“Practical Greek texts also found their way into the collection, on topics from engineering to military tactics to falconry. Popular literature included books of fables, ‘wisdom sayings,’ and letters supposedly exchanged between famous historical figures. …

“Some of the Greek texts were acquired through personal request, even from the caliph himself. Other manuscripts were found on investigative missions. [A] tenth-century compendium of literature written in Baghdad reports that camel-loads of old works were discovered in a pagan Greek temple that had been locked since the arrival of Christianity, getting worn and gnawed at by pests. …

“Most ancient science was indeed lost to western Europe for almost a millennium: such works were usually written in Greek, even by Romans, and they disappeared with the knowledge of that language. …

“Greek texts were far from the only inspiration for Arabic science. [But the] manipulation, criticism, and sometimes outright rejection of foreign works by intellectuals working in the Islamic world catalyzed a scientific revolution.”

More at Literary Hub, here.

Read Full Post »

The Arabic Sesame Street was designed especially for children in refugee camps, but it’s a delight for other children, too.

I posted about the development of a “Sesame Street” for Middle East refugees in 2016 (here) and for Bangladesh refugees in 2019 (here).

To give you the latest, I’m sharing a recent interview that National Public Radio’s Deborah Amos conducted in Beirut.

NPR Host Audie Cornish
” ‘Sesame Street’ is taking on one of the world’s biggest crises — the plight of Syrian refugee children. The Muppets are reaching out to millions of displaced children in a new program. Refugee children face special issues — losing their homes, missing time from school and frequent moves. They grapple with emotions and fears they barely understand. NPR’s Deborah Amos reports from Beirut.

Deborah Amos
“The Syrian refugees at this soccer practice are part of the target audience for ‘Ahlan Simsim’ — ‘Welcome Sesame,’ a new show on Arab TV stations and online — also for refugee kids in Jordan, Iraq and Syria. Some here are old enough to remember the war. Many more were born as refugees, raised by parents who fled violence and devastating loss and can pass on the trauma. …

Bassil Riche
“Definitely, these kids have experienced something that no kid should have to experience.

Amos
“Bassil Riche, the soccer coach, has seen the signs in these kids.

Riche
“Maybe the kid misses a shot or something. You know, you can see kind of over-the-top anger or frustration or disappointment in themselves. It’s important for them to talk about these things and not keep it inside.

Amos
“Getting those emotions out is the aim of the new program. … Produced in Amman, Jordan, the scripts are in consultation with regional educators and researchers. For 50 years, ‘Sesame Street’ has pioneered programs to address childhood challenges. The new challenge — to create a show for children who are likely to remain refugees throughout their childhood. Scott Cameron is the executive producer in New York.

Scott Cameron
“The show was developed to help children become smarter, stronger and kinder and give them skills to be — to thrive and be resilient. …

Amos
“[Grover] speaks Arabic in ‘Ahlan Simsim.’ The newcomers are Jad — bright yellow — Basma is purple. She becomes Jad’s best friend when he arrives in the neighborhood. Jad is sometimes sad because he’s had to leave everything behind, including his favorite toys. Research shows displaced children don’t have the language to identify emotions and the skills to cope, says Cameron. So that’s a key educational goal.

Cameron
” ‘Ahlan Simsim’ focusing an entire season on emotions is … a bold move that is born out of a need.

Amos
“The teaching techniques are sometimes silly. They’re always fun.

Cameron
“Debka dancers are three animated dancers whose sole function is to identify emotions and label them in a really funny way. … They pop into frame out of nowhere, sometimes. So it’s always fun to see where they’re going to come from. Sometimes, they pop up out of the bushes. They do a dance. They are a very important way for us to make sure that the children pay extra attention when we’re first introducing the vocabulary word that matches the emotion.

Amos
“Syrians are now the largest refugee population in the world. The statistics for going home are grim. Displacement lasts longer than ever before, sometimes for decades. Head writer Zaid Baqaeen says he never uses the label.

Zaid Baqaeen
“It was never put in any script that, oh, you’re labeled as a refugee or not because our focus is about welcoming. …

Amos
“The welcome is extended on the ground. In a partnership with the International Rescue Committee, the IRC is sending thousands of outreach workers to four countries and extend the lessons of the TV production and tackle some of the hardest subjects, says Cameron. … The ‘Ahlan Simsim’ project is a new way to correct the shortcomings of traditional humanitarian aid that provides for immediate needs but does little to prepare a generation to become resilient adults.”

NPR transcript and audio are here.

Read Full Post »

Photo: University of Pennsylvania
An illustrated headpiece from a mid-18th century collection of ghazals and rubāʻīyāt.

Today’s article is about an ancient type of poetry still in use. Before yesterday I might have thought it a bit too esoteric for a chatty blog post, but yesterday Suzanne’s kids showed me an educational iPad program they love, and the 8-year-old started discussing metaphors and onomatopoeia.

I decided we could handle ghazals.

Claire Chambers writes at 3QuarksDaily, “Ghazal poetry is an intimate and relatively short lyric form of verse from the Middle East and South Asia. The form thrives in such languages as Arabic, Persian, Urdu, and now English. Like the Western ode, these poems are often addressed to a love object. …

“A mixture of sacred, profane, romantic, and melancholic elements are frequently stitched into the ghazal’s poetic fabric. Many ghazals revolve around the theme of lovers’ separation. This topic also functions as an image for the Muslim worshipper’s longing for Allah. In doing so, the ghazal draws comparisons with seventeenth-century metaphysical poetry. Like ghazalists, John Donne would ostensibly write about love for a woman but also shadow forth devotion to God. …

“In the Muslim world, the arts are less likely to be locked away in compartments or considered elitist as they are in the West, and more likely to be part of everyday life. In the Indian subcontinent and its diaspora, mushairas (meaning ‘gathering of poets’) are interactive poetic meetings. These recitals, with their call and response tradition, have made the ghazals an instantly recognizable form in the popular consciousness.

Because of this accessible performative and musical tradition, working-class South Asians have nearly as much access to poetry as the elite. …

“Rich images can be found in Urdu ghazals: tropes include the moth and the flame, stars and diamonds, and the rose and the nightingale. Such leitmotifs from ghazal poetry have various connotations (relating to such issues as politics, love, and religion) to different people in particular contexts. …

“By noticing the opulence associated with Urdu poetry, one realizes that Islam is a diverse religion and culture. … In modern-day Britain and the United States, ghazals have become a popular form. Here, they sometimes touch on a migrant’s yearning for home and belonging. The year before he died, the Kashmiri-American poet Agha Shahid Ali (1949–2001) published Ravishing DisUnities, a collection of ghazals mostly by fellow Americans. …

“Chafing against the free-verse liberties new world poets had previously taken with the ghazal, he exhorted contributors to return to structural ‘form for form’s sake’, while reinvigorating the form in the fresh language of English. As a Pakistani-American poet from the next generation Shadab Zeest Hashmi puts it in her beautiful nonfiction book Ghazal Cosmopolitan, ‘the ghazal fuses the old with the new, the friend with the stranger – reflecting, refracting, and constantly reminding us that America to is a convergence of sorts, a cultivation of diversity – at least the promise of it’. …

“The ghazal is made up of semi-autonomous couplets, each of which helps to set up the logic of the whole poem. The form is notable for its rhyme, the symmetry of its couplets, and a [refrain] at the end of the second line of each couplet. …

“In the first ghazal Ali ever wrote, he ends with an explanation of his middle name’s significance in Arabic, that language which has been extolled in the [refrain] of each of the foregoing couplets:

‘Listen, listen: They ask me to tell them what Shahid means:
‘It means “The Beloved” in Persian, “witness” in Arabic.’ ”

The article also features an amusing explanation from the American poet John Hollander — known partly for inventing the humorous double dactyl with Anthony Hecht — which uses the ghazal form to show how a ghazal is constructed. The poets among you might find it useful.

More.

Read Full Post »


Image: Tom McShane
The author of those lines is an unusual 10th century figure — Shmuel HaNagid, prime minister of the kingdom of Granada in Spain, head of both Granada’s Muslim army
and Andalusia’s Jewish community.

The force of history works in mysterious ways. Here is a story about how an ancient Arabic poetic tradition was preserved because Jewish poets valued it.

Benjamin Ramm reports at the BBC, “On 9 December 1499, the citizens of Granada awoke to a scene of devastation: the smouldering remains of over a million Arabic manuscripts, burnt on the orders of the Spanish Inquisition. …

“[Years before], as much of Europe languished in the Dark Ages, the Iberian peninsula was a cultural oasis, the brightest beacon of civilisation. Under the Umayyad dynasty, the caliphate of Al-Andalus stretched from Lisbon to Zaragoza, and centred on the Andalusian cities of Córdoba, Granada and Seville. From the 8th Century, the caliphate oversaw a period of extraordinary cross-cultural creativity known as La Convivencia (the Coexistence). …

“Among the Muslim poets of Al-Andalus, there was a concerted attempt to rediscover and reinvent the literary forms of Arabic, sophisticated and lyrical, rooted in the concept of fasaaha (clarity, elegance). The fire in Granada destroyed part of this heritage, but it survives in an unexpected form – in an imaginative body of Hebrew poetry, which illustrates the extent of cross-cultural exchange.

“Peter Cole, the foremost translator of Hebrew poetry from Al-Andalus, argues in his book The Dream of the Poem that a major legacy of the Moorish writers was to inspire Jewish poets to emulate their work. … The innovations were initiated in the 10th Century by Dunash Ben Labrat. …

“Controversially, Ben Labrat adopted Arabic poetic metre, and was accused of ‘destroying the holy tongue’ and ‘bringing calamity upon his people’. But the Hebrew renaissance that followed produced some of the most beautiful poetry in the language, and the period became known as the ‘Golden Age’ of Iberian Jewish culture. …

“At a time of intercommunal tension, it is tempting to idealise this Muslim-Jewish period of mutual flourishing. There are critics who argue against the notion of La Convivencia – some have called it a ‘myth.’ … Documentation about communal relations during this period is scant, [and] the extent of ‘coexistence’ continues to be a subject of passionate disputation. …

“The kingdom of Granada was the last territory to fall to the Christian Reconquest in 1492, after which Jews were forcibly converted or expelled. Saadia Ibn Danaan, a rabbi who wrote prose in Arabic and poetry in Hebrew, transmitted the tradition to North Africa.” Read more.

Read Full Post »

I was talking to my neighbor on the train this week, and she told me that one of her daughters — the one who goes to Brandeis and was in a production of Eddie Coyle that I saw at Oberon — is spending a chunk of this school year in Morocco.

I was curious about how her daughter got interested in joining a program there.

Apparently she likes languages. First she learned Yiddish. Last year she decided to learn Arabic. Her mother says Arabic is much harder.

The daughter will live with a host family, take five classes, and … well, she has her own blog. There she writes that she will be in Morocco for four months as part of a program “called AMIDEAST, which, like most study abroad programs in Morocco, is stationed in Rabat. … I’ll get to intern/volunteer six hours a week for a local business/organization!”

I like her enthusiasm.

A word to the wise for readers from other countries. There’s a lot of joking in her blog, not to be taken seriously the way a Chinese news outlet once took seriously a story at The Onion that was of course a complete fiction.

Map from http://jojomorocco.blogspot.com

Read Full Post »

The happy faces say it all. The circus is good for Baghdad.

An article by Michael S. Schmidt and Zaid Thaker in today’s NY Times describes the scene. “There were not any tigers because the animals were stuck in Egypt. There were dogs, however, but they were not [the promised] poodles. And the big snake, well, the snake had become sick and had to be evacuated …

“A circus coming to town may be a routine event in most cities. But in battered Baghdad, even if it was not the Greatest Show on Earth, the arrival of the circus was yet another small step in this city’s efforts at building a more normal life. …

“There is not a commanding ringmaster. What it does have, though, are dancers jumping rope, a woman swinging from a trapeze (without a net, but with a harness), and a grand finale of a man clad in an Iraqi flag plunging swords down his throat.  …

“Faisil Falleh, 56, who took his family to the circus on a recent night, said, ‘I haven’t seen anything in my life like this.’  …

“Promoter Jasim Mohammed Saeed said,  ‘Nobody is working in this business in Iraq. It is just us.’ ” Read more here.

If you want to go, it’s $12 for adults, $6 for teens, and free for children. The cotton candy — “lady’s hair” in Arabic — is $1.

Read Full Post »