Essay by Ossama Elkaffash On the new play by Evald Flisar "Take me into your hands"
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Transcript of Essay by Ossama Elkaffash On the new play by Evald Flisar "Take me into your hands"
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Source: http://kaffasharticles.blogspot.com.au/?view=magazine#!http://kaffasharticles.blogspot.com/2011/08/v-behaviorurldefaultvml-o.html
Take me into your hand*
An essay about handling and handing
Prologue: The mystery of first encounters
When Evald first talked to me about " Take me into yourhands" we were heading towards a beautiful cozy
restaurant in Ljubljana. I listened carefully as usual and it
struck me immediately as a very playable play.
When I first got the soft copy I was dumbfounded. Here , is
a play about life and learning ... about love and
sacrifice...It is not a comedy neither it is a tragedy. I
immediately phoned Evald and asked if we can switch theroles making the male into a female and vise verse... He
replied : absolutely not.When I first told Magda Mounir our
friend and colleague about the play she just insisted that
she must play the role of the owner of the bookshop. So I
had a bit of a problem here...How can I resolve the
paradox of the author insisting on not to change and the
director of the theatre (for Magda is the director of the
theatre that is going to produce the play in Egypt inNovember this year) wants to change??
What can the poor Translator/Dramaturge do in such
situations?
What follows is what should be done if any situation like
that happens to another fellow Translator/Dramaturge and
how can He or She convince the writer to accept drastic
changes to his/her play!!! Not only did he accept but also
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asked me to write this essay about the transformation or
rather the transmutation of the play.
I- General remarks about Flisar s Theatre ...or The
Master of word-craft strikes again!
Evald Flisar is one of the most prominent contemporary
Slovenian playwrights and perhaps the most prolific
dramatic author of the Nineties (1). Flisar achieved thisstatus because of certain conceptual, thematic and
structural features we can find in his theatre. These
characteristics are considered by lots of critics to be
revolutionary and have overwhelming impact on the
Slovenian drama (2).
In my opinion they are the following:
1- On the conceptual level Flisar opts in his drama for the
classical acting (3). We can easily say that the role of
actors in his theatre surpasses and trumps the other
elements especially the visual elements. The concept of
the Theatrical (4) in his theatre is very classical where
actors are the pillars of the play and the text itself is the
main subject with no resort to the extravagant and the
spectacular. This does not mean that we can not make a
spectacle out of his plays. In my opinion we can easily do
that (5). This simply emphasizes the role of the
author/playwright and separates it from the role of the
director. In TMIYH, this is strikingly apparent. The play is a
stream of dialogue, acting would be like a tug of war
between 2 actors with no special visual effects.
Scenography would be minimalistic and mise en scene
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should be simple. The play is simply about the words and
acting.
2- On the thematic level the most recurring theme in
Flisarology is the study of the relationship between Male
and Female or what may be termed also the basic human
relationship. Evald Flisar is trying to explore this relation
from every possible aspect (6). For example, in Nora Nora
he tried to see the relationship of lovers and married
couples from all directions playing sometimes on the
theme of swinging!!! In the original version of TMIYH hetries to explore this theme from the point of view Father /
Daughter as well as from Teacher / student or Master /
apprentice. Needless to say that the lovers' side is also
tackled. So in reversing the roles I faced a very big
challenge. The question was: How to redefine the
characters using Arabic without disrupting the main
theme? And on another level can this reversal enhance
the other themes (7) of the play? Here I found the answer
in the concept of the importance of the word and classical
acting. So I tried to emphasize the role of the Master even
if he is a she!! Also I resorted to the platonic notion of the
human being where a person is both male and female (8).
3- One of the main structures used by Evald Flisar in histheatre is the mirror image (9). This is so clear in his Nora
Nora. In this play we have 2pairs representing the mirror
image of each other and this is depicted on the stage.
Although this structure is as old as drama itself as some
historian might claim (10), yet the Flisarian use of it is
innovative and unique in a sense. In TMIYH we can see
that the 2 characters are somehow the mirror image of
each other. Together they represent most of the
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Straussian anthropological dualities (11). We have
old/young, wise / nave, responsible / irresponsible in
short CULTURE VS NATURE. This mirror image structure
enabled me as translator/dramaturge to reverse the roles
and rearrange the genders in the Arabic version. In the
oriental mythology (12), the woman is seen as the womb
of culture and the reservoir of traditions (13). This is an
idea that has its effect on all the other cultures and is
present in TMIYH (14).
II- Analyzing Take me into your hands
This play is the 6th play of Evald s that I translated into
Arabic (15). & I read all the others. For me the main
prominent feature that is present in all of them is the
strong dialogue.
1- Swift words or visual trickery?
In many of modern plays we find the author almost always
opting for some kind of visual extravagances or overusing
body movements. This kind of theatrical is not Evald s cup
of tea. He believes as I explained before in the word as the
main base for the Theatrical. His dialogue compels the
translator to work hard in order to get into the heart of the
meaning. As I noted earlier this feature distinguishes the
notion of the Theatrical in Evald s world and in my opinion
it emanates from Flisar s understanding of the theatre as
a game of words manufactured by a crafty master and
executed by well trained artisans. Sculpturing the words
into a play is a craft that Evald Flisar has improved to
almost perfection so that his dialogue resembles a game
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of Table Tennis between 2 Chinese grandmasters. You can
not see the ball but you certainly know it is there.
Let us contemplate this Dialogue from TMIYH (16):
IZTOK: I have three grown-up sons. They send me
Christmas cards. I may have grandchildren, but I
have not been informed.
MAJA: Does that hurt?
The first lines of Iztok establishes his sarcasm and his
loneliness , the reply of Maja is 3 words but gives themirror image of the character of Iztok. The dialogue is
swift , informative , funny and revealing . That is what I
call strong dialogue.
2- New/Old... Theme/ Model
One of the beloved themes of Evald Flisar that features in
almost all of his work(17) is the theme of the journey. In
his collections of short stories "Tales of wandering" (18),
the journey was very evident. It was the model as well as
the main theme of the stories. In his play the 11th
planet(19) the journey was the theme rather than the
model. We can see in his very famous work the sorcerer sapprentice that the journey is a model while the main
theme was the relationship Master - apprentice which is a
mystical and sofi theme that is strongly present in TMIYH.
This theme is also the model upon which the play is
structured. These themes / Models i.e. The Journey and
Master / Apprentice are widely exploited in modern
literature and one of the Masters that exploited and
explored them to the brim is the looney Argentinian
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grandmaster Jorge Luis Borges(20). This not only answers
the question : Why the quotations from JLB? But also leads
us to reconsider this textualizations as pointing the finger
towards the Borgesian opinion about books and human
knowledge in general (21)? In TMIYH the owner of the
bookshop ( he in the Slovene version / she in the Arabic
version) has an ambivalent attitude towards the books
and knowlede in general and is also a Borges fan...They
share the same opinion . An opinion that is expressed by
Zaid. This ambivalence can be elucidated by looking
through the mirror of Sofi tradition in Islam " we prey for
you to protect us against the unbenificial knowledge" (22).This tradition also takes us also to the model /theme the
Journey . There is uncountable number of stories about the
journey of the scholar towards the truth . In TMIYH this is
the journey of the main protagonist towards accepting the
inevitable truth , Death. In TMIYH the theme/model are
intertwined that creates lots of referential points and lots
of points of articulations. Using Zaid s (23) as starting
point of reference and also as the first point of ofarticulation in the play , we can easily assume that the
theme here is knowledge is not neutral but it has useful as
well as harmful effects . This is not only in the way of
using knowledge but also in the way it is presented &
perceived. Why we need knowledge? is a question that is
usually avoided but bravely addressed in TMIYH.
Another point of articulation between the play and sofitradition is the view of Death. Actually our perception of
death and our knowledge of death is the hidden hand
behind the scene and the driving motor of the journey in
TMIYH. We can see this through another story from the
Islam sofi tradition(24). In this story a mystic was asked
what does he hates the most? He answered I hate the
truth!!! People were preblexed but then another scholar
explained that the guy means he hates Death which is the
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ultimate truth. In this story the relationship between
knowledge / journey/ life / death is well illustrated and
elucidated. The words of the wiseman contained
concealed knowledge that could not be seen by the
commons. His words represent in a way the essence of the
knowledge of life as a journey towards the eternal truth ...
death. TMIYH is like a modern version of this sofi fable.
Both characters are exchanging knowledge and are
learning from each other . By teaching each other they
attend a higher level of knowledge... knowledge about
life , love and above all their selves!!! All the modern
psychology , psychoanalysis , psychotherapy, and all theother techniques concerned with human psyche are
adamant in their assertion of the importance of self
knowledge(25). In a way we can see TMIYH as a journey
towards this aim & by doing so it is fulfilling another
classical function of theatre ... Catharsis. Because of this
level of interpretation of the play I relied upon a very rich
heritage of mystical knowledge and sofism in Islam , a
heritage that extends along more than 1400years up toour modern times.Actually my choice of the Arabic poet
Mahmoud Hassan Ismail (26) depended mainly upon this
tradition. I would say the choice was formal as well as
thematic. Formal , in the sense that I was searching for a
poet with the same inclinations as JLB and also thematic
with poems that pertain to the poems chosen by Evald.
The 2 quotations from JLB represent in my opinion 2 main
points of articulations in the play (27). The first point is apoem about the nature of poetry , in translation I chose a
poem by MHI called "poetry" (28) . Here , the concept of
textualization has reached its perfection. A text within the
original text where the former articulates with the later
without touching it or dameging it, rather enhances the
meaning. Juxtaposing the translated poem chosen by the
master with the psudopoem written by the apprentice
gives us the duality of true vs false( a mirror image) . The
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theme of the play is enhanced here as well as the model.
Nevertheless this is not all. The poem is full of emotions
and feelings and as MHI is famous of being a romantic and
mystical poet of the generation of early 20th century of
Arab poets , this strengthen the duality Intuition vs Reason
which is also a theme in the play.Also, I think the world of
imagery used by MHI is very close to the mysticomagical
world of JLB and this again is another reason for using MHI
as an Arabic surogate. In summary I think this point of
articulation in the play denotes the main theme "the
mirror image of the characters" and connotes the main
model "the journey of the sofi".
The 2nd point of articulation in relation to JLB is the poem
at the end of the play. Here we reach the end of the
journey and see the eternal transformation through which
the human being achieve another level of
consiousness(29). In the drama of TMIYH this is attained
by the magical solution of "acceptance" or in sofi terms
(QOBUL). By accepting Death the shop owner acceptsdestiny and LIFE as well. HE/SHE accepts that life is
eternal and death is the truth and hence achieve another
level of knowledge and reach another level of
consciousness. All these meanings are expressed by the
poem of JLB, and we can find them in the poem of MHI
which has the mystical title "prayer" or Salah in
Arabic(30). The poet is calling for a mysterious love to
come and approach him. Who is this one? Can thismysterious one be the angle of death? Can it be
providence? The resemblance between the 2 poems is
striking. More important on the structural level both JLB &
MHI used images of mobility (31) and transformations that
will lead us again to the model theme of the Journey.
Here , the journey is not spatial but rather chronological.
This journey is depicted in the play in the transformations
of the characters but not in a spatial movement. The place
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is always the same but the time changes. In fact Time is in
a hurry to rescue space!!!!
Here on the mythological level we have an inverted Greek
cosmology. Where instead of Gaia (Earth) is preparing for
the doom of Chronos (Time) (32), we have in the play
Chronos saving Gaia.
Here , we can mention 2 important features in the play
that relate to the theme/ model of the journey and the
theme / model of the Master/ apprentice.
1- Both characters suffered from some minor illness ( coldin case of apprentice and sprain in the case of the
master). The illness here is not only purification for the
soul but on a very formal level it is the traveler s illness.
Sickness of a psychosomatic nature that accompany the
journey. Both illnesses can also be seen as rituals of
initiations and preparations for the transformation. As if by
heating the body , the psyche is cooked and is prepared
for another level of consiousness.
2- the ultimate solution for all the problems of the space
was there all the time. The solution was a bond between
Time and knowledge (33). It was collectors items of rare
editions of old books. Here we can dwell upon the choice
of the items in this magical wand of Flisar. They are 5
books. These books are: 1- en attendant Godot , 2-Ulysses
3- Les Fleures du Mal 4- leaves of grass 5- the bible .Actually there were 4 books and only one page of the 1st
book ever printed : the bible of Gutenberg. The waiting for
Godot by Samuel Beckett is clearly a play about the
journey and the waiting for the traveller . It is also about
hope & the unknown as well as despair and the status
quo, as we can see very pertinent theme to TMIYH.
Ulysses is a novel by the Irish author James Joyce. It is the
ultimate journey novel. It is also a milestone in history of
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new. The climax of the play comes from within the theme
and the structure in a very elaborate way.
3- The old vs. the New an anthropological duality?
Evald Flisar dealt with the theme of the old vs. the new or
the Old vs. Youth in lots of his works. In his novel "the
monster of loneliness" or "My father s dream" he deals
exclusively with this theme. In his "Hamlet & I" this themeis strongly present. Flisar s treatment of this duality is not
the one we find in mythology (36). He is not praising the
wisdom and foresight of the old nor is he debasing the
foolishness of the youth. He is taking a more balanced and
rather realistic position. For, first he is analyzing the
duality then reconsiders it again. In other words he
deconstructs the anthropological duality in an artistic way
then reconstructs it in a dramatic way. This process has acertain similarity with what is called in Sufi terminology
Takhlia Thoma Tahlia, or purification then sweetening. In
TMIYH the old master is skeptical, sarcastic and in a way
nihilistic. His fears have turned into follies. His old wisdom
and lore is fading leaving bitterness and horror. He can
not accept the truth and because of that he is doubting
everything he had believed in. But this is one side of his-
story! For in him the flame of hope is still burning underthe dust of doubts. He has the urge to teach or in another
word to transfer his knowledge; and because of that he is
searching for the worthy apprentice. But, this is not all. For
his- story has lots of facets. In him there is still alive the
longing for knowledge as a true master never stops
learning, he has this eternal need and unquenchable thirst
to know and search for the unknown. Sometimes, this
unknown is called the truth, others may call it Nirvana.
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Still others may name it enlightenment or we may simply
say he wants to know himself. Deconstructing the myths
(37) is a job that Flisar excelled in. in TMIYH the myth he
deconstructed is that of the wisdom of the old. He
reconstructs the golden cup on another level which is the
level of self consciousness. This is achieved in a painful
yet amicable way through deconstructing another myth
that is the myth of the irresponsible youth or the prodigal
son. They are twin myths or rather mirror image ones. For
by entrusting himself to his disciple and by trusting her
intuition , the protagonist/ father figure transcends his
pains and sufferings & accepts life by accepting death indoing so he also accepts her wisdom. In the Arabic version
with gender changes, the idea is still valid. The key action
here is handling the situation through "the book" i.e. the
knowledge transmitted through the book written by the
owner of the bookshop to the son/apprentice and retaking
it from him. Here I leaned upon a very old Egyptian myth
(38) of the mother that gives her son the power/the
knowledge & he in turn hands it over to her as a sin ofacceptance. This myth represented a corner stone in the
coronation ritual of the new pharaoh and some historians
of theatre consider it a rudimentary form of the theatrical
(39).
By accepting the deconstruction of the 2 myths and
integrating the old one in the process of reconstruction I
was able to handle the transformation of the play with itsrichness of levels. I was also able to hand over the
responsibility of translation/ transformation into Arabic to
the actors in Egypt.
But that is another part of the story.
III- Revisiting the problems of translations...The
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family line that is more likely in Egypt and add to that it
exploits certain elements of the political situation after the
January Revolution(49). This will add spices to the play. I
also watered a lot of the sexual innuendos of the young
female because of cultural reasons as it is not appropriate
in Arabic culture to have a sexually open young male
addressing and older female. Also in reversing the sexes I
thought it is more suitable to see the young protagonist as
more attracted to the wisdom of his mentor rather than to
her bodily charms. For the poetry written by the young
apprentice I made it as silly as possible not only to
enhance the juxtaposition but also to remind the audienceof the silly son writers of today in Egypt thus enhancing
the comedy. The rudeness of the old man was trimmed
but not his sarcasm, I know that here I am accepting
certain gender related stereotypes (50) but this enabled
me to redefine the character as a cultural figure in the
modern Arabic culture. I think this justifies my choice to a
certain extent.
The handling of the play and arabicizing it was a big
challenge but handing the product to the publisher,
theatre and above all to Evald was even bigger.
2- The Handing over... Occident vs. Orient
Trust is the key word in this process of finalizing the script,
handing it over to the actors and the board of the theatre
as well as to the author.
Trust here has lots of meaning and many levels. On the
personal level, trust is the base of the relationship that
allowed the handover of the play first to me then back toEvald. I see this level also as the base of the relationship
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between the characters in TMIYH whither in the Slovene or
the Arabic version. In TMIYH we can interpret the
relationship as trust building. Through acceptance,
rejection, denial and then acceptance again the trust is
established. The pulling and tugging happened all the way
and ended by mutual acceptance and trust. This is the
same process that happened between me and Evald.
Through work and mutual projects we reached this kind of
trust that enables the person to hand over whatever
he/she thinks precious to the other without fears or
doubts. That is because one knows that the other is
worthy of trust. This feeling of trust combined with thefeeling of knowing someone who is worthy of trust has its
Sufi dimension in the relationship Master / apprentice as
well as in a relationship between 2 Sufis. This can be
illustrated by lots of tales of almost all the faiths (51).
They all elucidate how some one can see the capabilities
of another person, even if this other is not aware of that.
Trust in the capabilities is another level of trust. It is trustin yourself as well as trusting the other. This level of trust
merits some detailing in the story of the handing over.
Music as an art form represents the pure form of artistic
expression (52). Perception of music relies totally upon the
feelings. In trying to translate the Arabic play into a
performance I was advised by Magda Mounir (53) the
actress who will play the shop owner in the Egyptian
production of TMIYH to use life music played by a luteplayer. This idea transcended the whole concept of the
performance and gave it a universal dimension. Not only
because lute is a common instrument in both the oriental
as well as the occidental music(54) but also because
through music and songs we can observe the growth and
development of the relationship between the characters.
Needless to say it will add to the entertainment of the
audience. The concept of the music as a narrative tool
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gives the idea of trust in the capabilities a broader
perspective. Here intuition replaces logic and trust
becomes as pure as music itself.
This transfers the idea of trust to trust in humanity itself.
Trust that sees no borders and rejects the notion of
conflicts of civilizations. I think we utterly need this kind of
trust in this time of hatred and war and decline of all kind
of values. I think also that this trust can be found in the
making of TMIYH into an Arabic play to be performed in a
theatre festival in La Paz capital of Bolivia.
For isn't it beautiful to have an Arabic theatre companyperforming in a Latin American country a play written by a
European author?
Isn't that the essence of the good side of the concept of
globalization? A side that we must see and encourage.
* The latest play by Evald Flisar. Translated into Arabic by
Ossama Elkaffash
Ossama Elkaffash
Zagreb 4th /8/2011
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Footnotes:
1- Ravinjak , Vili Deconstructing the myth of romantic
love, Tristan & Iseult, Goldhawk Press, London, 1994 page
91
2- ibid page 91
3- The late Dr Saleh Saad the Egyptian director & scholar
described theatre of Evald Flisar as "a theatre that revives
the role of the actor on stage" - Theatre Magazine, Cairo
May 2005.
Interview about his direction of Nora Nora.
2005--- .
4- The concept of the theatrical has been always anillusive concept. It is defined linguistically as: Of, relating
to, or suitable for dramatic performance or the theater.
(the free dictionary by farlax
http://www.thefreedictionary.com/theatricality) . American
professors of drama and performing arts Thomas
Postlewait & Tracy Davis defined it as "a sign empty of
meanings and a meaning of all signs" (in the book edited
by them :Theatricallity. Cambridge University press 2003)
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-31-3-2009
Also Shafiq , Sobhy "the history of the pharaonic theatre"
http://egyptartsacademy.kenanaonline.com/topics/58246/posts/218803
-. .
11- The main theory of cultural anthropology of
C.L.Strauss is based upon the idea of duality of Culture /
Nature . This is well expressed in his major work "mythologique".
12- see Joseph Campell , The Masks of God vol.1 primitive
mythology page 139 and after.
LONDON : SECKER & WARBURG : 1960
13- The myth of Isis the mother goddess in Pharaonic
Mythology is a good example here. Seehttp://en.wikipedia.org/wiki/Isis
14- see Joseph Campell , The Masks of God vol.4 creative
mythology page 42 and after Penguin compass.
15- I translated into Arabic the following works of Evald
Flisar
1- Tales of wandering 2004
2- Nora Nora 2005
3- The eleventh planet 2005
4- Tomorrow 2006
5- Anthology of slovene short stories ( 2 stories)
2007
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6- My Father s dreams 2007
7- Antigone Now 2010
8- Take me into your hand 2011
16- Page 6 in the soft copy of Take me into your hand. The
dialogue goes as follows:
IZTOK: I have three grown-up sons. They send me
Christmas cards. I may have grandchildren, but I
have not been informed.
MAJA: Does that hurt?
IZTOK: Not as much as my back. Which hurts all the
time?
MAJA: What do you appreciate in a woman?
IZTOK: Cleverness. Tolerance. Imagination.
MAJA: Are you happy?
17- See S.S. Nash, introduction in collected plays of Evald
Flisar, page 13. Texture press. New York
18- " " 2004
19- "" 2005
20- Jorge Luis Borges has used the theme of the journey
almost in all his writtings whither prose or poetry. The
Theme of the teaching and learnin or Master/ apprentice is
also utilised by him as for example in his short story
repentenance (el repentimiento in spanish) from his short
story collection ElAlif.
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21- In his introduction to his famous short story collection
The gardin of forking paths ("El Jardn de senderos que
se bifurcan" Spanish title 1941 ) Borges expressed utter
dispise to books. See ficciones prologo pagina 6.
22- This is a prayer of the prophet Mohamed. See
http://tabalkhater.barzan.ws/pages/p004.html
23- Gabriel Zaid wrote "The human race publishes a book
every thirty seconds" and he further argued that most
poeple are intersted in writing books not readin them. See
So Many Books: Reading and Publishing in an Age
of Abundance.
24- http://geeska.mountada.biz/t103-topic
25- Socrates guiding rule " Know Thyself" is probably one
of the most used quotations and also can be seen as the
mantra of all kinds of psychological therapies.
http://en.wikipedia.org/wiki/Know_thyself#By_Plato
26- Mahmoud Hassan Ismail 1910-1977 a very important
Arab poet from Egypt. Has 14 collections of poetry. He is
considered to be one of the pillars of the romantic
movements.
http://www.adab.com/modules.php?
name=Sh3er&doWhat=ssd&shid=520
http://www.marefa.org/index.php/%D9%85%D8%AD
%D9%85%D9%88%D8%AF_%D8%AD%D8%B3%D9%86_
%D8%A5%D8%B3%D9%85%D8%A7%D8%B9%D9%8A
%D9%84
http://medhatfoda.jeeran.com/m3th/adb
%203th/3tha4.htm
http://www.arabicnadwah.com/articles/ismael-shusha.htm
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27- The point of articulation is a medical concept where 2
bones are joined together with a joint.
http://books.google.hr/books?id=YyOCem-
151sC&pg=PA367&lpg=PA367&dq=point+of+articulation
+
+in+medicine&source=bl&ots=CcP8x2Gq4i&sig=Qpa3EE
C_Qt-
G3NE_XXBtpGVQOOQ&hl=hr&ei=10M8TuXkNo7BswbdlfEp
&sa=X&oi=book_result&ct=result&resnum=1&sqi=2&ved
=0CBgQ6AEwAA#v=onepage&q=point%20of
%20articulation%20%20in%20medicine&f=false
It is also used in phonetics the location at which two
speech organs approach or come together in producing a
speech sound, as in the contact of the tongue and the
teeth to form a dental sound. Also called place of
articulation.
http://dictionary.reference.com/browse/point+of+articulati
on
I use the concept to denote the point in a text where
another text is used or refered to.
28- The poem is in the complete works of MHI volume 1
page 294
General authority for book- Cairo 2004
2942004
The first 2 verses can be translated as follows
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Poetry if heard by the Jinn , they will pray with their souls
If the its whisper enters in a pub the drunk will pray and
the cups will say halliloja
29- The other level of consciousness is well documented
whither in near death cases and their testimonies or in
other experiences using drugs or even rituals. Carlos
castaneda in his book The teachings of Don Juan and Carl
Rogers in his book a way of being has spoken extensively
about it.
30- The poem "prayer" is written 1938 from his collectionof poetry " the king"
http://www.adab.com/modules.php?
name=Sh3er&doWhat=shqas&qid=77471&r=&rc=0
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It can be translated as follows
Come as a prayer ..
Come as a prayer soften by Asceticism of a monk in
his cell
Come as god s providence for us given to the being
throuh revelations
Come thirsty like wounds while the cup of love is
mourning and poetry is a broken flute
You are an ingenious tune in my mouth and I am in
god s gardens a nightingale!
31- MHI has used the image of a moving spirit and he is
adressing another one
In his poem JLB has used the image of some that hasalready left and is now in the center of the labyrinth while
he is also adressing another one
The writings left behind by those whomYour fears
implore wont save you;You are not the others and
you see yourselfNow at the center of the labyrinth
woven32- in the Theogony of Hesiod , lines 147- 206
http://www.sacred-texts.com/cla/hesiod/theogony.htm
33- One definition of book is the total available knowledge
and experience that can be brought to bear on a task or
problem. Here it is clearly the vector of knowledge in time.
http://www.merriam-webster.com/dictionary/book
34- Les Fleurs du Mal was first translated into Arabic by afriend of MHI and a great romantic poet Dr. Ibrahim Nagui.
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IN & MHI were member in the same poetry society . Apollo
group.
http://medhatfoda.jeeran.com/m3th/adb
%203th/3tha4.htm
35- Miller, James E., Jr. Walt Whitman. New York: Twayne
Publishers, Inc. 1962.
36- There is lots of legends about the wisdom of the old,
like for example the legend of the golden cup on the
mountain.
See http://www.pitt.edu/~dash/type0981.html
37- Ravinjak , Vili op.cit. page92
38- The famous myth of Isis , Osiris and their son Horus
http://www.egyptianmyths.net/mythisis.htm
--
http://www.philae.nu/philae/IsisOsiris.html
39- For more about the history of performing art and
theatre in Pharaonic Egypt see
http://kenanaonline.com/users/Arabmedia/topics/64383/po
sts/109617
also
1817-- 2000
40- see Elkaffash , Ossama The art of translation and
concept building in
Concept building an epistomological study & practical
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examples
127-
-1998
41- see Elkaffash , Ossama lingustic arts in Concepts of
beauty ' an Islamic episteme
57--
-1996
42- see
http://kaffasharticles.blogspot.com/2006/03/translation-
from-slovene-to-arabic.html
Op. Cit.
43- see --2009-
http://el-kalema.com/AR/index.php?
page=shop.product_details&flypage=shop.flypage&produ
ct_id=299&category_id=38&manufacturer_id=0&option=c
om_virtuemart&Itemid=48&vmcchk=1&Itemid=48
Also
http://kaffasharticles.blogspot.com/2009/03/blog-post.html
44- The 3rd language is an idea proposed by the Egyptian
writer Tawfiq Alhakim (1898-1987) as a solution for the
duality of the Arabic lanuage. See also
--
2005
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54- Lute can refer generally to any plucked string
instrument with neck and a deep round back, or more
specifically to an instrument from the family of European
lutes.
The European lute and the modern Near-Eastern oudboth
descend from a common ancestor via diverging
evolutionary paths. The lute is used in a great variety of
instrumental music from the medieval to the late baroque
eras and was probably the most important instrument for
secular music in the renaissance.
http://www.cs.dartmouth.edu/~wbc/lute/lute.html