Exile and homesickness in the poetry of Ahmad Shawqi

2021 ◽  
Vol 8 (2) ◽  
pp. 425-475
Author(s):  
Nada Yousuf Al-Rifai

Ahmad Shawqi was raised in the royal palace, where his maternal grandmother – who sponsored him after the death of his mother – was a favoured maid at Khedive Ismail. Shawqi studied law in Egypt and Paris, and when he returned to Egypt, he became poet Laurette for Khedive Abbas Helmy II. Although Shawqi was brought up in the royal palace, as a poet, he felt the pulse of the Egyptian people and felt their pain and dreams. After the First World War broke out, in 1915, Shawqi was exiled to Spain where he was swept away by longing for his homeland. During his exile, the 1919 revolution erupted in Egypt, and his longing for his homeland intensified, and obsessed his heart and soul. Exile was the greatest ordeal that Shawqi went through in his life. In exile, he did not find relief except when resorting to his poetry, to which he revealed the pains of his heart. He also visited the memorials of the Muslims and their reign and civilization in Seville, Cordoba, and Granada. This resulted in Shawqi composing his lengthy poem “Arab countries and the greats of Islam”. Shawqi’s poems are considered masterpieces for their sincerity of emotion and beauty of description. Perhaps the most famous of these is The Seeniya; rhyming with the letter S, entitled “The Journey to Andalusia”, and his other longing poem, “The Nouniya; rhyming with the letter N”, in which he opposed the famous medieval Arab Andalusian poet, Ibn Zaidoun.

2000 ◽  
pp. 67-75
Author(s):  
R. Soloviy

In the history of religious organizations of Western Ukraine in the 20-30th years of the XX century. The activity of such an early protestant denominational formation as the Ukrainian Evangelical-Reformed Church occupies a prominent position. Among UCRC researchers there are several approaches to the preconditions for the birth of the Ukrainian Calvinistic movement in Western Ukraine. In particular, O. Dombrovsky, studying the historical preconditions for the formation of the UREC in Western Ukraine, expressed the view that the formation of the Calvinist cell should be considered in the broad context of the Ukrainian national revival of the 19th and 20th centuries, a new assessment of the religious factor in public life proposed by the Ukrainian radical activists ( M. Drahomanov, I. Franko, M. Pavlik), and significant socio-political, national-cultural and spiritual shifts caused by the events of the First World War. Other researchers of Ukrainian Calvinism, who based their analysis on the confessional-polemical approach (I.Vlasovsky, M.Stepanovich), interpreted Protestantism in Ukraine as a product of Western cultural and religious influences, alien to Ukrainian spirituality and culture.


2020 ◽  
pp. 65-80
Author(s):  
Magdalena Strąk

The work aims to show a peculiar perspective of looking at photographs taken on the eve of the broadly understood disaster, which is specified in a slightly different way in each of the literary texts (Stefan Chwin’s autobiographical novel Krótka historia pewnego żartu [The brief history of a certain joke], a poem by Ryszard Kapuściński Na wystawie „Fotografia chłopów polskich do 1944 r.” [At an exhibition “The Polish peasants in photographs to 1944”] and Wisława Szymborska’s Fotografia z 11 września [Photograph from September 11]) – as death in a concentration camp, a general concept of the First World War or a terrorist attack. Upcoming tragic events – of which the photographed people are not yet aware – become for the subsequent recipient an inseparable element of reality contained in the frame. For the later observers, privileged with time perspective, the characters captured in the photograph are already victims of the catastrophe, which in reality was not yet recorded by the camera. It is a work about coexistence of the past and future in the field of photography.


2017 ◽  
Vol 14 (3) ◽  
pp. 283-297 ◽  
Author(s):  
Taylor Downing

This article considers the making of the BBC2 series, The Great War, and examines issues around the treatment and presentation of the First World War on television, the reception of the series in 1964 and its impact on the making of television history over the last fifty years. The Great War combined archive film with interviews from front-line soldiers, nurses and war workers, giving a totally new feel to the depiction of history on television. Many aspects of The Great War were controversial and raised intense debate at the time and have continued to do so ever since.


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