These poems were not, as their elegiac, melancholic tone seems to imply, written by a 60-something exile remembering his childhood, but by a small Syrian boy with a grubby collar and a large football, named Mohamed Assaf. He is not an easy
Mohamed Assaf and Kate Clanchy
.95 (paperback). ISBN 978-1-941830-38-3 This small book of 78 pages including short essays and a few poems could easily escape attention if one did not recognize the authors’ powerful message. In short form, they present the essence of what unites indigenous
For centuries poetry was the most important arts genre in Central Asia. In order to be recognised as a member of the educated classes, it was obligatory to learn hundreds of poems. Even the Soviet regime (1922-1991) exploited the Uzbek people's love of poetry for its own political ends - the propagation of communist ideology. However, linked to the processes of globalisation, interest in poetry has diminished considerably in Uzbekistan over the past several years. People have become less attracted to the romance of poetry than to actual business, benefits and material values. To modern Uzbek society, poems come only in the form of lyrics for popular music. Globalisation has made poetry a minor genre among the Uzbek arts. To be a poet had been a respected profession for centuries. Now it has lost its prestige, as former poets turn to other occupations.
Markku Lehmuskallio and Anastasia Lapsui in Siberia and the Circumpolar World
Starting with instructional films about Finnish forestry in the 1970s, Markku Lehmuskallio has taken his cinematic vision progressively northward. After the fall of the Soviet Union, Leh mus kallio started intensive work among the Nenets, ultimately collaborating with Anastasia Lapsui to make remarkable “film poems“ among northern peoples at the edges of the world. Perhaps most impressive of their extensive Giron Film productions are the awardwinning Seven Songs of the Tundra (2000) and Earth Evocation (2009). This review essay focuses on their methods of representation of northern, native peoples over the course of their filmmaking career.
On Discovering Poems in Istanbul, Sarajevo, and Bratislava
This article discusses how poetry allowed a first-time traveler to three different cities to explore each place and his identity as a traveler. Focusing on Istanbul, Sarajevo, and Bratislava, the article describes the experience of using a poem the traveler finds in each city to serve as a guide to its spirit. By referring to issues related to anthropology, post-colonialism, politics, history, the social sciences, and cultural studies, this article discusses the transformation experienced by the traveler as a result of both a physical and inner journey.
All titles (in bold), and some lines in the poem are taken directly from the Flash Report of the OHCHR’s Mission to Bangladesh, ‘Interviews with Rohingyas Fleeing from Myanmar since 9 October 2016’, published on 3 February, 2017 and available
Steven D. Carter
After some lengthy but necessary preliminaries, my purpose in this essay will be to attempt a response to a simple question concerning a Japanese travel record by the eighteenth-century court poet Reizei Tamemura (1712–74). Tamemura’s record is a slender offering to which little attention has ever been given, in Japanese or in any other language; and doubtless it will remain obscure even after I submit it to brief analysis. The question I ask, however, is one of some significance to students of travel literature in general and Japanese travel literature in particular – namely, ‘How does one makes sense of so minimalist a work, really just a list of poems, as an account of the experience of travel?’
Re-reading the Feminine in Gertrude Bell's Early Travel Writing
In May 1892, Gertrude Bell embarked on her first major non-European voyage to Persia, a journey that not only inspired her first published piece of travel writing, Persian Pictures (1894) and her translation of a selection of poems by the medieval Sufi poet, Hafiz (1897), but which also informed Bell's lesser-known, fictional writing. This article reads Bell's Persian Pictures alongside her unpublished short story, “The Talisman, or, the Wiles of Women” (c. 1892–1893) in order to consider the ways in which the feminine functions in her representations of the areas to which she traveled. Through this comparative reading, this article demonstrates how—through her use of the feminine—Bell subverts the “constitutive tropes of Orientalist discourse” of the East as sexualized, seductive, and dangerous (Yegğenogğlu 1998: 73), and instead positions it as an active and informed agent that knowingly challenges and resists Western colonial attempts at penetration and/or domination.
Tourists, Truth, and the Insouciance of Souvenirs
Straten 2012 ). There were already mentions of Gundagai in the work of Henry Lawson and Banjo Paterson. Going still further back there was a poem about a dog and a tuckerbox, which had a local notoriety. And that would become the focus of the memorial. I
In his poem “Leaving the Field,” published in Antipodes , anthropologist Michael Jackson (1996: 15) evokes the anticipation, unease, and conflicted positionality of the moments just before departure: Snatching at images in my last hours