Nizar Qabbani

Deviation is one of the techniques Russian formalists discuss in their criticism theories. This is an effective method to foreground matters in a literary work that can be easily defined as departure from normal and standard language. Its usage, as an expressional technique (or somehow trick) can lead speech in to dynamicity and makes the audience to pay more attention to the text. Geoffrey Neil  Leech (1936-2114), the English linguist, believes that de-familiarization in  literary language is put in to effect in two ways of "foregrounding" and "deviation". He has distinguished eight different types of deviation in a literary work. Through an analytic-descriptive method, different types of deviation have been analyzed in present essay on the basis of Leech's theory in the poems of the Syrian well-known contemporary poet, Nizar Qabbani, published in his work "Kitab al-hubb" (Book of Love). The results show that Nizar Qabbani has used different types of deviations in his poetry and there is no "stylistic" deviation in this work, while "semantic" and "phonetic" deviations have been used with a high frequency.

Nizār Qabbāni,the contemporary Syrian Poet (1923-1998), is known as the poet of woman in the field of poetry and have been mostly criticised from this poin of view. A detailed scrutiny of her works clearly illustrates that she has sensitively and emotionally reacted to insufficiencies of the Arab society and the incompetence of the rulers.Political and social issues have certainly been among her concerns.Nizār Qobbāni used sarcasm to harshly and bitterly challenged the inadequate policy  and statesmanship of Arab puppet rulers and exhaustion of Arabic culture and peoples' narrow-mindedness.Sarcasm is one of the expressive techniques Nizār Qabbāni has used in portrating his mental concepts. This can be very vividly seen in her political famous work called “Hawâmish Ala Daftar al_Naksah”. This study attempts to, with a descriptive-analytical approach,explore the role of this techniques. The result is that the use of this technique has had a profound effect in the poet's prominent language and her audience to get the intended concepts. In addition the coincidence of poet's bitter language with Arab bitter defeat in 1967 war,has made a kind of harmony and coordination of content and vocabulary and poetic compositions,which has attracted specific audiences such as literary critics

Penelitian ini bertujuan untuk mengetahui makna lagu bahasa Arab Majida El Roumi dan dapat merasakan isi dari lagu Arab Majida El Roumi ketika dilantunkan atau dinyanyikan, baik bagi peneliti maupun pemirsa. Proses penelitian dimulai dari mengumpulkan data melalui Website dan Youtube, data yang dipilih sesuai dengan penulis lagu yang sama (Nizar Qabbani dan Nizar Francis) dan sudah diterjemahkan ke dalam bahasa Inggris. Penerjemahan dilakukan menggunakan metode penerjemahan komunikatif dengan beberapa strategi penerjemahan (taqdim dan ta’khir, z{iya>dah, haz{f, badal), untuk memudahkan pemirsa memahami isi lagu dan dapat dilantunkan dengan irama ketukan nada dari bahasa Indonesia. Setelah lagu diterjemahkan, terjemahan lagu di aplikasikan ke dalam bentuk video menggunakan aplikasi KineMaster melalui ponsel dengan desain yang menarik. Adapun dalam penelitian ini, peneliti menggunakan metode kualitatif-deskriptif. Hasil penelitian berisi pertanggungjawaban analisis terjemahan duapuluh lirik lagu dari sepuluh lagu yang diteliti. Penelitian ini menghasilkan terjemahan lagu Arab berbentuk video, yang dibuat dengan lirik yang berjalan dengan sistem karaoke. Lirik lagu dalam video terdiri dari beberapa bahasa, yaitu bahasa Arab (TSu), ucapan bahasa Arab, dan bahasa Indonesia (TSa). Hasil akhir video diupload ke dalam aplikasi Youtube.
Kata Kunci : Terjemahan, Lagu Arab, Metode Komunikatif, Karaoke, Majida El Roumi, Nizar Qabbani, Nizar Francis, Youtube.

The phenomenon of male writers adopting a female voice and vice versa - termed literary cross-dressing or literary transvestism- features prominently in the poems of Nizar Qabbani and Thomas Hardy.  Separated by time, place and literary and cultural heritage, the female voice they adopt represents an invaluable opportunity to examine the textual manifestations/disruptions of gender roles. The poems at hand portray female subjectivity through an array of situations in an ultimate act of empathy.  Yet, it will be argued, the writer never completely masters the disguise.  This does not stem from an innate identity lurking beneath this disguise but is rather the result of a lively interaction between the writer's internalized social views on femininity and his craft. This perception of the phenomenon is no doubt complicated by adopting a view of the author as possessor of a habitus - to use the term developed by French theorist Pierre Bourdieu.  Writers- like all social agents- are invested with the elements encoded into their surroundings, or, so to speak, their social destiny.  The term acts as an alternative to the overused concept of culture and is used to escape both subjective and socialist approaches to the subject through the incorporation of history into a potent, yet historically restrained social agent.

The theme of waiting permeates two poems by the late Syrian poet Nizār Qabbānī. The verse in both poems ‘Waiting for Godot’, and ‘A television interview with an Arab Godot’, describes an arduous wait, at once distressing and unpredictable. In the first poem, the poet urges Godot to arrive, as the savior who will appear in the form of the Messiah. In the second, Qabbani tries to define what Godot is. Acknowledging that it is a direct borrowing from Samuel Beckett’s play, he poses a number of questions relating to the identity of Godot; he asks if this awaited persona brings with it relief, a Messiah at once baring gifts and is capable of rescuing the individual from the paralysis of time, or is this anticipated arrival bringing with it destruction and calamity? Drawing on Arab history, Godot evolves into the persona that forms part of this history.

Translating poetry has always been a significant subject in translation studies. Mixture of the language of poetry with the poet’s feelings and its benefit from ambiguity and complexity as well as presence of elements such as rhythm, sentiments, and fantasy puts poetry at a higher position than prose, and accordingly adds more importance to its translation.
The translator of a poem should be privileged with more freedom. An efficient translation of poetry is the outcome of recreation rather than mere rendition, as it is the case with rhythmic translations. Not only should poetry translators have all proficiencies of literary translators, they should also be familiar with contemporary poetry and its specifications, including dominant themes and tones in poetry, functions of allegory, repetition elements, internal rhythm of the poem, and application of proper nouns.
The purpose of this research was to investigate the difficulties and complexities of translating poetry and in particular translating contemporary Arabic poetry regarding the theoretical and functional aspects. For this purpose, a descriptive-analytical method has been employed in this library research. Translatable and untranslatable elements were studied from a theoretical perspective, findings of which then indicated the importance of diction, meaning, rhythm, sentiments and fantasy. The difficulties of translating poetry were furthermore pointed out. From a functional approach, the most significant challenges with which the translators of contemporary Arabic poetry have to deal were then discussed by citing excerpts from poetry by Arab poets including Nizar Qabbani, Badr Shakir al-Sayyab and Nazik al-Malaika.