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Rubaiyat of Omar Khayyam in the Eyes of Lazard

Rubaiyat of Omar Khayyam in the Eyes of Lazard. Dina Gamal Abou El Ezz
Faits de Langues, 38 (2011), p. 103–122.

A linguistic analysis depends on the strength of the implied meaning which allows two different mirror images to reflect the same text being:”The Rubáiyát of Omar Khayyám” through the perspective of Gibert Lazard and Abolgassem Etessam Zadeh. The rhetoric strength of Lazard’s poem and his superiority in the art of translation are clearly demonstrated by way of a study based on the micro-structural element of the poem.

Whitley Stokes and the Rubáiyát of Omar Khayyám

Whitley Stokes and the Rubáiyát of Omar Khayyám. J. Drew.
In: The tripartite life of Whitley Stokes (1830-1909). Ed. by Elizabeth Boyle and Paul Russell. Dublin, Four Courts Press, 2011. ISBN: 978-1-84682-278-0. pp. 111-118.

Drew describes Whitley Stokes’ role in the intriguing story behind the Madras 1862 edition.

Etude critique des traductions en français d’un quatrain d’Omar Khayyâm

Etude critique des traductions en français d’un quatrain d’Omar Khayyâm. Saidi Bouroujeni, Sara; Dadvar, Elmira.
Plume 6 (2011) 13, pp. 127–142

In the XXe, translation is changing. Slowly, we go from language to speech, with text as unity. We are discovering the oral of literature, not like in theatre only. Intuitively, the greatest translators have ever known it. We discover that the translation of a literal text must do what a literal text do through its prosody, its rhythm, its significance, such as o kind of individualization, a kind of form-topic that radically move the precepts of transparency and faithfulness of the traditional theory. As part of our doctorate thesis Reception of the quatrains of Omar Khayyam in France (XIX-XXIe centuries), because of failure to analyze all the quatrains, we propose to compare the translations of one of the high frequently translated robâ’i or quatrain in most of the French translations of the Quatrains.

Traduire c’est trahir: des Arabian Nights aux Rubaiyat of Omar Khayyam

Traduire c’est trahir: des Arabian Nights aux Rubaiyat of Omar Khayyam. Laurent Bury.
In: L’orientalisme victorien dans les arts visuels et la littérature. Laurent Bury. Grenoble, ELLUG, 2011. ISBN: 978-2843101762

Il est une forme de colonisation plus pacifique, mais aussi moins univoque, puisqu’elle autorise une influence réciproque : l’assimilation d’une culture par une autre que suppose l’exercice de la traduction. Avec l’engouement qu’elle suscite pour les langues lointaines, la « Renaissance orientale » est à l’origine d’une floraison d’arrangements et d’adaptations, dans lesquels les Victoriens refusent de s’effacer humblement, préférant rester auteurs à part entière. Comme le montrera l’exemple de quelques traductions orientales produites au XIXe siècle, l’intervention de l’interprète y est souvent très visible.

Nation and Memory. Commemorations and the Construction of National Memory under Reza Shah

Nation and Memory. Commemorations and the Construction of National Memory under Reza Shah. Afshin Marashi.
In: Nationalizing Iran. Culture, power, and the state, 1870-1940. Afshin Marashi. Seattle, University of Washington Press, 2011. ISBN 9780295800615

On a Fall morning in November 1934, several dozen european orientalists made a pilgrimage to pay their respects at the mausoleum of Omar Khayyam, the thirteenth-century Persian poet whose famous Rubaiyat had long been canonized as a masterpiece of Persian literature. The group of pilgrims included such luminaries in the study of Iranian art, literature, and culture as Henri Massé, Jan Rypka, Arthur Christensen, and Vladimir Minorsky. The gathering at Omar Khayyam’s grave was more than a casual homage, it was what the French historian Pierre Nora described as a lieu de mémoire, a symbolic event, site, or object designed to “inhibit forgetting, to fix a state of things, to immortalize death, and to materialize the immaterial . . . all in order to capture the maximum possible meaning with the fewest possible signs.”

FitzGerald’s Rubáiyát: ‘a Thing must live’

FitzGerald’s Rubáiyát: ‘a Thing must live’. Matthew Reynolds.
In: Reynolds (Ed.) 2011 – The poetry of translation. Oxford, Oxford University Press.

Summary

In Pope, contrasting metaphors collaborated as guides to his translation; in Pound, an explicit metaphor of translation is, in practice, haunted by its opposite. FitzGerald associated various metaphors with his Rubáiyát of Omar Khayyam: friendship with Omar, preservation of the ‘Oriental Idiom’ and: ‘at all Cost, a Thing must live.. Better a live Sparrow than a stuffed Eagle’. This last is the most inward with his practice as it is nourished by reflections in the original Persian as to how life might continue into different creatures, or even somehow persist in inanimate matter. Yet such ‘life’ is radically ambiguous: the Rubáiyát is a questioning text in which the categories that usually discipline translation dissolve—as do my own categories of metaphorical explanation.