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MYSTICAL MOBILITY IN THE POETRY OF THE US SUFI POET DANIEL ABDAL-HAYY MOORE
Get PDFThe study addresses mystical mobility in contemporary Anglophone Sufi poetry through the case of the US poet Daniel Abdal-Hayy Moore, who experienced mobility in mysticism and Sufi travel. This dissertation examines these issues to reveal ways in which mystical representations in Moore’s poems are created. On the basis of the intertextual relationship of his poems with related Anglophone mystical texts and ideas associated with mysticism, especially the concepts of Sufism, my reading of Moore’s texts in the volumes Laughing Buddha Weeping Sufi (2005), Love is a Letter Burning in a High Wind (2006), Abdallah Jones and the Disappearing-Dust Caper (2006), and Underwater Galaxies (2007) shows that the mystical representations have been influenced by the poet’s mystical experiences and ideas within the context of his religious and cultural encounters.
Laughing Buddha Weeping Sufi shows an adaptation of the text as a result of the poet’s experiences in Zen Buddhism and Sufism. Both ways of thinking are depicted as unity in duality in each poem, and together with their affinities and differences, they suggest a process of new creation. These characteristics also differentiate Moore’s poetry from Gary Snyder’s poetry focusing on Zen Buddhism. Love is a Letter Burning in a High Wind is a rewriting of Sufi love as a result of the poet’s journey to and within Turkey to pay homage to Rumi, the legendary Sufi poet. Moore’s poetry is also different because of its way of reshaping the writing of Sufi love as it is approached through the themes of the self-disclosure of God and abundance of nature representation. Such a difference means that the poetry has been adjusted with the poet’s reinterpretation of Sufi love. Further, Moore’s text differs from Romantic poetry and its expression of nature because of the perspective of Sufism. Abdallah Jones and the Disappearing-Dust Caper, which takes the form of prose poetry and storytelling, is a new imagining because it combines children’s literature, the adventure story, Sufi teachings, and postcoloniality. In addition to using the imaginaries of a fight against ecological imperialism and preventing ecological apocalypse, the text shows an allegorical meaning about a Sufi disciple who wins the greater jihad, a war in one’s inner self where the heart must win over the base inclination to prevent the apocalypse within the self. This chapter also shows that such new ways of using prose poetry are different from those in many other Anglophone texts. Underwater Galaxies displays on-the-move representations of Sufi travels. It first uses the representation of aeromobility to depict the closer position of the Sufi’s heart to approaching God. Secondly, the trope of Sufi culture in travel successfully becomes the building block of the poems in that the various travels depicted are always about finding God in the heart. Finally, the use of international terms proves that mystical representations move at the global level. These three findings substantiate that the text becomes a new narrative of travel-related Anglophone mystical poetry.
To sum up, not only does Moore’s Sufi poetry show mobility in its mystical representations when they are compared with related Anglophone mystical texts, but it also describes Moore’s mobility through mystical experiences, ideas, and Sufi travels. The study has shown that mystical mobility in Anglophone literature has a particular role in Moore’s Sufi poetry. Mystical mobility is present both epistemologically as a process in the creation of the poems and ontologically as the underlying religious and cultural encounters experienced by the poet
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Multilingual Russian Writers in Finland : Zinaida Lindén and Polina Kopylova
No full textThis article investigates literary texts in Swedish, Finnish and Russian by two Russian-born writers living in Finland, Zinaida Lindén and Polina Kopylova, from the viewpoint of literary translingualism and self-translation. Both writers can be characterised as translingual writers: they have written literary texts in a second language. Both can also be considered to have self-translated their literary texts. Lindén has written and published prose texts in Swedish and Russian, whereas Kopylova has written and published poetry in Russian and Finnish. However, both writers are critical of the view that their texts in different languages should be considered simply as self-translations and stress that both texts are versions of the same original in different languages. The article addresses the question of how Lindén and Kopylova approach the multilingual writing process in practice, and what kind of connections can be observed between the two versions of their texts in different languages. The investigation of literary texts as well as essays and interviews, where the writers express their views on multilingual writing, reveals multiple ways in which the literary texts in different languages overlap.https://doi.org/10.33063/diva-437456</p
Narrating the geopolitics of displacement. Marina Palei's
No full textThis chapter addresses the geopolitics of displacement from the viewpoint of embodied everyday experiences in the post-Soviet Russian context. The object of the investigation is the autobiographical account of displacement and migration by the Russophone Dutch writer living in the Netherlands, Marina Palei. Her story “Khutor” (The farm, 2004) weaves together different periods of the first-person narrator’s lifetime. One part is about a summer spent in the Estonian countryside in 1979, another is about her emigration to the Netherlands in 1995, and the third is about her stay on the island of Gotland, Sweden, at the beginning of the 2000s. What makes this story interesting from the viewpoint of geopolitics, is its take on how mobility and displacement affect the sense of self through everyday, mundane practices. This is accomplished by shifting the scale from the national and symbolic to the community and the body. The notion of geopolitics of displacement points to how the experience of displacement prompts the negotiation of individual agency and subjectivity within symbolic power production. Recurring border-crossings – linguistic, cultural, geographical – reveal how borders function in terms of bordering, cultural ordering and othering. The border-crossings and experience of displacement lead the protagonist to a different perception of herself and her home, the Soviet Union and Russia. The narration focalized through the scale of the body brings to the fore situated knowledge on individuals’ mobility, exclusion, estrangement and marginalization experienced not only on foreign ground, but also in one’s home country
Mediating (Post)memory in Multilingual and Multicultural Writing: The Autobiographical Texts of Katharina Martin-Virolainen and Anna Soudakova
No full textWhat happens when the memories of Soviet repression and displacement travel across spatial, linguistic, and cultural borders? This chapter discusses the question of traveling (post)memory by investigating texts on the traumatic family histories and lived experiences of the Soviet past from a transcultural perspective. The focus is on works written by two Soviet-born writers living outside Russia: Katharina Martin-Virolainen’s (b. 1986) Im letzten Atemzug: Erzählungen (“In the Last Breath: Stories,” 2019) and Anna Soudakova’s (b. 1983) Mitä männyt näkevät (“What the Pines See,” 2020). Both texts address the traumatic memories of the 1930s’ Soviet Terror, discussing how the past becomes an integral part of the present. This writing of the traumatic family past is approached with the help of the concepts of postmemory and cultural and traveling memory. It is suggested that the texts aim to address and make visible the intricate links between the transcultural mediation of traumatic historical experiences and the multilingual and multicultural identities of their writers. In so doing, they seek to draw attention to the multiple sites, languages, and identities connected to the traumatic memories
Lasten ja perheiden ääni kuuluu uudessa muuttoliikkeen tutkimuksessa
No full textLaura Assmuth, Marina Hakkarainen, Aija Lulle & Pihla Maria Siim (toim.) (2018) Translocal Childhoods and Family Mobility in East and North Europe. Palgrave Macmillan, Cham, Sveitsi. 271 s. Kuvitettu
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Rakkaudenosoitus suvulle: Maria Stepanova: Muistin muistolle. Romanssi. Suom. Mika Pylsy. Helsinki: Siltala, 2020. 446 s. ISBN 978-952-234-575-2.
No full textNew Research on Discourses of Childhood
No full textBook Review: Childhood, Literature, and Science: Fragile Subjects
Jutta Ahlbeck, Päivi Lappalainen, Kati Launis, and Kirsi Tuohela, editorsLondon and New York: Routledge, 2018 260pp.ISBN: 978113828240
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