Suchergebnisse

In February 1937, following an abortive attack by a handful of insurgents on Mussolini's High Command in Italian-occupied Ethiopia, 'repression squads' of armed Blackshirts and Fascist civilians were unleashed on the defenseless residents of Addis Ababa. In three terror-filled days and nights of arson, murder and looting, thousands of innocent and unsuspecting men, women and children were roasted alive, shot, bludgeoned, stabbed to death, or blown to pieces with hand-grenades. Meanwhile the notorious Viceroy Rodolfo Graziani, infamous for his atrocities in Libya, took the opportunity to add to the carnage by eliminating the intelligentsia and nobility of the ancient Ethiopian empire in a pogrom that swept across the land. In a richly illustrated and ground-breaking work backed up by meticulous and scholarly research, Ian Campbell reconstructs and analyses one of Fascist Italy's least known atrocities, which he estimates eliminated 19-20 per cent of the capital's population. He exposes the hitherto little known cover-up conducted at the highest levels of the British government, which enabled the facts of one of the most hideous civilian massacres of all time to be concealed, and the perpetrators to walk free

The three language versions of Ian Campbell's poem series about the old jacaranda tree in a university coutryard presented here comprise a poem series in which he first wrote a poem in French in 1989, then an Indonesian language version which was published in the literary pages of an Indonesian newspaper (in Bandung, West Java) in 2004, and finally in English. Campbell regards this whole process as emblematic of his explorations in trilingual poetics, namely what does a 'concept'/poem idea look like if done in three of the languages with which he has some degree of written knowledge or fluency: English, French and Indonesian. This mirrors the three-pronged approach he took in an earlier edition of PORTAL - Vol. 14, No 1, April 2017, where the three language versions he wrote on a single theme were in English, Spanish, and Indonesian.

This suite of short poems with Latin American references draws from original versions written in Spanish in 2008 and early 2011. It now follows on from other poems with Latin American refrerences written by the poet in languages other than Spanish as part of the poet's interest in 'trilingual poetics'. Spanish is not the first language of the writer nor is the poet of Latin American heritage. It is part of a 'corpus' of poems which aims to explore the potentialities of multiple language perspectives associated with or derived from a single poetic theme or set of themes. It is also part of the poet's explorations of what can be derived from some identification as a poet 'of the south'.

Puisi selatan is a small selection of Sydney poet Ian Campbell's Indonesian language poems taken from the author's larger collection titled Selatan-Sur-South of Indonesian language poems - which appeared in PORTAL in 2008 - but now supplemented, for the first time, with English language versions which have been rendered by the poet himself from the 'starting point' of these original four Indonesian language poems.

In all there are here now eight poems – four in Indonesian and four in English – with the common thread, for the poet, of being written 'in the south'. For the poet also, they now interact, across languages, as a set of poems which consider the ways in which the actions of 'memorialising' are often intertwined with specific responses to the natural environment.

The poems 'Semenanjung Bilgola' and 'Bilgola headland' are poems reflecting upon the efforts the poet's parents made in the late 1960s-early 1970s to restore the natural environment on a headland of one of Sydney's northern beaches which had been donated to the National Trust. The Indonesian language original poem was read by the poet himself and by Indonesian poets in cities in West Java in 2004 and also at the first Ubud Writers Festival in 2004 by Indonesian female poet, Toeti Heraty,

The poems 'Berziarah di Punta de Lobos, Chile' and 'Pilgrimage to Punta de Lobos' are also memorialising poems and reflect upon the idea of 'pilgimage' to a natural location near Pichilemu on the Chilean coast which is popular with surfers. In contrast, the poems 'Simfoni angin' and 'Symphony of the winds' describe the sights and sounds of a rural area near Purranque in the south of Chile, but here too the poet reflects upon the ways in which present evokes past.

The final poems 'Buenos Aires' - rendered as the title in both languages - explore the ways in which the Argentinian café becomes a place in which memories of the city are revealed anew through the processes of inversion of light and shadow, of internal and external shapes and sounds, as if through a camera lens.

Puisi selatan can be rendered in English as 'poetry of the south' as all poems derive their impetus from settings in Australia or in Latin America, specifically either Chile or Argentina. They were originally written in Indonesian as part of the poet's interest in using Bahasa Indonesia as a language of creative writing.

'Charlie Chaplin di Ngamplang, 1927' is an Indonesian-language poem by Australian poet Ian Campbell, and is a humorous meditation upon certain imaginary events that befell Charlie Chaplin at the Dutch colonial era hill station of Ngamplang in West Java in 1927. In historical terms Chaplin did in fact visit the Dutch East Indies three times between 1927 and 1932, including the area around Ngamplang. The poem was included in Campbell's poetry and prose collection Tak ada Peringatan (Vivid Publishing, 2013). The Indonesian language version of the poem first appeared in 2012 in the literary pages of the Jakarta mass media daily Kompas. An English-language back translation is included here.

The three versions of Ian Campbell's poem about Valle de Elqui (in Chile) presented here comprise a poem he first wrote in Spanish, then in English and finally in a more powerful version in Indonesian, which was published in 2012 in the literary pages of the Jakarta mass media daily Kompas. Campbell regards this whole process as emblematic of his explorations in trilingual poetics, namely what does a 'concept'/poem idea look like if done in the three languages with which he has some degree of written knowledge or fluency: English, Spanish, Indonesian. This mirrors the 'three-pronged' title 'Selatan-Sur-South' that he adopted for the collection of his poetry in PORTAL vol. 5, no. 1, 2008. The Indonesian version, 'Lembah Elqui, 'was included in Campbell's poetry and prose collection Tak ada Peringatan (Vivid Publishing, 2013). In each version now the reference is to Gabriela Mistral (1889-1957), Nobel Prize Laureate for Literature (1945), whose burial place lies in Monte Grande in the Valle de Elqui in northern Chile.

AbstractThis article extends critical analysis of Fatima Mernissi's 1995 semiautobiographical Dreams of Trespass to Fatima al-Rawi's 1967 novel, Tomorrow We'll Get Our Land Back (Ghadan tatabadal al-ʾard), which shares with Dreams the trope of Moroccan women imprisoned by patriarchal power and cooperating through storytelling. Both narratives reflect their own forms of "multiple critique." Tomorrow confronts the exploitation of the working class in postcolonial Morocco but does so in a way that disguises a frontal challenge to the masculinist context of the 1960s and the undemocratic postcolonial state. Examining Tomorrow through a gendered lens opens up a new perspective on Dreams. The harem imprisonment of the Mernissi women marks the family's vast wealth and class privilege, which are not meaningfully addressed in Dreams. The liberation of young, privileged women in both works depends on the imprisonment of slaves and servants, whose conditions are only partly considered in Dreams and not at all addressed in Tomorrow.

Kumpulan puisi dalam Bahasa Indonesia oleh IAN CAMPBELL/Poetry compilation in Indonesian by the Australian poet Ian Campbell. This collection of poems explores the notion of the 'south' from locations in Indonesia, Australia, Chile and Argentina, locations in which the poems were written. Explaining his topographical approach in these poems, Campbell says:

"One of the poems, titled in the Indonesian original 'Lejano sur' (Ke Kejauhan Selatan), appears alongside an English version, called 'Further South.' This short poem takes Borges's short story 'Sur' and a reference to Avenida Rivadavia that he includes in 'Sur' as its starting point for crossing into 'the South' from the centre of Buenos Aires. I then explore ideas of southness - as paradoxically moving 'south' away from North into a region where 'the natural elements are supreme'. Recent Chilean poetry eg 'Despedidas Antárticas' by Julio Carrasco (2006) picks up this idea of 'towards the essence' better than recent Australian poetry. Only Tom Griffiths, the historian, has recently explored this in prose. There are Borgesian images of dust/lack of clarity, then we head into a region where eg Torre del Paine, admittedly on the Chilean side of the Andes, come to mind. The stress on the elements - stone, wind, fire - is an allusion to the way Indonesian poet, Acep Zamzam Noor, portrays these elements in a poem 'Batu dan Angin' (Stone and Wind) which has strong sufi/meditative elements. We head into the polar area, which because of climate change, is now melting. But there is also an allusion to Douglas Stewart's play 'Fire on the Snow' about the 1911 Scott expedition and the value of 'human failure'. Even the 'essence' is melting and is no longer stable."