Traduzione del primo canto dell'inferno dantesco in arabo

In this thesis, I have chosen to translate from Italian into Arabic Canto I of the Inferno, from Dante Alighieri’s epic poem the Divine Comedy (La Divina Commedia) because it’s a masterpiece in both Italian and world literature. Also I have selected it for its artistic value and the universal themes that it depicts. In fact, my purpose in translating this great work into Arabic is to extol the cultural and universal aspects that can be common to human beings everywhere. My paper is written in Arabic and has six sections: A brief introduction on Dante’s life, an introduction to the Divine Comedy, a summary of Canto 1 of the Inferno and its analysis, Canto I of the Inferno in Italian, its translation into Arabic and finally a comment on the translation. The first part -a summary of Dante’s life was presented. The second part of my paper is an introduction to the Divine Comedy, the allegorical epic poem, consisting of three parts: The Inferno (Hell), Purgatorio (Purgatory), and Paradiso (Paradise). The third part is a summary and analysis of Canto 1 of the Inferno, Dante’s most renowned verses. The analysis of Canto highlights the everlasting conflict of man– sinning and giving in to temptation but then trying to repent and search for his soul’s salvation. He reflects on sin, existence, truth, God, love and salvation in his struggle through the dark and gloomy forest which symbolizes conflict and temptations man may succumb to. The influence of Christianity and the Middle ages here shows his commitment to religion and faith. Moreover, his meeting of Virgil, who guides him to the mountain during his journey to salvation, reflects the positive impact of Virgil’s philosophy on Dante. The fourth part presents the Italian version of Canto 1 of the Inferno. The fifth section of my paper is the translation of Canto 1 of the Inferno from Italian to Arabic. Translating an excerpt of Dante’s masterpiece was not an easy task: I had to consult several critique texts besides the Italian source text with explanations, and also some English versions to overcome any translation difficulties. As a student of translation, my goal was to be faithful in relaying to the Arabic audience the authenticity of Dante’s work, his themes, passions and aesthetic style. Finally, I present a conclusion including a comment on the translation and the bibliography of the sources I have consulted.

Novyj God, Ded Moroz e Snegurochka. Osservazione del fenomeno culturale.

Questa tesi si pone come obiettivo la conoscenza di una parte culturale molto importante per la Russia, ovvero il Capodanno e le sue due figure principali, Ded Moroz e Snegurochka. Per i Russi infatti questa è una delle festività più importanti del paese, oltre al Giorno della Vittoria e altre tipiche feste russe. In questo elaborato verrà fatto un viaggio “storico”, per scoprire come è nata questa ricorrenza e come si è “evoluta” nel tempo.

The Visual, the Epic, and Pasternak’s ‘Devjat’son pjatyj god’

In this study I consider the role of poetic description in Pasternak’s ‘Deviat’sot piatyi god’ (‘1905’) in the context of the genre of the poema. Descriptive passages in poetic narratives, as a rule, provide a static setting for a protagonist’s actions. In the absence of any single hero in Pasternak’s poema, topography itself begins to move. I examine the categories of stasis and motion, central to ‘1905’, at the intersection of the visual and the verbal. The idea of reanimating the events of the first Russian revolution twenty years after the fact borders on the ekphrastic in places, where the poet transposes techniques and genres from the visual arts into a verse epic. Finally, I suggest that aesthetic perception itself is the dominant principle in the poema, as opposed to documentary faithfulness, which is traditionally emphasized in the scholarship on this work.

Córdoban Discourses: A Drama of Interreligious Dialogue

SETTING: Cordoba, Spain, 1135 CE, 29th year of the reign of ‘Ali “amir al-muslimin,” second king of the Berber Almoravid dynasty, rulers of Moorish Spain from 1071 to 1147. Cordoba, the capital of Andalus and the center of the Almoravid holdings in Spain, is a bustling cosmopolitan center, a crossroads for Europe and the Middle East, and the meeting-point of three religious traditions. Most significantly, Cordoba at this time is the hub of European intellectual activity. From the square—itself impressively large and surrounded by a massive collonade, the regularity and ordered beauty of which typifies the Moorish taste for symmetry (so beloved of M.C. Escher)—can be seen the huge Cordoban mosque, erected in the 8th-century by Khalif Abd-er-Rahman I to the glory of Allah, oft forgiving, most merciful. It is the second largest building in Islam, and the bastion of the still entrenched but soon to fade Muslim presence in western Europe. SCENE: Three figures sit upon stone benches beneath the westernmost colonnade of the Cordoban mosque, involved in an animated, though friendly discussion on matters of faith and reason, knowledge and God, language and logic. The host is none other than Jehudah Halevi, and his esteemed guests Master Peter Abelard and the venerable Råmånuja, whose obviously advanced age belies his youthful voice, gleaming eye, quick hands, and general exuberance. It is autumn, early evening…

Greek Life and God Attachment: the Interaction of Sorority Influence and Religiosity on Women's Body Shame

The present study investigated the relationships between sorority women’s internalization of Greek thin ideals and body image, and dimensions of sorority women’s religiosity and body image. A combined relationship among sorority women’s internalization of Greek thin ideals, body image, and religiosity was also examined. Based on previous research it was expected that women’s internalization of Greek thin ideals would be associated with worse body image (in terms of body shame, body esteem, and drive for thinness) and that women’s religiosity (in terms of secure attachment to God) would be associated with better body image. Combinations of Greek thin ideal internalization and God attachment were expected to significantly predict changes in women’s body image. Women completed a series of survey measures assessing their awareness and internalization of Greek sociocultural thin ideals and their sense of community within their particular sorority. Women also completed a series of survey measures assessing their body shame, body esteem, and drive for thinness, in addition to survey measures assessing dimensions of their religiosity. The study’s findings revealed that women’s internalization of Greek thin ideals was associated with worse body image outcomes and that anxious attachment to God was associated with worse body image outcomes, particularly in relation to body shame. Moderation analyses revealed that Greek thin ideal internalization significantly interacted with anxious God attachment to predict body shame.