Conference Presentations by Glen Kalem
Mr Kalem’s visit marks the first ever by any western scholar of Gibran. His aim was to bridge the... more Mr Kalem’s visit marks the first ever by any western scholar of Gibran. His aim was to bridge the cultural and academic gap that has been in place since the earliest of Gibran translations in the 1920’s, whilst also promoting a healthy and on-going dialogue between Gibran scholars of China and the west, where most of the study and research has been the focus within the last 90 years.
So it begs the question; did the "young and inexperienced Knopf" ...really take a gamble on Gibra... more So it begs the question; did the "young and inexperienced Knopf" ...really take a gamble on Gibran? Or was it his faith and opportunistic nature byway of his wife Blanche, who "by virtue of her zeal, acumen, extraordinary prescience, impeccable taste, magnanimous sociability, and stoicism" help build a publishing powerhouse by signing authors like Gibran, that would go on to see one of the biggest and most successful marriages (98 years) in publishing history happen?
"Gibran in Italy" by Francesco Medici
Italian readers were first acquainted with Kahlil Gibran in... more "Gibran in Italy" by Francesco Medici
Italian readers were first acquainted with Kahlil Gibran in 1936 when the first translation of The Prophet (Il Profeta) by E. Niosi-Risos and introduction by Augusto Mancini was published; however, Gibran’s predilection for Italy can be traced back to his childhood in Lebanon when his mother – according to some biographers – gave him a book featuring reproductions of works by Leonardo da Vinci and Michelangelo which made a huge impression on the young boy. It is not known whether Gibran ever visited Italy but it is plainly obvious that Italian art, literature, culture as well as Italian friends all played a decisive role in his career as a painter, writer, thinker and activist.
Press Coverage / Rassegna Stampa by Glen Kalem
A rare book by Barbara Young, containing one drawing by Kahlil Gibran.
Mary Haskell était la directrice de l’École «Miss Haskell» pour jeunes filles, à Boston. Très cul... more Mary Haskell était la directrice de l’École «Miss Haskell» pour jeunes filles, à Boston. Très cultivée, elle était renommée pour son intelligence et sa franchise. Elle avait fait des études poussées en graphologie. L’article qui suit est une étude entreprise par Miss Haskell sur l’écriture du célèbre écrivain et philosophe Amin el‑Rihani.
The intense blue of the Mediterranean Sea, bathe the Italian and Lebanese coasts. Waters are the ... more The intense blue of the Mediterranean Sea, bathe the Italian and Lebanese coasts. Waters are the medium of communication, without distinction of languages. and the subject of literature that links between the scholarly works of Gibran Khalil Gibran and the Italian literary critic and researcher, Franceso Medici.
In an extensive dialogue with the magazine, he expressed his admiration for the work of the renowned Lebanese writer, of which he has translated several of his books into Italian language.
Various themes came together in the conversation: the link of soul and body in Gibran’s literature, fraternity among peoples and spiritual and material existence.
We invite you to learn more about Francesco Medici and his work.
“And you, vast sea, sleeping mother”: a short, six-word sentence at the top of page 10 of the fir... more “And you, vast sea, sleeping mother”: a short, six-word sentence at the top of page 10 of the first edition of Kahlil Gibran’s The Prophet, published in 1923, was later changed to “And you, vast sea, sleepless mother.”
The aim of this paper is to try and provide answers to the following questions: when did the change occur?, why did Kahlil Gibran ask his publisher, Alfred Knopf, to change his text?, and who could have influenced Gibran to change it?
Also considered in this paper is the question of the versions of the text that were used by the men and women who, over time, translated Gibran’s masterpiece into French. Other translation languages are analysed as well, viz. Dutch (and Afrikaans), and Italian.
Literary translation is one of the most challenging tasks in the field of translation. This paper... more Literary translation is one of the most challenging tasks in the field of translation. This paper focuses on the aporias in literary texts written and/or translated into Arabic, French, Italian, and English. I contend that some terms/phrases are difficult to render in the target text. This argument is bolstered by examples extracted from The Prophet of the Arabo-American author Gibran Kahlil Gibran. I selected this particular oeuvre given its immense success in terms of vast cultural diffusion and translation into various languages. Also, The Prophet, has been translated several times into the same target languages in addition to the large number of languages to which it has been rendered. I will discuss the translator’s dilemma when undertaking the task of faithfully conveying the aesthetics of the original text into the same, or into the closest version of the original. This paper concentrates on the cultural differences between languages by emphasizing on untranslatability and various retranslations. It analyzes how these elements were rendered into the target culture and language. The argument put forth in this paper attempts to shed light on the importance of literary translation, as one of the most critical discourses of translation.
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Conference Presentations by Glen Kalem
Italian readers were first acquainted with Kahlil Gibran in 1936 when the first translation of The Prophet (Il Profeta) by E. Niosi-Risos and introduction by Augusto Mancini was published; however, Gibran’s predilection for Italy can be traced back to his childhood in Lebanon when his mother – according to some biographers – gave him a book featuring reproductions of works by Leonardo da Vinci and Michelangelo which made a huge impression on the young boy. It is not known whether Gibran ever visited Italy but it is plainly obvious that Italian art, literature, culture as well as Italian friends all played a decisive role in his career as a painter, writer, thinker and activist.
Press Coverage / Rassegna Stampa by Glen Kalem
In an extensive dialogue with the magazine, he expressed his admiration for the work of the renowned Lebanese writer, of which he has translated several of his books into Italian language.
Various themes came together in the conversation: the link of soul and body in Gibran’s literature, fraternity among peoples and spiritual and material existence.
We invite you to learn more about Francesco Medici and his work.
The aim of this paper is to try and provide answers to the following questions: when did the change occur?, why did Kahlil Gibran ask his publisher, Alfred Knopf, to change his text?, and who could have influenced Gibran to change it?
Also considered in this paper is the question of the versions of the text that were used by the men and women who, over time, translated Gibran’s masterpiece into French. Other translation languages are analysed as well, viz. Dutch (and Afrikaans), and Italian.
Italian readers were first acquainted with Kahlil Gibran in 1936 when the first translation of The Prophet (Il Profeta) by E. Niosi-Risos and introduction by Augusto Mancini was published; however, Gibran’s predilection for Italy can be traced back to his childhood in Lebanon when his mother – according to some biographers – gave him a book featuring reproductions of works by Leonardo da Vinci and Michelangelo which made a huge impression on the young boy. It is not known whether Gibran ever visited Italy but it is plainly obvious that Italian art, literature, culture as well as Italian friends all played a decisive role in his career as a painter, writer, thinker and activist.
In an extensive dialogue with the magazine, he expressed his admiration for the work of the renowned Lebanese writer, of which he has translated several of his books into Italian language.
Various themes came together in the conversation: the link of soul and body in Gibran’s literature, fraternity among peoples and spiritual and material existence.
We invite you to learn more about Francesco Medici and his work.
The aim of this paper is to try and provide answers to the following questions: when did the change occur?, why did Kahlil Gibran ask his publisher, Alfred Knopf, to change his text?, and who could have influenced Gibran to change it?
Also considered in this paper is the question of the versions of the text that were used by the men and women who, over time, translated Gibran’s masterpiece into French. Other translation languages are analysed as well, viz. Dutch (and Afrikaans), and Italian.
Translation into French of Kahlil Gibran's The Prophet (1923) and bilingual presentation of the English and French texts side by side.
Book extracts containing: the front and back covers, the acknowledgment pages, the tables of contents and illustrations, and the chapter based on Glen Kalem's article "The Prophet of War". The other sections of the book have not been included.
Traduction française et présentation bilingue (anglais-français)
https://www.demdel-editions.com/105_gibran-khalil