 أيها المتابعة الآن سوف أتحدث عن جبله هو actually the title of the book of Ali Dua'aj ويخبرنا عن جبله بين حنال ويحر المطبس بطوله من المدينة أريد أن أبدأ first by talking about between where does this come from Victor Turner في تحدث عن one of his things books تقوم بتأكيد من المقلل ويقول أنه يقوم بمدينة في المرد المدينة ويجب أن يفعله بأن الامرامة هو جبال ويظهر أن عن المدينة تتحدث عن أنتباه معجم ويقول هذا عن المدينة ويقول هذا عن المتابعة ويصبحوا عن المدينة ويأتوا بأحد لديهم ويجب أن يتحدث عن أي مدينة من الألوان في حالة الآن، هذه الأموالية المستخدمة لها مستخدمة لتفهم المستخدمة وكثيراً للمناليكي وكثيراً يمكننا أن نتحدث more about what his contribution really is in liminality and what he calls community but for now I can't think about it now somebody like Hamid Haqa says that liminality is potentially disruptive in between us and I'd like to say a few things about liminality if you have any question that you want to ask so liminality derived from Latin limin meaning threshold liminal refers to the transitory in between states of space which is characterized by inter-limacy ambiguity, hybridity, potential for subversion and change the liminal third place of culture emancipation constitutes a narrative and it can be any territory which not only becomes productive on the meaning social relation and identity but also disrupts and subverts established entities and we are talking about a certain relation and the nation and narration it's a place to build a relation but now here I divide my talk into three liminalties liminal, liminal time certainly liminal writer and liminal text I have a fourth liminality I'll talk about it towards the end of my hand so here I would like to talk about the liminal time time in Tunisia between the works so this text is in the 30s and that's a very important moment in Tunisia in really nation building and what Tunisia is going to be it's a liminal time I would say Europe as well was a liminal time in between the two lines as well so this just as examples for example conflicting views and the national intellectual they had a lot of discussions a lot of disagreements for example Aba Aziz Al-Halbi ended up in jail actually for one of the students our religious scholars believed that he was blessed first we have a new political party the earlier political party he is known as the steward from it there was a new one called the new steward and the new steward will be later on in the party of the governor of Tunisia so a big name in Tunisia ستار حبدال when he wrote this book when he wrote this book about he is a feminist and he suffered a lot because his ideas of what he thought should be related to the place of women was not accepted by the religious scholars but by many people and he really had the hardest time there was also what he called جماعة تحت الصورة under the bridge and here also certainly if you look in the beginning there are all kinds of opposites two opposites we also have here صاحب جماعة تحت الصورة under the bridge it was an important number of intellectuals together in coffee in a place called under the bridge and the bridge itself it's very liminal it's in between this and this it's connected to so so تحت الصورة also where versus مقهة البانكة البانكة another you know it's a liminal space again at that particular time also Tunisia that chose you Tunisia was looking for what should Tunisia be what kind of country should it be and then the creation of what is known now as رجيدية by most as well it's actually they created musical kind of school but also they produce and teach and sing songs so this is interesting because of all the repertoire in Tunisia from Arabic from Tunisia from everywhere they chose one particular type of music and that's the end of the Syrian heritage so رجيدية was really the end of the Syrian music heritage and that tells you to a certain degree the new local the new intellectuals they were looking for something that is Arabic but also to a certain degree Western it's a liminal it's in between two things two cultures and Andorosism again was a bridge that's always been written between the East and West I talked now about the author himself a liminal figure my liminal figure Tunisians probably have heard the famous saying عاشيط مننا في حمبة ما جبولو عقول ما يسعد فنان الغلبة اللي منتحت لخوت and actually it's in the song so he lived all his life hoping for a great and when he died they offered him a bunch of bridge so the artist according to عاشيط is happy only when he's under the grave so in that liminal space to a certain degree where you're not in the world and you're not in heaven you're not in heaven so you are in between and now certainly here that's where you are now what's so interesting about him is that he gets self-taught I saw him as we say in Paris you know in Paris for the moment and you and I the two places at that time the two types of intellectuals that were you know against each other either you're coming from Zaytuna the great mosque Indonesia the intellectuals the delicious intellectuals most of them are coming from there or even have been educated in the western style in the Salif school or similar way so most likely if you were educated in the Salif school you would adapt like to a certain life view of the west accepting to a certain part of the west if you are from Zaytuna you tend to and that's for the exception to kind of go for delicious for Arab for all those traditional now I think I was introduced by several important Indonesian intellectuals and artists and here in this case of Snooty he was educated both in Salif and Zaytuna right? he was educated but he's a poet so he has those two aspects of him because he was looking forward the future Tarah Haddad although he was educated in Zaytuna but he was one of the greatest feminists so and in Hadi's Winning we last time we sang one of his songs in NABUNI NIGALU MENI I don't know the number so his his music in the beginning was we went for in Al-Andalus to bring that type of music to reuse it and make the new Tunisian and that new new heritage that we have and that's telling of what influenced Ali Dua'aji and he belong to the to the underbridge تحت الصور جماعة تحت الصور the group of تحت الصور now Ali Dua'aji as a liminal figure in my in my view and if you study the minority that's the moment of product productivity when you when you are breaking the old and having to create the new part in that productive moment and as such because he belong to the productive era in a way he really produced Allah so he produced and then streamed output plays showed the stories songs, sketched art translated adaptation and plays originally in French in Italian as well as Arabic into Arabic sorry and sometimes into Tunisian Arabic made important contribution to the literary magazine and Ali Dua'aji published in the 1930s published his own magazine but more important to me at least he considered himself what follow for him his style and I'd like to take the supporting to look at the beginning of the text you don't have the time to look at many parts of the text and find the best places to look where he says the argument is القط this is Islam حنات وكل ما عرفوا اني شغلت في حص جهدا بعد العزن I took the date and hand over andyard and that's and the all the school has no?. because I did not deal with and he وما ذاتوا اليوم بموارد مصيدة وقتادياً خلاتي مدهباً من امضاء صحيبة عقلة وهذا بالشك نقصوا فيها عقل به و لكن لا اودوا تغييره بحق لذا لا أعرف ، لن أستطيع الوقت أن أذهب و أخبر everyone that he goes to Israel but basically he has the idea that he is Bahrain following and he starts things from the end but from the beginning he does not want to be the usual person that you know organized and all that and this is really a liminal entity that he is proud to be a liminal person so I will come back to this text because I wanted to show part of what he is talking about related to himself and then I will come back to this text so between the Bahrain and the East the tour of the Mediterranean Tavern locally forbidden space I mean why choose Hanat the bar becomes a source for water and knowledge especially the gaze into the hegemonic and into Europe yet it is also an opportunity to look into the south because he gives us an opportunity from what we have seen from the very beginning he talks about himself but he talks about his country in a way and what he expects Tunisia to be is it Arab? is it West? where should Tunisia be? and this is clear actually in his idea about women what kind of woman should be you know directly keeping in mind that his friend so yet I think he is courageous enough to say his opinion but indirectly so it's like a little tease it's really as Tabeel Bakar once says so he makes fun in a way of everything so if you are expecting to have fun you know because this looks Hanat barbs you are not going to get that but also if you are a religious car looking for you know you are not going to find that and I will read to you a couple of what some people said in Arabic he says the opposite you know the religious in a way the person who is looking for fun فلا هو يُخِبِ على السادة المشاكل ما يجي يُخِفَها so he does not hide from again a sad and a sad kind of funny name من مُجُونِ يُخِبِه العُوْمَن ولا هو يُخِبِ المَجْنِينَ كل ما أثى أو فيه العُوْمَن so the people are going looking for the fun they are not going to find that much there but also the people who are looking for you know something to condemn is Hanat and think about yourself so again the title itself tells us that this is a liminal text now at Do'aj it presents a sad look at the north and a sad critique at the same time in both cases is a space of one's own and a vantage point from which to see the self and the other and again in every single turn he is a liminal figure for example about Mustafa Ramallah he says لا قدرت إيه على مصري ما شعبت بي نحو هذا الرجل I can't really describe how I feel about this God what the matter is for him فقد كنت كنت أعجب إيه وأن قد هو أجل له في نفسه I like him and hate him at the same time في نفسه but they show a real one feeling I wonder how can you really have that شعر هذا الرجل من تركيا دولة أوروبيا قوية and the three dots are his أبو في so again that liminal space I wanna also just mention something جاولة and he chose some people say when they reproduce the book they sometimes put جاولة حاولة it's not جاولة he wants it vain because I believe vain is his original title is vain in between and he says بين الحنات البحر حنات البحر المطبس so that's really anywhere I think I could put my points I'll go a little bit faster let me then just go skip a little bit again so from the point of view of artistic جاولة has two Arabic and even more narrative convention it recalls the maqamajon in which the adventure of a character are accounted in comic to be sufficient however this type is very different this type is Tunisian I'm not showing you in the beginning how it is he also hints at the seer but with the difference it also recalls at the same time and paradises the rihl and we will see how in the very beginning he paradises the rihl so وعلى ذكر صدق رواية أعتالي فوهني صوفة تدخلوا هنا بما عدمتمو في بطب الرحلات من ذكر غراء المداعي فوهني تدخلوا معامل أعمان البحر عجائق الطبيعة وشواق الجبال لأن رؤيتها فدأتي لأن يقول يوصف شيء منه لخلطه فيما اكتبوا ما رأيته بما طلعته من هذه العجائق قبل رؤيتها فدأتي لحما صديقة المدب وذلك ما أخشل وقوف so he's not doing the part of the truck logs as well as no he's doing something totally different كذلك سوف لا أقرأ لا تصيب الشوارع والباني والحداق why لأن راحتي إنما كانت بالتسلير ولا أقمعوا من قراءها تدمين إلا في تسلير قراء أم أمن رعم غير دالي فرام من الفغائق الجمع والحوال دفنهم فأنا أنصحوا جنابهم لأنه شخية سكاستين بمطاوعة بجراء يومية وشباية فأن فيها من تقارير جمعية أمام يجعبون فلسوف مثل نيتشار في أقل من أربا وعشرين ساعة لذلك لأن نيتشار يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يجي يبدو كبيرا كما يسمى بيكارس ناو أخذ الغربية لها هو بيكارس ناو لا أعتقد أنه في 1933 هناك شيء مهتمئ لبيكارس ناو لكن نعرف أن بيكارس ناو يبدأ في أندلس وذلك يتخلص لك هذه المشاكلة كما يمكنك أن ترى بيكارس ناو يبدو بيكارس ناو وكما يجب أن تكون أرباء وعليجين إذا كنت تريد أن تدعم المقامmusic Hello Steve Ok, so i'll try to conclude them تصالل أولجاه سيكون أولجاه ما يجد أن يجعل هو أن تصالل أولجاه سيكون أولجاه أنه مواد one of the watching and the perfect and as you wrote its conventional for author and as you read it as we've built against tradition لأن again I have been having translation by itself is a liminal entity when you are working translation you are working in between cultures you are working between languages you are producing something that is not but it was there there is always that thing in between and it's quite hard really to reproduce the layfulness of the writer just this example please if you can help me رغم أنف أطرق عظيم right? so he said رغم أنف عربك رغم means despite رغم أنف is despite the same thing so أطرق كمال أطرق العظيم great so despite كمال أطرق great but actually he doesn't mean كمال أطرق great he means despite because Arabic has despite that knows of and that's the linguistic meaning despite is despite the linguistic رغم أنف so he said and here refers to كمال أطرق so despite كمال أطرق is the great كمال أطرق أطرق and his name great knows I don't have a better way of translating it but these are certain aspects of the translation that I have been working on for example more like ستب تيكي تيسا ديقا تيكي تيكي it's also hard like that so in a way this is the hardest part of translating mistakes and the work is still into it I mean still going on thank you very much so for example I have a piece which I I have been writing I have been writing I have been writing I have been writing I have been writing I believe that's exactly what it is yes but he is the most because yes so أدنيس in a way he is talking about حداثة as an evening the moment that you stop the moment that you stop that's no longer حداثة that's what he calls نازف الملانكة he says what's his name he says أبو دمان أبثر و حداثة نازف الملانكة very very very very hard because then how do you understand that he understood because نازف الملانكة it's by the fact that she was a pioneer in the three words she wanted to make it into an acceptable kind of limited framed way of doing this in the sharp work and I couldn't know a sharp is always indeed if you let it know you said you're translating that part of this yes is that your translation in the final which one is the tour of the city and the power you know the Mediterranean and the power that would be fine okay what the power the power Mediterranean and the power okay that sounds good it's going to affect the mark yeah well we're going to say the power just do it okay عادي وعاشي عادي وعاشي and like you showed us a paragraph where he spoke about himself because his description of himself as well how did that also his how did that structure in جولة and it's all the it's that it's all subjective the things that he was paying attention to yeah I think of course first of all I think we talk about the TLC I don't know of you and the you know grand narrative it sounds like you know here he's breaking the the great grand narrative and it just but he's still organized to a certain degree he published these episodes in the in the newspaper and so each one is about you know five or six pages so they could stand on their own each one but the idea from the beginning he said he was going through to reach to reach and then but never have the visit of the yeah but he is I mean the way he does it reminds me of story he just tells a story and it is whether I don't think he's working on it there is طبع I think صاعة I don't think there is much صاعة in him but فهناك بعض المسألات التي يقوم بعملها. يريد أن يقوم بعملها. شكرا.