Special Issues by Kamaal Haque
Colloquia Germanica 56.4, 2023
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Papers by Kamaal Haque
Boydell and Brewer eBooks, Dec 31, 2008
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Boydell and Brewer eBooks, Dec 31, 2017
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Boydell and Brewer eBooks, Dec 31, 2007
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Boydell and Brewer eBooks, Dec 31, 2020
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Goethe Yearbook, 2006
Susan Bernofsky, Foreign Words: Translator-Authors in the Age of Goethe. Detroit: Wayne State UP,... more Susan Bernofsky, Foreign Words: Translator-Authors in the Age of Goethe. Detroit: Wayne State UP, 2005.239 pp. Bernofsky's study, part of Wayne State's Kritik series, is not a broad-based study of translator-authors in the Goethezeit as the title suggests, but rather an in-depth study of the role translation plays in the works of Kleist, Holderlin and Goethe. As should be apparent from her focus on these three figures, Bernofsky is less interested in translators who happened also to be authors and more on canonical authors who also produced translations during their careers. Although the readings of individual works are insightful, the greatest contribution Bernofsky makes in her book is the dichotomy between service and authorial translations. Lawrence Venuti's concept of "foreignizing translation" as articulated in his The Translator's Invisibility underlies Bernofsky's distinction between types of translation. Whereas Venuti contrasted foreignizing and domesticating translations on the basis of the degree to which translators employ "cultural references and linguistic structures specific to the work being translated and its original language," Bernofsky postulates service translation as attempting "to emulate the characteristic features of the individual original work" (2, 3)- Both foreignizing and service translations attempt to preserve a high degree of fidelity with the original text. In contrast, authorial translation represents a writer's appropriation and "shaping of the translated text in a particular direction" (x). Bernofsky argues that this type of translation only became possible in light of the rise of service translation during the Age of Goethe. Bernofsky devotes her first chapter to this rise of service translation, best exemplified by Johann Heinrich Vofi's translations of Homer and August Wilhelm Schlegel's translations of Shakespeare. Although VoB and August Schlegel were authors in their own right, they are, as Bernofsky notes, best known for their translations. The converse, of course, is true with Kleist, Holderlin and Goethe, with the possible exception of Holderlin's Pindar translations. Thus, the emphasis on this generally overlooked aspect of the works of these three authors is worthwhile. Heinrich von Kleist's Amphitryon bears the subtitle Ein Lustspiel nach Moliere. Bernofsky's strongest pages are those in which she details how Kleist transforms Moliere's seventeenth-century comedy into "a tool to serve his [Kleist's] own aesthetic, literary, political, and philosophical ends" (48). …
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Arbitrium, 2009
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Mountains and the German Mind
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Central European History
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Gegenwarts Literatur: Ein Germanistisches Jahrbuch / A German Studies Yearbook, 2020
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Hamann and the Tradition
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Goethe Yearbook, 2017
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Monatshefte, 2015
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Spatial Turns
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Migration and Religion, 2012
Discussions of the Muslim population in Germany often focus on those of Turkish, and to a lesser ... more Discussions of the Muslim population in Germany often focus on those of Turkish, and to a lesser extent, Arab descent. This is logical, since the Turkish- and Arab-German populations are the two largest Muslim groups in Germany. The focus on these two groups, however, elides significant distinctions within the population of Muslim migrants in Germany. In this essay I focus on three less-discussed groups: Iranian, Afghan and Pakistani migrants. All three of these groups differ, above all, from Turkish migrants in Germany, because their departure from their home countries was occasioned, on the whole, more by political and religious and less by economic factors. Iranians and Afghans fled revolutions and wars in their countries, while the Pakistani community in Germany includes many Ahmadis, a heretical sect of Muslims according to the Pakistani constitution. Thus, the Pakistani-German community, in particular, presents a fascinating picture of a minority-within-aminority in Germany. This essay provides an overview of the history and current status of these three distinct groups of Muslim migrants in Germany. In addition, I discuss how popular perception of these communities often subsumes them into the larger Turkish-German community.
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Journal of Jewish Identities, 2008
racial discourses that have so thoroughly tainted Jewish discussions of Jewish genealogy over the... more racial discourses that have so thoroughly tainted Jewish discussions of Jewish genealogy over the past two centuries. And for all of these serious implications, Lee’s photographs remain records of a joyous occasion—as evidenced by the giddy grins of the bride and groom. Other projects in The Jewish Identity Project concern Jewish spaces and contemporary trends in Jewish theology. The collaborative photographic series “770” by Andrea Robbins and Max Becher investigates the “worldwide franchising” (134) of the headquarters and synagogue of the Lubavitcher Rebbe at 770 Eastern Parkway in Brooklyn. Becher is the son of the well-known husband-and-wife photographers and educators Bernd and Hilla Becher. The Bechers’ students, an influential group of German photographers generally known as the Düsseldorf School, include the prominent photographers Andreas Gursky, Candida Höfer, and Thomas Ruff. All share their teachers’ interest in photographing variations on a theme. True to this method, Robbins and Becher have photographed Chabad Houses in Brooklyn, Los Angeles, Jerusalem, Haifa, and even São Paulo. The photographs, all shot from the same angle, depict buildings that have sprung up around the world in tandem with the spread of this particular form of Hasidism. Each Chabad House is an architectural copy of the original structure at 770 Eastern Parkway, such that in the photographs, each becomes the constant that remains as the diverse geographic backgrounds change. By placing people who don’t “look Jewish” within the frames of “Jewish identity” and by productively complicating those frames, The Jewish Identity Project makes a provocative case for photography’s dual abilities. It can indeed reduce people to mere copies of images, that is, stereotypes. But it can also represent identity in its complexities and reveal nuances invisible to the naked eye. One can only hope that this brilliant set of projects will catalyze even more work about Jewish traditions in non-traditional media
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Arbitrium, 2000
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