Kurban Said Ali And Nino
Book Description: Ali and Nino is a novel published in German in 1937 under the alias 'Kurban Said,' a love story between a Muslim man and a Christian woman set in Baku, Azerbaijan, during World War I and the country's brief independence. It was a major success, translated into several other languages, but was forgotten by the end of World War II.
Recent research by the journalist Tom Reiss has revealed the identity of the author as Lev/Leo Nussimbaum (1905-1942), a Jewish man born in Baku who converted to Islam, worked as a journalist in Berlin, and died forgotten in exile. Reiss's discovery has spurred new interest in the novel, as has the fact that the book prefigures today's perceived conflicts between East and West or Islam and Christianity, but also suggests a more peaceful model of intercultural living in multiethnic Baku's melting pot of Islam, Judaism, and Christianity.
The present volume collects twelve new essays on different aspects of the text by scholars from a variety of disciplines and cultural backgrounds. It is intended to showcase the suitability of Ali and Nino for inclusion in a curriculum focused on German, world literature, or area studies, and to suggest a variety of approaches to the novel while also appealing to its fans. Contributors: Sara Abdoullah-Zadeh, Cori Crane, Chase Dimock, Christine Rapp Dombrowski, Elizabeth Weber Edwards, Anja Haensch, Kamaal Haque, Lisabeth Hock, Ruchama Johnston-Bloom, Carl Niekerk, Elke Pfitzinger, Soraya Saatchi, Daniel Schreiner, Azade Seyhan. Carl Niekerk is Professor of German with affiliate appointments in French, Comparative and World Literature, and Jewish Studies at the University of Illinois at Urbana-Champaign. Cori Crane is Assistant Professor in the Department of Germanic Studies at the University of Texas at Austin. Kurban said’s novel Ali and Nino, first published in German in 1937, is not the kind of text to which one typically finds references in books on literary history, not even in the most comprehensive volumes.
The novel is hard to categorize. It is, for instance, not clear to which national literature or cultural tradition the text should be assigned.
Although the novel was originally published in German and with a publishing house specializing in German-language texts, the E. Tal Verlag in Vienna, its author’s decision to go by the alias “Kurban Said” suggests to readers that his own. Many years ago in a different age and place, in a bookstore that carried English-language books in an upscale neighborhood of Ankara, I found a novel, titled Ali and Nino, by a certain Kurban Said, an author I had never heard of.
The name was undeniably one of someone from the Middle East. Thus, I was surprised to find out that the book was translated from the original German. Kurban Said was obviously a pseudonym, but whose? A few years later, this time as a graduate student at the University of Washington in Seattle, I found another copy of Ali. Lev Nussimbaum—alias Essad Bey, alias Kurban Said—situated the eponymous hero and heroine of his 1937 novel, Ali and Nino, at linguistic, geographic, national, religious, and cultural crossroads.
The love story begins in the city of Baku in the Caucasus, a region with a checkerboard of over fifty ethnicities, among them Armenians, Azeri, Daghestani, Georgians, Persians, Russians, and Turks. The Caucasus region is geographically situated along the historical borders between Europe and Asia, between Christianity and Islam, and between the Shi’ite and Sunni branches of Islam. Most of the action takes place in Azerbaijan with one significant sojourn into.
One of the characteristic features distinguishing one nation from another are the stereotypes peculiar to that nation. According to American sociologist Walter Lippmann, who introduced the term “stereotype” (from Greek words stereos—hard—and typos—the imprint) into the Western scientific literature, stereotypes are formed under the influence of an individual’s cultural environment.¹ Each person is an individual by her or his own nature. And as we have long known, character has social and psychological roots and thereby depends on one’s world outlook, one’s knowledge and experience, the moral principles one has learned,² the social groups in which one lives. Ali and Ninois a curious and most probably a rather rare example of a literary text both wittily denouncing Orientalist imagery tied to Western cultural hegemony while simultaneously weaving a tight net of Orientalist stereotypes itself when it comes to religion, gender, and race. If Edward Said had known of the novel, he would, without a doubt, have included it in his analysis to show how literary works have contributed to the emergence of the discourse of Orientalism.¹ Also, he could have praised Ali and Ninoas a predecessor of his own enterprise to critique European cultural hegemony and. Religious, gendered, and cultural conflicts abound in Ali and Ninoand can be understood through the lens of honor, a foundational phenomenon in nearly every culture. Honor consistently plays a central role in defining the conflict between Ali, an Azerbaijani Muslim youth, and his Christian Georgian future wife, Nino.
Their Romeo-and-Juliet love story explores the tensions inherent in these pairings. Honor is part of the conflict not just between two families, but also between complex, ever-changing pairings: male and female, public and private, Muslim and Christian, East and West. The conflicts about honor and shame in Ali and Ninooffer.
Since Ali and Ninowas written in German and for a German audience attracted by exotic and oriental settings, Kurban Said’s book became well known in Western Europe. It took a much longer time for the book to get its place within the Azerbaijani¹ canon of literature. Due to the international success of Ali and Nino, the book’s reputation expanded in the eyes of Azerbaijani readers so that for them the book is now increasingly seen as the country’s gift to world literature. Although elements of the story are influenced by classical Azeri and Persian literature such as Nizami’s Layla. With just the title of his novel, Ali and Nino, Kurban Said constructs the first of several binary oppositions that structure the themes and plot of the story.
Upon the characters of Ali and Nino, Said stages other cultural dichotomies that characterize turn-of-the-century Baku, including Orient/Occident, Islam/Christianity, tradition/progress, ancient/modern, and male/female. It is this final dichotomy, the gender binary, that Said returns to time and time again in the novel to personify aspects of these other oppositions that are not as readily comprehended on their own. He infuses these binaries with gendered affects, emotions, and desires so that the readers. There is plenty to see in Ali and Nino.
Let us therefore have a close look at how this love story of Ali Khan Shirvanshir, a Shi’ite Azerbaijani raised in a traditional Muslim family, and Nino Kipiani, a Christian Georgian raised in a European way, deals with the oppositions between Asia and Europe, Islam and Christianity, and antiquity and modernity. Each of these paired terms depends on its counterpart and thus defines itself at the same time as it gives contour to the other.
While pressures from their own cultural backgrounds compel them to embody these opposites, Ali and Nino. On the cover of the most recent German edition of Kurban Said’s 1937 novel Ali and Ninois a black-and-white picture of a woman who is identified on the book’s copyright page as Elfriede von Ehrenfels von Bodmershof.¹ The same edition contains the following statement about the text’s author(s): Kurban Said is an alias for the publicist Elfriede von Ehrenfels, born in 1894, and presumably for the coffee-house-litterateur Lev Nussimbaum (1905–1942). Both moved in Vienna’s bohemian circles; the Jew Nussimbaum converted to Islam. Who wrote which part of the love story will probably remain a mystery forever.² Kurban Said.
Early in the novel, as Ali reflects on his hometown, he thinks, 'God let me be born here, a Muslim of the Shiite faith, in the religion of Imam Dshafar. May he be merciful and let me die here, in the same street, in the same house where I was born. Me and Nino, a Christian, who eats with knife and fork, has laughing eyes and wears filmy silk stockings' p.
Why does Ali love Baku so much? Why does he prefer to be an Asian rather than a European? In what ways does the above passage prefigure the novel's main thematic developments? Set on the eve of war, Ali and Nino is an intimate love story impinged upon by vast historical and political forces. In what ways do these forces threaten and ultimately destroy their happiness?
How is their romance intensified by the chaotic period in which they live? Is there any sense in which Ali and Nino are fortunately placed in time and circumstance? How would their lives have been different had they lived in Persia, for example, rather than Azerbeidshan?
When Ali asks his friend, the fundamentalist Seyd Mustafa, whether Nino should become a Muslim after they marry, he replies, 'Why should she? A creature without soul and intelligence has no faith anyway' p. And later Ali's father advises him to refrain from beating his wife when she's pregnant but assures him that he must be her master. How does Ali react to these characterizations of women? Does he think of Nino in these terms? In what ways does their relationship defy these expectations? Do you think attitudes toward women in Islamic countries have changed much during the sixty years since the novel was published?
Why does Nachararyan 'kidnap' Nino? Why is it significant that he wishes to marry her in Moscow and then take her to Sweden? What is the symbolic value of Nachararyan fleeing in a car and Ali chasing him on a horse?
Of the way Ali kills him? What larger trust has been betrayed by Nachararyan's treachery? When Nino visits Ali in hiding, he says that 'she hid her face on my breast, and every movement of her slender body was like the call of earth, thirsting for the fulfilling benediction of rain. Tenderly I moved the cover down. Time stood still' p.
What has Nino risked to make this visit? What does this risk say about the nature of her love? In what sense is their love made of something more fundamental than customs and cultural expectations? In what sense does it exist outside the realm of time? Why does Ali decide not to fight for the Czar against the Germans?
How is this decision first received? In what ways does Ali more accurately perceive the future of the region—and his own role in it—than his friends who fight for the Czar? In many ways Baku, with its multi-ethnic population, is a metaphorical marriage of East and West, Asia and Europe, tradition and modernity. How does Ali and Nino's literal marriage bring these cultural oppositions into union?
What tensions arise because of their different backgrounds and desires? How do they resolve these tensions?
Why is Ali swept up in the religious procession of flagellants and dervishes in Persia? What state is he trying to achieve? Why does Nino react so vehemently when she sees him behaving like a 'fanatic barbarian' p. Why doesn't Nino leave him at this point? Ali describes camels coming into town 'with long sad steps, carrying sand in their yellow hair, looking far into the distance, with eyes that had seen eternity' p. Elsewhere, he says 'Darkness enfolded our town, and it seemed to be an animal in ambush, ready to pounce or to play' p.
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What is the effect of this kind of writing? What other metaphors or especially vivid or imaginative descriptions stand out in the novel? How would you characterize Kurban Said's style? In what ways is that style suited to the story? How is Nino forced to behave in Persia?
Mobile intel 945gm express chipset family video driver. How is her character more fully revealed in these constricted circumstances? From whom does she exact a measure of revenge?
In what ways is it important for the novel to show us this world? Throughout the novel, Ali's love for his country and his culture come into conflict with his love for Nino. Why do you think he chooses to stay and defend the short-lived Republic of Azerbeidshan, even though he knows it is doomed, rather than flee to Paris with Nino and their child? Given Ali's character and beliefs, is the outcome of the story inevitable? What does Kurban Said seem to be saying about the fate of romantic love in the face of impersonal historical forces? Is it significant that Ali's destiny is determined on a bridge?
Ali And Nino Movie
What is the emotional effect of the novel's ending? Near the end of the novel, we see Ali in the act of writing it. And we're told that the book has been rescued by his friend Iljas Beg. Does this narrative device alter the effect of the story? Much of the novel's charm comes from its vivid depictions of traditional ways of life.
One such scene occurs during the poetry duel, before which 'two valiant lords of song' hurl insults at each other. 'Your clothes stink of dung, your face is that of a pig.
Ali And Nino Kitab Evi
And for a little money you would compose a poem on your own shame,' says one. 'You can't sell your talent because you never had any,' replies the other. 'You live off the crumbs that fall from the festive table of my genius' p. What do such scenes add to the novel? How are they relevant to the approaching political and cultural upheaval? Where else in the novel do you glimpse a way of life threatened with extinction? Where else do you find comic relief?
In what ways does reading Ali and Nino deepen your understanding of recent conflicts in the region involving former Soviet Republic and Muslim minorities?
More Ali and Nino is the epic novel of enduring romance in a time of war. It has been hailed as one of the most romantic epic novels of all time.
Ali and Nino, two lovers from vastly different backgrounds, grow up together in carefree innocence in Baku on the Caspian Sea. Here, where Eastern and Occidental collide, they are inevitably drawn into the events of the First World War and the Russian Revolution. Torn apart by the turmoil, Ali joins the defense of Azerbajan from the onslaught of the Red Army, and Nino flees to the safety of Paris with their child, not knowing whether they will ever see each other again. A sweeping tale, as romantic and gripping as Gone with the Wind or Dr. Zhivago, it portrays, against a gloriously exotic backdrop, the enduring love between childhood friends divided by their separate cultures.