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Dissertations / Theses on the topic 'Arabic poetry Folk poetry'

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Published: 4 June 2021
Last updated: 16 February 2022

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1

Hammāmī, al-Ṭāhir. "al-Shiʻr ʻalá al-shiʻr baḥth fī al-shiʻrīyah al-ʻArabīyah min manẓūr shiʻr al-shuʻarāʼ ʻalá shiʻrihim ilá al-qarn 5 H/11 M /." Manūbah : Jāmiʻat Manūbah, Kullīyat al-Ādāb, 2003. http://books.google.com/books?id=p0FjAAAAMAAJ.

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2

Nāṣir, Muḥammad. "al-Shiʻr al-Jazāʼirī al-ḥadīth, 1925-1975 itij̄ahātuhu wa-khaṣāʼiṣuhu al-fannīyah /." Bayrūt, Lubnān : Dār al-Gharb al-Islāmī, 1985. http://books.google.com/books?id=4bIsAAAAMAAJ.

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3

Clarke, Lynda 1956. "Arabic elegy between the Jāhilīyah and Islam." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63950.

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4

Schippers, Arie. "Arabic tradition and Hebrew innovation : Arabic themes in Hebrew Andalusian poetry /." Amsterdam : Institute for modern Near Eastern studies, Department of Arabic and Islamic studies, University of Amsterdam, 1988. http://catalogue.bnf.fr/ark:/12148/cb35454451r.

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5

Talib, Adam. "Out of many, one : epigram anthologies in pre-modern Arabic literature." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:fed5b992-9403-4f79-aa6f-92a9b5dd7406.

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This is the study of a previously neglected genre in pre-modern Arabic literature: the (poetic) epigram anthology. The epigram anthology was pioneered by a handful of poets in 14th-century Syria, but the genre was soon taken up by anthologists across the pre-modern Middle East and soon became one of the most popular types of Arabic poetry up until the modern period. This study is divided into two parts. Part One deals with critical issues in literary history and comparative literature, while Part Two is made up of three encapsulated studies on specific aspects of the social and literary (structural and textual) composition of the texts. In Part One, the epistemological background of the terms epigram and anthology is surveyed and their suitability for application to pre-modern Arabic literature is evaluated. Part One also includes a comprehensive history of the maqāṭīʿ (sing. maqṭūʿ, also maqṭūʿah) genre in Arabic as well as a detailed explication of this style of poetry, its anthological context, its generic status in the Arabic literary tradition, and its relation to the wider world-literary category of epigram. The three chapters of Part Two are devoted to the social network of anthologists and poets, the structure and composition of the anthologies themselves, and the way in which anthologists used a technique, which is called ‘variation’ in this study, to link the cited poetic material into an organic whole respectively. NB: This is a literary-historical study informed by the discipline of comparative literature; it is not primarily a philolological, biographical, or codicological investigation. The literary material presented here is what has been deemed most relevant for the purposes of the larger generic discussion at the centre of this literary-historical study. An annotated bibliography of unpublished sources is provided in an appendix in order to help the reader navigate the tricky present status of many Mamluk and Ottoman era sources.
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Khalifa, Abdelwahab Ali. "Problems of translation of modern Arabic poetry into English." Thesis, University of Exeter, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441806.

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7

Jamil, Nadia. "Ethical values & poetic expression in early Arabic poetry." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670213.

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Al-Mufti, Elham Abdul-Wahhab. "Shakwa in Arabic Poetry during the c Abbasid Period." Thesis, SOAS, University of London, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503481.

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9

Ćurčin, Milan. "Srpska narodna pesma u nemačkoj književnosti." Beograd : Narodna biblioteka Srbije, 1987. http://catalog.hathitrust.org/api/volumes/oclc/18487273.html.

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Originally presented as the author's Thesis (doctoral --Universität Wien) under the title: Das serbische Volkslied in der deutschen Literatur.
Includes bibliographical references (p. [169]-189) and index.
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10

Kennedy, Philip F. "The development of the Khamriyya." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333237.

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Sawāfīrī, Kāmil Ṣaliḥ Maḥmūd. "al-Shiʻr al-ʻArabī al-ḥadīth fī maʼsāt Filasṭīn min sanat 1900 ilá sanat 1960." [Cairo] : K. al-Sawāfīrī, 1985. http://catalog.hathitrust.org/api/volumes/oclc/17382387.html.

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12

Al-Karaki, Balqis Khaled. "Approaches to poetry and cognition in classical Arabic and Western poetics." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611853.

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13

Emara, Mohamed Hamed Hafez. "Modernist Arabic poetry and the English modernists : a comparative linguistic study." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326926.

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14

Idrees, Najma Abdullah. "The concept of death and its development in modern Arabic poetry." Thesis, SOAS, University of London, 1987. http://eprints.soas.ac.uk/28537/.

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This thesis examines the treatment of the concept of death in modern Arabic poetry, and the development of this concept from the turn of the twentieth century up to the seventies. This development is seen as having gone through three major and distinctive stages. The first stage is reflected in the neo-classical elegy. The works of the neo-classicist poets (from the beginning of the century up to the mid-twenties) are generally viewed by critics as an imitation, or at least an attempt at emulating the works of the major classical and medieval poets. The elegy, practically the only poetic composition at this time in which the concept of death was treated, is no exception to this rule. It did not treat of death as an existential concept, but simply lamented the deaths of particular individuals, and invariably in laudatory terms. The treatment of death in this period is viewed as a form of occasional poetry. The second stage is identified with the romantic movement in Arabic poetry (from the mid-twenties to the late forties). The main influences which are seen as having affected the outlook on death in this period are the works of the great Muslim Sufis, which were gradually becoming available to the general reader. Western romantic poetry, which in the thirties of this century started to be widely read and translated in the Arab world, and some Eastern theosophical doctrines, like the belief in reincarnation, espoused by some prominent and influential Arab authors such as Gibran and Naimy. As the emphasis on the goodness of nature and the coincidence of man with its spirit was a characteristic feature of romantic poetry, both life and death are viewed in this period as two vital elements which, being in harmony with the cycles of nature, constantly maintain the continuity of existence. The third stage is identified with developments in the period between the fifties and the seventies. The Tammuziyyun poets, the avant-garde poets of the period seem unanimously to have utilized in various forms one or other of the ancient myths of death and resurrection. The symbols of this ancient mythology were used to express deep anxieties and fears about the decline of Arab civilization under dire political and social strains, and the hope that the Arab nation would go through a rebirth or a great revival. This hope in particular seemed to find its best expression in the ancient myths which stressed the inevitability of a resurrection after death. Finally the concept of death is examined in Palestinian resistance poetry which is seen as part and parcel of the third stage, but which, because of the special circumstances in which the Palestinians lived and wrote, is treated in a separate chapter on its own.
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Ali, Yasser Mohammed Hassan [Verfasser]. "Text Grammar in Modern Arabic Poetry : A Textual and Analytic Study of ʾAmal Dunqul`s Poetry / Yasser Mohammed Hassan Ali." Berlin : Freie Universität Berlin, 2013. http://d-nb.info/1038412862/34.

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AlKhalil, Muhamed. "Nizar Qabbani: From Romance to Exile." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1336%5F1%5Fm.pdf&type=application/pdf.

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17

Montgomery, James Edward. "A reconsideration of some Jahili poetic paradigms." Thesis, University of Glasgow, 1990. http://theses.gla.ac.uk/1850/.

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The Jahili poets esteemed verity as opposed to verisimilitude as their principal aesthetic criterion. I have long been convinced of this. This thesis represents an attempt to enucleate several features of their verse by drawing on various spheres of knowledge, acquaintance with which is fundamental to a proper appreciation of the pre-Islamic qad sidah as poetry. My concern has been with matters zoological, philological, literary and socio-historical. It is a critical shibboleth (both occidental and oriental) that the ancients Arabs were unlettered; yet writing looms large in their verse. It is a modern datum that Jahili verse is oral poetry; yet this is not the only explantion for the recurrence of conventional phraseology and expression. Chapter One is a preliminary incursus into an investigation of writing among the early Arabs. It is also a study of the literary development of a nexus of topical comparisons, viz. the deserted encampment. A socio-historical interpretation of the shift in emphasis perceptible in these comparisons is offered, conjoined with the suggestion that the phenomenon of the `Bedouin is an incremental paradigm, the presence of which is less distinct in early Jahili verse than has been supposed. Extended similes in which a camel is compared with an oryx bull or doe or a wild ass have tended to be neglected by scholars, who rely on an, at times but poorly formed, subjective impression, referring to the stylized or mannered nature of the tableaux. I have tried to demonstrate that, although in their several features narrative consuetude is discernible, a proper understanding of the vignettes depends largely on the given poetic context. The ethology and ecology of the ass and the oryx have been studied in order to shed light on their poetical manifestations: verse has proved to be consistent with science. Chapter 4 sets forth a comparison of the parodical style of Arkhilokhos of Paros and al-N=abighah of the tribe of Dhuby=an, to which an instance of parody from the Middle English alliterative tradition has been appended.
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18

Abu, El-Shaer Yardy Afaf Mizel. "Trends and developments in the poetic language of Bilād al-Shām, 1967 -1987." Thesis, Durham University, 1995. http://etheses.dur.ac.uk/5117/.

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This study examines the development of poetic language in modem Arabic poetry through discussion of a selection of twelve poems from Bilād al-Shām (Syria, Lebanon, Jordan and Palestine), applying a method of analysis and evaluation based on a close study of the text itself rather than on critical sources. A practical method of analysis is used to examine elements of poetic language, namely rhythm, theme and structure, the poet's voice, word-association, metaphor and symbol, all of which form the text. The study is introduced by a brief review of the development of modem Arabic poetry, of previous studies of poetic language in modem Arabic poetry, and an analysis of the poetic language in four outstanding poems of the post-second world war period. The four poems were chosen since they are typical of die changes, renewal or departure from classical poetic language. These poems embody new forms in both expression and ideas, and express the Arab identity by discussing Arab social and political problems. The four poems may not be the best poems of their time but each one clearly exhibits a different use of elements of poetic language current at the time. These poems, which are written before and during 1967, are still effective and influential today. Their poetic language is still the criterion by which to examine and compare the twelve selected poems in part two. The poems were chosen from those composed in Bilād al-Shām after the events of 1967. This choice was made to enable die writer to investigate die effect of the war upon poetry, to illustrate pan-Arabism and nationalism, and to examine the poetic language in these poems. In both part one and part two my concern is to present facts rather than arguments. My intention is also to make a brief comparison and conclusion. These conclusions - drawn from the discussion - are found in part three. This study deals with the following: the identification of common factors and differences in the poems discussed; the existence, or lack, of creative trends in the use of language; the degree of influence of the four poems upon the twelve selected poems; and whether die twelve poems imitate ideas, concepts, words and symbols derived from the four poems. It also traces the development of poetic language as it approaches the prose style and as it establishes a different use of metaphors and symbols.
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19

Karim, Uosef I. M. "Lexical cohesion in Arabic poetry : a case study of Al Mutanabbi's poems." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22400/.

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The present study applies one branch of linguistics, namely discourse analysis, it examines The lexical cohesion and it is impact on meaning and the cohesion of the text. It particularly analyzes the Arabic poetry through poetic samples by Al Mutanabbi. The study examines selected samples of Al Mutanabbi's poetry. These samples are including four poetic genres, namely, panegyric, elegy, glory, and satire. The study develops a framework drawing on Drawing on Halliday and Hassan's framework, the newly developed framework would allow researchers to consider other aspects as tale-head, and homeopoton and paying more attention to characteristics of Arabic language by considering the alliteration as separate stylistic device rather than including it as a type of sound repetition. It is therefore hoped that the newly framework will bridge the gap between theory and application in this particular area and provide recommendations for future practice.
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20

Saedi, Ghareeb. "Foreign affinities : Arabic translations of English poetry and their impact on Modern Arabic verse : a discursive approach." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30281/.

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This is the first discursive study to examine the Arabic translations of a number of major modern poems in the English language in particular T.S. Eliot's 'The Waste Land' and Walt Whitman's 'Song of Myself'. These translations were done by the Arab translators who were themselves modernist poets, including Badr Shakir al- Sayyab, to whom a separate chapter is dedicated as a case study. The thesis begins by underlining the relationship between translation and modernity by reviewing some critical studies and translational strategies. The framework allows me to approach the given poems comprehensively, since this study argues that poetry is not only a linguistic composition but also a socio-cultural construct. Thus, this study treats each of these translations as a discursive process comprising three contexts: situational, verbal and cognitive. The situational context highlights the background of these poems and each one's importance in its own system. It also reveals the reasons why Arab modernists were drawn to these poems. The verbal context studies the Arabic translations of the selected poems. It provides a comparative analysis, although its aim is to emphasize specific stylistic issues which function more than others in the target system. The cognitive context underlines the impact of these English poems on Arabic modernity on formal, stylistic and thematic levels. Finally, the thesis covers the main trends in the translation of English poetry into Arabic, and in so doing it presents a new approach. It also paves the way for more studies to explore further aspects of these works of translation.
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ʻAjlān, ʻAbbās Bayyūmī. "al-Hijāʼ al-Jāhilī ṣuwaruhu wa-asālībuhu al-fannīyah /." al-Iskandarīyah : Muʼassasat Shabāb al-Jāmiʻah, 1985. http://catalog.hathitrust.org/api/volumes/oclc/39820544.html.

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22

Dahroj, Fawaz Ahmad. "The effect of modern linguistics on Arabic literary criticism : the stylistic approach and its application to Arabic poetry." Thesis, University of Glasgow, 1998. http://theses.gla.ac.uk/6494/.

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The main objective of this study is to show how "the Stylistic Phenomenon" has entered Arabic literary critical life. It aims to examine "Practical Criticism" in Arabic, which adopts a "stylistic approach". In order to achieve this, however, it is essential to have examined a complete picture of this approach in Arabic literary life in all its aspects, most of which are concerned with issues, of stylistic theory rather than practical stylistics. Efforts have been devoted to establishing it as a separate recognised approach: in the theory of translation, in matters of terminology, in traditional Arabic literary criticism, etc. The "Stylistic Approach" in Arabic literary life, as examined here, also illustrates the whole situation of the real relationship of Arabic literary criticism with modern literary criticism in The West. There are various channels of connection with modern Western literary criticism, such as the translation of the most important works relating to this topic into Arabic, either as monographs or as articles in literary journals. There are also Arab writers who have been educated in The West and who are applying the stylistic approach to Arabic literature. This study shows the connection of Arab scholarship with the modern linguistic revolution in the West, from which the stylistic approach is the fruit. It is clear that the most important figures in modern linguistics, particularly those whose works are influenced by modern Western linguistics or have been affected by modern Western literary criticism, are well-known, and the Arab reader is familiar with Althusser, Bakhtin, Bally, Barthes, Brooks, Chatman, Chomsky, Cohen, Derrida, Foucault, Genette, Jakobson, Levi-Strauss, Saussure and many others.
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Sage, Geoffrey Brandon. "The muwashshah, zajal, and kharja : what came before and what became of them." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/32454.

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There have historically been numerous connections between the way that medieval Iberian Muslims conceptualized love, lust, and desire and the ways in which Western Europeans have expressed those same concepts, especially as potentially derived from the literary genre of the muwashshah, a particular form of (primarily) medieval Hispano-Arabic poetry. Specifically, the muwashshah and its particular expression(s) of romantic love have helped in causing a series of paradigm shifts (with a definition borrowed from Kuhn to apply to the humanities) within Western ideology. This thesis focuses on the transformative effect of such Hispano-Arabic poetry within Western culture, as well as its connections with the following: Greco-Roman concepts of poetics, earlier Arabic poetry, and post-Hispano-Arabic Arabic poetry. It explores the concept of intersectionality within Hispano-Arabic culture, demonstrating how Hispano-Arabic sources may have influenced European interpretations of romantic relationships as well as how the muwashshah survived within an Arabic context. While mostly existing as a substratum within European culture, the muwashshah has had lasting influence upon European culture. The domains of love and desire provide a particularly apt example, as they involve not simply technology (civilian or military) but demonstrate the origin of a distinct change in the expression of emotion within European culture. At a fundamental level, Western Europe has adopted some of these Hispano-Arabic (as derived from a Muslim viewpoint) values. Regardless of further conflict between Europeans and Muslim cultures, they share parts of a common heritage, expressed differently, but with partial derivations, large or small, from a single source. Such exploration demonstrates the deep interconnectedness of what has heretofore been considered a separated, solely Western (Christian) European culture and that of the Islamic world, derived from one of the original points of intersection between Muslim culture and Western Christian culture, as well as how Arabic culture addressed its outliers.
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Awwad, Abd al-Hussein M. "The theoretical bases of applied criticism of modern Arabic poetry : a comparative study." Thesis, University of Exeter, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280753.

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Salem, Rafik M. "Exile and nostalgia in Arabic and Hebrew poetry of al-Andalus (Muslim Spain)." Thesis, SOAS, University of London, 1987. http://eprints.soas.ac.uk/28839/.

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The purpose of this study is to examine the notions of "exile" (qhurba) and "nostalgia" (al-hanin ila al-Watan) in Arabic and Hebrew poetry in al-Andalus (Muslim Spain). Although this theme has been examined individually in both Arabic and Hebrew literatures, to the best of my knowledge no detailed comparative analysis has previously been undertaken. Therefore, this study sets out to compare and contrast the two literatures and cultures arising out of their co-existence in al-Andalus in the middle ages. The main characteristics of the Arabic poetry of this period are to a large extent the product of the political and social upheavals that took place in al-Andalus. Some of the cities which for many years represented the bastions of Islamic civilization were falling into the hands of the invading Christian army. This gave rise to a stream of poetry that reflects the feelings of exile and nostalgia suffered by those poets who were driven away from their native land. This Arabic poetry had a substantial influence on the literary works of the Jewish poets who were reared within the cultural circles of the Arabic courts. As a consequence the Hebrew poetry they composed, in many respects, bore the stamp of the Arabic poetry in form and content. This thesis is divided into three major parts organized as follows: the first part deals with the themes of exile and nostalgia in Arabic poetry in al-Andalus. It contains three chapters: chapter one begins with a study of the origins of the themes of exile and nostalgia in the Arabic poetic tradition. Chapter two focuses on the nostalgia and lament poetry in al-Andalus describing the characteristics of each period through examining specimens of Andalusian poems. Chapter three is devoted to a study of the poetic product of Ibn Hamdis, the Sicilian (d.1133) and discusses how the themes of exile and nostalgia became the framework of both his life and his poetry. The second part of the thesis parallels the first part in that it deals with the Hebrew poetry in al-Andalus. It consists of three chapters: chapter one investigates the origins of the concept of the homeland in the Biblical sources. Chapter two discusses the form and the structural scheme of the Hebrew poetry in al-Andalus and the influence of the Arabic poetry on the Hebrew poetic works. Chapter three is devoted to a study of the poetry of the Jewish poet, Judah ha-Levi (d.1140) and his nostalgic expressions for Zion. The third part is a comparative literary study of two specimen poems of Ibn Hamdis and ha-Levi. The aim of this study is to develop methods for an analysis of the motifs and internal structure of these two poems. The linguistic analysis is focussed mainly on the levels of phonology, morphology and syntax, while the traditional analysis is focussed primarily on the content and imagery.
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Buturović, Amila 1963. "Love in the poetry of Ibn Quzmān." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63925.

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Sayuti, Najmah. "The concept of Allāh as the highest God in pre-Islamic Arabia : a study of pre-Islamic Arabic religious poetry." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30215.

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The ancient Arabs used poetry not only to entertain themselves in the midst of their harsh life in the Arabian desert, but also to proclaim their cultural values, which were the moral-spiritual and material basis of their nomad society. Composing poetry therefore was almost a sacred rite for them. Its recitation in particular, was a main feature of certain ritual customs held annually during the aswaq (sg. suq , festival) season. The most common themes touched upon were the attributes of which a tribe may have been particularly proud, such as its victories and generosity to the vanquished, the bravery of its heroes in battle and on hard journeys, the beauty of its women and of nature, the genealogy of the tribe, and prayers to the Almighty.
Through verse the ancient Arabs expressed how they conceived of their deities, whether, idols representing various gods and goddesses, or Allah. These verses make it clear that Allah alone was not represented by any idol, allowing us to infer that He was regarded as superior to other deities. This thesis, therefore, attempts to show how the ancient Arabs expressed through poetry their belief in Allah as the Lord of Gods, which was the true nature of their ancestral belief, the h&dotbelow;anifiyya, the religion of their forefathers Abraham and Ishmael.
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Akoum, Dalida. "La représentation de la femme dans la littérature arabe préislamique et dans ses sources." Villeneuve d'Ascq : Presses universitaires du Septentrion, 1999. http://books.google.com/books?id=iixjAAAAMAAJ.

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Obeidat, Hisham T. B. "Aspects of the problems of translating metaphor, with special reference to modern Arabic poetry." Thesis, University of St Andrews, 1997. http://hdl.handle.net/10023/2919.

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This thesis examines a crucial area in the translation of poetic discourse, the translatability of modern Arabic metaphor into English. Two main questions are addressed. Firstly, what makes a particular metaphor easy to translate? Secondly, what makes another metaphor difficult or even impossible to translate? The thesis consists of two parts, theory and data analysis. The first part, theory, contains five chapters. In chapter 1 general theories of metaphor are discussed; interaction, imagination and experientialist theory. In chapter 2 poetic metaphor is examined; its interpretation, its aesthetic values, the part played by the imagination in processing metaphor, the importance of cultural knowledge and the problems of translation. In chapter 3 the metonymymetaphor relationship is assessed, and in chapter 4 the notion of dead metaphor is examined. In chapter 5, light is shed on the use of poetic metaphor in the Arab media and in particular on its use as an effective device to persuade the audience to accept the current peace discourse in the Middle East. Part 2, data analysis, also consists of five chapters of which chapter 6 is the introduction to the data analysis, and links the two parts of the thesis together. Chapters 7 to 10 concern the translation of metaphor in particular categories of poetry: in chapter 7 the emphasis is on autobiographical poetry (Ghäzi al-Ghusaybi : "In the Grip of My Fifties" and "Making Me a Grandfather"). In chapter 8 the focus is on the poetry of exile (Fadwä Tüqän: "Ruqayya" and "The Call of the Land"). In chapter 9 nationalist poetry is discusses (Fadwä Tüqan: "My Sad City" and "Hamza"), while in chapter 10 socio-political poetry is considered (Salah `Abd al-Sabür : "Sadness"). The findings of this research may be summarised as follows: the translation of Arabic poetic metaphor into English requires most importantly the recreation of a similar cultural experience in the TL. The data analysis shows that, in certain cases, it is easy to restructure the ST metaphoric experience with the same experience in the TL. On numerous occasions, however, the SL metaphoric experience has to be rendered by a different metaphor exhibiting a similar, or parallel, experience. Lastly, the data also demonstrate to the reader how, in certain contexts, the ST metaphor is untranslatable, simply because the host language cannot express satisfactorily the ST thought in the same or a similar way.
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Deubel, Tara Flynn. "Between Homeland and Exile: Poetry, Memory, and Identity in Sahrawi Communities." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/146067.

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Sahrawi communities in the Western Saharan region of northwest Africa have experienced a series of radical shifts over the past century from decentralized nomadic tribal organization to colonial rule under the Spanish Sahara (1884-1975) and annexation by Morocco and Mauritania in 1975. The international dispute over the future of the Western Sahara remains unresolved between the Moroccan government that administers the territory and the Sahrawi opposition that seeks self-determination under the leadership of the Polisario Front. In this context, this dissertation explores the lived experience and social memory of Sahrawis affected by conflict, diaspora, and urbanization over the past thirty-five years by examining multivocal expressions of ethnic and gender identity, nationalism, and citizenship in personal narratives and oral poetry in Hassaniyya Arabic. Through modes of everyday speech and verbal performances, Sahrawis living in the undisputed region of Morocco and the disputed Western Sahara exhibit varying political allegiances linked to tribal and national affiliations and political economic factors. Pro-independence activists negotiate public and clandestine aspirations for an independent state with the realities of living under Moroccan administration while refugees in Algeria employ performance genres to appeal for political and humanitarian support in the international community and maintain communication in the Sahrawi diaspora. Intergenerational perspectives between Sahrawis born before and after the 1975 cleavage reveal key divergences between the older generation that retains an active memory of nomadic livelihoods and pre-national tribal organization, the middle generation affected by a massive shift to urban residence and compulsory postcolonial nationalism, and the younger generation raised primarily in urban environments and refugee camps. Across generations, Sahrawi women have retained a prominent role in maintaining tribal and family ties and serving as leaders in nationalist and social movements.
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Siblini, Rana [Verfasser], and Thomas [Akademischer Betreuer] Bauer. "Aspects of estrangement and nostalgia in classical arabic poetry / Rana Siblini ; Betreuer: Thomas Bauer." Münster : Universitäts- und Landesbibliothek Münster, 2020. http://d-nb.info/122210623X/34.

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Howarth, James Peter Chance. "'Neo-Sufism in Modern Arabic poetry: a study in the poetry of c Abd Al-Wahhab Al-Bayyati, Salah c Abd Al-Sabur and Adonis.'." Thesis, SOAS, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428553.

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Maghribi, J. M. "Ahmad ibn Ali Al-Muhallabi's al-Ma'akhidh ala al-Tibrizi fi Tafsir Shir al-Mutanabbi : A critical edition of the text with commentary, in the light of recent literary theories." Thesis, University of Manchester, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234406.

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Bokoda, Alfred Telelé. "The poetry of David Livingstone Phakamile Yali-Manisi." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/17400.

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Bibliography: pages 217-232.
Yali-Manisi, a Xhosa writer, performs and writes traditional praise poetry (izibongo) and modern poems (isihobe) and can, therefore, be regarded as a bard because he also performs his poetry. One can safely place him in the interphase as he combines performance and writing. The influence of oral poems and other oral genres can be perceived in his works as some of his works are a product of performances which were recorded, transcribed and translated into English. The dissertation, among other things, examines the way in which Yali-Manisi's work has been influenced by such manipulations. In this study we examine lzibongo Zeenkosi ZamaXhosa, lmfazwe kaMianjeni, Yaphum'igqina and other individually recorded poems. His poetry is characterised by an interaction between tradition and innovation. The impact of traditional poetic canon on the poet, the way of exploiting traditional devices are the most outstanding characteristics concerning his poetry. His optimistic disposition towards the future of the South African political situation leaves one with the impression that he envisages an end to the Black-White political dichotomy. Yali-Manisi manipulates literary forms to articulate specific socio-political and cultural attitudes which are dominant among the majority of South Africans. His writings coincide with some of the major political changes in South Africa. In his recent works, he is explicit and protests against Apartheid structures especially in Transkei and Ciskei. In his earlier works he could not articulate the feelings of his people as an imbongi because of the fear of censorship and themes of protests had to be handled with extreme caution if one's manuscripts were to be published at all. He often alludes to national oppression of the majority by the minority and instigates the former to be politically conscious. In some instances (e.g. in his historical poems) he seeks to correct inaccuracies which are presented in history books. Thus showing the listener/reader another side of the coin. He displays very keen interest and deep knowledge of natural phenomena such as seasons of the year and the behaviour of animals during each period. Poems about historical figures are characterised by certain allusions which refer to realities and events in the life of the 'praised one' or his forefathers. This helps to shed light on the present situation. Although fictitious adaptations of genuine events have been done, an element of reality is still prevalent.
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Al, Abbasi Abeer Abdullah A. "Astrology in literature : how the prohibited became permissible in the Arabic poetry of the mediaeval period." Thesis, University of Leeds, 2008. http://etheses.whiterose.ac.uk/3316/.

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This thesis is concerned to position the art of astrology within the context of classical Arabic poetry, primarily by investigating and elucidating attitudes to the notion of qadar (fate) and the ideology in which it was embedded. These attitudes were revelatory of the broader world view of the Arabs of those periods, and their shifts from those held in the pre-Islamic and early Islamic eras tell us a good deal about the importance given to the nature and role of fate and about the various understandings of its influence. The pre-Islamic Arab's notion of qadar was in some ways similar to that of the early Muslims: both emphasised predetermination and the irresistible power of fate. But while the jahilf (Pre-Islamic) Arabs identified fate with the malign power of dahr (Time), the Muslims believed the power of fate lies in the hands of God the Omnipotent, who alone is responsible for the fate of the whole universe. Thus the astrology of the pre-Islamic era was one aspect of divination (kihana) and claimed to be able to reveal in advance an individual's destiny, which could be avoided by taking certain precautions. These precautions, however, were considered effective only in relatively trivial cases; they were useless in the areas of major impact: a person's happiness or misery (shaqiiwa aw sa ada), sustenance (rizq) and one's term (ajal), the three inevitable and irresistible manifestations of fate. In the Islamic period not only these major aspects of life are governed and controlled by the Omnipotent; the destiny of the universe, in even its most minute details, is determined and controlled by God alone. Astrology was considered to be of no value whatsoever, and its practitioners were subject to the death penalty. These two irreconcilable views are evident in early Islamic poetry, which reflected clearly the response of poets, and society, to astrology from the perspective of qadar. When the orthodox caliphate was replaced by dynastic rule the status of astrology was changed dramatically. The idea that the stars, as indicators, play a role in the life of human beings found popowerful supporters in some governors of the Islamic world, who allowed astrology to fulfil a public function regardless of the hostility of the official religion of that society. This social phenomenon generated rich material of a controversial character in the realm of literature. Investigating the factors, motivations and impact of mediaeval political, theological and philosophical attitudes to astrology, in relation to the notions of free will and predestination, is the concern of this study.
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Kaschula, Russell H. "The transitional role of the Xhosa oral poet in contemporary South African society." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002085.

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This thesis outlines the changing role of the Xhosa imbongi in contemporary South African society. The changing socio-economic and political scenario in South Africa, and the way in which the imbongi is adapting in order to accommodate new pressures created by these changes, form an integral part of this thesis. The effects of education and increasing literacy on the tradition are outlined. The interaction between oral and written forms is explored in chapter 2. The role of the imbongi within the religious sphere is included in chapter 3. Xhosa preachers within the independent churches often make use of the styles and techniques associated with oral poetry. Iimbongi who are not necessarily preachers also operate within this context. The relationship between the Congress of South African Trade Unions, the African National Congress and iimbongi has also been researched and forms part of chapters 4, 5, and the epilogue. The modern imbongi is drawn towards powerful organisations offering alternative leadership to many of the traditional chiefs. In the epilogue collected poetry is analysed in the context of Mandela's visit to Transkei in April 1990. Interviews have been conducted with chiefs, iimbongi attached to chiefs as well as those attached to different organisations. Poetry has been collected and analysed. In chapter 5, three case studies of modern iimbongi are included. The problems facing these iimbongi in their different contexts, as well as the power bases from which they draw, are outlined. Finally, an alternative definition of the imbongi is offered in the conclusion
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Goussias, Giannoula. "Heroes and heroic life in the Iliad and Akritic folk-song /." Title page, table of contents and abstract only, 1992. http://web4.library.adelaide.edu.au/theses/09ARM/09armg717.pdf.

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Ersoy, Ersev. "Social reality and mythic worlds : reflections on folk belief and the supernatural in James Macpherson's Ossian and Elias Lönnrot's Kalevala." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7842.

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This thesis investigates the representation of social reality that can be reflected by folk belief and the supernatural within mythic worlds created in epic poetry. Although the society, itself, can be regarded as the creator of its own myth, it may still be subjected to the impact of the synthesized mythic world, and this study seeks to address the roles of the society in the shaping of such mythic worlds. The research is inspired by an innovative approach, using James Macpherson’s Ossian (1760-63) and Elias Lönnrot’s Kalevala (1835-49) as epic models that benefit from mythical traditions. Through the examination and the comparison of these two epic collections, both of which seem to have a close association with social reformation and restructuring, the study explores the universality of human nature. It also reveals the extent mythic worlds may exhibit the ‘realities’ of their source-societies and how mythical tradition may become a reflection of a society’s transforming past modes of thinking. Moreover, the study devotes special attention to the influence of mythic heritage on national awakening and the construction of national identities. The research treats Macpherson as the re-inventor of Gaelic oral tradition with his Ossian, where he portrays a Romanticized image of a gallant past according to the norms of the eighteenth century. Therefore, the mythic world of the epic can be seen as a combination of an ancient heroic past and the aesthetic refinement of a polished age. In this framework, as the product of a society going through a transition period from traditional to modern, Ossian seems to reflect the society’s changing world-view, both celebrating, and mourning for a culture on the verge of extinction. Focusing on the Kalevala, the study analyzes its portrayal of Finnish folk belief. The Kalevala, like Ossian, is an attempt to recover ancient tradition, which seems to revolve around supernatural and divine elements, with hopes to establish a common social reality. It is an expression of Finnish language, belief and culture, whose production was prompted by the looming Finnish nationalism. Therefore, the evolving mode of thought represented in the mythic world of Kalevalaic poems, is expected and favoured by the society, enabling the epic to encourage a social reformation.
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Hamdan, Yousef Hussein Mahmoud. "Impact of Anglo-American new criticism on modern Arabic discourse : the case of Shi 'r (Poetry Magazine)." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/9474.

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New Criticism has had a profound impact on Arabic critical thought since the early 1950s. The reasons behind this vary from one critic to another. Some have employed New Criticism to analyse the poetic movement of Shi r al-taf īla, and its new poetic features that required innovative critical tools. Other critics’ use of New Criticism was based on their familiarity with English literary thought and schools of criticism. While some Arab critics, such as Iḥsān Abbās, Izz al-Dīn Ismā īl and Ilyās Khūrī, partially employed New Criticism, others, such as Rashād Rushdī and his students, confined themselves exclusively to New Criticism, viewing it as the only appropriate approach to literature. Members of Majallat Shi r employed many New Critical ideas, deeming them to be the modern concept of poetry. Through an in-depth reading of the articles in Shi r, and a comparative approach based on thorough study of New Critical writings, this thesis demonstrates that the majority of the critical ideas and concepts which appeared in Shi r were based on New Criticism. Additionally, the thesis illustrates that many of Shi r’s critics, particularly Yūsuf al-Khāl who dominated the magazine, showed a great deal of fascination with the New Critics, Eliot in particular. The Shi r critics’ use of New Criticism appeared to be, particularly on the theoretical level, an imitation to such an extent that one cannot find any new critical ideas in al-Khāl’s works. Additionally, the New Critics’ concepts were predominantly theoretical and largely unsupported by examples from Arabic poetry, with the exception of Jabrā’s and Khālida Sa īd’s works. In this way, Shi r critics’ contention that modern Arabic literary thought should be creative while seeking to evade the imitation of classical literary and critical accounts was fallacious as they merely replaced one form of imitation with another. Furthermore, Shi r critics called for many ideas without providing literary justifications or examples. One instance pertains to their encouragement of the use of colloquial Arabic instead of the standardised form. Furthermore, other critical problems, such as issues involving poetic ambiguity and language, were tackled insufficiently. For these reasons, this thesis characterises the relationship of Shi r critics to the New Critics as not only one of fascination and imitation, but also as a parental paradigm similar to a father-child relationship. Initially, I sought to find in Shi r new critical concepts and developments resulting from the use of New Criticism and simultaneously based on modern Arabic literature. However, much to my dismay, I discovered that the magazine’s critical project based itself, to a great extent, on the New Critical concepts without questioning or challenging them. This behaviour appears analogous to children’s imitation of their parents as an ideal form of behaviour.
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Kuutma, K. "A Sámi ethnography and a Seto epic : two collaborative representations in their historical contexts /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/6583.

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Boutz, Jennifer Hill. "Ḥassān ibn Thābit, a true mukhaḍram a study of the Ghassānid odes of Ḥassān ibn Thābit /." Connect to Electronic Thesis (ProQuest), 2009. http://0-pqdtopen.proquest.com.library.lausys.georgetown.edu/#abstract?dispub=3371616.

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Meyer, Julianne. "Words Carried in with the Tide: Boundaries of Gender in FisherPoetry." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19723.

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The FisherPoets Gathering is an annual event where expressive art performed exposes the explicit and implicit gender dynamics of the occupation of commercial fishing. Through these performances, women tackle gender issues that bridge the gap between the fishing industry and the event. Through performance and interactions with fellow female FisherPoets, the women validate themselves as fishermen and comment on the behavior of their male colleagues. These performance-based expressive art forms enable them to address the fishing industry’s gender power dynamics and begin to make social change.
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Baksh, Dalal Mohammed. "The impact of Islam on the experience of time and death in Arabic poetry in the first century AH." Thesis, SOAS, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405937.

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Kyser, Tiffany S. "Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.

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Thesis (M.A.)--Indiana University, 2010.
Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).
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Sayuti, Najmah. "The concept of Allah as the highest God in pre-Islamic Arabia, a study of pre-Islamic Arabic religious poetry." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64191.pdf.

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Gröndahl, Satu. "Den ofullkomliga traditionen bilden av Ingermanlands kvinnliga runotradition /." Uppsala : Stockholm : AUU ; Distributed by Almqvist & Wiksell International, 1997. http://catalog.hathitrust.org/api/volumes/oclc/36499319.html.

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Balat, Samah Mohamed. "The study of Andalusian “Muwashaḥāt”: a literary and artistic approach"." University of the Western Cape, 2020. http://hdl.handle.net/11394/7267.

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Magister Artium - MA
This thesis aims at presenting a comprehensive study, through which more will be learnt about the art of the Andalusian Muwashaḥāt. This is a study of their artistic structure, types, and poetic purposes. The art of the Muwashaḥāt was different in form and rhythm from the classic Arabic poem, because the Muwashaḥāt had multi meters and rhymes, and it relied on the musical rhythm. Besides, the poetic language of the Muwashaḥāt was based on both classical and vernacular Arabic. The Muwashaḥāt was invented by the Andalusian poets to keep pace with the musical development in Andalusia, the researcher will shed light on aesthetic methods, and the poetic styles that characterized the Muwashaḥāt as an innovative poetic art which had strong ties with the music and singing, and showing the impact of the Andalusian environment on the development of this art. The art of the Muwashaḥāt left a distinguished mark on the Arabic poetry and music, especially in the Maghreb and North Africa where a lot of musical schools and poets still pay a lot of attention to such type of that Andalusian art. The continuous interest in this art, until current days, strongly motivated the researcher to proceed with this study.
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Samarrai, Ghanim Jasim. "An examination of the critical debate concerning the issue of the influence of T.S. Eliot's 'The waste land' on Badr Shakir as-Sayyab's poetry." Thesis, University of Portsmouth, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326992.

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Mostert, Andre. "Developing a systematic model for the capturing and use of African oral poetry: the Bongani Sitole experience." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002154.

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Oral traditions and oral literature have long contributed to human communication. The advent of arguably the most important technology, the written word, altered human ability to create and develop. However, this development for all its potential and scope created one of the most insidious dichotomies. As the written word developed so too the oral word became devalued and pushed to the fringes of societal development. One of the unfortunate outcomes has been a focus on the nomenclatures associated with orality and oral tradition, which although of importance, has skewed where the focus could and should have been located, namely, how to support and maintain the oral word and its innate value to human society in the face of what has become rampant technological developments. It is now ironic that technology is creating a fecund environment for a rebirth of orality. The study aims to mobilize technauriture as a paradigm in order to further embed orality and oral traditions to coherently embrace this changing technological environment. The central tenet of the study is that in order to enhance the status of orality the innate value embodied in indigenous knowledge systems must be recognized. Using the work of Bongani Sitole, an oral poet, as a backdrop the study will demonstrate a basic model that can act as a foundation for the effective integration of orality into contemporary structures. This is based on work that I published in the Journal of African Contemporary Studies (2009). Given the obvious multi-disciplinary nature of the material the work covers a wide cross section of the debate, from questions of epistemology and knowledge in general in terms of oral traditions, through the consciousness and technical landscapes, via the experience with Sitole’s material to issues of copyright and ownership. This work has also been submitted for publication together with my supervisor as a co-author. The study intends to consolidate the technauriture debate and lay a solid foundation to support further study.
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Yıldırım, Halil Eren Göde Halil Altay. "Aşık Yoksul Derviş'in şiirlerinde dini-tasavvufi unsurlar /." Isparta : Süleyman Demirel Üniversitesi Sosyal Bilimler Enstitüsü, 2007. http://tez.sdu.edu.tr/Tezler/TS00563.pdf.

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