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Journal articles on the topic 'Arabic poetry Folk poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Kukhareva, Elena V. "THE CONCEPT OF HOMELAND IN ARABIC ORAL AND FOLK POETRY." Вестник Пермского университета. Российская и зарубежная филология 9, no. 3 (2017): 24–36. http://dx.doi.org/10.17072/2037-6681-2017-3-24-36.

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2

Khodjaeva`, Rano Umarovna. "The Role Of The Central Asians In The Socio-Political And Cultural Life Of Mamluk Egypt." American Journal of Social Science and Education Innovations 02, no. 10 (October 29, 2020): 227–36. http://dx.doi.org/10.37547/tajssei/volume02issue10-38.

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The article considers the strengthening of the Turkic factor in Egypt after the Mamluk Emirs, natives from the Khwarezm, Turkmen and Kipchak tribes, who came to power in the second half of the XIII century. The influence of the Turkic factor affected all aspects of life in Egypt. Under the leadership of the Turkic Emirs, the Egyptians defeated the crusaders who invaded Egypt in 1248. This defeat of the 7th crusade marked the beginning of the General collapse of the Crusades. Another crushing defeat of the Mamluks led by Sultan Kutuz caused the Mongols, stopping their victorious March through the Arab world. As a result of these brilliant victories, Egypt under the first Mamluk Sultans turned into a fairly strong state, which developed agriculture, irrigation, and foreign trade. The article also examines the factors contributing to the transformation of Egypt in the 13-14th centuries in the center of Muslim culture after the fall of the Abbasid Caliphate. Scientists from all over the Muslim world came to Egypt, educational institutions-madrassas were intensively built, and Muslim encyclopedias were created that absorbed the knowledge gained in various Sciences (geography, history, philology, astronomy, mathematics, etc.). Scholars from Khwarezm, the Golden Horde, Azerbaijan, and other Turkic-speaking regions along with Arab scholars taught hadith, logic, oratory, fiqh, and other Muslim Sciences in the famous madrassas of Egypt. In Mamluk Egypt, there was a great interest in the Turkic languages, especially the Oguz-Kipchak dialect. Arabic and Turkic philologists write special works on the vocabulary and grammar of the Turkic languages, and compile Arabic-Turkic dictionaries. In Egypt, a whole layer of artistic Turkic-language literature was created that has survived to the present day. The famous poet Saif Sarayi, who came from the lower reaches of the Syr Darya river in Mawaraunnahr was considered to be its founder. He wrote in Chigatai (old Uzbek) language and is recognized a poet who stands at the origins of Uzbek literature. In addition to his known the names of eight Turkish-speaking poets, most of whom have nisba “al-Khwarizmi”. Notable changes occurred in Arabic literature itself, especially after the decline of Palace Abbasid poetry. There is a convergence of literature with folk art, under the influence of which the poetic genres, such as “zazhal”, “mavval”, “muvashshah”, etc. emerge in the Egyptian poetry. In Mamluk Egypt, the genre of “adaba” is rapidly developing, aimed at bringing up and enlightening the good-natured Muslim in a popular scientific form. The works of “adaba” contained a large amount of poetic and folklore material from rivayats and hikayats, which makes it possible to have a more complete understanding of medieval Arabic literature in general. Unfortunately, the culture, including the fiction of the Mamluk period of Egypt, has been little studied, as well as the influence of the Turkic factor on the cultural and social life of the Egyptians. The Turkic influence is felt in the military and household vocabulary, the introduction of new rituals, court etiquette, changing the criteria for evaluating beauty, in food, clothing, etc. Natives of the Turkic regions, former slaves, historical figures such as the Sultan Shajarat ad-Durr, Mamluk sultans as Kutuz and Beybars became national heroes of the Egyptian people. Folk novels-Sirs were written about their deeds. And in modern times, their names are not forgotten. Prominent Egyptian writers have dedicated their historical novels to them, streets have been named after them, monuments have been erected to them, and series and TV shows dedicated to them are still shown on national television. This article for the first time examines some aspects of the influence of the Turkic factor on the cultural life of Mamluk Egypt and highlights some unknown pages of cultural relations between Egypt and Mawaraunnahr.

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3

Gadamska-Serafin, Renata. "Góry Kaukaz jako wrota Orientu. Motywy orientalne w twórczości Tadeusza Łady-Zabłockiego." Góry, Literatura, Kultura 11 (July 17, 2018): 111–41. http://dx.doi.org/10.19195/2084-4107.11.9.

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THE CAUCASUS AS A GATE TO THE ORIENT. ORIENTAL MOTIFS IN TADEUSZ ŁADA-ZABŁOCKI'S OEUVREThe East, its culture and literature were always part of the rich, erudite poetic imagination of Tadeusz Łada-Zabłocki 1811–1847, a tsarist exile to the Caucasus. He spoke Oriental languages Georgian and Persian and had a thorough knowledge of the Koran, a short fragment of which he even translated probably from French. Although today we only have his poetry inspired by the Caucasian mountains, he was also no stranger to extensive travel accounts unfortunately, his Dziennik podróży mojej do Tyflisu i z Tyflisu po różnych krajach za Kaukazem Journal From My Journey To and From Tiflis Across Various Countries Beyond the Caucasus and notes from his Armenian expedition were lost. An important source of inspiration for Zabłocki, encouraging him to explore the East, were the Philomaths’ translations of Oriental poetry by Jan Wiernikowski and Aleksander Chodźko, while his model of reception of the Orient were the oeuvres of Mickiewicz primarily his Crimean and Odessa Sonnets, Byron and Thomas Moore especially the fragment of Lalla Rookh — Paradise and the Peri. The exile brutally brought Zabłocki into contact with the real Orient, terribly dangerous and diametrically different from the one described by Western travellers. It is, therefore, not surprising, that their superficial and simplified accounts were criticised by the Polish poet and soldier.Zabłocki’s oeuvre, both pre-exile and Caucasus period works, is full of various Oriental reminiscences: from the Biblical topos of the Paradise ab Oriente, through numerous splendid images of Caucasian nature, scenes from the life of Caucasian highlanders, poetic imitation of the metre of Caucasian folk dances, apt ethnographic observations in the verses, borrowings from Oriental languages, extraordinarily sensual eastern erotic poems, to translations of texts of Caucasian cultures Tatar, Azeri and Georgian songs. Zabłocki drew on both folk culture of Caucasian tribes, and on Eastern mythologies as well as universal culture of the Islamic world. He presents an ambivalent image of Caucasian highlanders in his poetry: sometimes they acquire traits of noble, free, valiant and indomitable individuals, typical of the Romantic idea of highlanders, on other occasions the label “Son of the East” becomes a synonym of Asian barbarity.Freed from the service in the tsarist army, Zabłocki planned travels across nearby Persia, Asia Minor, and even Arabia, Nubia and Palestine. However, the plans never became a reality, owing to a lack of funds and the poet’s early death of cholera.Zabłocki’s “Eastern” oeuvre fully reveals the “liminal”, demarcational nature of the Caucasian mountains, for centuries constituting the limes between Europe and Asia, the East and the West, a meeting place of the Christian and the Muslim Orients.]]>

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4

Hana, Yafia Yousif Jamil. "The Cries of Street Vendors as a Folklore Genre and Example of Oral Advertising in Iraq." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 4 (2020): 573–78. http://dx.doi.org/10.21638/spbu13.2020.407.

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The article is devoted to the review of the cries of street vendors as a kind of folk genre used in Iraq. The tradition of shouting short texts, praising goods to customers, has a long history. Skillful mastery of the word, the ability to poetically improvise has always been very appreciated in the Middle East. It is no wonder that poetry tournaments emerged and gained wide popularity in the region. The functions of cries are similar to the functions of advertising: to attract the attention of the customer and to convince him or her to purchase the street vendor’s goods. Street vendors in Iraq use dialectal Arabic words and expressions including Turkish and Persian words. As a rule, their language is rich in various metaphors, epithets or lines from famous folk songs. Often, a seller’s cry that was successfully invented was then borrowed by other merchants of related goods. A similar thing also happened when a merchant’s son, adopting his father’s profession, inherited a saying with which he continued to appeal to potential buyers. Currently, this phenomenon is becoming increasingly rare, but, nevertheless, continues to exist, which can be observed during religious and public holidays. Some examples of verbal advertising have become catchy slogans on product labels.

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5

Bauatdinova, Sapura Jumabaevna. "FOLK POETS AND FOLK POETRY." Theoretical & Applied Science 92, no. 12 (December 30, 2020): 105–8. http://dx.doi.org/10.15863/tas.2020.12.92.19.

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6

Ogunnaike, Oludamini. "The Presence of Poetry, the Poetry of Presence." Journal of Sufi Studies 5, no. 1 (May 23, 2016): 58–97. http://dx.doi.org/10.1163/22105956-12341283.

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The composition and performance of Arabic Sufi poetry is the most characteristic artistic tradition of West African Sufi communities, and yet this tradition has yet to receive the scholarly attention it deserves. In this article, I sketch an outline of a theory of Sufi poetics, and then apply this theory to interpret a performance of a popular Arabic poem of the Senegalese Shaykh Ibrahim Niasse (d. 1975), founder of the most popular branch of the Tijāniyya in West Africa.

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7

Klobčar, Marija. "Krek's Views on Folk Poetry." Traditiones 35, no. 2 (November 15, 2006): 193–203. http://dx.doi.org/10.3986/traditio2006350210.

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8

Patai, Raphael, Lajos Vargyas, Marton Istvanovits, and Agnes Szemerkenyi. "Magyar Nepkolteszet [Hungarian Folk Poetry]." Journal of American Folklore 104, no. 412 (1991): 242. http://dx.doi.org/10.2307/541253.

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9

Bushnaq, Inea, and Salma Khadra Jayyusi. "Modern Arabic Poetry: An Anthology." Journal of the American Oriental Society 109, no. 2 (April 1989): 308. http://dx.doi.org/10.2307/604446.

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10

Chraibi, Aboubakr, and Suzanne Pinckney Stetkevych. "Reorientations/Arabic and Persian Poetry." Studia Islamica, no. 83 (1996): 164. http://dx.doi.org/10.2307/1595750.

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11

Toorawa, Shawkat M., and Suzanne Pinckney Stetkevych. "Reorientations: Arabic and Persian Poetry." Journal of the American Oriental Society 117, no. 4 (October 1997): 759. http://dx.doi.org/10.2307/606487.

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12

Allen, Roger, and Salma Khadra Jayyusi. "Modern Arabic Poetry: An Anthology." World Literature Today 62, no. 2 (1988): 327. http://dx.doi.org/10.2307/40143747.

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13

Scheindlin, Raymond P., and Arie Schippers. "Spanish Hebrew Poetry and the Arabic Literary Tradition: Arabic Themes in Hebrew Andalusian Poetry." Journal of the American Oriental Society 117, no. 1 (January 1997): 188. http://dx.doi.org/10.2307/605653.

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14

Brann, Ross, and Arie Schippers. "Spanish-Hebrew Poetry and the Arabic Literary Tradition: Arabic Themes in Hebrew Andalusian Poetry." Jewish Quarterly Review 87, no. 3/4 (January 1997): 369. http://dx.doi.org/10.2307/1455193.

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15

DAHAMI, YAHYA SALEH HASAN. "MODERN SAUDI POETRY: MOHAMMAD HASAN AWWAD’S NIGHT AND ME, IN BALANCE." International Journal of Applied Research in Social Sciences 2, no. 5 (November 25, 2020): 130–43. http://dx.doi.org/10.51594/ijarss.v2i5.177.

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Arabic poetry is the heart of all types of literature in all Arabic realms. Consistent with this generalization, it can be right that the development of poetry in the modern age, among Arabs, is a positive measure. At that argument, the same would be focused on modern Saudi literature since it is typically considered a central, authoritative, and undivided part of Arabic poetry. In this paper, the researcher has attempted to illustrate some literary aspects of modern Arabic poetry in the Kingdom of Saudi Arabia as an instance of the greatness of Arabic poetry with a particular reference to a contemporary Saudi poet. The study starts with an introduction to the condition of poetry in Arabia. In the first section of the study, the researcher points up the importance of Arabic poetry as an Arabic literature genre. The second section deals with poetry and literary movement in Saudi Arabia as the central section of the investigation. After that, the task moves ahead to deal with a model of the modern Arabic poetry in the kingdom, Mohammad Hasan Awwad, a modernized rebellious poet with stark poetry, then the researcher, analytically and critically, sheds light on some selected verses of one of the poems of Awwad, Night and Me. The study finishes with a discussion and a brief conclusion. Keywords: Arabic literature, Arabic poetry, free verse, greatness, Kingdom of Saudi Arabia, modernism.

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16

Radakovic, Nenad, Xiaotong (Chloe) Dan,, and Nesma Khalil. "Patterns in Poetry." Mathematics Teacher: Learning and Teaching PK-12 113, no. 10 (October 2020): 868. http://dx.doi.org/10.5951/mtlt.2020.0162.

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There are many ways to combine mathematics and poetry. In these two poems, the first in Arabic and the second in Chinese, the number of syllables is a function of the line number. What do you notice? What do you wonder?

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17

Selove, Emily. "Magic as Poetry, Poetry as Magic: A Fragment of Arabic Spells." Magic, Ritual, and Witchcraft 15, no. 1 (2020): 33–57. http://dx.doi.org/10.1353/mrw.2020.0013.

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18

Dahami, Yahya Saleh Hasan, and Abdullah Al Ghamdi. "MUA'LLAGAT ZOHAYR IBN ABI SOLMA: ELEGANT PIECE OF ARABIC POETRY (1)." International Journal of Applied Research in Social Sciences 3, no. 1 (March 29, 2021): 1–11. http://dx.doi.org/10.51594/ijarss.v3i1.208.

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Zohayr ibn Abi Solma is identified as an eminent poet who produced poetry distinguished with preeminence in courtly and virtuous love. The study employs an analytical and critical methodology, attempting to elucidate the influence of virtuous love narrated by the poet in the first verse lines of his great Mua'llagah. It commences with a terse introductory synopsis shedding light on the importance of classical Arabic and its involvement with poetry. The paper attempts to prove, via the poetry of Zohayr ibn Abi Solma, the greatness of the Arabic classical poetry and demonstrate the aptitudes of the poet through his Mua'llagah. It is divided into four main parts. The first part deals with the greatness of the Arabic language then it moves to the second section that focuses on Arabic Poetry: Treasure of Wisdom. The third one sheds light on the poet's 'The Man and the Poet', and the last main part goes with an analytical and critical endeavor of the first ten verse lines of Al-Mua'llagah of Zohayr. It comes to an end with a conclusion. Keywords: Arabic Literature, Arabic Poetry, Courtly Love Poetry, Courteous Arabic Poetry, Umm Awfa, Virtuous Poetry.

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19

AKZHOLOVA, Aktoty. "FOLK TRADITIONS IN KAZAKH CHILDRENS POETRY." SOCIAL SCIENCE DEVELOPMENT JOURNAL 3, no. 7 (January 1, 2018): 1–9. http://dx.doi.org/10.31567/ssd.25.

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20

Wood, Brent. "Understanding Rap as Rhetorical Folk-Poetry." Partitúra 9, no. 2 (2014): 3–18. http://dx.doi.org/10.17846/pa.2014.9.2.3-18.

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21

Abushihab, Ibrahim. "A Stylistic Analysis of Arab-American Poetry: Mahjar (Place of Emigration) Poetry." Journal of Language Teaching and Research 11, no. 4 (July 1, 2020): 652. http://dx.doi.org/10.17507/jltr.1104.17.

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The present paper represents an attempt to focus upon analyzing and describing the major features of Arab American poetry written by prominent Arab poets who had arrived in America on behalf of millions of immigrants during the 19th century. Some of who wrote in English and Arabic like Ameen Rihani (1876-1940); Khalil Gibran (1883-1931) and Mikhail Naimy (1889-1988). Others wrote in Arabic like Elia Abumadi (1890-1957). Most of their poems in Mahjar (place of emigration) reveal nostalgia, their love to their countries and their ancestors and issues relating to Arab countries. The paper analyzes some of their poems based on linguistic, grammatical, lexical and rhetorical levels.

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22

Naaman, Erez. "Collaborative Composition of Classical Arabic Poetry." Arabica 65, no. 1-2 (February 27, 2018): 163–206. http://dx.doi.org/10.1163/15700585-12341476.

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Abstract Evidence of collaborative composition of poetry goes back to the earliest documented phases in the history of Arabic literature. Already during pre-Islamic times, poets like Imruʾ al-Qays used to challenge others to complete their impromptu verse and create poetry collaboratively with them. This practice—commonly called iǧāza or tamlīṭ and essentially different from the better known poetic dueling of the naqāʾiḍ (flytings)—has shown remarkable stability and adherence to its form and dynamics in the pre-modern Arabophone world. In this article, I will discuss evidence of collaborative poetry from pre-Islamic times to the early seventh/thirteenth century, in order to present a picture of the typical situations in which it was practiced, its functions, its composition process, and formal aspects. Although usually not producing poetic masterpieces, this practice has the merit of revealing much about the processes of composing classical Arabic poetry in general. In this respect, its study and critical assessment are highly important, given the fact that medieval Arabic literary criticism does not always reflect praxis or focus on the actual practicalities of composing poetry. This practice and the contextualized way in which it was preserved allow us to see vividly the inextricable link between poetic form and the conditions in which poetry was created. It likewise sheds light on the intricate ways in which poets resisted, influenced, and manipulated others by poetic means. Based on the obvious fact that collaborative composition is imbued with the spirit of play, I offer at the end of the article criticism of Johan Huizinga’s famous play concept and his (much less famous) views of early Arabic culture and poetry in light of the evidence I studied.

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23

Fathallah, Shaho S. "Kurdish Existential Concern in Arabic Poetry." Journal of University of Human Development 4, no. 1 (March 31, 2018): 57. http://dx.doi.org/10.21928/juhd.v4n1y2018.pp57-67.

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The anxiety and alienation are conditions which drive poets to search and, at times, to go astray in the homelands and exiles of the existence. These conditions could be real or metaphorical according to poets' experiences. They attract and seduce poets until they settle in the imaginary space of the poetic language. The Arabic language was an imaginary homeland for two Kurdish poets in two different eras: Shams Al-Din Al-Suhrawardy (1155-1191) and Salim Barakat (1951), who both used the Arabic language in order to aesthetically express their anxiety and alienation. It cannot be confirmed that the motif which drove both poets to invest the poetic language were similar or exactly the same. However, the semantic interpretation of both experiences allows the researcher to examine common aspects between them in terms of the way they used the potentials of Arabic language, which was totally different from their mother language. There is another comparable point between Al-Suhrawardy and Barakat relates to their poetic experience with regard to the existential questions, as well as the poetic treatment with similar human situations

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24

Abdullah, Abdul-Samad. "Intertextuality and West African Arabic Poetry: Reading Nigerian Arabic Poetry of the 19th and 20th Centuries." Journal of Arabic Literature 40, no. 3 (November 1, 2009): 335–61. http://dx.doi.org/10.1163/008523709x12554960674610.

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25

Dardiri, Taufiq A. "PERKEMBANGAN PUISI ARAB MODERN." Adabiyyāt: Jurnal Bahasa dan Sastra 10, no. 2 (December 31, 2011): 2834. http://dx.doi.org/10.14421/ajbs.2011.10204.

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This article aims to study the development of Arabic poetry from its early phase to its modern one. Having used a historical-diachronic study of form and content of Arabic poetry, this article concludes that Arabic poetry, as the oldest genre in the Arabic literary tradition, has hardly developed. Not until the 20th century, more commonly known in the history of Arabic literature as As}r al-Nahd}ah, that the awareness of the absence of creativity in Arabic poetry and external factors due to the interaction of Arab with the West have given birth the seeds of modern Arabic poetry. At least, there are five schools of modern Arabic poetry, namely: Neo Classical (al-Muhāfizun) with such its central figures as Mahmud Sami and Ahmad al-Barudi Syauqy; Western Romanticism, which was pioneered by Khalil Mutran; Madrasah Dīwān, which was propagandized by Abd al-Rahman Shukri, Abbas Mahmud al-'Aqad, and Ibrahim Abd al-Qadir al-Mazini; Madrasah Apollo, which was carried by Ahmad Zaki Abu Syadi; and Madrasah al-Muhajir, which is pioneered by Jibran Khalil Jibran. Each has contributed their part in Arabic poetry formally as well as contentially. Those schools have became a tradition of modern Arabic poetry. The emergence of modern Arabic poetic tradition has been accompanied by three general pattern- the influence of literary patterns of the more advanced cultures, the escapism, and the search for identity.

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26

Anwari, Moh Kanif. "PANDANGAN ADONIS TERHADAP PUISI DAN MODERNITAS." Adabiyyāt: Jurnal Bahasa dan Sastra 11, no. 2 (December 31, 2012): 197. http://dx.doi.org/10.14421/ajbs.2012.11202.

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Poetry is a mirror of a society. It contains the poets’ emotions, thought, and impression poured through the medium of language. This paper describes the thought of Ali Ahmad Said, who is better known as Adonis, on Arabic poetry from the perspectives of literature, linguistics, culture, and philosophy. The study begins by describing Adonis’ biography, followed by a description and analysis of Arabic poetry, its forms and relation to religion and modernity. The formulated problems concerns who Adonis is, how the position of Arabic poetry in relation with culture (religion) is, and how the modernity of Arabic poetry is. Using descriptive analytical method and making al-Shi’riyya al-‘Arabiyya the main reference, the paper comes to a conclusion that Adonis is a person who tends to reject the establishment in many facets of the Arabs’ life and further encourage them to accept changes. Arabic poetry serves as a more effective medium for the authority to establish the public religiosity. With all its traditionalism, Arabic poetry turns out to show its modernity because it maintains a high plurality and never ending creativity.

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27

Al Faouri, Awni Subhi. "Intertextuality in Habib Al Zayoudi’s Poetry." Journal of Arts and Social Sciences [JASS] 6, no. 2 (June 1, 2015): 107. http://dx.doi.org/10.24200/jass.vol6iss2pp107-116.

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This research paper discusses intertextuality in Habib Al Zayoudi’s poetry. Intertextuality is considered one of the recent techniques used in modern Arabic criticism. The study shows that the poet is fully aware of pre- Islamic poetic and cultural works. He is also fully aware of the poetic and intellectual output of the Arabs since early Arabic and Islamic times until today. The study also shows that the poet is also aware of the overall human legacy. The study found that Al Zayoudi invested his encyclopedic knowledge and utilized it in his unique poetic production, which earned him a prominent position on the scene of Arabic poetry.

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28

Wang, Yong, and Olga V. Vinogradova. "Contemporary Chinese poetry and Russian modernist and postmodernist poetry: influence and analogy." RUDN Journal of Studies in Literature and Journalism 24, no. 4 (December 15, 2019): 704–12. http://dx.doi.org/10.22363/2312-9220-2019-24-4-704-712.

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For the last thirty years, Chinese poetry mostly has been well-known for three schools, namely: “Misty Poetry”, “Intellectual Writing”, and “Folk Writing”. Russian poets of diff erent periods were among those who had a notable impact on the works of Chinese poets. Russian lyric poets praising freedom, love, and relationships with nature became the main source of inspiration for “misty” poets. “Intellectual” poets felt their being close to the Russian Silver Age poets: A. Akhmatova, A. Blok, B. Pasternak, M. Tsvetaeva. Their poems include examples of direct addressing to them. “Folk” poets created an enormous and diverse area of postmodernist poetic texts, which is in sync with Russian poets of postmodernism. In the fi rst part of the article, the authors review the contemporary Russian poetry, in particular the “second avant-garde” poetry, in relation with the contemporary Chinese poetry that was “moved in time” for some decades, but came across the same processes of rising and the dialogue with society (sometimes provocative), with the world poetry, processes of introspection and experimental search. The second part of the article deals with the aspects of infl uence, made by Russian poets of different periods upon Chinese poetry, and with the issues of further development of contemporary Chinese poetry.

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29

Jovanovic, Dragana. "Ethical codex in Serbian folk epic poetry." Godisnjak Pedagoskog fakulteta u Vranju, no. 7 (2016): 327–35. http://dx.doi.org/10.5937/gufv1607327j.

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30

Magomedova, R. M. "Satire and humor in Avar folk poetry." Herald of Dagestan State University 34, no. 2 (2019): 27–32. http://dx.doi.org/10.21779/2542-0313-2019-34-2-27-32.

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31

Turner, Frederick. "Translating Albanian Folk Poetry: A Collaborative Venture." Translation Review 76, no. 1 (September 2008): 58–64. http://dx.doi.org/10.1080/07374836.2008.10523983.

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32

Tomashevich, George V., and Zora Devrnja Zimmerman. "Serbian Folk Poetry: Ancient Legends, Romantic Songs." Journal of American Folklore 100, no. 397 (July 1987): 345. http://dx.doi.org/10.2307/540340.

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33

Mehl, Scott. "Early Twentieth-Century Terms for New Verse Forms (‘free verse’ and others) in Japanese and Arabic." Studia Metrica et Poetica 2, no. 1 (July 7, 2015): 81–106. http://dx.doi.org/10.12697/smp.2015.2.1.04.

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In the first half of the twentieth century, when Japanese and Arabic poets began writing free-verse poetry, many terms were proposed as labels for the new form. In addition to the calques on “free verse,” neologisms were created to name the new poetry. What is striking is that, in these two quite different literary spheres, a number of the proposed neologisms were the same: for example, in both Japanese and Arabic the terms prose poetry, modern poetry, and colloquial poetry were proposed (among others) as alternatives to the label free poetry. This essay provides an annotated list of the neologisms in Japanese and Arabic, with a list of English terms for comparison; and by referring to the contemporary Japanese and Arabic criticism on the topic of poetic innovation, this essay attempts to explain the similarity between the Japanese and Arabic neologisms. In short, the Japanese and Arabophone arguments in favour of adapting the free-verse form were based on similar premises regarding modernity, freedom, and a vision of literary history that was rooted in an evolutionary theory of genre development.

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34

Homerin, Th Emil. "Arabic takhalluṣ, Persian Style in Muḥammad al-Ṣūfī’s Poems to Muḥammad the Prophet." Journal of Arabic Literature 51, no. 3-4 (August 20, 2020): 325–50. http://dx.doi.org/10.1163/1570064x-12341409.

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Abstract Though a signature verse (takhalluṣ) is often found in medieval Persian and Ottoman Turkish poetry, this is less frequently the case in Arabic poetry at this time. However, Muḥammad Ibn al-Shihābī al-Ṣūfī included such a signature verse in 38 Arabic poems, many inspired by recitations of Ibn al-Fāriḍ’s poetry. This article offers a critical Arabic edition and English translation of two of these poems, followed by an extensive discussion of linguistic and stylistic aspects of Ibn al-Shihābī’s Arabic and poetic style. Both poems also highlight trends in Arabic poetry at the end of the 9th/15th century, including the incorporation of elements from regional varieties of Arabic, and Ibn al-Shihābī’s innovative use of the signature verse, which may reflect the influence of Sufi chanting practices.

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35

Walther, Wiebke, and Shmuel Moreh. "Studies in Modern Arabic Prose and Poetry." Die Welt des Islams 31, no. 2 (1991): 286. http://dx.doi.org/10.2307/1570599.

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Simawe, Saadi A. "Modernism & Metaphor in Contemporary Arabic Poetry." World Literature Today 75, no. 2 (2001): 275. http://dx.doi.org/10.2307/40156527.

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Wagner, M. S. "Arabic Influence on Sabazian Poetry in Yemen." Journal of Semitic Studies 51, no. 1 (January 1, 2006): 117–36. http://dx.doi.org/10.1093/jss/fgi085.

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ABU-HAIDAR, J. A. "WHITHER THE CRITICISM OF CLASSICAL ARABIC POETRY?" Journal of Semitic Studies XL, no. 2 (1995): 259–81. http://dx.doi.org/10.1093/jss/xl.2.259.

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Andrzejewski, B. W. "Is there Arabic influence in Somali poetry?" Journal of African Cultural Studies 23, no. 1 (June 2011): 59–72. http://dx.doi.org/10.1080/13696815.2011.581458.

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Mavroudi, Maria. "Comparing Byzantine and Arabic poetry: Introductory remarks." Zbornik radova Vizantoloskog instituta, no. 55 (2018): 257–70. http://dx.doi.org/10.2298/zrvi1855257m.

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Rybalkin, S. "Modern Moroccan Arabic poetry: forming and evolution." World of the Orient 2014, no. 1 (March 30, 2014): 95–109. http://dx.doi.org/10.15407/orientw2014.01.095.

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Al-Ghadeer, Moneera. "Arabic Poetry: Trajectories of Modernity and Tradition." Journal of Arabic Literature 38, no. 2 (November 1, 2007): 227–33. http://dx.doi.org/10.1163/157006407783182308.

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Jacobi, Renate. "The "Khayāl" Motif in Early Arabic Poetry." Oriens 32 (1990): 50. http://dx.doi.org/10.2307/1580624.

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Jacobi, Renate. "The khayāl motif in early Arabic poetry." Oriens 32, no. 1 (July 4, 1990): 50–64. http://dx.doi.org/10.1163/18778372-03201003.

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Sanni, Amidu. "Arabic Poetry: Trajectories of Modernity and Tradition." British Journal of Middle Eastern Studies 40, no. 2 (April 2013): 224–26. http://dx.doi.org/10.1080/13530194.2013.777658.

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Moreh, Shmuel. "Studies in Modern Arabic Prose and Poetry." Journal of Arabic Literature 19, no. 2 (January 1, 1988): 210. http://dx.doi.org/10.1163/157006488x00128.

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Maxton, Rosie. "Sulayman al-Ghazzi and Christian Arabic Poetry." Bulletin for the Council for British Research in the Levant 12, no. 1 (January 2017): 91–92. http://dx.doi.org/10.1080/17527260.2017.1556956.

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Snir, Reuven. "“The Eye’s Delight”: Baghdad in Arabic Poetry." Orientalia Suecana 70 (2021): 12–52. http://dx.doi.org/10.33063/diva-437598.

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Bohas, Georges, and Djamel Eddine Kouloughli. "Towards a systematic corpus analysis of Arabic poetry." Linguistic Approaches to Poetry 15 (December 31, 2001): 103–12. http://dx.doi.org/10.1075/bjl.15.08boh.

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Recent work on Arabic metrics aims at developing a coherent research programme which relies on the systematic analysis of electronic corpora. The computer program XALIYL performs, for any line of ancient Arabic poetry, an automatic recognition of the metre used. This operation takes place whatever the length of the verses, and regardless of whether they are encoded in ordinary Arabic script (with the addition of vowels) or by means of the TRS system, which relates functionally to ordinary Arabic script. XALIYL produces a textual database that contains the syllabic decomposition for each hemistich of each line, as well as its metrical analysis. It can cope not only with the general problems linked to re-syllabification and sandhi, but also with problems of syllabification specific to Arabic metrics. Errors due to the metrical scanning or to the editing of poems can be located automatically. Moreover, by allowing a computerised search for formulae, XALIYL provides significant information on the “formulaic systems” of ancient Arabic poetry.

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Gromova, Mariya. "Translations of slovenian children’s poetry into russian." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 364–81. http://dx.doi.org/10.31860/2304-5817-2020-2-18-364-381.

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This study summarizes the history of Slovenian poetry for children and its translation into Russian. The article reviews translated poems by Slovenian authors and Slovene folk poetry written for children from 1955 to the present. Translations of Slovenian children’s folk lore into Russian date back to 1971. They are mainly represented by folk songs and addressed to preschoolers translated into Russian by Leonid Yakhnin. Currently, Zhanna Perkovskaya is engaged in translations of Slovenian children’s literature into Russian. The largest number of publications of Slovenian poetry for children happened in the 1980s. After 1991, there was a long period of silence. However, in recent years, due to the interest of Russian publishers in Slovenian children’s literature successful at home, as well as a significant demand for books for preschoolers, the publication of children’s poetry by Slovenian authors has resumed.

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