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1
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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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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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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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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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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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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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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ZARANTONELLO, MARIANNA. "The Arabic Reception of Pagan Greek Poetry and Poets in the ʿAbbāsid Period." Doctoral thesis, Università degli studi di Padova, 2022. http://hdl.handle.net/11577/3459402.
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Il presente studio indaga le dinamiche di ricezione della poesia greca pagana in lingua araba durante l’epoca ʿabbāside, nel contesto del cosiddetto movimento di traduzione e della tradizione filosofico-letteraria che si sviluppò a partire da esso. Questo specifico fenomeno di ricezione è avvenuto sia per via di traduzione passiva di testi greci in siriaco e in arabo sia attraverso un’assimilazione più libera di frammenti testuali e motivi narrativi, ma ha avuto, in generale, una portata piuttosto limitata. La poesia greca sembra essere stata ai margini degli interessi degli intellettuali arabofoni di epoca ʿabbāside e, infatti, non si conservano né sono attestate traduzioni integrali di opere di poesia greca (ad eccezione di alcuni poemi di argomento scientifico o moralistico-filosofico). Dunque, la trasmissione di questa parte della letteratura greca è avvenuta per lo più per via indiretta, attraverso frammenti sparsi provenienti da fonti eterogenee. Queste possono essere ricondotte a due macrocategorie che corrispondono a due canali di trasmissione principali. La prima macrocategoria è costituita dai riferimenti poetici contenuti in trattati filosofici, medici e scientifici tradotti in arabo. Data la vastità di questo campo di indagine ci siamo concentrati sull’esame delle versioni arabe del Corpus Aristotelicum. Il secondo canale di trasmissione è la letteratura dosso-gnomologica, cioè compilazioni di aneddoti e detti che mescolano materiali di diversa origine, non solo greca e arabo-islamica. Oltre a questi corpora di testi, sono state esaminate importanti fonti documentarie che attestino una conoscenza e una trasmissione, almeno parzialmente orale, di elementi narrativi e topoi letterari.This study investigates the dynamics of reception of pagan Greek poetry in Arabic during the ʿAbbāsid era, in the context of the so-called translation movement and the philosophical-literary tradition that developed from it. This specific phenomenon of reception took place either through passive translation of Greek texts into Syriac and Arabic or through a freer assimilation of textual fragments and narrative motifs, but it had, in general, a rather limited scope. Greek poetry seems to have been at the margins of the interests of Arabic-speaking intellectuals of the ʿAbbāsid period, and, in fact, no full translations of works of Greek poetry are preserved or attested (with the exception of a few poems on scientific or moralistic-philosophical subjects). Thus, the transmission of this part of Greek literature took place mostly indirectly, through scattered fragments from heterogeneous sources. These can be reduced to two macrocategories corresponding to two main channels of transmission. The first macrocategory consists of poetic references contained in philosophical, medical and scientific treatises translated into Arabic. Given the vastness of this field of investigation, we have concentrated on examining the Arabic versions of the Corpus Aristotelicum. The second channel of transmission is the doxo-gnomological literature, i.e., compilations of anecdotes and sayings mixing materials of different origins, not only Greek and Arabic-Islamic. In addition to these corpora of texts, important documentary sources attesting to an at least partially oral knowledge and transmission of narrative elements and literary topoi were examined.
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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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Abu, Talib Safa M. "An analysis of Qur'anic themes in five Persian poets of the 5th/11th-6th/12th centuries, with comparative reference to Arabic 'Abbasid poetry." Thesis, SOAS, University of London, 1988. http://eprints.soas.ac.uk/29310/.
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The present thesis analyses the extensive utilisation of Qur'anic materials by Unsuri, Farrukhi, Manuchehri, Abu 'l-Faraj-i Runi and Anvari, and seeks to determine the degree to which it may be seen as a particular thematic development within Persian poetry-rather than as part of a literary tradition developed from Arabic models. The introduction is followed by a comprehensive statistical survey of Qur'anic references in the. Persian poets, with, for comparison, a similar survey covering the work of five Arab poets: Abu Nuwas, Abu al-cAtahiya, Abu Tammam, al-Buhturi and al-Mutanabbi. Each of the following chapters covers a particular thematic area and, where appropriate, is internally subdivided according to the individual episodes. The first major thematic area to be treated is that of Paradise. This is followed by an extensive survey of the materials relating to the prophets, principally Moses, Jesus and Solomon. A third chapter considers miscellaneous other Qur'anic references. Each of these three chapters is organised along similar lines: an initial statistical survey giving a comprehensive listing of the individual citations is followed by general remarks on the context of use and a more detailed commentary on verses of particular literary and thematic interest. Arab and Persian usage is compared, and attention drawn to aspects of rhetorical technique. The implication of the findings yielded by the above investigation is discussed in the final summary. This seeks to evaluate how far the themes and techniques observed in the Persian poets are also present in the diwans of five major cAbbasid poets who, on the one hand, were clearly known to the Persian poets under consideration (and hence a model for them), and, on the other, represent a period when Islamic culture and, specifically, knowledge of the Qur'anic text, had become a standard ingredient of literary training, and hence available for exploitation alongside more traditional materials of poetic discourse.
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Mutiso, Kineene Wa. "Kasida ya Hamziyyah (part 1)." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-98128.
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Kasida ya Hamziyyah, yumkini, ndiyo tafsiri ya Kiswahili ya zamani zaidi.
Kiswahili kilichotumiwa katika ukawafi huu kimechakaa sana hata
maneno mengine hayatumiki tena. Hii ni kasida ambayo ni maarufu
sana katika ulimwengu wa fasihi na dini ya Kiislamu na Waswahili
huikariri wakati wa sherehe za Maulidi ya Nabii Muhammadi au
wanapocheza Twari la Ndiya. Kasida hii ya Hamziyah pia hujulikana
kama Chuo cha Hamziyah au Utenzi wa Hamziyah. Kasida ya
Hamziyyah ilitafsiriwa kutoka kwa Kiarabu na Sayyid Aidarus bin
Athumani bin Sheikh Abubakar bin Salim hapo mwaka wa 1652b.
Pamoja na kuinukuu kwa hati za Kirumi nimebawibu Hamziyah katika
sehemu mbalimbali, kulingana na maudhui yake, ili iweze kusomeka
kwa urahisi na iweze kuwavutia wasomaji. Katika miswada ya Kiswahili
niliyoipata, mswada mmoja una ubeti mmoja zaidi.
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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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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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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 - MAThis 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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Khalifa, Tarek. "Génèse de la critique arabe moderne." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3066/document.
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Cette recherche porte sur l'évolution de la critique poétique arabe moderne, elle combine deux volets, l'un diachronique et l'autre analytique. D'une part, elle exAmīne l'histoire de cette évolution qui en l'espace d'un siècle a été impressionnante et d'autre part elle analyse ce phénomène qui dans l'histoire littéraire mondiale ne s'est jamais produit sur une durée aussi courte. La période de la nahḍa a commencé durant la deuxième moitié du XIXème siècle et a duré jusqu'aux années trente du XXème siècle. La littérature arabe a été ébranlée par une multitude de mouvements à la fois conservateurs et modernistes , mouvements qui ont tantôt cohabité et tantôt se sont opposés ; la poésie, en particulier a comblé un retard de cinq siècles, comme en témoignent le nombre de poèmes et de recueils publiés et la multiplication des styles et des écoles littéraires.Durant un siècle et souvent pendant la même période, nous pouvons découvrir des poètes classiques, néoclassiques, romantiques, symboliques et réalistes. La production poétique a aussi été très variée et a respecté les règles classiques relatives à la mesure et aux rimes tout en affichant un retour vers la forme classique pour affirmer la maîtrise. Puis, l'inspiration du "muwaššaḥ" a fait son apparition et s'est détourné de l'exigence de la forme traditionnelle avec quelques tentatives pour écrire de la poésie libre et en prose avec de nouvelles mesures et enfin l'arrivée de la poésie blanche...etc.Toutes ces tentatives pour se rattacher à un courant n'ont pas échappé à la critique qui a parfois ouvert la voix aux poètes et a parfois précédé la production poétique et qui a subi la pression moderniste en essayant de la rejoindre; la critique a puisé dans les écrits anciens et en même temps une ouverture sur la critique occidentale. La révolution contre le traditionalisme est lancée avec des écoles qui ont revendiqué une coupure avec l'héritage des classiques. D'autres courants vont résister à l'influence européenne en prenant pour prétexte le combat contre le colonialisme occidental. Ces courants très résolus ont défendu l'attachement à l'ancienne école en invoquant la pureté de la langue du Coran, la richesse de cet héritage et le fait que cette modernisation peut susciter des théories inadaptées à la réalité sociale et culturelle. Nous tentons dans cette étude de présenter et d'analyser les quatre étapes que la poésie et la critique poétique ont traversées durant cette période :- L'étape de l'imitation médiocre. - L'étape de l'imitation cohérente et éloquente.- L'étape de l'innovation liée à la ferveur nationaliste.- L'étape de l'innovation liée à un sentiment de liberté individuelleThe research work presented in this manuscript focuses on the evolution of the modern Arab poetry critic. The work is two fold: one diachronic and the other analytical. We detail on one hand the history of such evolution, which, in the space of a century, has been quite impressive, and on the other hand,we analyze this phenomenon, which has never occurred in the world literacy history over such a short time span. The period of the nahda started in the second half of the XIXth century and lasted up to the last years of the XXth century. The history of the Arab literature has been shattered by numerous events, at the same time conservative and modernist. Those events were at times contiguous and at times opposite: poetry in particular, has caught up with a major delayof nearly five centuries, as witnessed by the number of poems and collections published,and as well asby the multiplication of styles and literacy schools.Over the span of a century, and often within the same period, one may discoverand study classical, neoclassical, romantic, symbolic as well as realist poets. Furthermore, the poetry production has also been diversein styles, but at the same time addressed the classical rules related to the measure and the rhymes, while displaying a reversal movement towards the classical form, mainly to show and prove mastering skills. Then, the inspiration of the "muwaššaḥ" appeared and has strayed away from the requirements of the traditional form, with a few attempts to write free poetry as well as prose with new measures, and eventually came to the birth of white poetry,… etc.All those various efforts attempting atreclaiming a main historic literacy flow has definitely not been overlooked by the critic, which at times has brought forward poets, and at times has even preceded the poetic production which has undergone through the modernistic pressure by trying to join that same flow; the critique has drawn in the ancient scripts and at the same time in the opening into the occidental critic. The revolution against traditionalism has been launched with various schools who have claimed a split with the inheritance of the classics.Other currents have resisted to the European influence by pretexting a fight against occidental colonialism. These very resolute currents have defended the attachment to the ancient school by invoking the purity of the language of the Koran, the richness of this heritage and the fact that this modernization can produce ill-adapted theories to the social and cultural reality.We attempt in this work to present and analyze the four stages, through which poetry and the poetry critic have gone through during the past century:1) The stage of mediocre imitation 2) The stage of coherent and eloquent imitation, 3) The stage of innovation linked to a nationalist fervor4) And eventually the stage of innovation linked to a feeling of individual freedom
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Alharthi, Jokha Mohammed. "I have never touched her : the body in Al-Ghazal Al-‘Udhri." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5689.
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Al-ghazal al-‘udhri emerged as a remarkable literary genre in Arabic literature during the Umayyad period (7th-8th centuries CE). The leaders of this genre are famous poet-lovers who were known for their dramatic love stories and unique poetry, such as Majnun Layla, Qays Lubna and Jamil Buthaynah. There is a common presumption of the absence of the concept of the body in al-ghazal al-‘udhri; most scholars to date have only reproduced commonly- held ideas about the purity of ‘udhri love without doubting its supposed chastity. This thesis, however, argues that the body has a privileged position in al-ghazal al-‘udhri. It shows that the body’s presence is represented, realistically or allegorically, in various ways, both in anecdotes ascribed to ‘udhri poets as well as in their poetry. Although some critics have discussed the theme of the ‘depiction of the beloved’s body’, it is the contribution of this study to illuminate the ‘ethereal nature of beauty’ in this depiction. Moreover, this thesis provides a discussion about the symbolic body in ‘udhri poetry. It provides a departure from the prevailing views on the ‘udhri phenomenon in studies of classical Arabic literature. It opens the door to new discussions on the relationship between love poetry and Arab society in the classical age. It is also a contribution to literary studies of representations of the body.
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Akkari, Karim. "Langue légitime ou légitimation du discours : étude comparative sur le rapport des grammairiens avec les différents corpus d'énoncés de l'arabe normatif." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC031.
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Cette thèse s’intéresse au corpus d’énoncés reconnu légitime pour asseoir un parler dit « normatif ». L’engouement pour la langue des Arabes et son apprentissage s’est fait - depuis la propagation de l’Islam - de plus en plus fort. L’arabe devient alors objet d’étude. Très tôt, à une époque encore discutée, s’organise une grande collecte des éléments constitutifs de ce qui allait servir de base à l’établissement des codes linguistiques de la langue arabe. En parallèle, s’effectue également une autre collecte : celle des récits sur les dits et faits du Prophète Muḥammad, composant le corpus du Hadith (ou de la Tradition dans une plus large mesure). Ainsi, le Hadith est-il incontestablement devenu une des sources les plus importantes, presque incontournable dans les sciences arabo-islamiques. À la mesure de la place qu’il occupe dans beaucoup de disciplines, on aurait pu s’attendre à ce qu’il ait une légitimité prépondérante dans le domaine de la grammaire arabe mais il n’en est pas ainsi. Contre toute attente, le Hadith semble n’arriver qu’à une place subalterne. Le grammairien, qui tient un discours ou une discussion sur la langue, se base sur un corpus d’énoncés reconnu légitime pour asseoir des règles grammaticales et celui-ci regroupe essentiellement le Coran et les propos arabes (poésie et prose anciennes). Dans le discours grammatical, le Hadith n’est peut-être pas absent, mais il voit sa légitimité extrêmement discutée. Nous avons essayé d’éclaircir ce point en inscrivant cette polémique dans un questionnement plus global. Nous nous sommes intéressé à l’étude du rapport entre la légitimité de la langue et les différents corpus qui forment son assise. Quels ont été les critères d’inclusion et d’exclusion entrant en compte pour la constitution de ce corpus ? Quel outil représentait chacun des textes (Coran, Hadith et Kalam al-ˁArab) pour le grammairien ? Au-delà des assertions, nous avons observé l’attitude du grammairien avec ces différents textes prenant soin de mettre en exergue à la fois les particularités mais aussi les points communs de ces sourcesThis thesis deals with the corpus of statements recognized as legitimate in order to establish a so-called "normative" speech. The enthusiasm for the Arabic language and its study became increasingly strong with the spread of Islam. Arabic becomes an object of study. Very early on, at a time still being discussed, a large collection of elements constituting what would serve as a basis for the establishment of the linguistic codes of the Arabic language was organized. At the same time, there is also another collection: that of the narratives on the said and the facts of the Prophet Muḥammad, composing the corpus of Hadith (or Tradition to a greater extent). Thus, the Hadith has undoubtedly become one of the most important sources, almost impossible to circumvent in the Arab-Islamic sciences. Given the major role it plays in many disciplines, one might have expected it to have a preponderant legitimacy in the field of Arabic grammar, but this is not so. Against all expectations, the Hadith seems to arrive only at a subordinate place. The grammarian, who holds a discourse or a discussion on the language, bases himself on a corpus of statements recognized as legitimate in order to establish grammatical rules. This corpus essentially groups together the Quran and the words of the Arabs (ancient poetry and prose). In grammatical discourse, the Hadith may not be absent, but its legitimacy is extremely debated. We have tried to clarify this by putting this polemic into a more global questioning. We are interested in studying the relationship between the legitimacy of the language and the different corpuses that form its foundation. What were the inclusion and exclusion criteria for the constitution of this corpus? What tool did each of the texts (Qur'an, Hadith and Kalam al-ˁArab) represent for the grammarian? Beyond the assertions, we have observed the attitude of the grammarian toward these different texts taking care to highlight both the peculiarities but also the common points of these sources
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Alguiz, Yassin. "Dimensions spirituelles de la poésie de Léopold Sédar Senghor et de Mohamed Al Faytouri." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30001.
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Cette thèse est une étude comparative entre L. S. Senghor, poète sénégalais d’expression française, et Mohamed Al-Faytouri, poète soudano-libyen d’expression arabe. Elle consiste à révéler et comparer les dimensions spirituelles de leurs poésies. Elle vise également à mettre en évidence la multivalence de la quête qui est indissociable de leur écriture. Leurs œuvres s’articulent sur les rapports féconds et ambigus entre l’humain et le divin, le matériel et le spirituel, les vivants et les morts, le visible et l’invisible. La démarche critique suit les deux poètes dans leur aventure poético-spirituelle qui correspond à la trajectoire du mystique à la recherche du surréel et de l’absolu. La poésie senghorienne se nourrit du souffle animiste et de l’esprit chrétien. La poésie faytourienne est marquée par la spiritualité soufie et par la mystique africaine. Elle renferme aussi des allusions animistes et chrétiennes.Quel que soit le degré d’originalité propre à chacun d’eux, ils ont en commun des thèmes qui forment un ensemble cohérent. Leurs poèmes sont intrinsèquement imprégnés du mysticisme africain qui se manifeste dans l’omniprésence des Esprits et des Ancêtres. Les deux poètes ont le même désir de retourner aux origines, de réintégrer l’innocence originelle et d’entrer en communion avec le sacré ; ils ont la même aspiration à une pureté qu’ils cherchent dans une voie jalonnée de difficultés. Ils s’efforcent de sonder le sens de l’existence et de vivre en harmonie parfaite avec le cosmos. Ils recourent à la médiation de la femme, de la musique, de la nuit et de la nature afin d’établir la communication avec l’univers intime et secret de l’invisibleThis thesis concerns a comparative study between Senghor; a Senegalese poet who writes in French and Mohamed AL-Faytouri, half Sudanese half Libyan poet who writes in Arabic. It targets comparing the spiritual dimensions of their poems. Furthermore, it aims to show the multiple meanings of the quest that cannot be separated from their poems. Their writings describe the search of unity between human and divine, material and spiritual, the living and the dead and finally visible and invisible. Our critical approach would follow the poetic and spiritual adventure of both poets regarding their search for the surreal and the absolute. Senghor's poetry is influenced by the animist and Christian spirituality, while Faytouri’s poetry is inspired by the Sufi spirituality and by African mysticism.In spite of their different origins, they use the same themes that complete each other in establishing a coherent form. The two poets have the same desire to return back to the origins, find the original innocence and have the mystical union. Their search for “purity” in human nature is surrounded by danger. They aim to emphasis on the idea of living in perfect coherence with the Universe. Last but not least, the poets refer to woman’s mediation, music, night and nature to communicate with the intimate and the secret of the invisible
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Omar, Yahya Ali. "Burdai ya Al-Busiri." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97744.
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The Burda (or `mantle´), an Arabic poem in praise of the prophet Muhammad (s. a.u.), was composed in Egypt by the 7th /13th century poet al-Busiri. Over the centuries the Burda of al-Busiri has become familiar in many parts of the Islamic world, including Swahili-land -where it is known as Burdai. Although it has already been translated into Swahili verse, this seems to be the first occasion that the Burdai has been translated into Swahili prose (into kiMvita, the speech of Swahili Mambasa). The translation which follows employs a new system of orthography which now appears in print for the very first time.
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Rudavsky-Brody, Miriam. "Solomon ibn Gabirol and Samuel ibn Naghrela: An Examination of Life and Death." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374014712.
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Pierce, Amira. "Far Away Is Here." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/261.
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What follows is a compilation of the best works of creative writing I have completed during my three-year tenure as an M.F.A. candidate in the Department of English at Virginia Commonwealth University. Although I have included the debatably disparate genres of poetry, non-fiction, and fiction (including both short stories and a novel excerpt), it is my aim that the variety of types of work under this cover come together to form a whole. Through themes such as religion, family, romantic relationships, travel, “the exotic,” and nationality, my project is to illuminate the complications that place and identity (or, in more writerly terms, setting and character) pose to the human psyche. The non-fiction piece lays a literary groundwork by reflecting on experiences of travel and language in relation to James Joyce's masterwork, and, while the poems offer brief meditations with a focus on language at the micro-level, the short stories give longer narrative hooks that draw out themes through a network of actions and images. The novel is still a work-in-progress, but this polished opening excerpt shows the promise of what I hope it to be: an amalgamation of the shifting identities of modern Arab and Arab-American people as seen through the lens of a psychic sort of epistolary love story.
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Kchouk, Ayachi Khedija. "L'héritage du soufisme dans la poétique arabe contemporaine." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC018/document.
Full textAbstract:
Dans son premier chapitre, cette étude présente la poétique chez les penseurs, poètes et critiques confondus, dans le patrimoine arabe traditionnel jusqu’au XIVe siècle en en faisant la synthèse. Son deuxième chapitre expose le soufisme dans ses grandes lignes et dans ce qui le distingue en tant qu’approche existentielle de l’ensemble de la vision islamique. Ces mêmes caractéristiques se reflètent dans le troisième chapitre à travers la production poétique de trois de ses plus célèbres représentants à savoir Râbia Al- Adawiyya (m. 725), Umar Ibn Al-Fâridh (m.1235) et Mohyî Al-Dîn Ibn Arabî (m.1240). L’analyse de leurs œuvres respectives démontre que Râbia dans sa quête de purification, Ibn Al-Fâridh dans sa recherche à propager sa foi soufie à travers sa Tâiyya Al-Kubrâ (La Grande Tâiyya), et Ibn Arabî avec son dessein de réfuter tout écrit stable et rigide dans son recueil Turjumân Al-Achwâq (l’Interprète des désirs), ont eu trois approches différentes de la création poétique. Râbia l’utilise comme catharsis. Ibn Al-Fâridh, en s’adressant essentiellement à son lecteur, essaye de l’imprégner de sa propre foi soufie, alors qu’Ibn Arabî cherche à instaurer « un Texte » idéal. Aussi conclut‑on que ces poètes soufis ont eu trois approches différentes de la création poétique. L’analyse de leurs œuvres respectives démontre qu’« émetteur », « récepteur » et « message » sont les trois pôles d’intérêts de ces poètes. Dans le quatrième chapitre de cette étude, trois œuvres poétiques de trois poètes contemporains sont analysées afin de déceler les filigranes soufis de leurs poèmes. Il s’agit de « Al-Tûfân Al-Aswad » (Le déluge noir) de Muhammad Miftâh Al-Faytûrî (1936-…), d’Al-Kibrît wa Al-Asâbi (l’Allumette et les doigts) de Nizâr Qabbânî (1923-1998), et de Qaṣîdat Al-Takwîn (le poème de la genèse) d’Adonis (1930-…). Ainsi cette analyse prouve-t-elle l’influence du soufisme dans la pratique de la création poétique arabe. Quant au cinquième chapitre, il démontre cet héritage soufi dans les théories poétiques arabes contemporaines et son influence dans l’instauration de trois approches poétiques différentes constituant ce que l’on appellerait « l’école purificatrice », « l’école imprégnatrice » et « l’école de la réfutation» ; ces théories ne tenant nullement compte du corpus littéraire exposé dans le premier chapitre. Outre la traduction de Claudine Chonez de « la Grande Tâiyya », les poèmes analysés sont cités en annexe à la fin de cette étude avec une traduction personnelle, qui bien qu’elle ne prétende nullement refléter la profondeur et la beauté des poèmes arabes, ne désespère pas pour autant de la laisser entrevoirThe first chapter in this study presents the poetic thinkers, poets and critics alike, in the traditional Arabic heritage until the fourteenth century by making a synthesis. The second chapter presents Sufism in outline and in what distinguishes it as an existential approach throughout the Islamic view. These same characteristics are reflected in the third chapter through the poetic production of three of its most famous representatives namely Rabia Al-Adawiyya (d. 725), Umar Ibn Al-Fâridh (d. 1235) and Mohyî Al -Dîn Ibn Arabi (d. 1240). The analysis shows that in their respective works, they also had three different approaches to poetic creation. Rabia with her quest for purification uses it as a catharsis, Ibn Al-Fâridh, with his quest to spread his Sufi faith through his Al-Tâiyya Kubrâ (The Great Tâiyya),tries to impregnate his own Sufi liver faith, and Ibn Arabi, with his plan to refute any writing stable and rigid trough his collection of poems Turjumân Al-Achwaq (the interpreter of desires), seeks to establish an ideal "Text ".Thus we can conclude that these Sufi poets had three different approaches to poetic creation. The analysis of their respective writings demonstrates that "issuer", "receiver" and "message" are the three core interests of these three Sufi poets. In the fourth chapter of this study, three poetic works of three contemporary poets are analyzed to detect the Sufi watermarks of these poems. It is Al-Tufan Al-Aswad (The Black Flood) of Muhammad Miftâh Al-Faytûrî (1936 - ...), Al-Kibrît wa Al-Asâbi (The Match and the Fingers) of Nizar Qabbâni (1923-1998), and Qasîdat Al-Takwîn The Poem of the Genesis of Adonis (1930 - ...). Their analysis proves the influence of Sufism in the practice of the creation of Arabic poetry. The fifth chapter demonstrates this Sufi legacy in poetic theories in contemporary Arab thought and its influence in the establishment of three different poetic approaches constituting the so-called " the Purifying School," " the Impregnator School" and "the Refutation School", these theories take no account of the literary corpus described in the first chapter. Besides the translation of Claudine Chonez of "Great Tâiyya," the poems are cited in Appendix at the end of the study with a personal translation, which, although it does not claim to reflect in any way the depth and beauty of Arabic poems, she does not despair for the many suggest