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Journal articles on the topic 'Imruʼ al-Qays'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Mumayiz, Ibrahim. "Imru' al-Qays and Byzantium." Journal of Arabic Literature 36, no. 2 (2005): 135–51. http://dx.doi.org/10.1163/1570064054909163.

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2

Larcher, Pierre. "Une Qasīda De 'Imru' Al-Qays." Arabica 40, no. 1 (1993): 120–24. http://dx.doi.org/10.1163/157005893x00291.

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3

Fassberg. "The Greek Death of Imruʾ al-Qays". Journal of the American Oriental Society 140, № 2 (2020): 415. http://dx.doi.org/10.7817/jameroriesoci.140.2.0415.

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4

Muyassarah and Jaenafil Abadi. "Klasifikasi Puisi Arab Jahiliyah Menurut Ibn Qutaybah dalam Kitab al-Shi'r wa-al-Shu‘arā’." Al-Ma‘rifah 18, no. 1 (2021): 77–86. http://dx.doi.org/10.21009/almakrifah.18.01.07.

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This research discusses the classification of Arabic poem (shi‘r) of the pre-Islamic period (Jahilīyah) in the book of al-Shi‘r wa-al-Shu‘arā’ by Abū Muḥammad ‘Abdullāh ibn Muslim ibn Qutaybah. In this research, we review in simple terms the classification of poems based on the quality of lafaẓ and meaning, the quality of lafaẓ, the quality of meaning, and the quality of limited lafaẓ and meaning a literary work, especially in the poem (shi‘r) as described in the book of al-Shi‘r wa-al-Shu‘arā’. Through the poem, the Arabic poet of Jahilī expresses his feelings through the poem he creates. The

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5

Lahiani, Raja. "Unlocking the Secret of ‘Locksley Hall’." Comparative Critical Studies 17, no. 1 (2020): 25–46. http://dx.doi.org/10.3366/ccs.2020.0342.

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Despite its originality, Tennyson's poem ‘Locksley Hall’ (1842) shares considerable characteristics with the pre-Islamic Arabic poems the Mu‘allaqāt, namely those composed by Imru’ al-Qays and ‘Antara. The similarities include length, rhyme, metre, genre, themes and appeal, which this article compares in order to show that Tennyson adapts these source text resources to the concerns and subject matter of his own poem, and not for the purpose of translating the Mu‘allaqāt. It follows that ‘Locksley Hall’ needs to be studied in modern scholarship not only as a poem that reflects some aspects of T

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6

Antoon, Sinan. "Mahmud Darwish's Allegorical Critique of Oslo." Journal of Palestine Studies 31, no. 2 (2002): 66–77. http://dx.doi.org/10.1525/jps.2002.31.2.66.

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The Palestinian poet Mahmud Darwish occupies a unique space in Arab culture and in the collective memory of Arabs as "the national poet of Palestine." This article provides a reading of one of Darwish's poems, "A Non-Linguistic Dispute with Imru' al-Qays," which was written after the signing of the 1993 Oslo Accord. The poem is read as an allegorical critique of Oslo and, at the same time, a retrospective contemplation of Darwish's own role in Palestinian politics, written in a style that displays Darwish's exceptional poetical skill and his masterly use of Arabo-Islamic history and mythology.

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7

Montgomery, James. "ʿAlqama Al-Faḥl's Contest with Imruʾ Al-Qays: What Happens When a Poet Is Umpired by his Wife?" Arabica 44, № 1 (1997): 144–49. http://dx.doi.org/10.1163/1570058972582678.

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8

MONFERRER-SALA, Juan P. "Varietas preislamica: ka-ḫaṭṭi zabūrin fī maḥāṣifa ruhbāni (Imru’ al-Qays, Dīwān, 88/1-2)". Collectanea Christiana Orientalia 3 (1 жовтня 2006): 143. http://dx.doi.org/10.21071/cco.v3i.62.

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9

Zohra Benneghrouzi, Fatima. "Beyond Literalism: Arberry’s Translating (in) Visibility of Imru al Qays’ Mu’allaqa through the Lens of Critical Discourse Analysis." Arab World English Journal For Translation and Literary Studies 3, no. 1 (2019): 145–56. http://dx.doi.org/10.24093/awejtls/vol3no1.12.

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10

Lahiani, Raja. "The relevance of the glance of the roe of Wajra." Discourse Analysis and Translation Studies 4, no. 1 (2009): 31–46. http://dx.doi.org/10.1075/tis.4.1.02lah.

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This article tests the workability of the principle of relevance at the heart of relevance theory by evaluating a corpus of eighteen English and French translations of verse 33 of the Mu‘allaqa of Imru’ al-Qays. This verse embodies a conventional metaphor reflecting a stereotyped image in Arabic poetry, which communicates its ground to the source language (SL) reader by means of inference. The verse challenges the translator to render the metaphor into an equivalent trope and to reflect the ground of the comparison, either by inference or by reference. By comparing the translations in the corp

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11

Sanni, Amidu. "Did Tarafa actually steal from Imru' al‐Qays? On coincidence of thoughts and expressions(tawarud)in Arabic literary theory." Arabic & Middle Eastern Literature 4, no. 2 (2001): 117–36. http://dx.doi.org/10.1080/13666160108718253.

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12

Diez, Martino. "Book review: Le brigand et l’amant. Deux poèmes préislamiques de Ta’abbata Sharran et Imru’ al-Qays, written by Pierre Larcher." Arabica 61, no. 3-4 (2014): 464–66. http://dx.doi.org/10.1163/15700585-12341302.

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13

ALIYEV, Shikhali. "The dual form of address in the poem of Imru’ al-Qays bin Hujr - mukhatabat al-isnain and its reflection in the later literature." Humanities science current issues 1, no. 37 (2021): 74–79. http://dx.doi.org/10.24919/2308-4863/37-1-12.

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14

Sanni, Amidu. "Did Tarafa Actually Steal From Imru' al-Qays? On coincidence of thoughts and expressions ( taw a¯ rud ) in Arabic literary theory." Arabic & Middle Eastern Literature 4, no. 2 (2001): 117–36. http://dx.doi.org/10.1080/713930812.

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15

Zakharia, Katia. "Imru ʾ al-Qays, « porte-étendard des poètes vers le Feu », dans le Livre de la poésie et des poètes d’Ibn Qutayba". Arabica 56, № 2 (2009): 192–234. http://dx.doi.org/10.1163/157005809x438460.

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16

Naaman, Erez. "Collaborative Composition of Classical Arabic Poetry." Arabica 65, no. 1-2 (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

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17

Semaan, Gaby. "The Hunt In Arabic Poetry: From Heroic to Lyric to Metapoetic." American Journal of Islamic Social Sciences 35, no. 3 (2018): 76–79. http://dx.doi.org/10.35632/ajiss.v35i3.483.

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In his book, The Hunt in Arabic Poetry: from Heroic to Lyric to Metapoet- ic, Jaroslav Stetkevych traces the evolution of Arabic hunt poetry from its origins as an integral part of the heroic ode (qaṣῑda) to becoming a genre by itself (ṭardiyya) during the Islamic era, and then evolving into a meta- poetic self-conscious expression of poets in our modern time. The book is a collection of a revised book chapter and a number of revised articles that Stetkevych published between 1996 and 2013 discussing Arabic hunt poet- ry at different periods spanning from the pre-Islamic age, known in Arabic a

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18

Benneghrouzi, Fatima Zohra. "Beyond Literalism: Arberry’s Translating (in) Visibility of Imru al Qays’ Mu’allaqa through the Lens of Critical Discourse Analysis." SSRN Electronic Journal, 2019. http://dx.doi.org/10.2139/ssrn.3337260.

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19

Firanescu, Daniela Rodica. "Larcher Pierre, Le brigand et l'amant. Deux poèmes préislamiques de Ta’abbata Sharran et Imru’ al-Qays, traduits de l'arabe et commentés, suivis des adaptations de." Revue des mondes musulmans et de la Méditerranée, no. 134 (December 17, 2013). http://dx.doi.org/10.4000/remmm.7965.

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