Contrapuntal Composition in a Muwashshah Family, or Variations On a Panegyric Theme'

2001 ◽  
Vol 7 (2) ◽  
pp. 174-196 ◽  
Author(s):  
Alexander Eben Elinson
Keyword(s):  
Original Work ◽  
Close Reading ◽  
Rhyme Scheme ◽  
Colloquial Arabic ◽  
Classical Arabic

AbstractThe unique structural qualities of the Andalusi strophic poem (muwashshah or zajal) lent itself to a type of poetic interaction called muārada, commonly translated as "literary imitation." By composing within the parameters of an already established metrical, rhythmic, and melodic scheme, as well as sometimes sharing the final lines of the poem (the kharja), poets opened up a dialogue with their audience, and/or their fellow poets. However, these "imitations" were more than simplistic copies of of one another composed for virtuosic show. When executed well, a muārada provided a variation, praise, parody, response, or combination of these, of the original work, which would not be lost on the audience familiar with the form. In this paper, I will examine three strophic pocms that share a common kharja, in addition to elements of thematic development, rhyme scheme, and metrical patterns. In our set, we have what appears to be three panegyrics -a muwashshah composed in classical Arabic, a muwashshah-like zajal in Andalusī colloquial Arabic, and a muwashshah in Hebrew. Through a close reading of the poems, I will show that despite their shared features and surface similarities, they are, in fact, quite distinct in language, tone, and purpose, thus calling into question their generic designation as panegyric poems.

Bandits

2015 ◽  
pp. 191-200
Author(s):  
Michael Cooperson
Keyword(s):  
Close Reading ◽  
Classical Arabic ◽  
Moral Questions

This chapter deals primarily with two kinds of stories about bandits (in Arabic, anyone of whom it is said kāna yaqṭa‘u al-ṭarīq). In stories of the first kind, bandits explain why they rob travellers. In stories of the second kind, biographers claim that various ʿAbbāsid figures spent some of their lives as highwaymen. I will argue that the two kinds of reports may productively be read together. Admittedly, this material is too limited in quantity and too self-consciously literary to permit a reliable characterisation of rural unrest during the early ʿAbbāsid period. Even so, a close reading of these reports will allow us to offer some tentative proposals about how banditry was imagined and, more generally, how the various genres of Classical Arabic narrative responded to the legal, ethical and moral questions raised by highway robbery.

scholarly journals المستويات اللغوية في المعاجم الحديثة بين المحافظة والتطوّر

Jurnal CMES ◽  
2018 ◽  
Vol 11 (1) ◽  
pp. 7
Author(s):  
Megawer Sayyid Megawer Sakran
Keyword(s):  
Foreign Language ◽  
Arabic Language ◽  
Foreign Languages ◽  
Language Level ◽  
Modern Period ◽  
Al Ain ◽  
Colloquial Arabic ◽  
Four Levels ◽  
Modern Arabic ◽  
Classical Arabic

<p>Arabic scholars from the classical to the modern period paid attention to the disciplines of Arabic lexicography. A great attention was given to lexicography, which was fundamentally helpful for active users and speakers of the Arabic language since the era of Khalil bin Ahmad (786 AD) who wrote the Al-‘Ain dictionary to Ahmad Mukhtar Umar's (2003) period with his dictionary Muʻjamu al-Lughah al-‘Arabiyyah al-Muʻāshirah. Modern linguistic studies then produce language levels found in Arabic dictionaries. This level of language is certainly different in the view of Arab lexicographers. Some see it from the perspective of a language level that includes syntax, morphology and phonology, mostly referred to by classical and modern dictionaries. Some others see the language levels typically a variety of languages ammiyyah (al-‘āmmī/colloquial Arabic) and various foreign languages (al-aʻjamī/foreign language). Both of these varieties have seized the attention of Arabic dictionaries through a number of explanations either explicitly or implicitly in these dictionaries. Language levels <br />additionally includes the treasure of language (turāts) literary works are assessed as the basic foundation for language users and reviewers. In addition to turāts, the level of spoken language used daily is also found in Arabic dictionaries. This language level undergoes articulation changes in a number of vocabularies in the form of changes at the vowel marks (charakat). This article outlines these four levels of language by modern Arabic dictionaries which aim to show the extent to which modern Arabic dictionaries make use of the classical Arabic lexicography paradigm and its contribution to the development of descriptions of language vocabulary for current language speakers and modern Arabic dictionary users.</p>

Representing contemporary urban space: Cairo malls in two Egyptian novels

Arabica ◽  
2011 ◽  
Vol 58 (6) ◽  
pp. 545-560 ◽  
Author(s):  
Dina Heshmat
Keyword(s):  
Urban Space ◽  
Consumer Culture ◽  
Space Versus ◽  
First Century ◽  
Close Reading ◽  
Arabic Text ◽  
Classical Arabic ◽  
Street Environment ◽  
The Ideal ◽  
Constitutive Element

Abstract Taking into account the expansion of malls as a constitutive element of Egyptian urbanism at the beginning of the twenty-first century, this article analyzes the representation of the mall in two contemporary Egyptian novels. A close reading of Mūsīqā l-mūl by Maḥmūd al-Wardānī and An takūna ʿAbbās al-ʿAbd, by Aḥmad al-ʿĀydī shows that the function of intertextuality in those narratives is central to understand this representation, as well as the sense of alienation or belonging to the contemporary urban space it conveys. Al-Wardānī constructs his novel through intertextuality with a classical Arabic text, contrasting the contemporary space of the mall with the ideal bazaar of a One Thousand and One Nights tale (al-ḥammāl maʿa l-banāt), mapping the latter out as an utopian space versus the hostile, anti-erotic and despotic atmosphere of the mall. Al-ʿĀydī’s approach places the mall at the center of global consumer culture, a space of encounter and refuge, away from the aggressive street environment.

Instruction for authors

2018 ◽  
Vol 1 (2) ◽  
pp. 75-79
Author(s):  
Abdulghani Alsamarai
Keyword(s):  
Original Work ◽  
Wide Spectrum ◽  
Case Reports ◽  
Editorial Policy ◽  
High Standard ◽  
Publication Ethics ◽  
Current Interest ◽  
Medical Sciences ◽  
Medical News ◽  
Review Articles

Introduction   The International Journal of Medical Sciences [IJMS], ISSN 2522-7386, is a peer-reviewed, 3 issues published annually. Authors are invited to submit for publication articles with a wide spectrum of coverage reporting original work, in the fields of medicine, nursery, dentistry, and pharmacy sciences. Review articles are usually by invitation only. However, Review articles of current interest and high standard will be considered. Prospective work should not be back dated. There are also sections for Case Reports, Brief Communication, correspondence and medical news items. Authors should read the editorial policy and publication ethics before submitting their manuscripts. Authors should also use the appropriate reporting guidelines in preparing their manuscripts

Stolen from the Snows: John Kinsella as Poet and as Fiction Writer

CounterText ◽  
2020 ◽  
Vol 6 (2) ◽  
pp. 232-238
Author(s):  
Nicholas Birns
Keyword(s):  
Close Reading ◽  
Artistic Identity ◽  
Close Analysis ◽  
Fiction Writer

This piece explores the fiction of John Kinsella, describing how it both complements and differs from his poetry, and how it speaks to the various aspect of his literary and artistic identity, After delineating several characteristic traits of Kinsella's fictional oeuvre, and providing a close reading of one of Kinsella's Graphology poems to give a sense of his current lyrical praxis, the balance of the essay is devoted to a close analysis of Hotel Impossible, the Kinsella novella included in this issue of CounterText. In Hotel Impossible Kinsella examines the assets and liabilities of cosmopolitanism through the metaphor of the all-inclusive hotel that envelops humanity in its breadth but also constrains through its repressive, generalising conformity. Through the peregrinations of the anti-protagonist Pilgrim, as he works out his relationships with Sister and the Watchmaker, we see how relationships interact with contemporary institutions of power. In a style at once challenging and accessible, Kinsella presents a fractured mirror of our own reality.

The Spanish Reception of Le Sacre du Printemps (1913–1936)

2018 ◽  
Vol 36 (1) ◽  
pp. 48-66
Author(s):  
Idoia Murga Castro
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Original Work ◽  
Silver Age ◽  
Avant Garde ◽  
Ballets Russes ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps ◽  
Cultural Expansion

Centenary celebrations are being held between 2016 and 2018 to mark the first consecutive tours of Diaghilev's Ballets Russes in Spain. This study analyses the Spanish reception of Le Sacre du Printemps (The Rite of Spring) (1913), one of its most avant-garde pieces. Although the original work was never performed in Spain as a complete ballet, its influence was felt deeply in the work of certain Spanish choreographers, composers, painters and intellectuals during the so-called Silver Age, the period of modernisation and cultural expansion which extended from the end of the nineteenth century to the beginning of the Spanish Civil War.

‘Nothing is simply one thing’: Woolf, Deleuze and Difference

2013 ◽  
Vol 7 (4) ◽  
pp. 456-474
Author(s):  
Beatrice Monaco
Keyword(s):  
Virginia Woolf ◽  
Prose Poetry ◽  
Close Reading ◽  
Similar Model ◽  
Complex Interplay ◽  
To The Lighthouse

This paper explores some key texts of Virginia Woolf in the context of Deleuzian concepts. Using a close reading style, it shows how the prose poetry in Mrs Dalloway engages a complex interplay of repetition and difference, resulting in a remarkably similar model of the three syntheses of time as Deleuze understands them. It subsequently explores Woolf's technical processes in a key passage from To the Lighthouse, showing how the prose-poetic technique systematically undoes the structures of logical fact and rationality inscribed in both language and everyday speech to an extremely precise level.

Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation

2018 ◽  
Vol 12 (1) ◽  
pp. 29-44
Author(s):  
Srajana Kaikini
Keyword(s):  
Art History ◽  
Visual Art ◽  
Normative Theory ◽  
Close Reading ◽  
Literary Interpretation ◽  
Sanskrit Poetics ◽  
Comparative Framework ◽  
Time Image

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.

On the Primacy of Matter: Neoplatonism Right-Side Up

2018 ◽  
Author(s):  
Tyler Tritten
Keyword(s):  
Close Reading ◽  
After Effect ◽  
The One

This chapter provides a close reading of Schelling’s early commentary on Plato’s Timaeus and then contrasts this reading with Neoplatonism’s, particularly Proclus’, understanding of this same text. While Neoplatonism views being according to a hierarchy of degradation or descent, with matter at the bottom, Schelling affirms that being potentiates itself into higher and greater degrees of order such that matter is not the last but the first. He is able to do this, however, only by rejecting the Platonic notion of participation. For Schelling, the participating acquires an independence from the participated so that an effect can be greater than its cause and, moreover, the effect exerts a retroactive after effect on the cause. The identity of a cause or antecedent is only constituted in and through its consequents. If matter is said to process from the One, then matter, in turn, is the consequent condition of the identity of the One as one rather than as many.

Transformation and Education in GDR Youth Literature: A Script Theory Approach

2016 ◽  
Vol 9 (1) ◽  
pp. 65-82
Author(s):  
Jean E. Conacher
Keyword(s):  
Fairy Tale ◽  
Democratic Republic ◽  
Socialist Realism ◽  
National Literature ◽  
Close Reading ◽  
Theory Approach ◽  
Conceptual Blending ◽  
Script Theory ◽  
Cultural Policies ◽  
Youth Literature

Youth literature within the German Democratic Republic (GDR) officially enjoyed equal status with adult literature, with authors often writing for both audiences. Such parity of esteem pre-supposed that youth literature would also adopt the cultural–political frameworks designed to nurture the establishment of socialism on German soil. In their quest to forge a legitimate national literature capable of transforming the population, politicians and writers drew repeatedly upon the cultural heritage of Weimar classicism and the Bildungsroman, Humboldtian educational traditions and Soviet-inspired models of socialist realism. Adopting a script theory approach inspired by Jean Matter Mandler, this article explores how directive cultural policies lead to the emergence of multiple scripts which inform the nature and narrative of individual works. Three broad ideological scripts within GDR youth literature are identified which underpin four distinct narrative scripts employed by individual writers to support, challenge and ultimately subvert the primacy of the Bildungsroman genre. A close reading of works by Strittmatter, Pludra, Görlich, Tetzner and Saalmann reveals further how conceptual blending with classical and fairy-tale scripts is exploited to legitimise and at times mask critique of transformation and education inside and outside the classroom and to offer young protagonists a voice often denied their readers.

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