The Oral Tradition of Classical Arabic Poetry

1979 ◽  
Vol 53 (3) ◽  
pp. 551
Author(s):  
Walter G. Andrews ◽  
Michael Zwettler
Keyword(s):  
Oral Tradition ◽  
Arabic Poetry ◽  
Classical Arabic

scholarly journals Phonological Substitution is Motivated by Adjacent Phonological Features: Evidence from Classical Arabic

2020 ◽  
Vol 9 (4) ◽  
pp. 23
Author(s):  
Zainab Sa’aida
Keyword(s):  
Literary Works ◽  
Arabic Poetry ◽  
Short Vowels ◽  
Substitution Process ◽  
Phonological Features ◽  
Classical Arabic

This article aims at investigating phonological substitution in classical Arabic. I hypothesise that consonantal and vocalic substitution is motivated by phonological features of adjacent consonantal or vocalic segments. Data of the study were collected from classical Arabic literary works in Aldiwan – encyclopaedia of Arabic poetry. Data were analysed in the framework of Chomsky and Halle’s SPE theory. Findings of the study have revealed that phonological features of consonantal or vocalic segments motivate other adjacent consonants to undergo a phonological substitution process in specific phonological contexts in classical Arabic. It has been revealed that the glide /w/ surfaces as /t/ when it is followed by /t/ or as /j/ when it occurs between two vowels, the first of which is high short /i/ and the second is low long /aː/, word-internally. The phoneme /t/ becomes /ṭ/ when it is preceded by /ṣ/, /ḍ/, /ṭ/ or /ð̣/ across a syllable, and it surfaces as /d/ when it is preceded by /d/, /z/ or /ð/ word-internally. It has been also found that the long vowels /aː, iː, uː/ replace glide phonemes in vocalic substitution processes when glides are adjacent to corresponding short vowels either word-internally or word-finally.

Sky-Birds & Dead Trees On Two Images in Edmond Jabès

2018 ◽  
Author(s):  
Yasser Elhariry
Keyword(s):  
French Language ◽  
Arabic Poetry ◽  
Literary Forms ◽  
Dead Trees ◽  
Translational Mode ◽  
History Of ◽  
Literary Archive ◽  
Edmond Jabes ◽  
Classical Arabic ◽  
Late Works

Chapter 2 concerns two recurrent images from Edmond Jabès’s late works, Un étranger avec, sous le bras, un livre de petit format (1989) and Le livre de l’hospitalité (1991). While Jabès is well known within French literary circles, analyses of his early Cairene work— and to an even lesser extent the formative roles of orality and aurality from his pre- Parisian period—are few and thin. I first contextualize the figure of the Egyptian poet in relation to the history of Jabès scholarship, and then build on Tengour’s translational poetics of the classical Arabic literary archive in order to unravel a different, sublimated translational mode that links many of Jabès’s later books. In his late and final works, which he composed while living in Paris, Jabès’s poetic imaginary reprises word for word the tropes of early Arabic verse. When read together and in relation to the same archival corpus, Tengour and Jabès represent contrasting translational and intertextual modes for comparative poetic and translingual compositions in French. Through his aphasic refuge in French monolingualism following his exile from Cairo, and his late re/discovery of classical Arabic poetry in Paris, Jabès’s sublimated recourse to early Arabic verse retraces and performs the history of the old literary forms beneath a French language surface.

A Disputed Sabaic ‘Relative’ Pronoun

1976 ◽  
Vol 39 (2) ◽  
pp. 421-422
Author(s):  
A. F. L. Beeston
Keyword(s):  
Relative Pronoun ◽  
Arabic Poetry ◽  
Verb Forms ◽  
Proper Name ◽  
Relative Interpretation ◽  
Classical Arabic

The following note, though drafted by A. F. L. Beeston, is essentially the result of co-operative discussion between him, A. K. Irvine, W. W. Müller, M. Rodinson, and J. Ryckmans; all of whom are now in agreement on the issue. The discussion originated from the question whether four words beginning with t- in CIH 540 (tbs2nf line 15, ts3n/ts1n lines 16 and 19, tbn line 18) are to be explained as containing a feminine relative pronoun t as a variant of the normal Sabaic form ḏt, as Praetorius suggested; or are t-prefix verb forms. In favour of the relative interpretation are the facts, firstly that in classical Arabic poetry we find a masculine ḏā contrasting with feminine tī, and the same type of alternation is widely attested in vernacular dialects, including Yemeni ones; secondly, that in all four cases there is a defined feminine antecedent (‘glmtn, k'btn, k'bt/ġyln, k'bt/mfllm—assuming, as is most probable, that the last word is a proper name). Against it was the fact that such a pronoun appeared to be attested nowhere in all Sabaic except in this text. G. M. Bauer (Yazyk yuzhnoarabiyskoy pis'mennosti, Moscow, 1966, 92) accepted the relatival interpretation, but describes it as a ‘late’ use; while M. Rodinson (‘Sur un pseudo-relatif sudarabique’, Actes du premier Congrès international de Linguistique Sémitique et Chamito-semitique, Paris, 1969, ed. by Caquot and Cohen, Paris, 1974, 290–1) and W. W. Müller (in an article for AION, 1975, sent to press before our discussions took place) were inclined to deny the existence of this relative and adopt the verbal interpretation.

On taḍmīn (enjambment) and structural coherence in classical Arabic poetry

1989 ◽  
Vol 52 (3) ◽  
pp. 463-466 ◽  
Author(s):  
Amidu Sanni
Keyword(s):  
Aesthetic Experience ◽  
Arabic Poetry ◽  
Literary Thought ◽  
Arab Students ◽  
Structural Coherence ◽  
Classical Arabic

The importance of poetry as the chief aesthetic experience of the Arabs as well as the principal repository of materials on their life and thought had long been recognized by the Arab and, following them, non-Arab students of Arabic culture. The fact that all the technical terminologies of Arabic verse which were formalized in ‘ilm al- ‘aruḍ (Prosody) are derived from the components of the bedouin tent—a highly prized possession—indicates the significance of the art to the Arab mind. The pride of place enjoyed by poetry in Arabic literary thought derives primarily from the hieratic idiom associated with it, as well as from its structural coherence, which relies on the harmony of prosodic factors (al-‘awāmilal-‘arūūiyya) associated with poetic praxis.

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