The Countercanon

2018 ◽  
pp. 147-168
Author(s):  
Robyn Creswell
Keyword(s):  
Arabic Poetry ◽  
Classical Poetry ◽  
Literary Autonomy ◽  
Internal Translation ◽  
Critical Project

This chapter focuses on Adonis's Diwan al-shi'r al-'arabi [Anthology of Arabic Poetry], a three-volume florilegium published between 1964 and 1968 whose origins are in the dossiers of pre-Islamic poetry first published in Shi'r. The Diwan was the most consequential revision of the classical heritage undertaken by Adonis. It is a massive critical project that hews strictly to the original impetus of Shi'r, a movement based on the paired goals of literary autonomy and deprovincialization. How do these goals affect Adonis's decisions as an editor of the corpus of classical poetry? As a collection of citations from the turath, the Anthology is a work of internal translation in which source and target texts are exactly the same, though provided with a new context. The chapter suggests that while Adonis's countercanon seeks to restore those voices silenced by orthodoxy, his own choices, tailored to the needs of the present, impose their own exclusions and repressions.

scholarly journals MUA'LLAGAT ZOHAYR IBN ABI SOLMA: ELEGANT PIECE OF ARABIC POETRY (1)

2021 ◽  
Vol 3 (1) ◽  
pp. 1-11
Author(s):  
Yahya Saleh Hasan Dahami ◽  
Abdullah Al Ghamdi
Keyword(s):  
Main Part ◽  
Arabic Language ◽  
Courtly Love ◽  
Arabic Literature ◽  
Love Poetry ◽  
Arabic Poetry ◽  
The Third ◽  
Critical Methodology ◽  
Classical Poetry ◽  
Classical Arabic

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

scholarly journals SYI’R, SYAIR, SYI’IRAN: THE CONNECTION BETWEEN RHYMES AND METRICS IN AL-‘ARUD PERSPECTIVE

2020 ◽  
Vol 8 (3) ◽  
pp. 1121-1135
Author(s):  
Titin Nurhayati Ma’mun ◽  
Ikhwan
Keyword(s):  
Close Relation ◽  
Basic Structure ◽  
Qualitative Approach ◽  
Arabic Poetry ◽  
Study Research ◽  
Classical Poetry ◽  
Research Findings

Purpose of the study: This study explores metric patterns of syi’iran and syair, genres of poetry indicated to bear close relation with the pattern of Arabic syair. The genres include classical poetry in Malay, Javanese, and Sundanese. Methodology: Research is conducted with a qualitative approach towards a data pool of syi’iran and syair, collected purposively to determine its relation with the rhymes and metrics of Arabic syair and its uniqueness compared to other forms of poetry in the Archipelago. Main Findings: The research concludes that syi’iran and syair are poetic genres with the following characteristics: (1) posses a basic structure of couplets, (2) bear a specific rhyme pattern of consonant and vowel phonemes in up to two syllables at the end of each line, in every two to four adjacent lines, and (3) display distinct metric of consistent rhythmic half-lines. The three characteristics are indicative of its relationship with Arabic poetry. Applications of this study: Research findings shall become a foundation to redefine the literary terminology of poetry and assist in philological criticism in Indonesia, although its uses in teachings and researches in both fields will need further promotion, both inside and outside the country. Novelty/Originality of this study: The approach applied in the research allows the identification of metric patterns in various forms of poetry that have been circulating in Indonesia for centuries but have yet to be scientifically formulated, or even theoretically identified by scholars.

scholarly journals New Images in Old Frames: Ibn Harma (d. ca. 176/792) between Classical Poetry and Abbasid Modernity

2016 ◽  
Vol 3 (1) ◽  
pp. 56-89 ◽  
Author(s):  
Zahia Smail Salhi ◽  
Hussain Mohammed Alqarni
Keyword(s):  
Textual Analysis ◽  
Arabic Poetry ◽  
Linguistic Evidence ◽  
Classical Poetry ◽  
Poetic Imagery ◽  
Classical Arabic ◽  
Selection Of

Classical Arabic sources generally refer to Ibrahim b. Harma (d. ca. 176/792) as one of the “last poets” whose poetry is quoted as lexical and linguistic evidence of sound and “unaffected” language, in other words “pure” Arabic. However, while we argue that the poet’s “pure” Arabic is the main reason for his place of excellence in classical Arabic poetry, we suggest that the poet was well aware of the power of poetic imagery imposed by the new modernity experienced in the Abbasid era. Ibn Harma skillfully developed the new tool as a means of self-expression in a conscious search for poetic immortality. In this article, we aim to explore the poetic imagery of Ibn Harma through textual analysis of a selection of his poetry.

Abdel Sabour, Salah (1931–1981)

2018 ◽  
Author(s):  
Sally Hammouda
Keyword(s):  
Regular Education ◽  
Arabic Language ◽  
Common Language ◽  
English Poetry ◽  
Free Verse ◽  
Arabic Poetry ◽  
Rigid Structure ◽  
Classical Poetry ◽  
Modern Arabic ◽  
Classical Arabic

Salah Abdel Sabour (also Abd-al Sabur) is an Egyptian writer, poet, and playwright. He is considered a pioneer of modern Arabic poetry and a prominent figure in Arabic modernism and the Arabic free verse movement. Born in a small town in the Eastern Delta of Egypt in 1931, Abdel Sabour showed an interest in literature at a young age. He began writing verse at the tender age of thirteen. His talent reached full maturity by the 1950’s. Though his regular education enabled him to develop an appreciation for the long tradition of classical Arabic poetry, his modern sensibility was sharpened through readings in European poetry, especially that of symbolists Rilke and Baudelaire, and the English poetry of Donne, Yeats, Keats and T.S. Eliot. He was also influenced by prominent Arab Sufis such as Al-Mutanabbi, and Persian mystic poet and Sufi writer Mansur Al-Hallaj. He graduated from the Department of Arabic Language, at the Faculty of Arts, Cairo University, in 1951. In 1957 his first collection of poetry Al-Nass Fi Biladi [People of my Country] using free verse was published, catapulting the poet into fame. It caught both readers’ and critics’ attention alike for its use of unique imagery and everyday common language. It broke away from the constricting rigid structure of Arabic classical poetry.

Modern Arabic Poetry

2017 ◽  
Author(s):  
WAED ATHAMNEH
Keyword(s):  
Arabic Poetry ◽  
Modern Arabic

Introduction

2018 ◽  
Author(s):  
Nora Goldschmidt ◽  
Barbara Graziosi
Keyword(s):  
Material Culture ◽  
The Body ◽  
Specific Site ◽  
Entire Volume ◽  
The Third ◽  
Religious Significance ◽  
Classical Poetry ◽  
Life Of The Mind ◽  
The Mind ◽  
Made In

The Introduction sheds light on the reception of classical poetry by focusing on the materiality of the poets’ bodies and their tombs. It outlines four sets of issues, or commonplaces, that govern the organization of the entire volume. The first concerns the opposition between literature and material culture, the life of the mind vs the apprehensions of the body—which fails to acknowledge that poetry emerges from and is attended to by the mortal body. The second concerns the religious significance of the tomb and its location in a mythical landscape which is shaped, in part, by poetry. The third investigates the literary graveyard as a place where poets’ bodies and poetic corpora are collected. Finally, the alleged ‘tomb of Virgil’ provides a specific site where the major claims made in this volume can be most easily be tested.

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