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Narjiss El Yaakoubi El Harchami Tesis Doc..Pdf UNIVERSIDAD DE MURCIA ESCUELA INTERNACIONAL DE DOCTORADO El concepto de ṣūra : Análisis diacrónico comparado de la terminología de la imagen en la lengua árabe y las escrituras islámicas Dª Narjiss El Yaakoubi El Harchami 2019 UNIVERSIDAD DE MURCIA Programa de Doctorado en Artes y Humanidades Línea de Investigación en Traducción e Interpretación El concepto de ṣūra: Análisis diacrónico comparado de la terminología de la imagen en la lengua árabe y las escrituras islámicas TESIS DOCTORAL PRESENTADA POR: Dña. Narjiss El Yaakoubi El Harchami DIRIGIDA POR: Dr. D. Pablo José Beneito Arias 2019 A mi madre y a Sami. AGRADECIMIENTO A lo largo de este trabajo, muchas personas me han brindado, de una forma u otra, su apoyo y su ayuda, a todas ellas les debo un profundo y sincero agradecimiento. En primer lugar a mi director y tutor, el profesor Pablo Beneito, quien desde nuestra primera reunión en Rabat confió en mí, siguió mi trabajo y lo iluminó de principio a fin con su aportación y sabiduría. Quiero dar las gracias al coordinador de mi programa de doctorado, el profesor Juan Manuel Hernández-Campoy, quien siempre ha estado disponible para responder a mis preguntas. Doy las gracias también a mi amigo Juan Manuel Uruburu y mi profesora Rosa Salgado de la Universidad de Sevilla. A Javier Collado, por su incondicional apoyo durante estos años que ha durado el proceso de concluir la tesis. A mis hermanas, sobrinas, sobrinos y a Elie Cohen-Scali por apoyarme y contagiarme su alegría. De mi primera y segunda estancia en París quiero dar las gracias a mi tutora, la profesora de historia medieval Anna Caiozzo de la Universidad de París-VII París Diderot, así como a los profesores Pierre Lory y Muhammad Ali Amir-Moezzi de l'École Pratique des Hautes Études (EPHE), quienes me permitieron asistir a sus seminarios, los cuales resultaron muy beneficiosos para mi investigación. De mi tercera estancia en París, en el Institut National des Langues et Civilisations Orientales (INALCO), tengo que agradecer su ayuda a mi tutora Il-Il Yatziv-Malibert profesora de lingüística hebraica, a Alessandro Guetta profesor de filosofía judía, a Madalina Vartejanu-Joubert profesora de literatura hebraica antigua y hebreo bíblico, a Agnes Woog profesora de la lengua y gramática hebraicas, a Javier Leibiusky lector de la lengua hebraica moderna, a Renat Tsal ayudante de la lengua hebraica moderna y a YohannTaïeb profesor del judeo-árabe. De mis amigas y amigos en Marruecos doy las gracias a Khadija Chakir, Fedua Nasr, Mina Oubella, las hermanas Amlal, Wadie Majdub, Mahjub Habibi, Ahmed Seguer, y al alma de mi querido amigo Othman el-Abdi, por acompañarme durante todos estos años. De mis amigas y amigos en Europa, que forman parte de mi vida y con quienes he compartido muchos momentos de alegría y de debate constructivo, doy las gracias a João Pedro Do Vale, Javier Ruiz, Ernesto Calleja Arnaud Emelie, Jean-Claude Khonde Mutu, Juan Jiménez, Joan Pastor, Sofía Rosillo, Mavi Espin, Franciso Lucas, Fátima Zaui, Muhammad Lalui, Mustafa Amgun, Naser Beteui y Said Alami. RESUMEN La cuestión de la imagen en el islam es un tema complejo a la par que muy interesante para investigar. Cada vez que se publican imágenes del profeta Muhammad se produce una situación que no pocas personas dentro del mundo musulmán viven como una provocación. Esta tesis acerca del concepto árabe ṣūra, traducido al castellano como imagen, forma o figura, trata de realizar un estudio de la terminología de la imagen en la lengua árabe y las escrituras islámicas, ofreciendo un análisis diacrónico comparado, con el cual intento contribuir a dar respuestas a la gran polémica que rodea la cuestión de la imagen en el islam. He de decir que esta tesis responde a un tratamiento metodológico interdisciplinar, cuyo objetivo no es el de analizar el término árabe ṣūra desde el punto de vista de la historia del arte, sino abordar una visión diacrónica comparada y hermenéutica, lo que permitirá reconstruir el contexto lingüístico, histórico y cultural, para que, en última instancia, se puede establecer la etimología del término y su relación con otros campos semánticos a los que ha estado vinculado. Es por tanto un cuestionamiento sobre la relación entre ṣūra, creación y el campo semántico de la idolatría que se ha construido dentro de los textos proféticos. La primera parte de la tesis se ha centrado, en primer lugar, en estudiar las acepciones de la raíz ṣ-w-r en la poesía preislámica, ya que son los únicos textos que trasmiten la tradición literaria antes de que la llegada del islam introdujese nuevos conceptos. Y en segundo lugar he estudiado, por una parte los términos relacionados con la imagen en los diccionarios de la lengua árabe registrados entre los siglos VII y XVIII d. C. y por otra parte, me he ocupado de los términos hebraicos relacionados con la imagen. De este modo, y a través de la analogía realizada entre el término ṣūra y su terminología dentro de la lengua árabe, y entre esta y la lengua hebraica, he podido establecer el sentido original del término en el árabe y la evolución que ha conocido. La segunda parte de la tesis tiene el objetivo de verificar los nuevos sentidos que el término ṣūra ha ido adoptando en las escrituras islámicas. Partiendo de los comentaristas de diferentes escuelas jurídicas he podido detectar más de cerca las diferencias del uso que en el Corán se da al término ṣūra (inclinación, aspecto exterior), llegando a la conclusión de que el Corán no ha incluido el término ṣūra dentro del campo semántico de la idolatría, lo que explica la ausencia de la cuestión de la imagen en el Corán. Por lo tanto, la escena cambia con los textos del hadiz, que es donde se ha originado principalmente la polémica de la imagen, ya que es dentro de los textos proféticos y la jurisprudencia islámica, donde el término ṣūra significa representación de seres vivos, estatuas, ídolo, cabeza, etc. El cambio que ha conocido el término entre el uso lingüístico, coránico, el hadiz y la jurisprudencia, me ha llevado a preguntarme sobre el origen de los sentidos negativos recogidos tanto en el hadiz como en la jurisprudencia islámica. La respuesta ha llegado tras establecer una influencia de las significaciones de los términos de la imagen en el judaísmo, en los hadices y en la jurisprudencia islámica; abriéndose también a otras teorías que explican la postura del islam y su carácter anicónico. Y por fin, he medido el impacto de las significaciones del hadiz y la jurisprudencia islámica en la sociedad arabo-musulmana contemporánea, que vive con gran contradicción entre la multiplicidad de la imagen y el discurso radical predominante, aunque no es menos cierto, que por motivos políticos, sociales y económicos, se ve cada vez menos potente. He llegado a comprobar que dichos sentidos negativos están todavía presentes sobre todo cuando se trata de la representación del profeta Muhammad, como es el caso de la película de Majid Majidi. Los nuevos tipos y sentidos de imagen, como la fotografía se llamaron también ṣūra, y fueron sometidos a las mismas interpretaciones que una pintura o escultura, sin hacer distinción entre ellos. El concepto de ṣūra en la sociedad contemporánea sigue siendo una cuestión religiosa y todavía adopta sentidos como estatua e ídolo, significaciones que llegaron más tarde con la tradición profética. Así que el Corán no da a los términos de la raíz ṣ- w-r los sentidos de la idolatría, y la noción de imagen como representación de seres vivos es en él inexistente. Palabras clave: Lengua árabe, imagen, imagen representativa, figuración, islam, judaísmo. RESUMÉ La question de l’image en islam est une étude à la fois complexe et intéressante. Chaque fois que des images du prophète de l’islam sont publiées, il est apparu que pas mal de gens dans le monde musulman les considéraient comme une provocation. Cette thèse sur le terme arabe ṣūra, traduit en français par "image", "forme", "figure", tente de faire une étude de la terminologie de l’image en langue arabe et dans les écritures islamiques. Partant d’une analyse diachronique comparée, ma contribution consiste à apporter des réponses à la grande controverse entourant la question de l’image en islam. Je dois dire que cette thèse répond à un paramètre méthodologique interdisciplinaire, dont l’objectif n’est pas d’analyser le terme arabe ṣūra du point de vue de l’histoire de l’art, mais plutôt d’aborder une vision diachronique comparée et herméneutique, qui permettra de reconstruire le contexte linguistique, historique et culturel, de sorte qu’en dernière analyse, l’étymologie du terme et ses relations avec les autres champs sémantiques auxquels il a été soumis puissent être établis. C’est donc un questionnement sur la relation entre ṣūra, création et idolâtrie construite dans les textes prophétiques. Premièrement, la première partie de la thèse a été consacrée à l’étude des significations de la racine ṣ-w-r, dans la poésie préislamique, car ce sont les seuls textes qui transmettent la tradition littéraire avant l’arrivée de l’islam qui ont introduit de nouveaux concepts. Deuxièmement, j’ai étudié d’une part les termes relatifs à l’image dans les dictionnaires de la langue arabe écrite entre le VIIe et le XVIIIe siècle, et d’autre part, j’ai traité des termes hébreux liés à l’image. C’est ainsi que, grâce à l’analogie établie entre le mot ṣūra et sa terminologie en arabe, et entre celui-ci et l’hébreu, j’ai pu établir le sens originel du terme en arabe et l’évolution qu’il a connu.
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