The Aesthetics of Saj'in the Quran and Its Influence on Music
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Isabelle Dolezalek Arabic Script on Christian Kings Das Mittelalter Perspektiven Mediävistischer Forschung
Isabelle Dolezalek Arabic Script on Christian Kings Das Mittelalter Perspektiven mediävistischer Forschung Beihefte Herausgegeben von Ingrid Baumgärtner, Stephan Conermann und Thomas Honegger Band 5 Isabelle Dolezalek Arabic Script on Christian Kings Textile Inscriptions on Royal Garments from Norman Sicily Gedruckt mit freundlicher Unterstützung der Deutschen Forschungsgemeinschaft (DFG) ISBN 978-3-11-053202-9 e-ISBN (PDF) 978-3-11-053387-3 e-ISBN (EPUB) 978-3-11-053212-8 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliografische Information der Deutschen Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Typesetting: Satzstudio Borngräber, Dessau-Roßlau Printing and binding: CPI books GmbH, Leck ♾ Gedruckt auf säurefreiem Papier Printed in Germany www.degruyter.com Contents Preface — IX Introduction — XI Chapter I Shaping Perceptions: Reading and Interpreting the Norman Arabic Textile Inscriptions — 1 1 Arabic-Inscribed Textiles from Norman and Hohenstaufen Sicily — 2 2 Inscribed Textiles and Arabic Inscriptions in European Medieval Arts — 43 3 Historical Receptions of the Ceremonial Garments from Norman Sicily — 51 4 Approaches to Arabic Inscriptions in European Medieval Arts: Methodological Considerations — 64 Chapter II An Imported Ornament? Comparing the Functions -
The Qur'an's Challenge: a Literary & Linguistic Miracle (Original Article At
The Qur'an's Challenge: A Literary & Linguistic Miracle (Original article at: http://www.hamzatzortzis.com/essays-articles/exploring-the-quran/the-inimitable-quran/) “Read! In the Name of your Lord Who has created. He has created man from a leech-like clot. Read! And your Lord is the Most Generous. Who has taught (the writing) by the pen. He has taught man that which he knew not.” Surah Al-’Alaq (The Clot) 96: 1-5 These were the first verses of the Qur’an to be revealed to Prophet Muhammad (upon whom be peace) over fourteen hundred years ago. Prophet Muhammad, who was known to have been in retreat and meditation in a cave outside Makkah, had received the first revelation of a book that would have a tremendous impact on the world. Not being able to read or write or known to have composed any piece of poetry and not having any special rhetorical gifts, Prophet Muhammad had just received the beginning of a book that would deal with matters of belief, law, politics, rituals, spirituality, and economics in an entirely new literary form. This unique literary form is part of the miraculous nature of the Qur’an, that led to the dramatic intellectual revival of desert Arabs. Thirteen years after the first revelation, it became the primary reference for a new state in Madinah, providing the new civilisation’s political, philosophical, and spiritual outlook. In this chapter, we will begin to examine why the Qur’an is impossible to imitate by reviewing how the language of the Qur’an compares to the normal literary forms of Arabic poetry and prose. -
The Unique Necklace Volume.Pdf
Great Books of Islamic Civilization Ibn ∏Abd The Center for Muslim Contribution to Civilization Rabbih the Unique Necklace the l-‘Iqd al-Farı¯d (The Unique Necklace) is one of the classics of Arabic literature. the Compiled in several volumes by an Andalusian scholar and poet named Ibn Unique Necklace A‘Abd Rabbih (246–328 A.H. / 860–940 C.E.),it remains a mine of information about various elements of Arab culture and letters during the four centuries before his death.Essentially it is a book of adab,a term understood in modern times to specifically II Volume mean literature but in earlier times its meaning included all that a well-informed person had to know in order to pass in society as a cultured and refined individual.This Unique meaning later evolved and included belles lettres in the form of elegant prose and verse that was as much entertaining as it was morally educational, such as poetry, pleasant anecdotes, proverbs, historical accounts, general knowledge, wise maxims, and even practical philosophy. Ibn ‘Abd Rabbih’s imagination and organization saved his encyclopedic Necklace compendium from becoming a chaotic jumble of materials by conceiving of it as a necklace composed of twenty-five ‘books’, each of which carried the name of a jewel. Each of the twenty-five ‘books’ was organized around a major theme and had an introduction written by Ibn ‘Abd Rabbih, followed by his relevant adab selections of Volume II verse and prose on the theme of the ‘book’. He drew on a vast repertoire of sources including the Bible,the Qur’an and the Hadith,and the works of al-Jahiz,ibn Qutayba, al-Mubarrad,Abu ‘Ubayda ibn al-Muthanna and several others, as well as the diwans of many Arab poets, including his own poetry. -
CHAPTER III RESEARCH METHOD This Chapter Consists of Research
CHAPTER III RESEARCH METHOD This chapter consists of research design, research instrument, data and data source, data collection, subject of the research, and data analysis. 3.1 Research Design This study used content analysis method because it analyzed the data descriptively based on theory of tree diagrams. In addition, the data of this study are sentences, phrase and words rather than numbers. 3.2 Data Collection 3.2.1. Data and Data Source The data source of the research was literary work that is Qur’an English translation by Shakir. Meanwhile, the data of this research was verses on 5 Meccan Surahs and 5 Medinan surahs on Shakir’s Qur’an English translation. The 5 Meccan Surahs are “Asy-Syams”, “Al-Balad”, “Al-A’la”, “At-Thariq”, and “Al- ‘Adiyat”, whereas the 5 Medinan surahs are “At-Thalaq”, “At-Taghabun”, “Al- Munafiqun”, “Al-Jumu’ah”, and “As-Saf”. 20 digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id 21 3.2.2. Research Instrument The main instrument of the research was the researcher herself. She will be the only instrument that will collect and analyze the data. Additionally, she will also use some supporting tools such as: computer, papers, books, and so on. 3.2.3. Technique of Data Collection The researcher uses some techniques to collect the data, as follows: 1. Browsing and downloading The researcher collected the data by searching Qur’an English translation by Muhammad Habib Shakir on internet in the PDF form. -
CHAPTER 1 INTRODUCTION This Chapter Provided Fundamental
CHAPTER 1 INTRODUCTION This chapter provided fundamental ideas of analyze the difference sentence structure portrayed between Meccan and Medinan surahs of Shakir’sQu’ran English translation. It consists of background of the study, research problem, research objectives, significance of the study, scope and limitation, and definition of key term. 1.1. Background of the study Tree diagram has becomes an interestingfield to be investigated of many researchers in the past decade. Therefore the development of research on tree diagram develops constantly. A series of the research have been analyzed the tree diagram as their study on undergraduate thesis (Yun, 2009), book (Haryati, 2015), newspaper (Nani, 2003), magazine (Muhammad, 2012), corpus (Dukes, et.al, 2013), language spoken (Timothy, 2014) and journal research article (Qiang, 2010). Tree diagram is important to understand by assigning an individual tree diagram to each rule and can help to get understanding of ambiguous sentences. Muhammad (2012) said that an ambiguity occurs when a word, a phrase, a sentence can be understood or interpreted in more than one meaning. In another word can say that ambiguity occurs because a word a phrase or a sentence has 1 digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id 2 unclear meaning.Thus, a sentence can be proved to be grammatically appropriate with the help of structure description. Tree diagram consist of some contexts such as types of sentences, phrases, clauses, and word classes. Some other researchers have already done their study in various focuses of tree diagram, such as pronoun (Timothy, 2014), sentence (Nani, 2003), adverb (Muhammed, 2013), structures (Muhammad, 2012), noun phrase (Haryati, 2015), and types of sentences(Chandni, et.al, 2014). -
Sung Poetry in the Oral Tradition of the Gulf Region and the Arabian Peninsula
Oral Tradition, 4/1-2 (1989): 174-88 Sung Poetry in the Oral Tradition of the Gulf Region and the Arabian Peninsula Simon Jargy Historical Background As far back as we can go in the past history of the Arabs and Arabia, we fi nd poetry present as a huge memorial to their real and imaginary heroic exploits, as a witness to their way of life and feelings, and most of all as an expression of the deepest roots of their soul. Being essentially oral in its origins and developments, this poetry, with its rhythms, intonations, accents, and long or short syllables fi tted in quite naturally with music. In the old classical Arabic terminology, poetry (Shicr) identifi es with song (Nashīd): reciting it is synonymous with singing it (Anshada al-Shicr). This bond between Shicr (poetry) and Inshād (chant or recitative) still has the same meaning in the spoken Arabic of the Peninsula and the Gulf region where Nishīda (song) is synonymous with Giṣīda (poem). In pre-Islamic Arabia, Inshād likely had a dual function: religious and social. Both stem from the rhythmical syllables of the Arabic language (rhymed prose: Sajc, and metrical poetry: Shicr), as well as from rhythmical movements of camels. Coming from ancient times, this is the Ḥidā’ (literally “stimulating the camel’s step”) that the Bedouin sings following the steps of his camel and for his own entertainment. It has survived in the actual form we call “recitative” or “cantilena,” as the common Ḥadwā still designates, in the spoken Bedouin dialect of the Gulf, the folk songs of both the desert and the sea. -
Kent Academic Repository Full Text Document (Pdf)
Kent Academic Repository Full text document (pdf) Citation for published version Bevilacqua, Alexander and Loop, Jan (2018) The Qur’an in Comparison and the Birth of ‘scriptures’. Journal of Qur'anic Studies . ISSN 1465-3591. (In press) DOI Link to record in KAR http://kar.kent.ac.uk/68852/ Document Version Author's Accepted Manuscript Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html The Qur’an in Comparison and the Birth of ‘scriptures’* Alexander Bevilacqua (WILLIAMS COLLEGE) Jan Loop (UNIVERSITY OF KENT) The Qur’an was a protean book in early modern Europe. From the sixteenth century to the eighteenth, Europeans developed several distinct ways of thinking about it and about the person whom they took to be its author, the Prophet Muammad. Medieval Western Christians already regarded the Qur’an as a lawbook. -
Investigative Notes on Muhammad Marmaduke Pickthall's Translation of the Qur'anic Surahs' Names
International Journal of Language and Linguistics 2019; 7(6): 286-297 http://www.sciencepublishinggroup.com/j/ijll doi: 10.11648/j.ijll.20190706.16 ISSN: 2330-0205 (Print); ISSN: 2330-0221 (Online) Investigative Notes on Muhammad Marmaduke Pickthall’s Translation of the Qur’anic Surahs’ Names Ali Yunis Aldahesh Department of Arabic Language and Cultures, Faculty of Arts and Social Sciences, SLC, The University of Sydney, Sydney, Australia Email address: To cite this article: Ali Yunis Aldahesh. Investigative Notes on Muhammad Marmaduke Pickthall’s Translation of the Qur’anic Surahs’ Names. International Journal of Language and Linguistics. Vol. 7, No. 6, 2019, pp. 286-297. doi: 10.11648/j.ijll.20190706.16 Received : October 7, 2019; Accepted : October 26, 2019; Published : November 5, 2019 Abstract: The Meaning of The Glorious Qur’an of Muhammad Marmaduke is one of the earliest English translations of the Qur’an conducted by Muslims’ translators and the first translation conducted by an English-speaking Muslim scholar. This translation of the Qur’an has been the focus of a number of studies that scrutinise it from different angles. Yet, there has been no thoughtful study dedicated to investigate the issue of Pickthall’s translation of the Qur’anic surahs’ names. Utilising the Contrastive Analysis approach as a theoretical framework, this study aims to fill this gap by assessing the accuracy of the equivalents provided by Pickthall to the 114 Qur’anic surahs’ names. The study consists of an introduction and five sections. It gives a succinct description of the Qur’anic surahs’ names, pinpoints the major features of Pickthall’s translation of the Qur’an, details his own approach in handling the Qur’anic surahs’ names, and analytically discusses the difficulties he encountered when rendering such vital terms of the Qur’an into English. -
Inquiries Into Proto-World Literatures: the Challenging “Literary Fate” Of
FOCUS 38 Modern studies in Persian prosody fre- quently debate the origin of the quatrain Inquiries into Proto-World (Per. robā‛ī - Ar. rubā‛ī)1 as a metrical form Literatures: The Challenging which clearly arose in an indigenous lyrical tradition. This identifies quatrains as the “Literary Fate” of the Quatrain entry point to claim Persian prosodic pat- terns as having an independent origin across the Persian and from the Arabic ones. However, late 20th century scholarship relies on a response- Arabic Literary Tradition approach to the matter, and is essentially grounded in dismantling Arabo-centric prosodic categorization - i.e. founded on the Khalīlian prosodic model2 - which gathers both traditions since the 9th cen- tury, rather than on overcoming the Khalīlian framework as a self-evident late feature within the earlier Persian lyrical tra- dition. Chiara Fontana Recent studies of comparative prosody among Arabic-Persian-Urdu and Turkish Western studies on Persian metrical sys- poetry. This study closely investigates the works (e.g. Ashwini and Kiparsky 147-173) tem debate the linguistic origins of qua- spread of robāʽī/rubāʽī from Persian to broaden Prince and Paoli’s approach to trains, (Per. robāʽiyyāt - Ar. rubāʽiyyāt) in Arabic literature employing a holistic cul- generative prosody across Middle Eastern Arabic, and regard prosodic Persian turally embedded methodology to re- languages, yet the analysis of the quatrain schemes independently of Arabic coun- read their linkages in global terms, as an is still essentially founded on metrical terparts, despite reciprocally influenced example of an inherited “Proto-World observations. This partial perspective may metrical patterns. Attempts to dismantle Literature”. -
Stories and Travel Diaries Relating to the Universal Expositions in Paris (1867, 1889, 1900)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenstarTs Cristiana Baldazzi The Arabs in the Mirror: Stories and Travel Diaries relating to the Universal Expositions in Paris (1867, 1889, 1900) Our object is to visit this Fair or ‘Ukāẓ’ of provinces and nations, this market of fortunes and ambitions, spectacle of precious objects and prestigious projects, of strengths and energies, arena of inventions and innovations, exhibition of perspicacity and guide in the art of imitation and inspiration of the tradition.1 It is thus that the Egyptian writer Muḥammad al-Muwayliḥī (1858-1930)2 defines the Paris Exposition of 1900 which he chose as the place wherein to set the second part3 of his work Ḥadīṯ ‘Īsà ibn Hišām,4 one of the first modern Arab novels which follows in 1 M. Muwayliḥī, Ḥadīṯ ‘Īsa ibn Hišām. Fatra min al-zaman (Cairo: Kalimāt ‘arabiyya lil-tarǧama wa al-našr, 2013), 275. 2 His date of birth is uncertain, 1858 o 1868, especially considering that of his father, Ibrāhīm, which is also uncertain 1844. The author, in the company of his father, traveled in Italy, England and France, where he came in contact with many writers and intellectuals. In 1900 he accompanied the Egyptian Khe- divé on an official visit first to London then to Paris for the Universal Exposition. Cf. R. Allen, A Period of Time. Part One: A Study of Muḥammad al-Muwayliḥī’ s Ḥadīṯ ‘Īsā ibn Hišām (London: Ithaca Press, 1992), 1-14; A. Sābāyārd, Raḥḥālūna al-‘Arab wa ḥaḍārat al-ġarb fī al-nahḍa al-‘arabiyya al-ḥadīṯa (Beirut: Nawfal, 19922), 146-147. -
Essay: the Fu: China and the Origins of the Prose Poem Morton Marcus
THE PROSE POEM: AN INTERNATIONAL JOURNAL Volume 8 | 1999 Essay: The Fu: China And The Origins Of The Prose Poem Morton Marcus © Providence College The author(s) permits users to copy, distribute, display, and perform this work under the following conditions: (1) the original author(s) must be given proper attribution; (2) this work may not be used for commercial purposes; (3) the users may not alter, transform, or build upon this work; (4) users must make the license terms of this work clearly known for any reuse or distribution of this work. Upon request, as holder of this work’s copyright, the author(s) may waive any or all of these conditions. The Prose Poem: An International Journal is produced by The Berkeley Electronic Press (bepress) for the Providence College Digital Commons. http://digitalcommons.providence.edu/prosepoems/ ESSAY THE FU: CHINA AND THE ORIGINS OF THE PROSE POEM There is a popular notion among prose poets and literati from Europe and the Americas that the prose poem originated in the early nineteenth century with Aloysius Bertrand's Gaspard de la Nuit, and that Baudelaire continued its development in Le Spleen de Paris (Paris Spleen). Then Rimbaud followed with Les Illuminations, and a half-dozen other poets, almost all French, brought the form into the twentieth century. In reality, the prose poem started in China during the Han Dynasty (206 B.C.-220 A.D.), where it was known as fu, or rhymed prose. Essentially the fu was a court entertainment written for the emperor or for other nobles' amusement to accompany ceremonies, rituals and informal gatherings. -
Love and Race in a Thirteenth-Century Romance in Hebrew, with a Translation of the Story of Maskil and Peninah by Jacob Ben El)Azar*
10fl_23.1_rosen.qxd 2008/11/19 16:02 PM Page 155 Love and Race in a Thirteenth-Century Romance in Hebrew, with a Translation of The Story of Maskil and Peninah by Jacob Ben El)azar* Tova Rosen The Story of Maskil and Peninah is a romance, cast in the Arabic genre of the maqama¯h, and written in biblical Hebrew by a Jewish author in thirteenth-century Christian Toledo. This cultural juncture, anchored in the work’s historical circumstances is, as I intend to show, also reflected in the complexities of the story’s plot: an army (apparently Chris- tian) invades a Muslim territory; its commander falls in love with an Arabic princess taken captive; the couple encounter a black giant warrior and, after killing him, live happily ever after. Very little is known about the author, Jacob Ben El)azar (in Castilian, Abenalazar), who lived in the late twelfth to early thirteenth century. He was also the author of com- positions on popular philosophy (in Hebrew) and of a Hebrew grammar (in Arabic), as well as the translator (from Arabic to Hebrew) of the famous Arabic narrative collec- tion of Kalila¯h and Dimna¯h.1 The Story of Maskil and Peninah (translated below) is the sixth of ten rhymed pieces in Ben El)azar’s narrative collection known as Sefer ha-meshalim (Book of Fables), dated * Dedicated to Sheila Delany, whose interest in medieval Hebrew literature encouraged me to translate this text. 1 On Ben El)azar’s work, see Schirmann and Fleischer, The History of Hebrew Poetry, 222-55, and the bibliography therein.