Banat Su'ad: Translation and Interpretive Introduction
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INFORMATION TO USERS This manuscript has been reproduced firom the microfilm master. UMT films the text directly fi’om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be fi’om any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing fi’om left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Ifowell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE EMERGENCE AND DEVELOPMENT OF ARABIC RHETORICAL THEORY. 500 C £.-1400 CE. DISSERTATION Presented m Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Khaiid Alhelwah, M.A. -
ARABIC FOLKLORE Devin J Stewart, Ph.D
HUMANITIES INSTITUTE ARABIC FOLKLORE Devin J Stewart, Ph.D. Folk Poetry and Popular Genres in the Arab World Popular poetry. The high art of the pre-Islamic Arabs was poetry, and poetry remained the prestige genre in Arabic literature until it was overtaken by the novel in the twentieth century. Oral poetry played important roles in popular culture, in which it took on a variety of forms and was used in many contexts for diverse purposes. In her book Veiled Sentiments, Lila Abu-Lughod wrote of the ghinnawa, a genre of lyrical couplets used by Bedouins of the Libyan Desert in northwestern Egypt to express deep personal emotions. The zajal is popular in Lebanon and Syria and is often performed in competitions in front of a larger audience. The Egyptian mawwaliya is a plaintive lament, a stanza of four lines that usually involves multiple puns. There are many specific genres—we will explore just a few in detail. The folk epic. One particularly interesting genre of oral poetry is that of the folk epic, termed sirah in Arabic, which usually recounts the exploits of a hero. Many such epics were popular in pre-modern times, including the epic of `Antar, the epic of the Banu Hilal tribe, the epic of Sayf ibn Dhi Yazan, the epic of Baybars, the epic of `Ali al-Zaybaq, and others. The plots of 12 well-known epics are summarized in M.C. Lyons’ work listed below. From travelers’ accounts and works such as Lane’s Manners and Customs of the Modern Egyptians we know that storytellers performed these epics regularly in coffeehouses and other venues for the entertainment of rapt audiences. -
The Arabs of North Arabia in Later Pre-Islamic Times
The Arabs of North Arabia in later Pre-Islamic Times: Qedar, Nebaioth, and Others A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2014 Marwan G. Shuaib School of Arts, Languages and Cultures 2 The Contents List of Figures ……………………………………………………………….. 7 Abstract ………………………………………………………………………. 8 Declaration …………………………………………………………………… 9 Copyright Rules ……………………………………………………………… 9 Acknowledgements .….……………………………………………………… 10 General Introduction ……………………………………………………….. 11 Chapter One: Historiography ……………………………………….. 13 1.1 What is the Historian’s Mission? ……………………………………….. 14 1.1.1 History writing ………………………...……....……………….…... 15 1.1.2 Early Egyptian Historiography …………………………………….. 15 1.1.3 Israelite Historiography ……………………………………………. 16 1.1.4 Herodotus and Greek Historiography ……………………………… 17 1.1.5 Classical Medieval Historiography …………………….…………... 18 1.1.6 The Enlightenment and Historiography …………………………… 19 1.1.7 Modern Historiography ……………………………………………. 20 1.1.8 Positivism and Idealism in Nineteenth-Century Historiography…… 21 1.1.9 Problems encountered by the historian in the course of collecting material ……………………………………………………………………… 22 1.1.10 Orientalism and its contribution ………………………………….. 24 1.2 Methodology of study …………………………………………………… 26 1.2.1 The Chronological Framework ……………………………………. 27 1.2.2 Geographical ……………………………………………………….. 27 1.3 Methodological problems in the ancient sources…...………………….. 28 1.3.1 Inscriptions ………………………………………………………… 28 1.3.2 Annals ……………………………………………………………… 30 1.3.3 Biblical sources ...…………………………………………………... 33 a. Inherent ambiguities of the Bible ……………………………… 35 b. Is the Bible history at all? ……………………………………… 35 c. Difficulties in the texts …………………………………………. 36 3 1.4 Nature of the archaeological sources …………………………………... 37 1.4.1 Medieval attitudes to Antiquity ……………………………………. 37 1.4.2 Archaeology during the Renaissance era …………………………... 38 1.4.3 Archaeology and the Enlightenment ………………………………. 39 1.4.4 The nineteenth century and the history of Biblical archaeology……. -
Translated by Wordport from Nota Bene Ver. 4 Document
DWIGHT FLETCHER REYNOLDS Full Professor IX Arabic Language & Literature Department of Religious Studies University of California Santa Barbara, CA 93106 Email: [email protected] ACADEMIC & ADMINISTRATIVE POSITIONS Visiting Professor, École des Hautes Études de Sciences Sociales, Paris (April 2018) Senior Research Fellow, New York University Abu Dhabi (Jan-March 2018) Gastprofessor, Seminar für Semitistik und Arabistik, Freie Universität, Berlin (DAAD fellowship) (Spring 2012) Director, Center for Middle East Studies, UCSB (2000-02; 2008-15) Vice-Chair, Department of Religious Studies, UCSB (2005-2010) Acting Chair, Department of Religious Studies, UCSB (Winter 2009) Section Editor (Music), Encyclopaedia of Islam, Third Edition (2002-2009) Director, UC EAP Study Center, Granada, Spain (2002-2005) Chair, Middle East & North Africa Regional Advisory Panel, Social Science Research Council [SSRC] (2001-2006) Contributing Editor, Cambridge History of Arabic Literature, Vol. V (1996-2005) Chair, Islamic & Near Eastern Studies, UCSB (1998-2002) Fellow, Institute for Advanced Studies, Princeton (1997-1998) Affiliate Faculty Member, Theater/Dance, UCSB (2017- ) Affiliated Faculty Member, Latin American & Iberian Studies, UCSB (2005- ) Affiliated Faculty Member, Department of Music, UCSB (1994- ) Affiliated Faculty Member, Comparative Literature Program, UCSB (1994- ) Faculty member, Department of Religious Studies, UCSB (1991- ) Junior Fellow, Harvard Society of Fellows (1986-1990) EDUCATION University of Pennsylvania , Ph.D. Folklore and Folklife -
The Reworking of Arabic Myth and Folklore in Patrick Graham's Ghoul
The Reworking of Arabic Myth and Folklore in Patrick Graham’s Ghoul Rachit Verma PhD in Comparative Literature and Translation Studies, School of Letters, Ambedkar University, Delhi Abstract: This paper attempts to decipher how age-old folk culture travels across time and space and is transferred from word of mouth to screen/web in the contemporary times of digitization. The text I have chosen is a Netflix original miniseries by Patrick Graham, entitled Ghoul, that essentially reworks the Arabic folklore in a dystopian setting of a dungeon, known by the name of Meghdoot 31. It is a detention center for terrorists where each one of them is brutally interrogated, tortured and invariably murdered, and even their family members are not spared, in case they don’t sputter out the truth. The web-series draws heavily from the pre-Islamic Arabic folk cult of ghoul, an undead monster that belonged to a diabolic class of djinn and was said to be the offspring of Iblis, the prince of darkness in the ancient Arab universe. It is believed that the ghoul survives on human flesh and eventually morphs into one as soon as it has finished hogging on it. The miniseries is a dystopic tale set in the future and incorporates the folk figure of ghoul to showcase a mirror to the world. It does so fundamentally to shed light on the paradox of the demon that resides within humans, that incongruously de- humanizes them. The story is deeply entrenched in India and is a smart blend of the old folk and the new media, an incredibly significant juxtaposition/intersection that I would also attempt to explore in this paper. -
Classical Arabic and Jihadi Culture
Classical Arabic and Jihadi culture Analyzing the religious linguistic inter-discursive relation of the Islamic State Thesis submitted in partial fulfilment of the requirements of the degree of Master of Arts In Middle Eastern Studies Author: Omar Mokhles Supervisor: Leif Stenberg Examiner: Ann Kull Date: Autumn 2017 1 Abstract This study explores the linguistic aspects of the jihadi culture and highlights the discursive role of classical Arabic within jihadism. It builds on literature on Jihadi culture and contributes to it by empirically analyzing the case of Islamic State linguistic traditions archeologically and genealogically. The study concludes that the use of classical Arabic constitutes one of the pillars of the cultural structure of the jihadi culture. Classical Arabic does play an important role in the jihadi culture leaning towards a literalist approach to religious texts, and hence to adopt violence. However, the study denies any essentialist relation between classical Arabic and jihadi culture through presenting a historical sketch of the language as an element in a variety of other contexts. 2 Table of Contents 1. Introduction .................................................................................................................................. 5 2. Theory .......................................................................................................................................... 8 3. Methods ..................................................................................................................................... -
I Am a Salafi a Study of the Actual and Imagined Identities of Salafis / by Mohammad Abu Rumman Amman:Friedrich-Ebert-Stiftung, 2014
The Hashemite Kingdom Jordan The Deposit Number at The National Library (2014/5/2464) 251.541 Mohammad Abu Rumman I Am A Salafi A Study of The Actual And Imagined Identities of Salafis / by Mohammad Abu Rumman Amman:Friedrich-Ebert-Stiftung, 2014 Deposit No.:2014/5/2464 Descriptors://Islamic Groups//Islamic Movement Published in 2014 by Friedrich-Ebert-Stiftung Jordan & Iraq FES Jordan & Iraq P.O. Box 941876 Amman 11194 Jordan Email: [email protected] Website: www.fes-jordan.org Not for sale © FES Jordan & Iraq All rights reserved. No part of this publication may be reprinted, reproduced or utilized in any form or by any means without prior written permission from the publishers. The views and opinions expressed in this publication are solely those of the original author. They do not necessarily represent those of the Friedrich-Ebert-Stiftung or the editor. Translation: Dr. Hassan Barari Editing: Amy Henderson Cover: YADONIA Group Printing: Economic Printing Press ISBN: 978-9957-484-41-5 I AM A SALAFI A Study of the Actual and Imagined Identities of Salafis by Mohammad Abu Rumman Foreword Anja Wehler-Schoeck, Resident Director, FES Jordan & Iraq While Salafism is by no means a novelty, Salafi movements have witnessed a strong surge over the past decades. Traditionally averse to involvement in political affairs, since the so-called Arab Spring, several Salafi movements have developed political agendas and have become active in the political arena. Salafism has been receiving increased media attention with Salafi Jihadi groups recruiting from around the globe and fighting in Syria. Oftentimes, little attention is being paid to the fact that Salafi movements are neither static nor homogenous. -
The Poetics of Romantic Love in Vis & Rāmin
THE UNIVERSITY OF CHICAGO THE POETICS OF ROMANTIC LOVE IN VIS & RĀMIN A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF NEAR EASTERN LANGUAGES AND CIVILIZATIONS BY CAMERON LINDLEY CROSS CHICAGO, ILLINOIS AUGUST 2015 Copyright © 2015 by Cameron Lindley Cross All Rights Reserved To TJ Quinn and Farouk Abdel Wahab In Memoriam َ َ ُّ َ ْ َ ً ْ اﻻﻳ ﺎ ﻛﻳ ﻬ ﺎاﻟ ﺴ ﺎﻗ ﻰ ا ِدر ﻛ ﺄﺳ ﺎ وﻧ ِﺎوﻟ ﻬ ﺎ َ ُ ُ ﻛ ﻪ ِ ﻋﺸ ﻖ آﺳ ﺎن ﻧِﻤ ﻮد ا ول َوﻟ ﻰ اﻓ ﺘ ﺎد ﻣﺸ ِ ﻜﻠ ﻬ ﺎ Boy bring round the wine and give me some for love that at first seemed easy turned difficult —Ḥāfeẓ (tr. Geoffrey Squires) Contents Abstract viii Acknowledgments ix A Note on Transcription xiii Transliteration Charts xix List of Figures xxi List of Tables xxii List of Abbreviations xxiii Introduction xxiv Proem: The Tale of Fakhri and the Slave-Boy 1 1 The Story of the Story 5 1.1 A portrait of the artist (as a young man?) ......................... 7 1.2 The rise of the Seljuk Turks ................................ 20 1.3 The mysterious sources of Vis & Rāmin .......................... 26 1.4 The Nachleben ....................................... 36 1.5 Recovery, revulsion, and revision ............................. 48 1.6 Welcome to the conversation ............................... 54 2 Finding Romance 71 2.1 The Persian renaissance .................................. 78 2.2 “Love-stories and all that sort of stuff” ........................... 94 2.3 Sailing the sea: Vāmeq & ʿAẕrā ............................... 106 v 2.4 Traversing the desert: Varqa & Golshāh ......................... -
Dragon Magazine #114
D RAGON Magazine SPECIAL ATTRACTION 8 The Witch Bill Muhlhausen Vol. XI, No. 5 From out of the past, a scary NPC updated and redesigned October 1986 Publisher OTHER FEATURES Mike Cook 22 Grave encounters — Nick Kopsinis and Patrick Goshtigian Creatures youll find in cemeteries and crypts Editor-in-Chief Kim Mohan 26 The elven cavalier — Chris Booth The special outlook of a special character Editorial staff Patrick Lucien Price 32 Many kinds of money — Davod S. Baker Roger Moore One mans cash is another mans trash Robin Jenkins 36 The ecology of the remorhaz — Kurt Martin and Ed Greenwood Editorial assistance If you cant stand the heat, get off its back Eileen Lucas Georgia Moore 4 0 Combined generation Robert Kelk All the character-creation information in one place Art, graphics, production Roger Raupp 4 4 Class struggles — Mark Kraatz Kim Lindau Another viewpoint of between-levels training Advertising 50 Its a hit but where? Alex Curylo Mary Parkinson How to battle monsters with varying armor classes Subscriptions 5 2 A Recipe for Espionage — Russell Droullard Pat Schulz Unleash your TOP SECRET® game creativity This issue’s contributing artists 62 Guilty as Charged — Thomas M. Kane David Martin The legal process in the TOP SECRET game Roger Raupp Marvel Bullpen 64 The Marvel®-Phile — Jeff Grubb Duane Loose Off to the moon with the Inhumans Larry Elmore David Trampier 72 The role of computers — Hartley and Pattie Lesser Richard Tomasic A long look at a long game Denton Elliott — Wizard’s Crown Joseph Pillsbury 78 Running Guns Margaret Weis and Kevin Stein Lawrence Raimonda Ground forces support vehicles for the BATTLETECH® game 84 High-tech hijinks — Randal S. -
AD&D® 2Nd Edition: Monstrous Manual
Pathed by Seva Patch version 1.5 Previous Index Next Cover AD&D® 2nd Edition Advanced Dungeons & Dragons® 2nd Edition Monstrous ManualTM Game Accessory The updated Monstrous ManualTM for the AD&D® 2nd Edition Game ADVANCED DUNGEONS & DRAGONS and AD&D are registered trademarks owned by TSR, Inc. The TSR logo and MONSTROUS MANUAL are trademarks owned by TSR, Inc. Monstrous Manual Index Credits How To Use This Book Contents Other Worlds The Monsters A Aarakocra Abishai (Baatezu) Aboleth Aerial Servant (Elemental, Air-kin) African Elephant (Elephant) Air Elemental (Elemental, Air/Earth) Algorn (Titan) Amethyst Dragon Amphisbaena (Snake) Androsphinx (Sphinx) Ankheg Ankylosaurus (Dinosaur) Ant (Insect) Ant Lion (Insect) Antelope (Mammal, Herd) Antherion--Jackalwere Antherion--Wolfwere Ape, Carnivorous (Mammal) Aratha (Insect) Arcane Arctic Tempest (Elemental, Composite) Argos Ascomoid (Fungus) Aspis (Insect) Aspis (Insect)--Cow Aspis (Insect)--Drone Aspis (Insect)--Larva Assassin Bug (Insect) Astereater Aurumvorax Azmyth (Bat) B Baatezu Baatezu--Abishai, Black Baatezu--Abishai, Green Baatezu--Pit Fiend Baatezu--Red Abishai Baboon, Wild (Mammal) Bagder (Mammal) Balor (Tanar'ri) Banderlog (Mammal) Banshee Barracuda (Fish) Basilisk Basilisk--Dracolisk Basilisk--Greater Basilisk--Lesser Bat Bat--Azmyth Bat--Common Bat--Huge Bat--Large Bat--Night Hunter Bat--Sinister Bear Bear--Black Bear--Brown Bear--Cave Bear--Polar Beaver (Mammal, Small) Bee (Insect) Bee (Insect)--Worker Bee (Insect)--Soldier Bee (Insect)--Bumblebee Beetle, Giant Beetle, Giant--Bombardier -
Epic Splitting: an Arab Folk Gloss on the Meaning of the Hero Pattern
Oral Tradition, 4/1-2 (1989): 101-24 Epic Splitting: An Arab Folk Gloss on the Meaning of the Hero Pattern Bridget Connelly with Henry Massie, M.D. Epic narrative typically spells out departures and arrivals very clearly (see Bowra 1952:179 ff). The Arabic migration epic Sīrat Banī Hilāl, in its many different cultural transformations and retellings, has a structure based on geographic displacements. Narrators from Egypt to Tunisia and the Lake Chad area all construct their versions of the story cyclically around a basic morphology of: LACK — DEPARTURE — CONTRACT — VIOLATION — RESOLUTION (battle or trickery/victory or defeat) — LACK LIQUIDATED or NEW LACK (which engenders a new geographic displacement, be it a return or a new departure) (see Connelly 1973, 1986; Ayoub 1982b). Versions of the legendary saga collected from a Shuwa Arab mucallim follow the African epic pattern (see Okpewho 1979:88) of structuring the narrative around the cycle of the hero. I have shown elsewhere how a 13- cycle pattern of alternating scenes forms the gross constituent units out of which the narrator constructed his version (Connelly 1973). Each episode of the hero’s life—from his birth through his early adventures or tests, to his adult adventures and confl icts, to his old age and succession by his children and his eventual death—appears as a journey. Each journey begins with a council scene of some kind during which a need or a lack is identifi ed (be it childlessness, famine, drought, or some other sterility or threat). A journey is made away from home (be it the tribal group in council or literally the mother in the boy hero’s fi rst adventures); a boundary is transgressed; a confl ict ensues, resulting in either victory or defeat; and the hero returns to the group for another council scene which sets up a repetition of the cycle. -
The Demon Lover" Ballad 35 4
University of Kentucky UKnowledge Literature in English, British Isles English Language and Literature 1988 Demon-Lovers and Their Victims in British Fiction Toni Reed Ohio State University Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Reed, Toni, "Demon-Lovers and Their Victims in British Fiction" (1988). Literature in English, British Isles. 21. https://uknowledge.uky.edu/upk_english_language_and_literature_british_isles/21 DEMON-LOVERS AND THEIR VICTIMS IN BRITISH FICTION This page intentionally left blank DEMON-LOVERS AND THEIR VICTIMS IN BRITISH FICTION TONI REED THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1988 by The University Press of Kentucky Paperback edition 2009 The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data is available from the Library of Congress. ISBN 978-0-8131-9290-1 (pbk: acid-free paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.