An Unknown Aspect in the Life of Al-Jahiz ( Mohammad/ ) Kkalil
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Race, Rebellion, and Arab Muslim Slavery : the Zanj Rebellion in Iraq, 869 - 883 C.E
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2016 Race, rebellion, and Arab Muslim slavery : the Zanj Rebellion in Iraq, 869 - 883 C.E. Nicholas C. McLeod University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the African American Studies Commons, African History Commons, Ethnic Studies Commons, History of Religion Commons, Islamic Studies Commons, Islamic World and Near East History Commons, Medieval Studies Commons, Race and Ethnicity Commons, and the Social History Commons Recommended Citation McLeod, Nicholas C., "Race, rebellion, and Arab Muslim slavery : the Zanj Rebellion in Iraq, 869 - 883 C.E." (2016). Electronic Theses and Dissertations. Paper 2381. https://doi.org/10.18297/etd/2381 This Master's Thesis is brought to you for free and open access by ThinkIR: The nivU ersity of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The nivU ersity of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. RACE, REBELLION, AND ARAB MUSLIM SLAVERY: THE ZANJ REBELLION IN IRAQ, 869 - 883 C.E. By Nicholas C. McLeod B.A., Bucknell University, 2011 A Thesis Submitted to The Faculty of College of Arts and Sciences of the University of Louisville In Partial Fulfillment of the Requirements For the Degree of Master of Arts In Pan-African Studies Department of Pan-African Studies University of Louisville Louisville, Kentucky May 2016 Copyright 2016 by Nicholas C. -
). the Golden Age of Arab and Islamic
). THE GOLDEN AGE OF ARAB AND ISLAMIC CULTURE "BAGHDAD,AT THE coNFLUENcE oF Two cuLTUREs, Aramaean and Greek, became,in the tenth century, the intellectual center of the world." As capital of the caliphate,Baghdad rvasalso to becomethe cultural capitalof the Islamic world. Our purposeis to show,as briefly aspossible, the role that this region played in the transmissionof the knowledge of antiquity, in the evolution of religious attitudes,and in the flowering of Arabic literature.We shall no[ try to flnd out, any more than did the caliphs of the period, whether the actorsrvere Iranians, Arabs, Moslems,Christians, or |ews. Mcn of lettersand of sciencehad gatheredin this city either through cultural affinityor becausethey had beensummoned to the caliph'scourt for their worth or their competence. An effort was made to keep the languageand the religion at an indispensablecultural level.In reality, there was but a single aim: It was necessary to study the structureand the rules of the language of the Koran in order to have the languagerespected and understood.We shall not spendtoo much time on the grammaticalwork, sincewe want to fol- low the more universal tendencies,especially in their in- fluenceon medievalEurope. We shall mention only Khalil, the inventor of Arabic prosody,the first author of a diction- 64 THE GOLDEN AGE ary, and especiallyhis pupil Sibawaih, who has the dis- tinction of having codified definitively all the problems of grammar. Later, Mubarrad wrote a work which is not only didactic but a valuablecollection of poetic quotations. He also shareswith his rival and contemporary,Tha'lab, the honor of having contributedto the philological training of severalpoets. -
Proquest Dissertations
The history of the conquest of Egypt, being a partial translation of Ibn 'Abd al-Hakam's "Futuh Misr" and an analysis of this translation Item Type text; Dissertation-Reproduction (electronic) Authors Hilloowala, Yasmin, 1969- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 21:08:06 Link to Item http://hdl.handle.net/10150/282810 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly fi-om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from 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 sectiotiing the original, beginning at the upper left-hand comer and continuing from 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. -
You with the Magic Gaze (Yā Sāhir Al-Tarf ).3
1 Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: __________________________ _______________ Christine N. Kalleeny Date 2 FIGURING THE ICONOCLAST: THE EROS OF WINE IN TWO POEMS BY ABŪ NUWĀS AND THE SYMPOSIUM OF PLATO By Christine N. Kalleeny Doctor of Philosophy Comparative Literature Claire Nouvet, Ph.D., Advisor Kevin Corrigan, Ph.D., Committee Member Phillip F. Kennedy, Ph.D., Committee Member Deborah A. White, Ph.D., Committee Member Accepted: Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies Date FIGURING THE ICONOCLAST: THE EROS OF WINE IN TWO POEMS BY ABŪ NUWĀS AND THE SYMPOSIUM OF PLATO 3 By Christine N. Kalleeny Ph.D., Emory University, 2010 Advisor: Claire Nouvet, Ph.D. An abstract of A dissertation submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University In partial fulfillment of the requirements for the degree of Doctor of Philosophy In Comparative Literature 2010 4 Abstract FIGURING THE ICONOCLAST: THE EROS OF WINE IN TWO POEMS BY ABŪ NUWĀS AND THE SYMPOSIUM OF PLATO By Christine N. -
Madmen Who Were Poets, David Larsen 8
The Poetry Project february / march 2017 Issue #250 The Poetry Project February / March 2017 Issue #250 Director: Stacy Szymaszek Managing Director: Nicole Wallace Archivist: Will Edmiston Program Director: Simone White Archival Assistant: Marlan Sigelman Communications & Membership Coordinator: Laura Henriksen Bookkeeper: Carlos Estrada Newsletter Editor: Betsy Fagin Workshop/Master Class Leaders (Spring 2017): Lisa Jarnot, Reviews Editor: Sara Jane Stoner Aldon Nielsen, Arlo Quint, and Matvei Yankelevich Monday Night Readings Coordinator: Judah Rubin Box Office Staff: Micaela Foley, Cori Hutchinson, and Anna Wednesday Night Readings Coordinator: Simone White Kreienberg Friday Night Readings Coordinator: Ariel Goldberg Interns: Shelby Cook and Cori Hutchinson Friday Night Readings Assistant: Yanyi Luo Newsletter Consultant: Krystal Languell Volunteers James Barickman, Mel Elberg, Micaela Foley, Hadley Gitto, Olivia Grayson, Cori Hutchinson, Anna Kreienberg, Phoebe Lifton, Ashleigh Martin, Dave Morse, Batya Rosenblum, Hannah Treasure, Viktorsha Uliyanova, and Shanxing Wang. Board of Directors Camille Rankine (Chair), Katy Lederer (Vice-Chair), Carol Overby (Treasurer), and Kristine Hsu (Secretary), Todd Colby, Adam Fitzgerald, Boo Froebel, Erica Hunt, Jonathan Morrill, Elinor Nauen, Laura Nicoll, Purvi Shah, Jo Ann Wasserman, and David Wilk. Friends Committee Brooke Alexander, Dianne Benson, Will Creeley, Raymond Foye, Michael Friedman, Steve Hamilton, Viki Hudspith, Siri Hustvedt, Yvonne Jacquette, Gillian McCain, Eileen Myles, Patricia Spears Jones, Michel de Konkoly Thege, Greg Masters, Ron Padgett, Bob Holman, Paul Slovak, John Yau, Anne Waldman, and Hal Willner. Funders The Poetry Project is very grateful for the continued support of our funders: Axe-Houghton Foundation; The Cheswatyr Foundation, Committee on Poetry; Dr. Gerald J. & Dorothy R. Friedman Foundation, Inc.; Humanities New York; Jerome Foundation; Leaves of Grass Fund; Leslie Scalapino – O Books Fund; LitTAP; Poets & Writers, Inc.; Poets for the Planet Fund; The Robert D. -
From Rabi`A to Ibn Al-Färich Towards Some Paradigms of the Sufi Conception of Love
From Rabi`a to Ibn al-Färich Towards Some Paradigms of the Sufi Conception of Love By Suleyman Derin ,%- Submitted in accordance with the requirements for the degree of doctor of philosophy Department of Arabic and 1Viiddle Eastern Studies The University of Leeds The candidate confirms that the work submitted is his own work and that appropriate credit has been given where reference has been made to the work of others. September 1999 ABSTRACT This thesis aims to investigate the significance of Divine Love in the Islamic tradition with reference to Sufis who used the medium of Arabic to communicate their ideas. Divine Love means the mutual love between God and man. It is commonly accepted that the Sufis were the forerunners in writing about Divine Love. However, there is a relative paucity of literature regarding the details of their conceptions of Love. Therefore, this attempt can be considered as one of the first of its kind in this field. The first chapter will attempt to define the nature of love from various perspectives, such as, psychology, Islamic philosophy and theology. The roots of Divine Love in relation to human love will be explored in the context of the ideas that were prevalent amongst the Sufi authors regarded as authorities; for example, al-Qushayri, al-Hujwiri and al-Kalabadhi. The second chapter investigates the origins Of Sufism with a view to establishing the role that Divine Love played in this. The etymological derivations of the term Sufi will be referred to as well as some early Sufi writings. It is an undeniable fact that the Qur'an and tladith are the bedrocks of the Islamic religion, and all Muslims seek to justify their ideas with reference to them. -
Arabic Literature From
Chapter 1 ARABICLITERATURE FROM ITS ORIGINS TO 132/750 Mohamed Abdesselem ‘When the Arab makes his first appearance on History’s stage, he comes bearing a precious and formidable glft: hs profound sense of the beauty of the Word,’’ and it is through the Word that he reveals hs creative abilities. It is regrettable that, as a result of long years of selective, oral trans- mission, many of the literary works from this past, and the oldest in parti- cular, have been lost to us, and that those whch have survived are fragmentary and often of doubtful provenance .’We are thus condemned to ignorance about both the beginnings and the early stages of the development of this literature. It is not until the sixth century AD that the texts become sufficiently numerous and their provenance sufficiently clear, so as to constitute valid documentation. Analysis does, however,suggest that they are part of a tradition that had long since established its own formal rules and thematic tendencies. It is one of the paradoxes in the history of Arabic literature to bepwith what can with no hesitation, and full justification, be called ‘classicism’, a classicism that reigned for two and a half centuries. Even the message of Muhammad and the resulting upheaval of ideas and mores could not separate the Arabs from an aesthetic tradition inherited from their distant past. It was not untd 132/750, when the Banu-l-‘Abbassucceeded the BanG Umayya, that Arabic literature began to innovate on a large scale. 1. R. Blachtre, ‘Le classicisme dans la littkrature arabe’, in G.E.von Grunebaum (ed.), .Jj@osium International 8Hstoire ai? la Civilisation MusuLmane, Actes, pp. -
Thesis Submitted in Accordance with the Requirements for the Degree Of
Modern Arabic Literary Biography: A study of character portrayal in the works of Egyptian biographers of the first half of the Twentieth Century, with special reference to literary biography BY WAHEED MOHAMED AWAD MOWAFY Thesissubmitted in accordancewith the requirementsfor the degreeof Doctor of Philosophy The University of Leeds The Department of Arabic and Middle Eastern Studies June 1999 I confirm that the work submitt&d is my own and that appropriate credit has been given where referenceshave been made to the work of others ACKNONNILEDGEMENTS During the period of this study I have received support and assistýncefrom a number of people. First I would like to expressmy sincere gratitude and appreciation to my supervisor Dr. A. Shiviiel, who guided me throughout this study with encouragement, patience and support. His generoushelp was always there whenever neededand he undoubtedly easedmy task. I also acknowledgemy indebtednessto the Faculty of Da*ral-ýJlýrn, Cairo University, PP) OW Op 4t or and in particular to Profs. Raja Jabr and al-Tahir Ahmed Makki and Abd al-Sabur 000 SIýZin for inspiring me in my study of Arabic Literature. Next I would like to thank the Egyptian EducationBureau and in particular the Cultural Counsellorsfor their support. I also wish to expressmy gratitudeto Prof Atiyya Amir of Stockholm University, Prof. C Ob 9 Muhammad Abd al-Halim of S. 0. A. S., London University, Prof. lbrlfrim Abd al- C Rahmaonof Ain ShamsUniversity, Dr. Muhammad Slim Makki"and Mr. W. Aziz for 0V their unlimited assistance. 07 Finally, I would like to thank Mr. A. al-Rais for designing the cover of the thesis, Mr. -
Ab Tamm M's Contribution to Abb Sid Gazal Poetry
AB� TAMM�M'S CONTRIBUTION TO �ABB�SID GAZAL POETRY When Abu Tammam is mentioned, three things come to mind: the col- lection of the Ifamäsa, the badi-style and the madih-poems, because it was this genre to which Abu Tammam devoted most of his verses. Therefore, western scholars label Abu Tammam as a "neo-classical" poet along with al-Buhturi and al-Mutanabbi because, unlike Abu Nuwds, Abu Tammam did not contribute to the "modern" genres, such as, e.g., wine and love poetry. While this is quite true in the case of wine poetry, it is not true at all in the case of the gazal genre. Of course, the number of lines of Abu Tam- mdm's gazal poems is much smaller than the number of lines devoted to madih poems. But this is simply due to the fact that gazal poems are much shorter than madih poems. If we take the number of poems, the proportion of madih to gazal turns out to be rather surprising: the dlwan1 contains 132 gazal poems compared to 175 madih poems, so the difference is not so great. In fact, as far as we know, there is no poet between Abu Nuwas and Halid al-Katib who has left behind a comparable amount of gazal verse. This comparatively high number of gazal verse in the dlwän of Abu Tam- mam corresponds to the importance this poet is given in the later antholo- gies of love poetry. Let us take as an example the first part of the Kitab az- Zahra of Ibn Däwüd al-Isfahani.2 In this book, the most often quoted poets are al-Buhturi and Abu Tammam. -
Proceedings of the Colloquium on Paradise and Hell in Islam Keszthely, 7-14 July 2002
Proceedings of the Colloquium on Paradise and Hell in Islam Keszthely, 7-14 July 2002 - Part One - EDITED BY K DÉVÉNYI - A. FODOR THE ARABIST BUDAPEST STUDIES IN ARABIC 28-29 THE ARABIST BUDAPEST STUDIES IN ARABIC 28-29 Proceedings of the Colloquium on Paradise and Hell in Islam Keszthely, 7-14 July 2002 EDITOR ALEXANDER FODOR - Part One - ASSOCIATE EDITORS KINGA DÉVÉNYI TAMÁS IVÁNYI EDITED BY K. DÉVÉNYI - A. FODOR EÖTVÖS LORÁND UNIVERSITY CHAIR FOR ARABIC STUDIES & CSOMA DE KŐRÖS SOCIETY SECTION OF ISLAMIC STUDIES Copyright Ed. Csorna de Kőrös Soc. 2008 MÚZEUM BLD. 4/B BUDAPEST, 1088 HUNGARY BUDAPEST, 2008 THE ARABIST CONTENTS BUDAPEST STUDIES IN ARABIC 28-29 P reface........................................................................................................................................ vii Patricia L. Baker (London): Fabrics Fit for A ngels ............................................................... 1 Sheila S. Blair (Boston): Ascending to Heaven: Fourteenth-century Illustrations of the Prophet’s Micra g ......................................................................................................... 19 Jonathan M. Bloom (Boston): Paradise as a Garden, the Garden as Garden . 37 Giovanni Canova (Naples): Animals in Islamic Paradise and H ell ...................... 55 István Hajnal (Budapest): The Events o f Paradise: Facts and Eschatological Doctrines in the Medieval Isma'ili History ................................................................................ 83 Alan Jones (Oxford): Heaven and Hell in the -
Ghazal Poetry and the Marwānids: a Study of Kuthayyir ʿazza
Ghazal Poetry and the Marwānids: A Study of Kuthayyir ʿAzza Samuel Truman Wilder Trinity Hall January 2019 This dissertation is submitted for the degree of Doctor of Philosophy in the University of Cambridge 1 This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. It does not exceed the prescribed word limit for the relevant Degree Committee. 2 1. Introduction 4-19 1.1 ‘Transitional’ Umayyad Poetry: Approach to the Sources 4-11 1.2 Kuthayyir: Texts and Life 11-18 1.3 The Structure of this Dissertation 18-19 2. Kuthayyir’s Ghazal 20-135 2.1 Reading the Emergence of Ghazal Poetry 20-42 2.2 The Performance Context of Ghazal 43-51 2.3 The Form of Kuthayyir’s Ghazal 52-67 Note on Metre 55-57 2.3.a Poem Openings 57-59 2.3.b The Aṭlāl 59-60 2.3.c The Ẓaʿn Motif 60-62 2.3.d Raḥīl, Oaths, and Transitions 62-64 2.3.e Closing Sections 64-67 2.4 Reading Kuthayyir’s Ghazal 68-103 2.5 The Pilgrimage-Oath and Pilgrimage References In Kuthayyir’s Ghazal 104-118 2.5.a The Pilgrimage as Setting in Ḥijāzī Poetry 107-116 2.5.b The Significance of Pilgrimage-Reference in Marwānid Poetry 116-118 2.6 Illness of Distance: The Poetics of Suqm 119-135 3. -
Sona Grigoryan Supervisor: Aziz Al-Azmeh
Doctoral Dissertation POETICS OF AMBIVALENCE IN AL-MA‘ARRĪ’S LUZŪMĪYĀT AND THE QUESTION OF FREETHINKING by Sona Grigoryan Supervisor: Aziz Al-Azmeh Submitted to the Medieval Studies Department, Central European University, Budapest In partial fulfillment of the requirements for the degree of Doctor of Philosophy in Medieval Studies CEU eTD Collection Budapest 2018 TABLE OF CONTENT Acknowledgements .................................................................................................................................. iv List of Abbreviations................................................................................................................................. v Some Matters of Usage ............................................................................................................................ vi INTRODUCTION ...................................................................................................................................... 1 1. Al-Ma‘arrī-an Intriguing Figure ........................................................................................................ 1 2. The Aim and Focus of the Thesis ....................................................................................................... 4 3. Working Material ............................................................................................................................ 13 CHAPTER 1. AL-MA‘ARRĪ AND HIS CONTEXT ............................................................................... 15 1.1. Historical Setting