Pub Date : 2023-05-23DOI: 10.1163/1570064x-12341479
M. Booth
{"title":"The Routledge Handbook of Arabic Translation, edited by Sameh Hanna, Hanem El-Farahaty, and Abdel-Wahab Khalifa The Routledge Handbook of Translation, Feminism, and Gender, edited by Luise von Flotow and Hala Kamal","authors":"M. Booth","doi":"10.1163/1570064x-12341479","DOIUrl":"https://doi.org/10.1163/1570064x-12341479","url":null,"abstract":"","PeriodicalId":43529,"journal":{"name":"JOURNAL OF ARABIC LITERATURE","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42897677","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-23DOI: 10.1163/1570064x-12341481
S. Sperl
some Iraqis feel about minority groups, and the contributions they have made, rapidly disappearing from Iraq in current times. This final chapter thus provides a succinct, detailed background to the politics of Jewish exile and the precarity of belonging in Iraq. What, then, is the politics of this book’s location? It is first and foremost an archive and homage to the writers with whom Zeidel has interacted with over the years. His interactions have taken place in many forms, the first of which is via his corpus of Iraqi literature. His corpus is the 330 novels he has read in Arabic. He also dedicates Pluralism in the Iraqi Novel After 2003 to the Iraqi writers he has been interacting with, many of whose opinions and contributions to his work have been kept anonymous by Zeidel for their own safety (xi). This is why many statements on Iraqi literature which Zeidel attributes to Iraqi writers themselves, are not referenced to individual Iraqi writers. What Zeidel does state, however, is that much of his opinions on developments on Iraqi literature are very much informed by his “interactions” (xi) with Iraqi “activists, writers, publishers, journalists, poets, exiles, students and others”, most of which were only possible post-2003 due to political changes in Iraq and what he terms as “the technical revolution” in Iraq. Zeidel makes it explicit that he sourced much of the primary materials for his research from the University of Haifa (xi), which is why it is not surprising that other books may not have come to his attention due this specific location. Zeidel puts forward, for example, al-Dil` (The Rib, 2006), by Hamid al-Iqabi, as the sole example of a non-Kurdish Iraqi writer showing what Zeidel terms as “real empathy” (112) towards the tragedy of Kurdish Iraqis in Iraq. Other examples by non-Kurdish Iraqi writers showing similar empathy with Kurdish Iraqis within post-2003 context do exist, such as Hadiya Husayn’s novel Mā Sayaʾtī (What Will Come, 2017) as one example. I refer to this point not as a critique of Zeidel’s analysis but to highlight how the ‘politics of location’ impacts on all scholars’ archival literary research. Zeidel holds a view of Iraq as a country needing to embrace societal plurality and diversity as part of its recovery from the Iraqi Baʿthist era and the prevalence of hegemonic discourses of national identity. He thus reads examples of how the nationalist novel has “become pluralistic” (1) by tracking how explicitly Iraqi writers have shown representations of Iraqi identities in their novels. He takes the community identity of each Iraqi writer as an equally explicit instrument of analysis. Zeidel also clarifies the literary perspectives from which he reads, noting that “as an historian, I consider the literary text primarily as a source and not a text...Indeed, the literary text should be analysed in depth by specialists” (15). Such an approach, as noted earlier, precludes exploring the aesthetics by which many Iraqi nove
一些伊拉克人感到少数民族和他们所做的贡献在当今时代迅速从伊拉克消失。因此，这最后一章提供了一个简洁、详细的背景，犹太人流亡的政治和不稳定的归属在伊拉克。那么，这本书的地理位置有什么政治意义呢?它首先是一个档案馆，并向多年来与Zeidel互动的作家致敬。他的互动以多种形式进行，第一种形式是通过他的伊拉克文学语料库。他的语料库是他读过的330本阿拉伯语小说。他也将《2003年后伊拉克小说的多元论》献给与他交往的伊拉克作家，其中许多人的观点和对他作品的贡献，为了安全起见，Zeidel都不愿透露姓名(xi)，这就是为什么许多关于伊拉克文学的言论，Zeidel认为是伊拉克作家自己说的，而不是个别伊拉克作家说的。然而，Zeidel所陈述的是，他对伊拉克文学发展的看法，大多来自他与伊拉克“社运人士、作家、出版商、记者、诗人、流亡者、学生和其他人”的“互动”(xi)，其中大部分都是在2003年后，由于伊拉克的政治变化，以及他所说的伊拉克的“技术革命”才得以实现。Zeidel明确表示，他从海法大学(University of Haifa)获得了他研究的大部分主要材料(xi)，这就是为什么由于这个特定的位置，其他书籍可能没有引起他的注意并不奇怪。例如，Zeidel提出，Hamid al-Iqabi的al-Dil’(The Rib, 2006)是唯一一个非库尔德伊拉克作家对伊拉克库尔德人的悲剧表现出Zeidel所说的“真正的同情”(112)的例子。其他非库尔德伊拉克作家在2003年后的背景下对库尔德伊拉克人表现出类似同理心的例子确实存在，比如哈迪亚·侯赛因的小说《未来》(What Will Come, 2017)就是一个例子。我提到这一点不是为了批评泽德尔的分析，而是为了强调“位置政治”如何影响所有学者的档案文学研究。Zeidel认为伊拉克是一个需要拥抱社会多元化和多样性的国家，这是伊拉克从Ba - thist时代和民族认同霸权话语盛行中复苏的一部分。因此，他通过追踪伊拉克作家如何在他们的小说中明确地表现伊拉克身份，来阅读民族主义小说如何“变得多元化”的例子。他把每个伊拉克作家的社区身份作为一种同样明确的分析工具。齐德尔还澄清了他阅读时的文学视角，他指出:“作为一名历史学家，我认为文学文本主要是一种来源，而不是文本……事实上，文学文本应该由专家进行深入分析”(15)。如前所述，这种方法排除了探索许多伊拉克小说家表达他们对伊拉克社会愿景的美学。由于这个原因，Zeidel宽泛的“非文学”方法与“身份框架”分析镜头一起出现，对于习惯于近距离阅读文本的文学学者来说，最初可能是一种不熟悉的方法。Zeidel以如此开放、坦率和清晰的方式介绍了《2003年后伊拉克小说中的多元论》，这本书非常引人入胜，从头到尾都被认为是伊拉克文学的重要档案资源。尤其值得一提的是，这本书的参考书目列出了伊拉克作家和他们的小说，这极大地展示了Zeidel的研究范围，同时也为我们进一步研究伊拉克多样化的文学提供了很多灵感。
{"title":"The Arabic Prose Poem: Poetic Theory and Practice, written by Huda J. Fakhreddine","authors":"S. Sperl","doi":"10.1163/1570064x-12341481","DOIUrl":"https://doi.org/10.1163/1570064x-12341481","url":null,"abstract":"some Iraqis feel about minority groups, and the contributions they have made, rapidly disappearing from Iraq in current times. This final chapter thus provides a succinct, detailed background to the politics of Jewish exile and the precarity of belonging in Iraq. What, then, is the politics of this book’s location? It is first and foremost an archive and homage to the writers with whom Zeidel has interacted with over the years. His interactions have taken place in many forms, the first of which is via his corpus of Iraqi literature. His corpus is the 330 novels he has read in Arabic. He also dedicates Pluralism in the Iraqi Novel After 2003 to the Iraqi writers he has been interacting with, many of whose opinions and contributions to his work have been kept anonymous by Zeidel for their own safety (xi). This is why many statements on Iraqi literature which Zeidel attributes to Iraqi writers themselves, are not referenced to individual Iraqi writers. What Zeidel does state, however, is that much of his opinions on developments on Iraqi literature are very much informed by his “interactions” (xi) with Iraqi “activists, writers, publishers, journalists, poets, exiles, students and others”, most of which were only possible post-2003 due to political changes in Iraq and what he terms as “the technical revolution” in Iraq. Zeidel makes it explicit that he sourced much of the primary materials for his research from the University of Haifa (xi), which is why it is not surprising that other books may not have come to his attention due this specific location. Zeidel puts forward, for example, al-Dil` (The Rib, 2006), by Hamid al-Iqabi, as the sole example of a non-Kurdish Iraqi writer showing what Zeidel terms as “real empathy” (112) towards the tragedy of Kurdish Iraqis in Iraq. Other examples by non-Kurdish Iraqi writers showing similar empathy with Kurdish Iraqis within post-2003 context do exist, such as Hadiya Husayn’s novel Mā Sayaʾtī (What Will Come, 2017) as one example. I refer to this point not as a critique of Zeidel’s analysis but to highlight how the ‘politics of location’ impacts on all scholars’ archival literary research. Zeidel holds a view of Iraq as a country needing to embrace societal plurality and diversity as part of its recovery from the Iraqi Baʿthist era and the prevalence of hegemonic discourses of national identity. He thus reads examples of how the nationalist novel has “become pluralistic” (1) by tracking how explicitly Iraqi writers have shown representations of Iraqi identities in their novels. He takes the community identity of each Iraqi writer as an equally explicit instrument of analysis. Zeidel also clarifies the literary perspectives from which he reads, noting that “as an historian, I consider the literary text primarily as a source and not a text...Indeed, the literary text should be analysed in depth by specialists” (15). Such an approach, as noted earlier, precludes exploring the aesthetics by which many Iraqi nove","PeriodicalId":43529,"journal":{"name":"JOURNAL OF ARABIC LITERATURE","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43200448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-23DOI: 10.1163/1570064x-12341478
Mervat Aljomaa
This article examines the narrative and literary techniques employed in Hudā Ḥamad’s Sindrīllāt Masqaṭ to draw on Omani women’s experiences of writing and speaking as sources of empowerment and narrative identity. Marking a shift from the dominant realistic and historical fiction often associated with male writers, Ḥamad experiments with magical realism, the carnivalesque, intertextuality, and metafiction to reconfigure the novelistic genre beyond the national prescriptions of literary production. Through the voice of the narrator, alongside the voices of other ordinary women, the novel underscores the significance of women’s symbolic practices within the societal and cultural boundaries of Oman. In an allegory of writing—a major thread running throughout the novel—the narrator/writer seeks to combine the composite, multiple, and fictional fragments of various women’s stories into a single readable text that preserves oral and cultural memory. Thus, on the one hand, this article explores the writer’s experimentation with narrative and storytelling within the context of the Omani literary tradition. On the other hand, it examines modes of women’s empowerment that work through articulative and enunciative practices in the face of linguistic frustration.
{"title":"Power, Narrative, and Magical Realism in Hudā Ḥamad’s Sindrīllāt Masqaṭ","authors":"Mervat Aljomaa","doi":"10.1163/1570064x-12341478","DOIUrl":"https://doi.org/10.1163/1570064x-12341478","url":null,"abstract":"\u0000This article examines the narrative and literary techniques employed in Hudā Ḥamad’s Sindrīllāt Masqaṭ to draw on Omani women’s experiences of writing and speaking as sources of empowerment and narrative identity. Marking a shift from the dominant realistic and historical fiction often associated with male writers, Ḥamad experiments with magical realism, the carnivalesque, intertextuality, and metafiction to reconfigure the novelistic genre beyond the national prescriptions of literary production. Through the voice of the narrator, alongside the voices of other ordinary women, the novel underscores the significance of women’s symbolic practices within the societal and cultural boundaries of Oman. In an allegory of writing—a major thread running throughout the novel—the narrator/writer seeks to combine the composite, multiple, and fictional fragments of various women’s stories into a single readable text that preserves oral and cultural memory. Thus, on the one hand, this article explores the writer’s experimentation with narrative and storytelling within the context of the Omani literary tradition. On the other hand, it examines modes of women’s empowerment that work through articulative and enunciative practices in the face of linguistic frustration.","PeriodicalId":43529,"journal":{"name":"JOURNAL OF ARABIC LITERATURE","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42922828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-23DOI: 10.1163/1570064x-12341474
Shatha Almutawa
This article examines the narratives that appear in the encyclopedic Rasāʾil Ikhwān al-Ṣafāʾ (Epistles of the Brethren of Purity). Written in the tenth century, this multi-layered Neoplatonic work contains over 40 narratives—parables, allegories, fables, animal tales, and dialogues. These narratives serve multiple purposes, including the elucidation and illustration of ethical, philosophical, religious, mathematical, and scientific concepts. Together they encapsulate the philosophy of the secret society that produced them. With the exception of the famous animal fable, The Case of the Animals vs. Man in the Court of the King of the Jinn, these narratives have received little scholarly attention. Those narratives that have been studied have been considered in isolation rather than with the other narratives of the corpus. This article identifies the narratives in each epistle that utilizes them, shows their distribution, examines their types, and provides examples of the shorter narratives.
{"title":"Narrative in Rasāʾil Ikhwān al-Ṣafāʾ","authors":"Shatha Almutawa","doi":"10.1163/1570064x-12341474","DOIUrl":"https://doi.org/10.1163/1570064x-12341474","url":null,"abstract":"\u0000This article examines the narratives that appear in the encyclopedic Rasāʾil Ikhwān al-Ṣafāʾ (Epistles of the Brethren of Purity). Written in the tenth century, this multi-layered Neoplatonic work contains over 40 narratives—parables, allegories, fables, animal tales, and dialogues. These narratives serve multiple purposes, including the elucidation and illustration of ethical, philosophical, religious, mathematical, and scientific concepts. Together they encapsulate the philosophy of the secret society that produced them. With the exception of the famous animal fable, The Case of the Animals vs. Man in the Court of the King of the Jinn, these narratives have received little scholarly attention. Those narratives that have been studied have been considered in isolation rather than with the other narratives of the corpus. This article identifies the narratives in each epistle that utilizes them, shows their distribution, examines their types, and provides examples of the shorter narratives.","PeriodicalId":43529,"journal":{"name":"JOURNAL OF ARABIC LITERATURE","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49274613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-23DOI: 10.1163/1570064x-12341476
Ismail Nashef
One of the major premises of Arab (post)colonial modernity is that the child could be a key bearer of change for a better future for the society. For the child to be successful as a bearer of change, she must first be transformed into a modern subject. In this article, I present the Palestinian case to explore this premise, examining the nature of the child as a modern subject with a particular type of agency. Specifically, I will focus on how Ghassān Kanafānī’s literary works represent the child as a sociopolitical agent. I analyze several literary genres, including dedications, letters, short stories, and novels. The article concludes by suggesting that this particular agency is a hybrid of child-adult agency, bounded by intergenerational succession in the context of patriarchal-colonial Palestine of the post-Nakbah era.
{"title":"Ghassān Kanafānī’s Children: Agency and Contingency","authors":"Ismail Nashef","doi":"10.1163/1570064x-12341476","DOIUrl":"https://doi.org/10.1163/1570064x-12341476","url":null,"abstract":"\u0000One of the major premises of Arab (post)colonial modernity is that the child could be a key bearer of change for a better future for the society. For the child to be successful as a bearer of change, she must first be transformed into a modern subject. In this article, I present the Palestinian case to explore this premise, examining the nature of the child as a modern subject with a particular type of agency. Specifically, I will focus on how Ghassān Kanafānī’s literary works represent the child as a sociopolitical agent. I analyze several literary genres, including dedications, letters, short stories, and novels. The article concludes by suggesting that this particular agency is a hybrid of child-adult agency, bounded by intergenerational succession in the context of patriarchal-colonial Palestine of the post-Nakbah era.","PeriodicalId":43529,"journal":{"name":"JOURNAL OF ARABIC LITERATURE","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43397867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-23DOI: 10.1163/1570064x-12341484
P. Sijpesteijn
{"title":"Qurʾān Quotations Preserved on Papyrus Documents, 7th–10th Centuries. And The Problem of Carbon Dating Early Qurʾāns, edited by Andreas Kaplony and Michael Marx","authors":"P. Sijpesteijn","doi":"10.1163/1570064x-12341484","DOIUrl":"https://doi.org/10.1163/1570064x-12341484","url":null,"abstract":"","PeriodicalId":43529,"journal":{"name":"JOURNAL OF ARABIC LITERATURE","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47978869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-23DOI: 10.1163/1570064x-12341480
Moneera al-Ghadeer
{"title":"The Arabian Nights in Contemporary World Cultures: Global Commodification, Translation, and the Culture Industry, written by Muhsin Al-Musawi","authors":"Moneera al-Ghadeer","doi":"10.1163/1570064x-12341480","DOIUrl":"https://doi.org/10.1163/1570064x-12341480","url":null,"abstract":"","PeriodicalId":43529,"journal":{"name":"JOURNAL OF ARABIC LITERATURE","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45277497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-21DOI: 10.1163/1570064x-12341470
Eid Mohamed, Talaat Farouq Mohamed
This article traces the manifestations of the newly adapted artistic form of “calligraffiti,” or the synthetic braiding of poetry and graffiti on what became known as the “walls of protest” in post-2011 Egypt. This new mode of writing/drawing answers to the immediacy of an unprecedented revolutionary moment in Egypt and rewrites Egyptian history in peculiar artistic instantaneity. The image-text discursive dynamics of this hybrid form of expression enhance our understanding of the 2011 Egyptian uprising, enabling us to explore the potential of revolutionary impulse for stretching new artistic forms. This article therefore engages calligraffiti as a means to expand the scope of the literary, and specifically the poetic, to involve the visual dimension as coupled with the conceptual (linguistic). In this border- and genre-crossing artistic mode, Arabic poetry and graffiti meld as a revolutionary form of self-expression that defies local and international hegemonic, patriarchal regimes. Calligraffiti serves not only as a means of registering a revolutionary moment in Egypt or of celebrating the epiphany of the uprising, but more importantly it stands as a cultural and literary tool developed and used by Egyptian artists to represent the revolutionary artistic self and galvanize dissent during a highly contested moment in Egypt’s history. The article thus traces the ways that the calligraffiti of Egyptian artists like Bahiyyah Shihāb (Bahia Shehab) and ʿUmar Fatḥī (Omar Fathy), ʿAmmār Abū Bakr (Ammar Abo Bakr), Ganzīr (Ganzeer), Al-Mushīr (El-Moshir) and ʿAlāʾ ʿAwaḍ (Alaa Awad), are enmeshed with the poetic lines of Amal Dunqul, Pablo Neruda, and Yāsir al-Manawahlī (Yasser el-Manawahly) on the artistic canvas of muralled Egyptian revolution.
{"title":"The Way We See It: Poetic-Visual Reciprocity in Egyptian Street Art Since 2011","authors":"Eid Mohamed, Talaat Farouq Mohamed","doi":"10.1163/1570064x-12341470","DOIUrl":"https://doi.org/10.1163/1570064x-12341470","url":null,"abstract":"\u0000This article traces the manifestations of the newly adapted artistic form of “calligraffiti,” or the synthetic braiding of poetry and graffiti on what became known as the “walls of protest” in post-2011 Egypt. This new mode of writing/drawing answers to the immediacy of an unprecedented revolutionary moment in Egypt and rewrites Egyptian history in peculiar artistic instantaneity. The image-text discursive dynamics of this hybrid form of expression enhance our understanding of the 2011 Egyptian uprising, enabling us to explore the potential of revolutionary impulse for stretching new artistic forms. This article therefore engages calligraffiti as a means to expand the scope of the literary, and specifically the poetic, to involve the visual dimension as coupled with the conceptual (linguistic). In this border- and genre-crossing artistic mode, Arabic poetry and graffiti meld as a revolutionary form of self-expression that defies local and international hegemonic, patriarchal regimes. Calligraffiti serves not only as a means of registering a revolutionary moment in Egypt or of celebrating the epiphany of the uprising, but more importantly it stands as a cultural and literary tool developed and used by Egyptian artists to represent the revolutionary artistic self and galvanize dissent during a highly contested moment in Egypt’s history. The article thus traces the ways that the calligraffiti of Egyptian artists like Bahiyyah Shihāb (Bahia Shehab) and ʿUmar Fatḥī (Omar Fathy), ʿAmmār Abū Bakr (Ammar Abo Bakr), Ganzīr (Ganzeer), Al-Mushīr (El-Moshir) and ʿAlāʾ ʿAwaḍ (Alaa Awad), are enmeshed with the poetic lines of Amal Dunqul, Pablo Neruda, and Yāsir al-Manawahlī (Yasser el-Manawahly) on the artistic canvas of muralled Egyptian revolution.","PeriodicalId":43529,"journal":{"name":"JOURNAL OF ARABIC LITERATURE","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49057604","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-21DOI: 10.1163/1570064x-12341468
Imed Nsiri
{"title":"The Musical Heritage of Al-Andalus, written by Dwight Reynolds","authors":"Imed Nsiri","doi":"10.1163/1570064x-12341468","DOIUrl":"https://doi.org/10.1163/1570064x-12341468","url":null,"abstract":"","PeriodicalId":43529,"journal":{"name":"JOURNAL OF ARABIC LITERATURE","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43497887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-21DOI: 10.1163/1570064x-12341458
Dahlia E. M. Gubara, A. Wick
Like ancient philosophy in Pierre Hadot’s conception, the polysemic notion of adab in the Arabic-Islamic tradition was a way of life, and not merely a scholarly discipline or cultural field. This essay explores this proposition in reference to the life and work of the Palestinian historian Ṭarīf al-Khālidī, where adab has been a central locus of reflection. Although steeped in present-day historical, literary, and philosophical discussions, we argue that al-Khālidī’s approach has an uncanny resemblance to classical conceptions of adab and thereby invites a re-examination of current scholarly practices, presaging an ethical turn in the study of history.
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