Pre Islamic Poetry

The authors suggest to view the origins of Islam against the background of the 6th century AD Arabian socio-ecological crisis whose model is specified in the paper through the study of cli-matological, seismological, volcanological and epidemiological history of the period. Most so-cio-political systems of the Arabs reacted to the socio-ecological crisis by getting rid of the rig-id supra-tribal political structures (kingdoms and chiefdoms) which started posing a real threat to their very survival. The decades of fighting which led to the destruction of the most of the Arabian kingdoms and chiefdoms (reflected in Ayyam al-`Arab tradition) led to the elabora-tion of some definite "anti-royal" freedom-loving tribal ethos. At the beginning of the 7th cen-tury a tribe which would recognize themselves as subjects of some terrestrial super-tribal polit-ical authority, a "king", risked to lose its honour. However, this seems not to be applicable to the authority of another type, the "celestial" one. At the meantime the early 7th century evi-dences the merging of the Arabian tradition of prophecy and the Arabian Monotheist "Rah-manist" tradition which produced "the Arabian prophetic movement". The Monotheist "Rahmanist" prophets appear to have represented a supratribal authority just of the type many Arab tribes were looking for at this very time, which seems to explain to a certain extent those prophets' political success (including the extreme political success of Muhammad).

The days of encrypted forums, shaky hand-held footage and garbled mobile phone recordings are gone. ISIS has crafted a new Jihādi media aesthetic by exploiting the power of social media. The plurality of ISIS media content is such that academics and political commentators struggle to interpret a narrative which consolidates the myriad voices across the group’s numerous media platforms. This paper explores ISIS’ adoption of the nashīd as a primary ideological contributor to the group’s aesthetic. By examining the role of Arabic sung poetry and the historical evolution of the nashīd; the captivating narratives, heritage and iconography of ISIS’ poetic material is illuminated in an historical context. An analysis of the Taliban’s poetry provides a comparative frame of reference from which ISIS anāshīd can be studied discursively, within the genre of Jihādi poetry, and as an aspect of political strategy. From this study, the role of the nashīd in creating an abstracted Islamic State is made evident.
The basis of this imagined state, disseminated through the group’s aesthetic, lies in the carefully constructed anāshīd produced by the group’s media arm. The idealised Islamic State, which exists parallel to the physical territory, is a product of the unified media aesthetic of ISIS and also acts to unite the manifold media strands through an overarching single narrative.

ينظر البحث للقصيدة الجاهلية  بوصفها علامة مستقلة بالمعنى البنيوي، ولكنها، في ذات اللحظة، تعمل بوصفها علامة توصيليّة أيضًا. ومن هنا يتهيأ لها أن تراعي تقاليد النوع الأدبي في الوقت الذي تنفتح فيه على اليومي والحياتي وتولع بالأماكن والشخوص والأحداث، مستنـزلةً النصّ إلى حيز الوجود الفعلي، ومُعْتَدَّةً في ذات اللحظة بقيمتها التخييليّة، حيث يتحول مفهوم "الواقع" في التحليل الأخير من "الواقع المادي" العيني الخارجي إلى "واقع نَصِّي" محكوم بتقاليد الكتابة النوعيّة.
وهنا يقارب البحثُ إشكالية النص الجاهلي وقدرته على أن يقدم ما هو آنيٌّ ومتعيِّنٌ وما هو مُطْلَقٌ وسرمديٌ في الوقت ذاته من خلال تحليل عددٍ من نصوص الشعر الجاهلي؛ حيث لا يُعَطِّلُ اعتدادُها بالوظيفة التوصيليّة للعلامة لا قيمتَها التخْيِيْليّة التي تظل مُهَيْمِنَةً سِيميائيًّا.
ويسائل البحث أيضًا اشتباك السرد الشعري بالسرد التاريخي وعوامل افتراقه عنه عندما يتـرصد "القيمة" خلف تسلسل الأحداث المفارق بطبيعته للتسلسل التاريخي، ومن حيث عنصر "الذاتية" التي تؤطر جل السرود التخييليّة.
وبَيَّنَ البحثُ كيف أنَّ الشعر يَنْبَنِي سَرْديًّا في غير الاتجاه المباشر لسيرورة التاريخ القائمة على منطق كُلٍ "الزمان أو التتابع التاريخي" و"المنطق أو التعاقب السببي" بل هو لغة تقوم بالأحرى على المغالطة في منطق التعاقب، فَتُشَعِّثُ الفاعليّةُ الشعريةُ من التراتبيّة المنطقيّة والزمانيّة للوحدات السرديّة، فَيُفْصَلُ بين وحدات مقطع ما من المقاطع بوحدات من مقاطع أخرى، وتَقْطَعُ لحظاتٌ زمنيةٌ من أحداثٍ ووقائعَ معينةٍ تَسَلْسُلَ لحظاتٍ زمنيّةٍ لأحداثٍ ووقائع أخرى. ويقوم الزمنُ على التداخلِ والإخفاء والتأجيل والقطع.
كذلك يُعِيْنُ تَتَبُّعُ مقولتي "السببيّةِ" و"التتابعِ الخطيِّ" للأحداث الناقدَ أو القارئ على محاصرة التبعثر الظاهري في النص الشعري، الذي هو أيضًا خصيصة سردية فيه. فالقارئ على الدام يعيد ترتيب ما يقرأ وتنسيقه، ويقيم علاقاته الخاصة بين وحدات العمل مستكشفًا بنية النص الخاصّة به، تلك التي يُنْتِجُ من خلالها المعنى الذي هو انجازه الخاص. عادة ما لا تكون السببيّةُ في القصيدة من نمط السببيّة الصريحة أو الضمنيّة، وإنما تقوم في الغالب على أسس (احتماليّة)كأن يتبع حدثٌ آخرَ في الزمن، ويكون له به علاقة (معقولة) ، وهنا يُنْتِجُ "التعاقبُ" إلى جوار هذه العلاقة منطقَ الشِّعر السَّبَبـيِّ الخاص.

Pre- and early Islamic poetry is fascinating but still enigmatic in many aspects. What did ancient Arabic poets want to achieve? What was their artistic intent? Is their poetry really as conventional and formulaic as has been often claimed? Which stylistic devices were most important and how did the poets manipulate them to increase the originality of their poems? This study tries to answer these and other questions by a close reading of 83 texts that were composed between the sixth and the early eighth century and treat the same subject. This subject is the “onager episode”, the story of an onager stallion (often, but erroneously translated as “wild ass”) who drives his mates to a water hole where a hunter may be lurking. The zoological, ethnological and linguistic background of these texts is studied in detail. Part 2 gives the texts of all 83 episodes, a German translation, a philological commentary and an interpretation.

The term israʾ, based on the first verse of sura 17, is typically rendered as 'Night Journey'. There is little compelling evidence that this was the original meaning of the Qur'anic text, and medieval lexicographers and exegetes preserved a number of alternative meanings, such as that asrāwas a denominal verb meaning 'to travel through the uplands (al-sarah)'. Another explanation is that asrāis a denominal verb of the noun sariyya (pl. saraȳa), a military expedition. By drawing on early historiographical descriptions of saraȳā and South Arabian inscriptions, which give evidence that the word sariyya is of Sabaic origin, the Qur'anic meaning of asrā was evidently something like 'to send on a royal expedition'. Early Islamic Arabic poetic texts also offer extremely compelling evidence that the first Muslims were familiar with some of the key concepts of South Arabian royal authority as they appear in Sabaic inscriptions.

By collecting responses to significant textiles, the exhibition "Have Poets Left a Patch to Sew?" shared the rich stories, innovation, history and global interconnections of the NSW Riverina (in Australia). These artworks and poems are tactile and macabre, ambitious and experimental, provocative and heartwarming. The works are powerful, understated, and designed to linger in your memory. For this exhibition, ‘significant’ textiles were defined as those which possess meaning for someone other than the owner or maker of that textile. They are objects that prompt stories.

This exhibition and catalogue was supported by the HR Gallop Gallery of Charles Sturt University, the Wagga Wagga City Council Annual Grants program, Eastern Riverina Arts and the Booranga Writers’ Centre.

ISBN: 978-1-86-467298-5

Medineli yahudi şair Ebû ‘Afek Hz. Peygamber’in Medine’ye geldiği günlerde, yüz yirmi yaşına ulaşmış olan, son derece yaşlı bir adamdır. Ancak Hz. Peygamber’i ve destekçilerini (Ensârı) kendi şehrindeki insanların işlerine müdahale eden, istenmeyen kişiler olarak görmektedir. İslam düşmanlığı söz konusu olduğunda, lafını esirgemeyen birisidir. Hatta İslam Peygamber’ini rahatsız eden bazı incitici beyitler dahi nazmetmiştir. Aynı zamanda halkını, Hz. Muhammed’in ve yeni dininin aleyhinde örgütlemeye çalışmıştır. Onun amaçlarından birisi, Hz. Muhammed’in el-Hâris b. Suveyd b. Sâmit için verdiği ölüm kararını onaylamadığını ilan etmektir. Keza kentlerine dışarıdan gelen bir yabancı olarak gördüğü Hz. Muhammed’i takip ettikleri gerekçesiyle Medine sakinlerini kınamış, Hz. Peygamber’e karşı isyan başlatmaya çalışmıştır. Onun şiirleri, toplumun düşünce dünyasını değiştirmek amacıyla kullanılan şiirsel tahrîdlere (yani kışkırtmalara) bariz bir örnektir. Tüm bunlara binaen Hz. Muhammed, şairin etkisiz hale getirilmesi için gönüllü olabilecek birisini aramış ve “Bu iğrenç [adamı], benim için kim [etkisiz hale getirecek]?” sözlerini buyurmuşlardır. İslamiyet’i benimsemiş olan Sâlim b. ‘Umeyr, bu vazifeyi uhdesine almak için öne çıkmış ve bir gece Ebû ‘Afek uyuduğunda, gizlice şairin evine girerek onu bir kılıç darbesiyle öldürmüştür. Bu olay İslam tarihçileri tarafından kaydedilmiştir.

A Jewish poet of Medina, Abû ‘Afak was a very old man reaching one hundred and twenty years when Muhammad arrived in Medina. He perceived the Prophet and his associates (ansâr) as unwelcome interlopers in his city. He was vocal about his hostility to Islam, and even composed some stinging verses that annoyed the Islamic Prophet. He also tried to rally his people against Muhammad and his new religion. One of his purposes was to show his disapproval of Muhammad’s death warrant for al-Hârith b. Suwayd b. Sâmit. He also reproached the inhabitants of Medina for following an alien, Muhammad. He was trying to incite rebellion against the Prophet. His poetry was a clear instance of the use of poetical tahrîd (incitement) to rally public opinion. Therefore, Muhammad sought the service of a volunteer assassin, saying, “Who will [deal with] this pestilent [man] for me?”. Sâlim b. ‘Umayr, a convert, stepped forth to do the job. One night, when Abû ‘Afak slept, Sâlim crept in and killed him with one blow of his sword. This event was recorded by Muslim historians.

يصدر هذا الكتاب عن اهتمام بدراسة البنية الأدبيّة، بجعلها موضوعًا جماليًّا، سعيًا نحو معرفة أكثر وعيًا بالممارسات الشعرية، وتحديدًا بالشعر العربي القديم الذي هو مقوم أساس من مقومات الذات العربيّة، ومكوِّن رئيس من مكونات هويتها. ومن ثم يهدف البحث إلى محاولة أعمق للتعرّف على مقومات الشعر العربي القديم بإعادة قراءته "نوعيًّا"، فنستكشف بعض معالم البناء السردي في القصيدة الجاهلية. وفي هذا يحاول البحث نقض انفراد مقولة "الغنائية" بالقصيدة العربيّة القديمة، من خلال تحقيق مقولة أخرى هي مقولة "السرد" التي يراها البحث جوهريّة في القصيدة العربية القديمة في كثير من الأحيان. الأمر الذي يقودنا إلى زحزحة قيمتي الثبات واليقين اللتان تجعلان من الشعر العربي القديم نوعًا صافيًا بإطلاق.
إن الشعر في الثقافة العربية القديمة نوع الأنواع، هو النوع الجامع لبذور الأنواع الأخرى التي نشأت أو كان يمكن لها أن تنشأ، ويضحى مرادفًا ضمنيًّا للأدب منطويًا على قيم سرديّة، وغنائية، ودراميّة، ورسائليّة، وحجاجيّة، وينفتح على التهديد، والمواعظ، المنافرات والمفاخرات، والمدح، والرثاء، والغزل، التأمل،... وما إلى ذلك وغيره كثير. ليبقى الشعر القديم في النهاية أكبر من أن تستبد بتصنيفه مقولة نوعيّة واحدة.
ومن هنا يعيد البحث: "البناء السردي في القصيدة الجاهلية" قراءة الشعر الجاهلي مُمَثَّلاً في "المفضّليات" من خلال بعض ما تطرحه النظريات السرديّة الحديثة لإعادة التَعَرّف على السمة النوعيّة للشعر العربي القديم- الجاهلي تحديدًا، ولإعادة التعرّف على مقومات القصيدة العربية عبر مباشرة بنيتها في ذاتها، لإعادة بناء تاريخ الأدب، حيث التأريخ الحقيقي للأدب هو التأريخ لأسلوبيته، كما لا يمكن أن نصف التطور الأدبي إلا في مستوى البنى.
ولا تؤخذ مقومات البناء السردي هنا منفصلةً أو متجاورة، إذ تتفاعل في النهاية بشكل حَيٍّ خَلاق يحفظ على العمل وحدته وهويته ، فوحدة العمل كما يقول الشكلانيون "ليست كيانًا تناظريًّا مغلقًا، بل تكاملاً ديناميًّا له جريانه الخاص، ولا ترتبط عناصره فيما بينها بعلامة تساوٍ أو إضافة، وإنما بعلامة الترابط والتكامل الديناميّة.
ويأتي البحث في مقدمة وتمهيد وبابين يشتمل كل منهما على ثلاثة فصول، ثم خاتمة.
يقوم الباب الأوّل على بحث علاقة الشعر من حيث هو سرد بالحياة، وهذا من خلال فصول ثلاثة: الأول وعنوانه "سرد الواقع"، ويأتي على أربعة مباحث: الأول يُعْنى بالنظر إلى القصيدة الجاهلية بوصفها علامة مستقلة وتعمل في ذات اللحظة بوصفها علامة توصيليّة. ويعنى الثاني ببحث العلاقة بين الشعر وسرد التأريخ؛ فإذا كانت المسرودات التأريخيّة قد تبدو مختلفة كلية عن المسرودات التخييليّة، فثمة تقارب بينهما في بعض الوجوه، وبخاصّة عندما يكون مدار القصيدة على تدوين الواقعة، فيسجّل الشعرُ الأحداث كما يسجِّل النَّزَعات والآمال والقيم. ويعنى المبحث الثالث بهذا الشكل الرسائلي الذي تأخذه بعض القصائد أو بعض أجزائها، فتعتمد القصيدة الترسُّلَ نمطًا من أنماط الحكي. أما المبحث الرابع فيدور على النظر للقصيدة بوصفها فعلاً إنجازيًّا، مستفيدًا مما طرحه "جين أوستن" في نظرية الأفعال الكلاميّة، حيث كانت حدود الاعتقاد تتوقف عند عَدّ التكلم بشيء ما هو دائمًا ليس إلا إثبات الشيء وتقريره، والإسناد إليه، بالمعنى النحوي والمنطقي لمفهوم الإسناد، ولكن مع نظرية "الأفعال الكلاميّة" أصبحنا نلتفت إلى أن التكلم بشيء ما قد يعني فعله وإنجازه، وبعبارةٍ أخرى أن قولَ شيء ما هو إنجازه. وعلى هذا النحو يري البحث في بعض القصائد أنها قصائد أنشأت "فعلاً" أو عملت على إنجازه عند التلفظ بها، على الأقل في سياق تداولها الأول، و"الفعل" هنا ليس من قبيل المجاز أو النتائج  المرجوّة وإنما هو (الحدث) أو (النشاط) الذي أنجزته القصيدة بالتلفظ بها في واقع التواصل.
أما الفصل الثاني فيدرس الأسطورة في الشعر من حيث هي سَرْد يعتمده الشعر كما يعتمد صور الواقع الحياتي، ويأتي في ثلاثة مباحث، يربط الأوّل بين مفاهيم السرد، والأسطورة والسيناريو، حيث يعيننا المفهوم الأخير على التقاط الجُمَل الهدف في النصوص الشعرية، والتي تؤدي بنا إلى التقاط الحكاية التي تقدمها الأسطورة، ويمنحنا القدرة على توليد توّقعات الأحداث.
أما المبحث الثاني فيتتبّع مشاهد الثور الوحشي في المفضليات بما هي سرد مُطّرِد الأبعاد، ترويه القصائد بهيكل شبه ثابت المعالم. وهي بَعْدُ مشاهد لها رصيدها الواقعي الحياتي الذي لا تخطئه العين، ولها أيضًا أبعاد أسطوريّة بما تكتنـزه مكوناتها من أبعاد طقوسيّة شعائريَّة. ويبين كذلك عن اطَراد سيناريو مُعَيّن بشكل يجعل غياب بعض وحداته دليل حضور. ويتتبّع البحث الأبعاد الأسطوريّة الطقوسيّة للثور في حضارات الشرق القديم بما يجعل منه كيانًا متميزًا للشعراء يتخفّى وراءه مغزى كلي، كل بحسب صياغته وكما توقف البحث عند الثور الوحشي توقف في المبحث الثالث عند الحمار الوحشي غير أنه نظر إليه بوصفه أسطورة للحياة اليوميّة يصنعها الناس ويعيشونها بقطع النظر عن جذور طقوسيّة أو شعائريّة، إنه أسطورة خلقها الشعراء ويتولون سردها. وإذا كانت البحوث تجري على تتبع ما هو مُتَفَرِّد وخاص، فإن القاسم المشترك الأعلى بين الشعراء والتعاور على منبع واحد يظل مثارًا للعديد من الأسئلة.
ويدرس الفصل الثالث الخبر المرافق للقصيدة من حيث هو سرد نثري موازٍ لسردٍ شعري في محاولة لتحرير العلاقة السرديّة بينهما، إذ كثيرًا ما تصوغ مثل هذه الأخبار غرض القصيدة أو مناسبتها بما يجور على معانيها المحتملة ويحد من إيراق المعنى.
أما الباب الثاني فيدرس الشعر من حيث هو تمثيل سردي، فيستكشف الفصل الأوّل عمل مقولتي الزمانيّة والسببيّة في النصوص، وكيف تتشكّل سَرْديًّا في ضوئهما. كأن يَدْرُس مثلاً تلك العلاقة القائمة بين زمن القصة وزمن الحكاية، وبخاصة من زاوية الترتيب، حيث المفارقات الزمنيّة وقضايا المدى والسعة.
أما الفصل الثاني فيتتبع الطابع التمثيلي الرمزي (الأليجوري) الذي تأخذه بعض الشخصيات التي يَسْرُد عنها الشعر، ودلالاتها السرديّة، وما يتأسس حولها من قيم سرديّة مخصوصة. ويأخذ البحث اسم "سلمى" مثالاً، فيتتبع السرد دلالاته وسياقاته السرديّة. ويأتي الفصل في مبحثين الأول: "الاسم وتنميط الشخصية"، والآخر عنوانه: "دلالة الشخصيّة وخصوصيّة النمط السردي.
أما الفصل الثالث والأخير فينصرف إلى محاولة تحديد نسبة السرد إلى مصدره، وبحث وجهات النظر المتجاورة معًا في السرد، متنافسةً أو متعارضةً في تبادلٍ جَدَلي، وهو ما يمنحنا القدرة على متابعة شخصيات النص وتحديد رؤيتها للعالم وأُطُر سلوكها، ومن ثم ينشغل المبحث الأول بتحديد مَنْ يتكلم داخل النص، وهذا من خلال المبحث الأوّل: "القصيدة بين السرد الشخصي واللاشخصي"، وكذلك يبحث علاقة السارد بما يُضَمِّنه سرده من سرود تعود إلى آخرين، وهو ما يشكل المبحث الآخر: "التنوّع الكلامي وتنافذ اللغات: تمثيل الكلام". ثم تأتي خاتمة توجز أهم ما توصل إليه البحث من أفكار.

          This book seeks to reread the old Arabic poetry – specifically the Pre-Islamic poetry – via the process of rereading what Al- Mufaddal Al- Dabbi has gathered in his poetic collection, called: Al-Mufaddalyyat, concerning the qualitative identity of a Pre-Islamic poetic text, exploring some features of its narrative construction. That is because poetry, in the ancient Arabic culture, was the genre of genres, or that genre which comprises the seeds of all the other genres which arose or could have arisen, and generally has become an implicit synonym of literature, including narrative, lyrical, dramatic, argumentative, and message values. Hence, the book refutes the uniqueness of the assumption of the 'lyricism' of the old Arabic poem through another assumption which is 'narration' that was essential to the old Arabic poem at many times.   
          The book discusses the relation between poetry – as narration – and life through looking at the Pre-Islamic poem as an independent artistic work which simultaneously acts as a conductive and communicative tool, investigating its relation to historicization. The book also handles the message form of some poems or parts of these poems. Moreover, it studies the narration of a myth as it does with the reality to link among the concepts of narration, myth and scenario. The book also follows the scenes of both the wild ox and the zebra in Al-Mufaddalyyat in a narration of steady dimensions, of which some go back to ritual stakes and others to mythical ones taken from daily life. Besides, the book studies the idea of the news accompanying the poem; since it is a prose narration parallel to a precedent, most likely, verse one, in an attempt to set free the narrative relationship between them.
          The book also studies poetry as a narrative representation to discover the work of the concepts of temporality and causality in texts and how they are formed narratively in this light. It also traces the exemplary, symbolic (allegorical) touch of some characters, narrated about in verse, their narrative connotations, and the specific narrative values established around them.
          In its last chapter, the book highlights defining the ascription of narration to its source, and investigating the adjacent or competitively contrary views of narration so as to be able to contemplate the characters of the texts and define their points of view of the world and the frameworks of their behaviour. Hence, it is preoccupied with defining who speaks in the text via observing the personal and the impersonal narration and the narrator's relation to others' narrations implied in his own. In this way, it tackles speech variation and overlap of languages.

"Abu Qabus" in the pre-Islamic poetry
This article questions the general assumption that the nickname "Abu Qabus", which appears frequently in pre-Islamic poetry, belonged to the last Lakhmid king, al-Nu'man b. al-Mundhir or, for that matter, to any Lakhmid king before him. It argues rather that this nickname pertained to the royal Ghassanid family of Jafna and that its holder was the Ghassanid king al-Harith the junior, a contemporary of al-Nu'man b. al-Mundhir.  This conclusion has been based on careful examination of the related materials either belonging to tribes located within the Ghassanid zone of influence or tribes traditionally classified as Lakhmid satellites due to their dwelling in the deserts of eastern Arabia.  The presence of a Ghassanid ruler in the records of this latter type of tribes had something to do, as the article points out, with persistent Ghassanid attempts to fill the political vacuum the Lakhmids had been leaving behind as their kingdom was approaching its end.  For the credibility of its findings the article has built its discussions almost entirely on poetry and other generally accepted materials, while practically paying no attention to those largely fanatical stories and ill-evidenced expositions given by Arab historians and philologists.

UNDERSTANDING OF TÂHÂ HUSAYN OF I'JAZ AL QUR'AN (THE STYLİSTİC İNİMİTABİLİTY OF THE QUR’AN)
ABSTRACT
This article focuses on the understanding of Tâhâ Husayn (1889-1973), a versatile litterateur and academician, of i'jaz of the Qur'an and provides background information on his educational life, works, and changes in his world of thought. His disputed views about the Qur'an, understanding of the Qur'an, and perspectives on the qıraat and i'jaz are discussed in detail. In this discussion, special attention is given to the author's emphasis on how Qur'an has a great impact on human beings with its i'jaz, content, verse, and style throughout centuries. The most striking finding of the author is that the Qur'an has a style and content that effects its reciting manner.

This qaseeda is alledgedly the first Arabic poem composed by the Shehu in 1772. Some scholars assert that it was his second. Nevertheless it is the consensus of the scholars of the Sakwato tradition that this poem marked the beginning of the reform movement of the Shehu which eventually led to the formation of the Sokoto Caliphate.

This paper investigates problems surrounding translating and/or transliterating, examines a case study, and discusses how a poet/lover uses different appellations to purposefully address his beloved, which include the beloved's actual name and three different heteronyms that are examples of metonymy. The repetitions of the actual name and metonymic processing are functionally effective in expressing the poet's feelings. As proper names, metonymic appellations possess the power of clarification, which not only establishes meaning-making but also the speaker's appeal and perspective, thus contributing nuance and salience. By conducting a comparative critical assessment of a corpus consisting of French and English translations, this study demonstrates how cultural and pragmatic losses are incurred in the process of conveying the verbal metonymic signs of the original culture to a different culture. The outcome is a misinterpretation of the source text's literariness and its pragmatic forces. As this study confirms, proper names are more than deictic symbols, and they also bear functional communicative clues that determine specific translation techniques through which they can travel.

The magnitude of the Arabic language holds back from its being one of the unblemished languages in its brilliance and its reiterated capability to adapt to countless different sciences and knowledge. The Arabic language has reached creativity and ingenuity in diverse fields and genre of literature in which the supreme is poetry. This article attempts to present the inner landscapes of Taabbata-Sharran and his profession placing him in the context of both his social milieu and his age.
The paper aims at studying the figurative, allegorical and appealing images in Al-Gafiah of Taabbata-Sharran in which it follows the inferential inductive critical methodology concentrating analytically on his Al-Gafiah poem. The study attempts to divulge in the analysis the appealing qualities and poetic matters as well as the rhetorical images in it with particular reference to the first ten verse lines. The article begins with an introduction to Arabia and the Arabic Poetic Language then shifts to shed light on the poet Taabbata-Sharran as a great poet of Arabia, the center of the Arabic language. It is concluded with a brief examination and comments on the poem Al-Gafiah trying to catch on the original Arab ideals, morals, integrity and beliefs in pre-Islamic Epoch it contains.

This essay examines the context, signification and function of despair and wish in pre- and early Islamic poetry. It sheds light on these emotional states in various contexts, as well as the importance of the narrative sequence that leads to them. The texts are discussed and analyzed from a narratological perspective, and in doing so draw attention to the desert life of the Arabs in the Jāhiliyya. This essay argues that the positive attitudes towards despair and negative towards wish or desire, are a reflection of tribal values that follow practical sensibility, and glorify freedom, dignity and self-restraint.

This paper investigates problems surrounding translating and/or transliterating, examines a case study, and discusses how a poet/lover uses different appellations to purposefully address his beloved, which include the beloved’s actual name and three different heteronyms that are examples of metonymy. The repetitions of the actual name and metonymic processing are functionally effective in expressing the poet’s feelings. As proper names, metonymic appellations possess the power of clarification, which not only establishes meaning-making but also the speaker’s appeal and perspective, thus contributing nuance and salience. By conducting a comparative critical assessment of a corpus consisting of French and English translations, this study demonstrates how cultural and pragmatic losses are incurred in the process of conveying the verbal metonymic signs of the original culture to a different culture. The outcome is a misinterpretation of the source text’s literariness and its pragmatic f...

This work is the translation of five poems which can also be called "Mu'allaqât": the eighth and ninth of the Nine Odes respectively composed by al-A'shâ Maymûn and al-Nâbigha al-Dhubyânî, and commented on by Ibn al-Nahhâs; the tenth of the Ten Odes composed by Abîd b. al-Abras, and commented on by Tibrizî, as well as the third and fourth Mu'allaqât/Sumût of the Jamhara, also by al-Nâbigha al-Dhubyânî and al-A'shâ Maymûn. Each poem is preceded by an introduction about the poet, the structure and theme of the poem as well as the existing translations, followed by a linguistic and stylistic commentary in the form of an annotation. The preface outlines the history of the Mu'allaqât and the different existing versions.

Hiciv (hicâ’) sanatı, Arap edebiyatının ana edebî tarzlarından biridir. Bu türün içerisinde, kusurlar, yenilgiler, budalalıklar, zaaflar, noksanlıklar ve hatalar, tercihen, kabilelerin, hiziplerin, ailelerin, bireylerin yahut bizzat toplumun kendisinin ıslah edilmesi amacıyla alaya alınmaktadır. Arap hicvinin kökeni, muhtemelen büyücülüğe dayanmaktadır. Söz konusu büyücülük, herhangi bir kabilenin veya bireyin itibarını zedelemesi umulan bir tür sihirli efsun yahut kâhinlere has bir lanetlemedir. Arap edebiyatının ilk yergisel şiirleri, şeytanlarla ya da cinlerle iletişim kurduğu varsayılan kişilerce, düşmanların yok edilmesi amacıyla terennüm edilmiştir. Bu şiirsel tür, erken dönem Arapları tarafından, gerek müstakil ve kısa parçalar halinde gerekse çok temalı bir kasidenin tematik bir bölümü olarak geniş çapta işlenmiştir.

Bu kitap, giriş, dört bölüm ve bir sonuçtan meydana gelmektedir. Giriş bölümünün amacı, Arap hicvinin tarihî arka planının irdelenmesidir. Birinci bölümde Arapçadaki h-c-v kökünün etimolojik anlamından bahsedilmektedir. İkinci bölüm, Arap hicvinin türlerine ve yergisel terminolojiye değinmektedir. Üçüncü bölümde İslam öncesindeki yergicilerin edebî kariyerleri, yergisel kasidelerinin ışığında değerlendirilmektedir. Edebiyattaki klişeler, burada özellikle açıklanmaktadır. Dördüncü bölüm, Arap-İslam medeniyetinin ulvi çağı olan Sadru’l-İslâm Dönemindeki yergicileri ele almaktadır. Sonuç bölümündeyse, Arap hicvi hususundaki saptama ve yargılardan kısaca bahsedilmektedir.

Satire (hidjâ’) is one of the main genres of Arabic literature, in which vices, defeats, follies, foibles, shortcomings, and flaws are held up to ridicule, ideally with the intent of shaming tribes, sects, families, individuals, or society itself into improvement. It is likely that Arabic satire has its origin in sorcery; a magical incantation or fatidic curse that was supposed to tarnish the reputation of a tribe or an individual. First satirical poems of Arabic literature were uttered by someone who maintained contacts with demons or djinnis, in order to destroy the enemies. This poetical genre has been widely cultivated by the early Arabs, either in separate and short pieces, or as the thematic element of a polythematic qasida.

This book consists of an introduction, four chapters and a conclusion. The aim of the introduction is to examine the historical background of the Arabic satire. In the first chapter, we made mention of the etymological sense of the Arabic root h-dj-w, and the origin of Arabic satire. Chapter II overviews the modes or genres of Arabic satire, and the satirical terminology. In the third chapter, the literary careers of pre- Islamic satirists are evaluated in the light of their satirical qasidas; especially the clichés in literature are examined. The fourth chapter deals with the satirists of the classical high age (Sadr al-Islam) of Arab-Islamic civilization. In the conclusion, the determinations and the conclusions about Arabic satire have been briefly mentioned.

Why Does the Poet Return to the Abandoned Campsite? Iyas Nasser
Abstract
This article examines the poet’s return to the abandoned campsite of the beloved, one of the most common motifs in the “nasīb” of the pre- and early Islamic qaṣīda. Following Albert Arazi’s inquiry into the purpose of this return, this study investigates the poet’s experience from a narrative perspective. It argues that the visual perception of the radical changes that have taken place at the campsite, enables the poet to confront his past, thus releasing himself from the relationship with his beloved. Examples from world literature, offering similar experiences undergone by the characters, illustrate that the return to a place in order to be released from the past, is a well-known literary motif.

Ḥassân b. Sâbit, özellikle Sadru’l-İslam Döneminde, şiir sahasında gösterdiği üretkenliğiyle hatırlanmaktadır. Hz. Muhammed’in baş şairi olması, onun ismini İslam tarihinin en meşhur şairleri arasına yazdıracaktır. Ḥassân’ın hak edilmiş tanınırlığının ardında, methiye nazmında gösterdiği belirgin başarının son derece önemli bir rolü bulunmaktadır. Ömrünün yarısını İslamiyet’in doğuşundan önce geçirmiş olması hasebiyle, Hz. Muhammed’in Medine’ye gelmesinden evvel, övgü sahasında hatırı sayılır ölçüde deneyim kazanabilmiş, Arabistan’ın sayılı yöneticilerinin yanında, methiyeciliğini kullanarak saygın bir konum elde etmeyi başarmıştır. Hatta Suriye’de hüküm süren Ġassânîler için nazmettiği kasidelerinin, methiyeciliğinin zirvesi olarak değerlendirilmesi mümkündür. Ḥassân söz konusu kasidelerinde, muhatabını överken samimi duygularını ifade ediyormuş izlenimini, son derece başarılı şekilde vermektedir. Böylesine bir içtenlik hissiyatı uyandırabilmek, methiye nazmında önemli bir maharettir. Öte yandan Ḥassân’ın hakikaten de duygusal birisi olduğu göz önünde bulundurulduğunda, hâlihazırda aralarında kan bağı bulunan bu yöneticileri överken gösterdiği samimiyetin, şairin gerçek duygularını yansıtıyor olma olasılığı son derece yüksektir.
İslamiyet’in Medine’de kuvvet kazanması, Ḥassân b. Sâbit’in methiyecilik kariyerinde, yeni bir safhanın açılması anlamına gelmektedir. Artık olgunluk döneminin tadını çıkaran büyük usta, şairlik sanatının gelişmesi için gereken dinamizmi, Hz. Muhammed’in yanında çok geçmeden bulacaktır. Hz. Peygamberin, Ḥassân’ın şiirlerinden, genellikle Mekkeli Müşriklere ve Medineli Yahudilere karşı, İslam’ın müdafaa edilmesinde yararlandığı bilinmektedir. Öte yandan Ḥassân, “peygamber şairi” olarak üstlendiği bu birincil vazifesinin yanında, Hz. Muhammed’i öven kasideler de nazmedecektir. Ayrıca sahabenin diğer önemli isimlerinin methedilmesinde de faaliyet gösteren şair, medîḥ sahasında elde ettiği başarıları dolayısıyla, Hz. Peygamber tarafından takdir edilecektir. Ḥassân b. Sâbit’in övgü dizeleri, İslam geleneğinde önemli bir yere sahiptir. Hatta İslâmî kaynaklarda, Ḥassân’ın Hz. Muhammed’i övmek için söylediği beyitlerden yetmiş tanesinin, baş melek Cebrail’in yardımıyla nazmedildiği dahi rivayet edilmektedir.

Nasser, Iyas. “The View of Love Poetry’s Impact and Role in Classical Arabic Literature”, Journal Asiatique. Forthcoming (in English).

إياس ناصر، «النّظرة إلى وقع الشّعر الغزليّ ودوره في الأدب العربيّ القديم». في العدد القادم من مجلّة الأبحاث الآسيويّة.

Jacques Berque, one of  the most eminent historians  of  the Middle East  today,  attempts to strike at the core of  the central question that all students  of  the  Middle  East  must  ultimately face:  Does  the Arab  world  exhibit  a common culture today? He then proceeds to ask: If  a cultural unity can be said to exist, are there tangible reflections of  the nature of  that unity in the expressive  forms  of  the  contemporary  Arab world?

A semantic analysis of the Arabic roots n-z-l and w-ḥ-y and their usage in the Qur’an and in pre-Islamic poetry. The thesis showed that while the roots had previously been understood to refer to a single process in the Qur’anic concept of revelation, i.e., its transmission, they rather refer to two distinct events: spatial (n-z-l) and communicative (w-ḥ-y).

Supervisors: Dr. Andreas Görke, Professor Jaakko Hämeen-Anttila.

هل عاد الشّاعر إلى أطلال محبوبته قصدًا أو عَرَضًا؟ وقفة عند أظهر المعاني الأدبيّة في قصائد الشّعراء قبل الإسلام ومَن أَعْقَبَهم من المخضرمين
The Poet’s Return to the Abandoned Campsite of his Beloved -- A Deliberate or Coincidental Visit? A Discussion of a Dominant Motif in the Pre-Islamic and Early Islamic Qaṣīda
===
This lecture was given in Arabic in the Fifteenth International Colloquium:
From Jāhiliyya to Islām, 4-7 July 2022 at The Israel Academy of Sciences and Humanities in Jerusalem.

This article analyses the structure of four different versions of the long love poem by Ḥumayd b. Thawr al-Hilālī. The shortest of the four runs to 119 verses, and the longest is 185, each line ending with m as a rhyming letter. This structural analysis addresses two main questions: First, what is the story told in each version? Second, in light of this, which version is the most convincing? Answering these questions enabled a restructuring of the poem, which appears in Arabic below, followed by a full English translation, with footnotes to clarify lexicon and content. The study's main conclusion is that the most convincing version of the poem comprises the verses of al-Bayṭār (editor of its longest and most recent variant), structured to fit the narrative of al-Maymanī's edition.