Of all the poetic genres identifiable as cultural practices in tribal Yemen, the qaṣīda is the closest thing to a fixed text, independent from the moment of enunciation. Furthermore, the stereotyped structure of the qaṣīda involves formulaic borrowings from Classical Arabic (e.g. the religious supplications at the opening and end of the poem), as well as the motif of the messenger meant to deliver the text of the message to its recipient. This has led some to hypothesize that the genre of the qaṣīda with its characteristic structure appeared as an answer to the epistolary needs of literate poets living in an oral environment. Through the analysis of four contemporary Yemeni poems, this article puts the question the other way round and aims to show that it is in the very nature of the qaṣīda to stage the time offset existing between the utterance of the message and its reception, as well as the resulting mediation between those involved in the matter addressed by the poem. Thus, references to writing or to messengers with which poets punctuate their texts may be put down to the demands of the genre, which would also explain why the radio, television and various means of transportation are also mentioned.
Of all the poetic genres identifiable as cultural practices in tribal Yemen, the qaṣīda is the closest thing to a fixed text, independent from the moment of enunciation. Furthermore, the stereotyped structure of the qaṣīda involves formulaic borrowings from Classical Arabic (e.g. the religious supplications at the opening and end of the poem), as well as the motif of the messenger meant to deliver the text of the message to its recipient. This has led some to hypothesize that the genre of the qaṣīda with its characteristic structure appeared as an answer to the epistolary needs of literate poets living in an oral environment. Through the analysis of four contemporary Yemeni poems, this article puts the question the other way round and aims to show that it is in the very nature of the qaṣīda to stage the time offset existing between the utterance of the message and its reception, as well as the resulting mediation between those involved in the matter addressed by the poem. Thus, references to writing or to messengers with which poets punctuate their texts may be put down to the demands of the genre, which would also explain why the radio, television and various means of transportation are also mentioned.
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LINK TO THE ARTICLE: https://cy.revues.org/2961
Of all the poetic genres identifiable as cultural practices in tribal Yemen, the qaṣīda is the closest thing to a fixed text, independent from the moment of enunciation. Furthermore, the stereotyped structure of the qaṣīda involves formulaic borrowings from Classical Arabic (e.g. the religious supplications at the opening and end of the poem), as well as the motif of the messenger meant to deliver the text of the message to its recipient. This has led some to hypothesize that the genre of the qaṣīda with its characteristic structure appeared as an answer to the epistolary needs of literate poets living in an oral environment.
Through the analysis of four contemporary Yemeni poems, this article puts the question the other way round and aims to show that it is in the very nature of the qaṣīda to stage the time offset existing between the utterance of the message and its reception, as well as the resulting mediation between those involved in the matter addressed by the poem. Thus, references to writing or to messengers with which poets punctuate their texts may be put down to the demands of the genre, which would also explain why the radio, television and various means of transportation are also mentioned.
LINK TO THE ARTICLE: https://cy.revues.org/2961
.
LINK TO THE ARTICLE: https://cy.revues.org/2961
Of all the poetic genres identifiable as cultural practices in tribal Yemen, the qaṣīda is the closest thing to a fixed text, independent from the moment of enunciation. Furthermore, the stereotyped structure of the qaṣīda involves formulaic borrowings from Classical Arabic (e.g. the religious supplications at the opening and end of the poem), as well as the motif of the messenger meant to deliver the text of the message to its recipient. This has led some to hypothesize that the genre of the qaṣīda with its characteristic structure appeared as an answer to the epistolary needs of literate poets living in an oral environment.
Through the analysis of four contemporary Yemeni poems, this article puts the question the other way round and aims to show that it is in the very nature of the qaṣīda to stage the time offset existing between the utterance of the message and its reception, as well as the resulting mediation between those involved in the matter addressed by the poem. Thus, references to writing or to messengers with which poets punctuate their texts may be put down to the demands of the genre, which would also explain why the radio, television and various means of transportation are also mentioned.
LINK TO THE ARTICLE: https://cy.revues.org/2961
.