Arabic Prose Literature

This critical Arabic text edition of Salwat al-ʿārifīn wa-uns al-mushtāqīn, a manual of early Sufism by Abū Khalaf al-Ṭabarī (d. ca. 470/1077), is based on a very old manuscript preserved in Dār al-Kutub al-Miṣrīya of Cairo, Egypt and copied in 459/1067. It is introduced by a detailed analytical study of the author and his work. Salwat al-ʿārifīn forms an integral part of Sufi literature and reflects Islamic developments in Nishapur in northeastern Iran. This crucial Arabic text, published for the first time, is especially valuable because of its great philological accuracy and sound textual tradition. It represents an essential source for the intellectual history of Islam during the middle of the 4th/10th to the middle of the 5th/11th century.

"""لماذا نحتاج الى مناهج جديدة في مجال الدراسات العربية؟ منذُ نقد إدوارد سعيد للاستشراق (1978) يثير علم الدراسات العربية تساؤلات حول قضايا الهوية واكتشاف الآخر. ولكن رغم وجود برامج تعاون وتبادل عديدة، فلا تزال هناك فجوة كبيرة في ممارسة التدريس والبحث العلمي في مجال الدراسات العربية بين العالم العربي والغرب. لكي نردم تلك فجوة نحتاج إلى تبادل ممنهج ومستدام في مجال التدريس والبحث أي بدلا من البحث عن الآخر نحتاج إلى البحث مع الآخر - عندها فقط يمكن أن يحدث تغيير جوهري.

سلسلة المدارس الصيفية "نحو دراسات عربية برؤى متعددة": إن سلسلة المدارس الصيفية المبرمج لها تضع لأول مرة وبشكل ممنهج ومستدام وجهات النظر البحثية العربية والغربية في مجال الدراسات العربية على القدر نفسه من الأهمية لتقيم فيما ببينهما حوارا. وسوف يناقش الباحثون الشباب المشاركون من العالم العربي والغرب مع باحثين عرب وغربيين معروفين مناهج بحثية معاصرة تعد ريادية من وجهة نظر الدراسات العربية في العالم العربي والغرب.

ورشة العمل التحضيرية والمدرسة الصيفية التجريبية: لتحضير هذه المبادرة ستقام من الثالث وحتى الحادي عشر من أيلول / سبتمبر 2013 في جامعة القاهرة ورشة عمل و"مدرسة صيفية تجريبية" مدعومة من قبل مؤسسة فولكسفاغن. للمزيد من المعلومات عن ورشة العمل التحضيرية والمدرسة الصيفية التجريبية يرجى الضغط هنا.للمزيد من المعلومات عن كيفية ترشيح الباحثين الشباب يرجى الرجوع إلى صفحة http://www.arabic-philologies.de/ar/teilnahme.html."""

A partir de los textos de las epístolas denominadas zurzūriyyāt, en este artículo se pretende profundizar en las dos caras del personaje en torno al cual se articulan estas originales y singulares composiciones, exclusivas de la literatura andalusí. El retrato literario que de él transmiten tiene mucho que decir sobre la figura histórica de un hombre apodado al-Zurayzīr, que en estas creaciones literarias oscila entre el símbolo y la realidad y que recuerda mucho al héroe de las maqāmāt.

Based on the epistles called zurzūriyyāt, in this article we try to study in depth the two sides of the character around which these original and unique literary pieces —exclusive of Andalusian literature— revolve. The literary portrait that these texts convey about the mentioned character has much to say about the historical figure of a man nicknamed al-Zurayzīr, who fluctuates between symbol and reality in these literary creations and who is very reminiscent of the hero of the maqāmāt.

This history emphasizes the continuous linguistic accumulation, manifold connections and mutual enrichment among various Semitic languages, which have shared a long and complex history. The Middle East is the oldest field of cultural interaction where the most ancient languages and the most influential ideas were born, evolved, and intermingled. Every Semitic language emerged from this diverse cultural environment and drew upon a common repertoire of inherited and imported expressions such as oral languages (including constantly changing regional dialects and various scripts), music (Semitic and non-Semitic), visual images, and foreign languages. This constant linguistic flux became the driving force behind the development of a culture that experienced a relentless linguistic reorientation throughout its ancient and medieval history and has lasting consequences on the formation and transformation of its modern languages.

The main origins of this linguistic flexibility lie in the age long discrepancy (or inconsistency including periodical temporary unity) between written and oral language and between the conventionalized symbols and the actual sound of language. This discrepancy drove a continuous cycle of birth and death of a stream of languages in the Middle East. Although Semitic language was the original inventor of alphabetic script, the alphabet form of writing did not come easily within the Semitic language group because of this inherited discrepancy. During the third Millennium BC, most ancient Semitic languages adopted cuneiform, a highly conservative and logographic script. It was not until 1100 BC that a semi-alphabetic script was created. Several alphabetic scripts emerged and became extinct during the next fifteen centuries because an important part of the Semitic languages, the vowels that defined meaning and grammatical structure, were not fully presented. As a result, only spelling (not the way to be read) of the written language was standardized; thus the pronunciation of the written language remained unregulated and fluid. Consequently, local languages and dialects disappeared as quickly as they appeared. The authority of written languages was often challenged by active and innovative oral languages and quickly branched out after every minor phonetic shift.

"Like all multi-lingual computing, Arabic computing is now firmly in the domain of Unicode. Unicode is an industrial protocol with the status of international agreement. It is designed to encode the elements of all known script systems in such a way that they become interchangeable between programs and operating systems. Its implementation is well underway.

Unicode eliminates the need to tamper with fonts to get special characters, but it is not a font. For legible text on screen and paper, Unicode depends on compatible fonts with the required characters, where necessary with additional dedicated font technology."

This study discusses al-Andalusian prose on nature in the periods of Muluk al-Tawacif and al-Murabitin in order to fill a gap in literature studies that focus solely on the poetical part of nature. The Arab Andalusian literature (verses and prose) had achieved an outstanding achievement in these two periods. Therefore, the researcher tries to examine the prose texts on nature that were produced by the writers of those periods, study the genres of prose on nature, highlight the backgrounds of the writers, clarify literary styles and, expose the creativity and ingenuity in these texts. This study relies on two main methods, inductive and analytical. It is concluded from this study that the Andalusian prose was at its climax in the hands of great writers in those two periods. Nature was mostly described in all genres of prose; the most famous are the letters. These literary genres have good quality in the structure of the prose, expression and composition, imagination and literary images, and rhythm .All these elements made those prose distinguished literature. In addition, the emergence of new topics also shows the outstanding talent of the Andalusian writers in describing nature in their prose texts.

بلال الأرفه لي
أستاذ كرسيّ الشيخ زايد للدراسات العربيّة والإسلاميّة ورئيس دائرة العربيّة ولغات الشرق الأدنى في الجامعة الأميركيّة في بيروت. تتمحور كتبه ودراساته حول الأدب في العصر العبّاسيّ والتصوّف والدراسات القرآنيّة.

رمزي بعلبكي
أستاذ كرسيّ "جُويت" للدراسات العربيّة في الجامعة الأميركيّة في بيروت، ورئيس المجلس العلميّ لمعجم الدوحة التاريخيّ للغة العربيّة. له عدد وافر من الكتب بالعربية والإنكليزيّة وما يربو على ثمانين بحثًا منشورًا في مجلّات عالميّة محكّمة أو فصولًا في كتب.

كتاب مكارم الأخلاق ومحاسن الآداب وبدائع الأوصاف وغرائب التشبيهات هو كتابٌ في الأدب، يشتمل على مقدّمةٍ قصيرة وثلاثة أبواب يتفرّع كلّ منها إلى فصول. الباب الأوّل بعنوان: "التحلّي بمكارم الأخلاق ومحاسن الآداب" ويتضمّن اثني عشر فصلًا؛ والباب الثاني بعنوان: "التزكّي عن مساوئ الأخلاق ومقابح الشيم" وفيه أحد عشر فصلًا؛ أمّا الباب الثالث فعنوانه: "بدائع الأوصاف وغرائب التشبيهات" وينقسم بدوره إلى أربعة فصول. ويرد في نهاية الكتاب ملحقٌ طويلٌ بالأمثال السائرة.  هذه الأبواب الثلاثة والملحق تندرج ضمن مظلة «الأدب» بتعريفه القديم الذي يتضمن عناصر المحاضرة والتأديب والأخلاق والمنهج الفكري.

This paper surveys and analyzes the written, oral, and aural sources of two major anthologies, the Yatımat al-dahr fı mahāsin ahl al-ʿasṛ and its sequel the Tatimmat al-Yatıma of Abū Mansur al-Thaʿālibı, which deal exclusively with contemporary literature
based on geographical regions. The paper uncovers a network of littérateurs, active in the second half of the fourth/10th century, who constituted the major authorities for both works. The survey of the sources in the Yatıma and the Tatimma strongly evinces a
return to oral transmission, necessitated by the newness of the information that had yet to be recorded in books. The survey also reveals the use of complementary transmissions through dıwāns, books, and other written materials. This distribution of sources is not uniform throughout the aqsām of the Yatıma and the Tatimma.

يُنشر كتاب خاصّ الخاصّ في الأمثال للثعالبي بعد تحقيقه عن مخطوطةٍ فريدة في مجموعة آيا صوفيا. والكتاب مختلف عن كتاب الثعالبيّ المعنون خاصّ الخاصّ الذي كان قد حُقّق ونشر مرارًا. يقع الكتاب في ثلاثة أقسامٍ مبوّبة حسب الموضوعات، ويختار الثعالبيّ لكلّ قسمٍ طريقةً خاصّةً في عرض المادّة، مبتعدًا بذلك عن النسق المعجميّ الذي عُرفت به كتب الأمثال. وقد جعل القسم الأوّل فيما يُتمثّل به من ألفاظ القرآن وما جاء في معانيها من الخبر وأمثال العرب والعجم وما يقاربها من ألفاظ الخاصّة والعامّة. ويجمع الثعالبي في القسم الثاني أمثال طبقات الناس وذوي المراتب المتباينة والصناعات المختلفة. ويعتمد التدرّج الطبقيّ بدءًا بالأمثال السلطانيّة والملوكيّة، انتقالًا إلى الأمثال المعنيّة بالوزراء والكتّاب والبلغاء، وانتهاءً بأمثال النساء فالصبيان فالعبيد.  أمّا في القسم الثالث فيجمع الثعالبي مختارات من الأمثال التي جاءت على أفعل من كذا، ولم يتضمّنها كتاب أبي عبدالله حمزة بن الحسن الأصبهانيّ.

Drepturile de autor sunt ale IGI - Inspectoratul General pentru Imigrari - Romania.
Proiectul ”Servicii integrate de asistenţă juridică şi socială pentru cetăţenii din state terţe” (2013-2014), faza a II-a.
Cartea cuprinde gramatica fundamentală a limbii române, explicată în limba arabă – morfologie și sintaxă – însoțită de multe exerciții care îl ajută pe cititor să o asimileze cu ușurință. În fruntea oricărei lecții este un text construit pe realitățile vieții de zi cu zi a românilor, cu concentrare asupra celor mai folosite expresii din diverse domenii.
يتضمن الكتاب هذا القواعد الأساسية للغة الرومانية وهي مشروحة باللغة العربية – في الصرف والنحو – تصحبها تمارين كثيرة تساعد القارئ في استيعابها بسهولة. وفي صدارة كل الدرس نص مبنى على وقائع حياة الرومانيين اليومية بالتركيز على التعابير الأكثر استعمالا في مجالات شتى.

This research discusses how Arabic Poetry can be reenacted through the medium of Poetry films. It gives an account of the different movements of Arabic Poetry, and how the role they played in the Arab and Egyptian culture has changed over time. The research also discusses the new approach of animated Poetry films that visualize poems in various techniques, and attempts to see how these techniques can be incorporated to create an Animated Poetry Film that visualizes an Arabic poem.

This critical Arabic text edition of K. Makārim al-akhlāq wa-maḥāsin al-ādāb wa-badāʾiʿ al-awṣāf wa-gharāʾib al-tashbīhāt (“Book of Noble Character, Excellent Conduct, Admirable Descriptions, and Curious Similes”) is a substantial work of adab attributed to the prominent littérateur Abū Manṣūr al-Thaʿālibī (d. 429/1039) that consists of a short introduction and three chapters. The first chapter addresses acquiring noble character and excellent conduct (al-taḥallī bi-makārim al-akhlāq wa-maḥāsin al-ādāb); the second addresses shunning away from base character and ugly traits (al-tazakkī ʿan masāwiʾ al-akhlāq wa-maqābiḥ al-shiyam); and the third addresses admirable descriptions and curious similes (badāʾiʿ al-awṣāf wa-gharāʾib al-tashbīhāt). At the end of the text one finds a relatively large collection of widely circulating proverbs (amthāl sāʾira) that are alphabetically arranged. Makārim al-akhlāq is in essence an anthology of “good conduct” and of quotations suitable for social and literary discourse. It reflects the three ingredients of adab: behavior, literary culture, and learning. The work is introduced by an analytical study discussing the attribution of the work, the related genres, and the unique manuscript of the text.

تستعرض هذه الورقة المصادر الشفاهيّة والمسموعة والمكتوبة لكتابَين في الاختيار الأدبيّ بارزَين هما يتيمة الدهر في محاسن أهل العصر وذيله تتمّة اليتيمة لأبي منصور الثعالبي. والكتابان يعنيان حصرًا بالنتاج الأدبيّ المعاصر للمؤلّف مرتّبًا حسب الأقاليم الجغرافيّة. تكشف هذه الورقة شبكةً من الأدباء الناشطين في النصف الثاني من القرن الرابع/العاشر، الذين يشكّلون المصادر الرئيسة في الكتابَين. يثبت استعراض هذه المصادر عودةً للرواية الشفاهيّة، وهو ما فرضته جِدّة المواد التي لمّا تكن قد دُوّنت في الكتب. علاوة على ذلك، يكشف هذا الاستعراض اعتماد الثعالبي على وسائل مساعدة في نقل الأخبار عبر استعانته بالدواوين والكتب وموادّ مكتوبة أخرى. وليست درجة هذا التنويع في المصادر هي نفسها في أقسام اليتيمة والتتمّة.

This article deals with the oeuvre of Abū Manṣūr al-Thaʿālibī, a prominent literary figure of the eastern part of the Islamic world in the 4th/10th century. It deals with some of the literary and social issues that led to the numerous problems of false attribution and duplication in his bibliography, such as patronage and the periodical reworking of his books. This is followed by an up-to-date bibliography for al-Thaʿālibī, based on archives, primary sources and secondary literature. Works in print and manuscript form are assessed as to their authenticity and content, including bibliographical information on published works and locations of manuscripts. A further list reunites lost works and those surviving in quotations with references to the extant passages.

A decolonial reading presupposes provincializing the Eurocentric modernity/coloniality, which evaluates non-European cultural traditions exclusively in light of the European model, and from within the European tradition, instead of perceiving these traditions from the outside, and from an external position. As a result, non-European cultures are recognized and framed as subordinate not for being unfamiliarly different to their Western counterpart, but for being a deformed aberration to the universalized monolithic norm. Under such coloniality of imagination, the particular complexities of the non-European imaginaire are devalued by the rhetoric of modernity. A decolonial reading of Khayri Shalabi’s imaginary travelogue Rehālāt al- Torshagi al-Halwagi fi al-Zamān (1983)1 embarks from exploring the poetics of deconstructing “the colonization of the imagination” (Quijano 23). The paper examines the revalidation of the local cultural heritage, and the restitution of narrative traditions as manifestations of alterity to modernity.

الأدب بصفته تحوّلًا
استكتاب لمجلّة المركز

تشكّل فكرة التحوّل واحدةً من الأفكار الأساسيّة في تطوّر الأدب وتجدّده، فالتحوّل بطبيعته نقيضٌ للثبات أو البقاء على الوضع الراهن. ومنذ أن كتب أوفيد (Ovidius) كتاب التحوّلات (Metamorphoses)، أخذت الفكرة تسري في الآداب والفنون معبّرةً عن لحظةٍ مليئة بالحركة. يتناول العدد الجديد من مجلّة المركز الأدب بصفته تحوُّلًا، وتتوزّع محاوره على مجالاتٍ شتّى، منها على سبيل الاقتراح:
- التحوّل في نظريّة الأدب التي شهدت انعطافاتٍ كثيرة، منها مثلًا الانتقال من الاهتمام بالسياق والمبدِع إلى الاكتفاء بالنصّ ومن بعده "موت المؤلّف"
- النصّ والترجمة: هجرة النصّ إلى غير لغته وتحوّلاته في سياقاتٍ اجتماعيّة وثقافيّة جديدة
- نشأة الأنواع الأدبيّة في منظور التحوّل، وكيفيّة إفادة الكاتب من موادّ متاحة لصناعة شكلٍ أدبيّ جديد
- تحوّلات النصّ الشعريّ العربيّ على مستوى المضمون (الغزل العذريّ/الشعر الصوفيّ، الطللية/رثاء المدن) وعلى مستوى البنية (الموشّح، قصيدة الشعر الحرّ، قصيدة النثر)
- رواية المسخ لكافكا (Kafka) وأثرها على التحوّلات في السرد العربيّ الحديث
- استلهام فكرة التحوّلات الأدبيّة في أعمال بعض الفنّانين والمسرحيّين
- التحوّل في تاريخ الكتاب العربيّ (المشافهة، البرديّات، الورق، الطباعة، الرقمنة).
سينقسم محور التحوّل إلى عددين: (1) يتناول العدد الأوّل التحوّلات على المستوى النظريّ: نظريّة الأدب ومناهج النقد الأدبي ونظريات الترجمة؛ (2) ينحو العدد الثاني منحًى تطبيقيًّا، فيناقش على مستويي البنية والمحتوى التحوّلات في الشعر والسرد وفي الفنون الأخرى.
يُطلب من الباحثين المهتمّين إرسال مستخلصٍ مقترح للبريد الإلكترونيّ almarkaz@dctabudhabi.ae أو bo00@aub.edu.lb في مهلةٍ أقصاها 1 يوليو 2022 على أن تسلّم الورقة النهائيّة في مهلة أقصاها 30 ديسمبر 2022. يكون المستخلص مكثّفًا (150 كلمة كحدٍّ أقصى) ويتضمّن أطروحةً أو دعوى واضحة وتحديدًا للمنهجيّة المتّبعة وذكرًا لأبرز النتائج، ويُرفق بخمس كلمات مفتاحيّة. تُنشر الأبحاث باللغة العربيّة فقط، وتخضع لتحكيم سرّيّ.

The Maqāma Šāmiyya of Badīʿ al-Zamān al-Hamaḏānī (d. 398/1008) has long been overlooked as a result of the decision of Muḥammad ʿAbduh to remove it from the first modern published edition of the Maqāmāt. This article provides a scholarly edition of the maqāma, a translation, and a study. It argues that al-Hamaḏānī’s Šāmiyya uses the rhetorical device of kināya to reflect on the power of language and literary performance.

مجتمع القرن الرابع في مؤلّفات أبي حيّان التَّوحيدي

صدر عن دار المشرق كتاب مجتمع القرن الرابع في مؤلّفات أبي حيّان التوحيدي للدكتورة وداد القاضي بتحرير الدكتور بلال الأرفه لي. موضوع الكتاب هو الصورة الّتي رسمها أبو حيّان التوحيديّ (المتوفى سنة ٤١٤هـ/١٠٢٣م) لمجتمعه في القرن الرابع الهجريّ/العاشر الميلاديّ، وهي صورة شديدة الحيويّة، مليئة بالتفاصيل الدقيقة الّتي يتفرّد أبو حيّان بمعظمها، ولذلك لا يجدها الدارس عند غيره من المؤرّخين، ومن ثمّ قيمتها. وقد ساعد أبا حيّان على رسم تلك الصورة ذكاء حادّ، وثقافة عريضة تجمع بين الإسلاميّ والفلسفيّ، وسفر متّصل في شتّى أرجاء شرق الخلافة الإسلاميّة، من بغداد ومكّة إلى الريّ وشيراز، ولقاء لأعداد لا تُحصى من الناس، المشاهير منهم في شتّى حقول العلم والسياسة، والمغمورين من العامّة، بما في ذلك أولئك الذين يعيشون على أطراف المجتمع من الغوغاء والرّعاع، وقدرة فذّة على المراقبة ومتابعة الظواهر والبحث عن البواعث والأهداف الخفيّة القابعة خلف التصرّفات البشريّة، وعجز عن الانضواء الاجتماعيّ والانتماء لفريق واحد دون سواه، واشتغال جدّي بقضايا الإنسان الوجوديّة، وتراوح متّصل بين الواقع والمثال، ولسان حادّ لا يخشى صاحبه من التصريح بما يحذّر غيره من التلميح به، وتمكّنٌ عميق من اللغة العربيّة ومحبّة شديدة لها. وقبل هذا وذاك، قدرة بيانيّة خلّقة على الكتابة الفنّيّة، لا يكاد يدانيه أحد فيها من كتّاب النثر العربيّ في العصر الوسيط.

وداد القاضي أكاديميّة نالت الدكتوراه من الجامعة الأميركية في بيروت عام 1973، ودرّست فيها وفي جامعات هارفرد ويال وكولومبيا قبل استقرارها في جامعة شيكاغو أستاذة للفكر الإسلامي مدّة 21 عامًا حتّى تقاعدها سنة 2009. نشرت عددًا كبيرًا من الكتب والبحوث العلميّة في النثر العربي القديم والفكر السياسي الإسلامي وغير ذلك من الموضوعات. نالت العديد من الجوائز، منها جائزة الملك فيصل العالميّة (1994) والدكتوراه الفخريّة في الآداب من الجامعة الأميركيّة في بيروت (2012).

This article examines the issue of the ‘other’ in the Saudi novel from the 1980s to 2000 against the background of the social changes taking place in Saudi Arabia. It is based on the reading of some thirty Saudi novels and offers a critical analysis of selected novels, based on the assumption that fictional-literary texts can serve as a valuable source for the understanding of various social processes. My main contention is that at the beginning of the period, the discourse towards the Western ‘other’ was very dichotomous and stereotypical, but over time changes in discourse could be identified that indicate developments in the perception of the ‘self’ versus the ‘other’ that reflected a dynamic dialogue between Saudi society and Western society. Later novels presented a more complex and genuine picture of East-West relations, and even served as a platform for internal criticism.

Early Islamic society revered its articulate speakers, and later scholars held up their addresses as exemplars of eloquence. But wherein lay the power of the classical oration (khuṭba)? Did orators randomly pick and choose stylistic features, or were there certain characteristics they privileged? More importantly, what were the conscious and unconscious impetuses for their choice of aesthetic mode? It is well known that the orator employed logical argumentation based on ideas to convince his audience. I argue that in tandem with this rational argumentation, the early Arabic orator also used a stylistic mode of persuasion to sway his listeners in a subtler way, one which relied primarily on rhythm. Elsewhere, I have divided the fundamental aesthetic features of the oration into five groups: vivid imagery, audience-engagement elements, rhetorical or real questions, testimonial citation of Qurʾānic and poetic verses, dignified yet straightforward language, and most prominently, and the focus of this article, rhythm. Through a granular textual analysis of a sermon on piety by the first Shiʿa imam and fourth Sunni caliph, ʿ Alī ibn Abī Ṭālib (d. 40/661), the article demonstrates how the entire piece is formulated rhythmically: rooted in parallelism, augmented by repetition and rhyme, and sharpened by antithesis, the sermon's pulsing beat contributes to its aesthetic and persuasive success.

Klasik Arap şiiri denildiğinde ilk akla gelen isimlerden biri de kuşkusuz büyük Arap şairi
Ebû Tayyîb el-Mütenebbî’dir (öl. 354/965). Şiirlerinde işlediği temalarında söz
sanatlarını ustaca kullanarak şairliğine zaman üstü bir hüviyet kazandırmıştır.
Mütenebbî’nin divanına bakıldığında onun ustalığının üç hususta yoğunlaştığı
görülmektedir. Birincisi; şair, teşbih türleri içerisinde en güzeli kabul edilen zımnî
teşbihte mükemmel örnekler sunmuştur. Bu tür teşbihlerle şair sadece edebi gücünü
değil aynı zamanda akli muhakeme ve kıyas yeteneğini de yansıtmış olmaktadır.
İkincisi; şiirin olmazsa olmazı sayılan hayali öğeler, onun şiirlerinde hayranlık
uyandıracak seviyede kullanılmıştır. Şair, aktarmak istediği olay ve olguları
dinleyicisinin hayalinde kalıcı bir şekilde sahnelendirmektedir. Üçüncüsü ise
Mütenebbî’nin çalkantılı ve maceralarla dolu hayatının özü olan tecrübelerini tüm
insanlığa mal olacak şekilde edebi forma aktarabilmesidir. Bu da onun şiirlerinde
hikmet olarak tezahür etmiştir. Bu çalışmada şairin divanında öne çıkan bu üç meziyet
ele alınmıştır. Her üç hususta divanda pek çok örnek bulunduğu için ister istemez sınırlı
sayıda şiirle yetinilmiştir.

When it’s said classical Arabic poetry, the first name that comes
to mind is undoubtedly the great Arab poet Abu Tayyîb al-Mutanabbi. He has given his
poetry a timeless identity by skillfully using the art of rhetoric in the themes he handles
in his poems. Looking at Mutanabbi's divan, it is seen that his mastery focuses on three
issues. First one; The poet provided excellent examples of implied similitude, which is
considered to be the most beautiful of the similes. With such similes, the poet reflects
not only his literary power but also his mental reasoning and his ability to compare.
Latter; Imaginary elements, which are considered indispensable for poetry, were used
in his poems at an admirable level. The poet permanently staged the events and facts
he wants to convey in the imagination of his audience. The third is that Mutanabbi's
experiences, which are the essence of his turbulent and adventurous life, can be
transferred into literary form at a cost to all humanity. This manifested as wisdom in
his poems. In this study, these three virtues that stand out in the poet's divan are
discussed. Since there are many examples on all three issues on the sofa, inevitably, a
limited number of poems is contented. al-Mutanabbî is referred to as "Poem of Wisdom"
in many literary history sources. The turbulent and rather depressed events he
experienced turned into an experience for him. Although many of what happened to
him had negative consequences for him, his experiences contributed to literature and
his literature to reach today. A word of advice that was said based on long trials and
observations and became popular with the public. According to the definition of the
Turkish Language Association, proverbs are like this. Note that the passive voice is used
in the definition. It draws attention to the fact that it is not known by whom the
proverbs were said by saying that they were said. It doesn't matter who says it anyway.
Because, in proverbs, there is a common law emerging from nature, an unchangeable
law in social relations, and even a decree that has the last word of a destiny that sets a
limit to existence. It doesn't matter which ancestor utters the very concise words of a
few words such as the one who finds, the one who sows and reaps, the one who comes
and seeks the one who goes. Here, it is not an ancestor who actually speaks, but only
the truth that speaks. It is the humanly realized and verbalized version of a law of nature
that ruled in creation and still takes place. In this respect, proverbs are the words of the
truth, so our elders say: Those who do not listen to the great will howl. In terms of Arab
culture, the situation is not much different. Like every nation, the Arabs also have
parables that mean proverbs. Even the ancients knew the proverb was called “darb almathal”. Maybe the fairy tale does not come from here. However, in terms of the Arabic
language, it can be said that Arabs have a rightful privilege rather than other nations in
literature and oratory. For this reason, there are many proverbs that speak in the form
of poetry, starting from the pre-Islamic period called “al-jahiliya”, until the fourth hijri
century, when Arabic literature lived its brightest period. More precisely, dozens of
poems have become proverbs. The Arab poet discovered a timeless truth that would
renew his rule in every era, the poet died, but his poetry remained. Because the truth is
immortal. If you ask someone on the streets of Arab countries today to tell me an Arab
poet the answer you will get will most likely be al-Mutanabbi. Some of his poetries have
become proverb stoday.

Kahve, modern dünyanın en tercih edilen sıcak içeceklerinden biridir. Bünyesinde barındırdığı kafeinin insan vücudunda meydana getirdiği reaksiyonun dikkati arttırması ve uyanıklık hissiyatı sağlaması, keşfedildiği ilk günden bu yana entelektüel camianın ilgisinden kaçmamıştır. Geçmişi çok eskiye dayandığından, günümüz insanı, kahve fincanından aldığı her yudumda, büyük ve köklü bir kültür tarihine de iştirak ettiğinin bilincinde olmalıdır. Kahvenin kökeninin Afrika’ya dayandığı ve bir içecek olarak kullanımının ilk kez Güney Arabistan’da gerçekleştiği düşünülmektedir. Dolayısıyla günümüzde tüm dünyaya yayılmış olan kahve kültürünün başlangıcına inmek için, Arap edebiyatına göz atılması lüzumu doğmaktadır. Bugün pek çok dünya dilinde, o veya bu şekilde, benzer bir sesletim ile ifade edilen “kahve”, esasen Arapça kökenli bir sözcüktür. Muhtemelen kahve kelimesi, ilk olarak Arapça ḳ-h-y (قهي) kökünden türetilmiştir. Arap dilinde ḳahiye (قَهِيَ) fiili, “iştahı kesildi” anlamına gelmektedir. Bu anlam, ilk başlarda ḳahve (قَهْوَة) sözcüğünün, içenlerin iştahını kesen bir şarap cinsinin tanımlanması için kullanılmasıyla ilişkilidir. Arapçadaki bu kök, İbranicede “zayıf”, “yılgın”, “dumansı” ve “mat” gibi anlamlarla ilişkili olan k-h-h (כהה) köküyle de kökteştir. Kahvenin ne zaman ve hangi şartlar altında keşfedildiği kesin olarak bilinmemektedir. Kahve bitkisinin, Madagaskar’dan Sierra Leone’ye, Kongo’dan Etiyopya dağlarına kadar, Afrika’nın dağlık alanlarında yabani olarak yetişebildiği, hatta bu bitkinin Arap Yarımadası’na has olabileceği bir gerçektir. Mamafih kahvenin Antik Yunan, Roma, Orta Doğu ve Afrika halkları tarafından bilindiğine ve kullanıldığına dair somut bir veri bulunmamaktadır. Öte yandan Arap ve Avrupalı tarihçiler tarafından, bazı efsanevi Afrika anlatılarının aktarıldığı yahut altıncı yüzyıldan kalma bazı kayıp yazmalara atıfların yapıldığı gözlemlenmektedir. Ancak elimizdeki mevcut kayıtlar dikkate alındığında, kahve kültürünün on beşinci yüzyılın ortalarında, Güney Arabistan’da yer alan Yemen’in Sufi dergâhlarında ortaya çıktığını söylemek icap eder. Buna karşın Arap literatüründe kahve olgusunun etrafında şekillenen efsanelerin, kültürün ve şiirlerin yadsınamaz bir edebî değeri bulunmaktadır. Bu çalışmada, kahvenin etimolojisinin ve Arap edebiyatındaki yansımalarının, bilimsel bir metotla araştırılması hedeflenmektedir.

Coffee is one of the most preferred hot beverages in the modern world. Because the caffeine in it increases the attention of the person and provides a feeling of alertness, it has attracted the attention of the intellectual community since the first day it was discovered. Due to its historical background, today’s people should be aware that with every sip they take from a cup of coffee, they also participate in a great and long-established cultural history. Coffee has its origins in Africa. But its use as a beverage is thought to have occurred for the first time in Southern Arabia. Therefore, to understand the beginning of the coffee culture, which has spread all over the world today, it is necessary to look at Arabic literature. Today, in many world languages, “coffee”, which is expressed with a similar pronunciation in one way or another, is a word of Arabic origin. Probably the word “qahwa” was originally derived from the Arabic root q-h-y (قهي). The verb qahiye (قَهِيَ) in Arabic means “he has lost his appetite”. This meaning is related to the use of the word qahwa (قَهْوَة) at first to describe a type of wine that makes its drinkers lose their appetite. This Arabic root is also cognate with the Hebrew root k-h-h (כהה), which is associated with the meanings such as “weak”, “dim”, “smoky” and “dull”. It is not known exactly when and under what conditions coffee was discovered. It is a fact that the coffee plant can grow wild in the highlands of Africa, from Madagascar to Sierra Leone, from Congo to the Ethiopian mountains, and that this plant may even be indigenous to the Arabian Peninsula. However, there is no satisfying data, which proves that the coffee was known and used by the peoples of Ancient Greece, Rome, the Middle East, and Africa. On the other hand, some Arab and European historians recorded some legendary African narratives or cited some lost manuscripts from the sixth century. However, considering the available records, it is necessary to say that the coffee culture emerged in the Sufi lodges of Yemen, located in South Arabia, in the middle of the fifteenth century. On the other hand, there is an undeniable literary value of the legends, culture, and poems, which were shaped around the phenomenon of coffee in Arabic literature. This study is aimed to investigate the etymology of coffee and its reflections in Arabic literature with a scientific method.

Modern readers encounter a book assuming that the author has played a vital role in its creation. They anticipate (rightly or wrongly) that the name prominently displayed on the cover has played an active role in the making of the book: i.e., drafting the text; dividing the work into sections; and arranging the contents. In some cases, they might imagine that this author selected the pictures, decided on the captions, and have chosen such material features such as the typeface and paper. While readers know that editors and publishers often shape the final form of modern books in important ways, few would hesitate to affirm that the role of the author is central to the production of the modern book.
There were authors in the medieval Arabic world who were also involved in many aspects of the production of their own books. For instance, the author may have selected the individual poems, letters, stories, or speeches. He may have considered their arrangement. He may have even made an autograph copy on particular paper and using particular ink. Alternatively, the author may have dictated the work aloud to multiple scribes, and authorized them to teach the work through the granting of an ijāza. The particular features of authorial control in an age prior to mechanical reproduction are certainly of vital concern to the student of classical Arabic literature in general and deserve greater awareness on the part of their modern students.
In this article, we address these problems of authorship and authorial control through a particular example: the collection of the maqāmāt of Badīʿ al-Zamān al-Hamadhānī. One of the central works of Classical Arabic literature, the Maqāmāt of al-Hamadhānī has long been known mainly through Muḥammad ʿAbduh’s standard edition first print 1889.

Vahşi doğada kendisini savunmasız vaziyette bulan insanoğlu, tabiatla mücadele etmek için etkili bir yol keşfetmeliydi. Kendisinden daha güçlü olan hayvanlardan korunmak ve zorlu çevresel şartlarla mücadele etmek için başvurabileceği yegâne çözüm, genlerinde saklanmış durumdaydı: bilgeliğe ve dayanışmaya güvenmek. İlk insanlardan günümüze bazı duvar resimleri ve ilkel aletlerin haricinde herhangi bir somut eser kalmamıştır. Buna karşın onların düşüncelerinin izlerine modern dillerde rastlamak mümkündür. Kimler tarafından söylendiği belli olmayan atasözleri, bizleri çetin doğa şartlarına ve muhtemel tehlikelere karşı hazırlamak isteyen kadim atalarımızın artlarında bıraktıkları en önemli kültürel mirastır. Modern araştırmacılar, insanoğlunun tek bir atadan geldiğini öne sürmektedir. Bu durum göz önünde bulundurulduğunda, farklı dillerdeki ortak atasözlerinin oldukça erken bir tarihte ortaya çıkmış olduğunu düşünmek mümkündür. Bu çalışma, bilimsel bir metotla, Arap, Türk ve Kazak dillerindeki ortak atasözleri üzerinde karşılaştırmalı bir inceleme yapılmasını hedeflemektedir. Dolayısıyla bu çalışmada, yalnızca üç dilde de anlamsal açıdan benzer olan atasözleri ele alınacaktır. Arap, Türk ve Kazak dilleri, birbirlerine çok uzak olmayan bir bölgede gelişim gösterdiği için, göz ardı edilemeyecek miktarda benzerlikler ihtiva etmektedir. Öte yandan İslam öncesinde, Arapların Türk halklarıyla dikkat çekici bir yakın temas kurmadıkları bir gerçektir. Ayrıca Arapça, Sâmî bir dil olması hasebiyle, Türk dillerine benzememektedir. Ne var ki kültürel farklılıklara karşın, insan aklı benzer bir metotla çalışmaktadır. Bu nedenle söz konusu ortak atasözleri, kültürel bir aktarımın ispat edilemeyecek bir örneği olabileceği gibi, ortak düşünce metotlarının bir sonucu da olabilir.

Mankind, finding himself defenseless in the wild, had to find an effective way to fight against nature. The solution he could apply to protect himself from stronger animals and fight against the harsh environmental conditions was hidden in his genes: relying on wisdom and solidarity. Other than some wall paintings and primitive tools, nothing has survived from early humans. On the other hand, it is possible to find traces of their thoughts in modern languages. Proverbs, whose origin is unknown, are the most important cultural heritage left behind by our ancient ancestors who wanted to prepare us for harsh natural conditions and possible dangers. Modern researchers suggest that humankind descended from a single ancestor. Considering this situation, it is possible to think that the common proverbs in different languages were shaped at a very early date. This study aims to make a comparative study on the common proverbs in Arabic, Turkish and Kazakh languages with a scientific method. Therefore, in this study, only the proverbs that are semantically similar in all three languages will be discussed. On the other hand, it is true that before Islam, the Arabs did not have a remarkable close contact with the Turkic peoples. In addition, since Arabic is a Semitic language, it is not similar to Turkic languages. However, despite cultural differences, the human mind works in a similar way. For this reason, the common proverbs in question may be an unprovable example of a cultural transfer, or they may be the result of common thought methods.

Esta obra recoge el estudio crítico y la traducción al español de la rihla del peregrino y asceta musulmán al-Hayy `Abd Allah Ibn al-Sabbah al-Asbahi al-Andalusi, autor mudéjar del levante de la península ibérica (ú. t. s. XIV - 1453 post.).
El propósito de este volumen es doble. Por un lado, ofrecer la traducción anotada al español de la única obra conocida de este autor, el Kitab Nisab al-ajbar wa-tadkirat al-ajyar, a partir del manuscrito original «unicum» custodiado por la Bibliothèque Nationale de Túnez. Por otro lado, acompañar a la traducción de un estudio crítico que sirve para perfilar un cuadro más claro sobre la figura de Ibn al-Sabbah y su obra. Este estudio aborda las cuestiones más importantes del Nisab, como el título de la obra, la figura y vida del autor, o el encuadre de la obra dentro de los géneros de la literatura árabe, y se tratan además las particularidades lingüísticas y estilísticas del texto.
De esta manera, el trabajo viene a enriquecer el campo de los estudios mudéjares y moriscos, y amplía la literatura disponible sobre rihlas dentro de la literatura árabe peninsular. Una obra árabe del s. XV, fiel testigo de su época que, por primera vez, se presenta en una traducción a una lengua no árabe, dándose a conocer, de este modo, su texto y circunstancias a un público académico más amplio.

This article discusses the performative function of enumeration in Arabic prose. Bringing together a great variety of word lists from classical to modern prose (including the 1001 Nights, al-Tawḥīdī, al-Suyūṭī, al-Shidyāq, and Darwīsh), it unveils their often neglected importance to literature by drawing from an emerging scholarship on enumeration. Focusing on “enumerative games” (Mainberger), the article does not ask what the enumerated elements mean, but how the act of enumerating produces meaning. In the first part, the article discusses elements central to the poetics of the enumerative (including items, length, arrangement, and frame). In the second part it deals with the politics of enumeration in the example of al-Shidyāq’s al-Sāq ʿalā al-sāq fī mā huwa al-Fāriyāq (1855). The article seeks to provide a basic approach to enumeration and argues that enumerative games in literature perform acts of cultural politics.

Kalīla and Dimna was translated from Pahlavi into Arabic in the 8th century AD by Ibn al-Muqaffaʿ, and it became an influential text in numerous literary cultures. Copyists in the Arabic manuscript tradition acted as coauthors, changing the text in ways both large and small. The modern scholarly tradition tends to see Kalīla and Dimna as part of a Fürstenspiegel genre or as an example of animal fables. What these categorizations overlook is the variegated medieval reception of the text, which was more multifaceted than is generally appreciated. The unruliness of the text's reception is the theme of this article, which explores the ways in which medieval readers categorized and reinterpreted Kalīla and Dimna over centuries, with special attention to Ibn al-Habbāriyya's late 11th-century dramatization of the divergent interpretations of Kalīla and Dimna. The article reveals that the interpreters of this text reconfigured its generic affiliation, making it a Quranic competitor, a repository of proverbs, an allegory for the soul, a source of law, and a model for storytelling that imparts practical wisdom.

This article aims at presenting a unique use of the motif of blindness in two Iraqi short stories from the 1950s: “Rīḥ al-janūb” (South Wind) by ʿAbd al-Mālik Nūrī and “ʿAmmī ʿabburnī” (Please Sir, Help Me Cross the Street) by Ghāʾib Tuʿmah Farmān. Nūrī and Farmān belonged to the literary milieu in Baghdad of the mid-twentieth century and this article argues that through the motif of blindness they criticized their environment, the Iraqi regime and the clerics of their times. The article presents an outline of the political and social background of that period and offers an explanation for the specific choice of the motif of blindness by these writers and the object of their criticism: while Nūrī was a government official, Farmān was a persecuted Communist intellectual. Thus, Farmān criticized the regime through depictions of the city and of the plight of the simple man, especially the needy blind who depend on other people’s help, while Nūrī, who did not want a confrontation with officialdom, focused his criticism on the clerics in particular, who exploit the poor by taking their money in order to supposedly cure them.

تقدّم هذه المقالة ثلاث مقامات جديدة منسوبة إلى بديع الزمان الهمذانيّ (ت ٣٩٨هـ/١٠٠٨م). تبدأ المقالة بلمحة عن الدراسات التي اهتمّت بمجموع المقامات ومنها أبحاث مؤلّفَي هذه المقالة عن مخطوطات مقامات بديع الزمان. فتناقش المقالة دلالات وجود هذه المقامات الثلاث فيما يقارب ربع مخطوطات مقامات الهمذانيّ، بما في ذلك مخطوط من القرن ١٣هـ/١٩م نُقل عن مخطوط من القرن ٦هـ/١٢م، وهو مخطوط سواس (مدرسة الدراسات الشرقيّة والأفريقيّة) رقم ٤٧٢٨٠. ثُمّ يقدِّم الباحثان عيِّنة من المخطوطات المستخدَمة في تحقيقهما النقديّ لهذه المقامات مع دراسة تحليليّة لنصوصها. وتأتي خلاصة المقالة لتنظر في موثوقيَّة هذه المقامات في ضوء المقامات الأخرى المنسوبة إلى الهمذانيّ.

al-Tayyib Salih (Tayeb Salih) was one of Sudan's greatest authors of the twentieth century. In 1966, Salih published his novel Mawsim al-Hijrah ilâ al-Shamâl (Season of Migration to the North), the one for which he is best known. It was first published in the Beirut journal Hiwâr. The main concern of the novel is with the impact of British colonialism and European modernity on rural African societies in general and Sudanese culture and identity in particular. His novel reflects the conflicts of modern Sudan and depicts the brutal history of European colonialism as shaping the reality of contemporary Sudanese society. Mawsim al-Hijrah ilâ al-Shamâl is a story told to an unspecified audience of the “traveled man,” the African who has returned from schooling abroad by an unnamed narrator. The narrator returns to his Sudanese village of Wad Hamid on the Nile in the 1950s after writing a phD thesis on ‘the life of an obscure English poet’. Mustafa Sa'eed, the main protagonist of the novel, is a child of British colonialism, and a fruit of colonial education. He is also a monstrous product of his time. Mawsim al-Hijrah ilâ al-Shamâl is considered to be an important turning point in the development of postcolonial narratives that focus on the encounter between East and West. Damascus-based Arab Literary Academy named it one of the best novels in Arabic of the twentieth century.