Classical Arabic Prose Literature

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 article studies the life and works of a hardly known littérateur and anthologist who lived in early Abbasid Baghdad and al-Fustat: Yusuf b. Ibrahim b. al-Daya. The first part of the article gives an attempted biography on the basis of personal information that can be found in anecdotes that are said to be taken from Yusuf ’s works. In the second part, these anecdotes and their relation to Yusuf ’s largely neglected literary output will be studied.

Mütenebbî'nin Şiirlerinde Savaş Unsurlarına Ait Tasvirler Özet Şiir türünün can damarı duygulardır ve korku, ümit, neşe, üzüntü gibi pek çok duygunun en yoğun yaşandığı zemin de savaş meydanlarıdır. Bu yüzden yazılı ilk edebi metinler savaş ve kahramanlıkları anlatan destanlar olmuştur. Klasik Arap şiirinin pişdar isimlerinden olan Mütenebbî (öl. 354/965), pek çok edebi mahareti yanında savaşa ait unsurların tasvirlerindeki başarısı ile Arap şiir eleştirmenleri tarafından takdir edilmiştir. Şair çoğu kez övdüğü kişilerin savaşlardaki heybeti, atlarının ihtişamı, kılıç, mızrak ve ok gibi silah araçlarının öldürücülüğü vb. hususlarda tasvirlerde bulunmuştur. Şairin hayal gücüne uyum sağlayan söz sanatlarındaki ustalığı da bir araya gelince, savaş filmi sahnelerini aratmayan olağanüstü şiirler ortaya çıkmıştır. Bu çalışmada Mütenebbî'nin söz konusu şiirlerindeki tasvirleri başlıklar halinde incelenmiştir. Girişte şairin hayatı ve şairliği hakkında kısa bir tanıtım yapılmıştır. Sonrasında ise onun şiirlerinden kılıç, mızrak, atlar, savaş meydanına gelen leşçillerin nasıl tasvir edildiğine dair ilgi çekici örnekler seçilmiş ve zaman zaman eleştiriye tabi tutulmuştur. Kısacası bu çalışmada Mütenebbî'nin şiirleri, savaş edebiyatı açısından Türk akademisine tanıtılmak istenmiştir. Sonuç olarak konunun akademik bir tez düzeyinde araştırılması tavsiye edilmiştir.

كتاب: "نَشوة الشَّمول في السّفر إلى إسلامبول، ونشوة المُدام في العود إلى مدينة السّلام" قد تُوّج في فرع تحقيق المخطوطات الفائزة بجائزة ابن بطوطة لأدب الرحلة لسنة 2019. 
والكتاب رحلةٌ مهمةٌ لعلاّمة العراق في القرن التاسع عشر أبي الثناء الألوسي صاحب "روح المعاني". ولهذا الرحلة أهمية استثنائية؛ إذ وقعت في منتصف القرن التاسع عشر بعد عشرين سنة على رحلة رفاعة الطهطاوي إلى باريس. 
وإذا كانت باريس، في رحلة رفاعة الطهطاوي، عنوانًا للاستنارة والتنوير والحداثة، فإنّ إستانبول كانت، عند الألوسي، حاضرة الخلافة والدولة العلية والسّلطنة العّظمى، وكان السلطان عبد المجيد خان خادم الحرمين آنذاك.

حصول هذا الكتاب على الجائزة مكمن سعادة غامرة لأسباب تتصل باقترانها بأدب الرحلة، ولارتباطها بابن بطوطة الطّنجيّ وأبي الثناء الألوسيّ البغداديّ.
المسألة الأخرى التي أودّ أنْ أعرضها، في هذا المقام، هي أنّ نص رحلة الألوسي يُمثّل عنوانًا بارزًا على رفعة النصّ السردي في القرن التاسع عشر عصر النهضة، وهو دليل على أنّ قيمة الانحطاط التي وصم بها الأدب العربي الذي أنجز بعد سقوط بغداد على أيدي المغول سنة 656 هـ وحتى الأدب الحديث تتضمّن موقفًا انحيازيًّا سلبيًّا حال، ولا يزال يحول، دون فحص مدونات الأدب والفكر في تلك القرون المهمة.
ختامًا، هذه فقرة مُستلّةٌ من مقدمة الكتاب الذي حقّقته: "إنّ رحلةَ الألوسيّ رحلةٌ ارتقائيّةٌ من النَّصَب والتّعبِ والكدّ إلى الراحة والدّعة والرّخاء، ورحلة انتقاليّةٌ اعتلائيّة من مدينة السلام بغداد إلى دار السّلطنة العُظمى إسلامبول، وفي ذلك إحالة جليّة على رحلة الإسراء والمعراج النبويّة القرآنيّة. وبعبارةٍ أُخرى فإنّ أبا الثناء الألوسي لا ينشدُ ارتقاءً في المنزلة والرُّتب السّنية وانتقالاً إلى حاضرة الدولة العليّة فحسب بل إنه يرومُ تحويل رحلته إلى مُتخيّلٍ سرديّ يعتمدُ مبدأ محاكاة أثر الأنبياء والأولياء والزُّهّاد والعُبّاد والمُتصوّفة في رحلاتهم التي كانت جزءًا أصيلاً في مُعجزاتهم وكراماتهم ومُجاهداتهم، ومُكوّنًا مركزيًّا في رسالاتهم وخطاباتهم، وفي هذا المستوى تتجلّى ملامح رحلة الألوسيّ الإسرائيّة وتنكشفُ دلالاتها المعراجيّة".

تطرح هذه المقالة تساؤلات ملحة أمام علاقة الأدب العربي مابعد الاستعمار بالمسمى أدب العالم. و تنتقل  الدراسة من مسلمات تلك العلاقة المظلية مستخلصة أن هناك صراعات ايديلوجية حامية بين تعريف الأدب كظاهرة ينتجها تفاعل إنساني ذهني مع اللغة المعطاة و كملكة انسانية يشترك فيها البشر على اختلاف أجناسهم و طبقاتهم وأنواعهم و دياناتهم من جهة ، و بين مراكز السلطة النقدية في " العالم الأول" التي تسربت إلى نظرياتها الأدبية معطيات قومية و تداخلات سياسية-رأسمالية من جهة أخرى،  أعادت  تأصيل الفصل الاستشراقي بين أدب الأنا و أدب الآخر. و ما دمنا الآن نعيش منعطفاً تاريخياً قد نعيد فيه ترتيب أوراقنا النقدية مع الآخر بشكل عام و أمريكا الشمالية بشكل خاص، فإن الأسئلة الأساسية التي تطرحها هذه المقالة هي:كيف يمكن المصالحة بين تلك المتناقضات الجوهرية في أدب العالم؟ كيف يمكن اجتياز، بل و التجاوز عن، هرمية العلاقة بين" الأنا" و "الآخر" في عصر أدبي مابعد الاستعمار؟ 
This essay poses urgent questions about the relationship between postcolonial Arabic literature and World Literature, exposing the deceptively facile presuppositions of this umbrella relationship. The study argues that there persist heated ideological conflicts between the understanding of literature as a phenomenon emerging from interaction with a given language and as a universal human faculty irrespective of race, class, gender, or religion, versus the Orientalist bias of hegemonic critical thought in the era of post-nationalist capitalism. Living in a historic time that compels us to reconsider our own critical thinking vis-à-vis the other, especially North America, the fundamental questions that arise are: how could one transcend the canonical hierarchies in “World Literature”?  And, subsequently, how could one resolve the persistent tensions between Self and Other in a postcolonial literary era?

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.

إن األطفال رأسمال األمم األكثر أهمية في بناء مجتمع قائم على المكارم والرقي. أهمية األطفال ليس مقصورا على كونهم
مقومين لحياة اجتماعية صحيحة البنية في المستقبل بل يتمثل دورهم في إبداء نموذج من طبيعة بشرية خالية من شوائب الرياء
والتكلف والتصنع. لربما من أجل هذا نعبر عن عواطف بريئة بلفظة -مثل الطفل-. إن من وظائف األدب األساسية عكس
العواطف البشرية كما هي. ولهذا يمكن القول إن هذه الوظيفة جعلت طريقها يتقاطع مع الطفل والطفولة بما فيهما معاني
الصفاء والبراءة. فبناء على هذا نجد صورة األطفال في األدب العربي على الصعيد القديم والحديث منه. حاولنا في هذا البحث
إلقاء الضوء على كيفية تعامل بعض من الشعراء العرب مع صورة الطفل والطفولة في أشعارهم. ووجدنا من الشعراء من
يستخدم صورة الطفل كمرآة تعكس صورة الحياة الدنيوية بتقلبات أحوالها وسرعة تأثرها بما حل بها وما شابه ذلك. وقسم
آخر منهم يعتبر الطفل وكأنه وسيلة تشبيه لحال معشوق. وفئة أخرى تجعل عالم االطفال مجاال للتعبير عن عواطف متشائمة
.مثل اليأس والكآبة والخوف الشديد من الموت. وهكذا ألفينا الشعراء يأخذون صورة الطفل كوسيلة مرآة كما سبق القول
الكلمات المفتاحية: اللغة العربية وأدبها، الطفل، الطفولة، الشعر العربي، براءة
Abstract
Children are the capital of the nations most important in building a society based on generosity
and advancement. The importance of children is not limited to their being constituents of a healthy social life in the future. Rather, their role is to express patterns of a human nature free from
the impurities of hypocrisy, sophistication and pretense. Perhaps because of this we express
innocent emotions with the word - like a child -. One of the basic functions of literature is to
reflect human emotions as they are. That is why we can say that this job intersects with the child
and childhood, including the meanings of purity and innocence. Based on this, we find the image
of children in Arabic literature, both ancient and modern. In this research, we tried to shed light
on how some Arab poets dealt with the image of the child and childhood in their poems. And we
found some poets who use the image of the child as a mirror that reflects the image of worldly
life with its fluctuations and the speed of being affected by what happened to it and the like. And
another section of them considers the child as a means of simulating a loved one. Another category makes the children's world a space for the expression of pessimistic emotions such as despair, gloom, and an intense fear of death. Thus, our poets take the image of the child as a mirror
medium, as has been said previously.

يروم هذا الكتابُ استكشافَ مكامن التوهجّ في الذاكرة الأدبيّة في النثر العربيّ الكلاسيكيّ، ورصد ملامح نصوصه وخطاباته وفق مداخل ومنظورات نقديّة معاصرة، إدراكًا منّا أنّ اشتباك المدونة النثريّة العربيّة الكلاسيكيّة بهذه المنظورات والمداخل يُجدّدُ التصوّرات المعرفيّة والمفاهيم الثقافيّة التي تشتمل عليها هذه المدونة الخصبة.
ولعلَّ هذا الكتابَ يصدرُ عن مواقف مُضمَرة تتمثّلُ في أنّ استكمال المعرفة بالتراث النثري الكلاسيكيّ يمنح الوعي العربي فهمًا حقيقيًّا للوجود والماضي والحاضر والـمُستقبل. وبمعنى آخر، فإنّ للتراث سطوةً لا يمكن للوعي العربي، دونها، أنْ يُدرك واقعه المعاصر، ويستأنف البحث عن مسارات مستقبله دون إدراك مكونات تراثه الدقيقة، وفي هذا السياق تتحقق مفاهيم السيرورة في الذاكرة العابرة للخطاب.
وغاية الكتاب مُصرّحُ بها؛ وهي دراسة نماذج من التراث النثريّ العربيّ الكلاسيكيّ عبر أشكال إبداعيّة مخصوصة تتمثّلُ في الأخبار، والحكايات، والأحاديث، والقصص، والمقامات، والرسائل، والكشف عن قوانينها الإبلاغية، وقواعدها الشّعرية التي تمنحها الانفتاح على الذاكرة، وتجعلها جزءًا من الخطاب.
وتتوسّل معالجات نصوص هذا الكتاب بمقارباتٍ متنوّعة، ومداخل لسانيّة ونقديّة متعددة بهدف الكشف عن بلاغة الخطاب وأبعاده التخييلية ووظائفه الإبلاغيّة وسياقاته التكوينيّة

This essay takes the “noise” of manuscript culture as its object of inquiry, exploring the ways in which commentators, collators, and copyists interpreted a specific case of manuscript variation. These scholarly receptions of the Ḥarīriyya expand our horizon of analysis, eschewing a narrow focus on the “original” text in order to highlight the textual transformations and interpretive ramifications surrounding the text.

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.

The focus of the present study is Ibn Qayyim al-Jawziyya’s (d. 1350) al-Kāfiya al-Shāfiya fī al-Intiṣār li-l-Firqa al-Nājiya (The Sufficient and Healing [Poem] on the Vindication of the Saved Sect), a long didactic poem of nearly six-thousand verses. The poem is usually perceived as a theological-polemical work, which was meant to address Muʿtazilī and Ashʿarī attacks on the traditionalist perception of the divine attributes. However, the present study shows that the poem is a rendition of the 1306-1307 trials that were held in Damascus and Cairo against Ibn Taymiyya (d. 1328). The reading of al-Kāfiya al-Shāfiya presented here is intended to place the poem among Ibn al-Qayyim’s most conspicuous works, and draw more attention to the genre of didactic verses in the Mamluk period.

This short essay introduces a special issue on animals, adab, and fictivity in the Arabic tradition. I explore an example of manuscript variation in Kalīla wa-Dimna to illustrate that the Abbasid tradition of writing about animals had an impact on the versions of Kalīla wa-Dimna that we have today, all of which come from the 13th century or later. I also introduce and briefly summarize the excellent contributions to this special issue.

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.

NB: A new edition and translation of the Vat.ar. 368 is now available (see the section "Books").

"The manuscript Vaticano arabo 368, containing the text known as Hadith Bayad wa Riyad, is under many respect, an unicum. The text was first edited and translated in Spanish in 1941 by A.R. Nykl and then some of the 14 miniatures illustrating the text were often published as beautiful plates without paying any attention to the text.
The codex remained pratically unstudied for decades but various articles were recently devoted to it and a new English translation is now available. However the most recent studies dedicated to the manuscript miss a number of details, related both to its history and to the text, and givea questionable interpretation of its first illustration.
This paper aims, therefore, at reconsidering the whole manuscript. Through a codicological analysis of the codex and a careful examination of both text and images, new details are pointed out for dating the manuscript and understanding the context of its production. Last but not least this contribution intends to shed light on the disregarded history of the codex.""

This essay critiques the view that al-Ḥarīrī's Maqāmāt faced a hostile reception among piety-minded Muslims by offering a preliminary examination of al-Panǧdīhī's unstudied sixth-/twelfth-century commentary on al-Ḥarīrī's Maqāmāt. Al-Panǧdīhī's commentary was the first digressive commentary on a prose adab text, and its digressions consist mainly of Qurʾānic quotations, ḥadīṯ of the Prophet Muḥammad, and stories about other prominent Muslims-what I term the Islamic archive. Al-Panǧdīhī argues in his elaborate preface that al-Ḥarīrī's collection trains the reader to understand this archive better. Because al-Panǧdīhī's commentary has never been printed and because scholars have tended to focus on the origins of the maqāma rather than its reception, this key text and its interpretive implications have been overlooked.

Although the way a word sounds in plain speech is arbitrary, using rhyme helps erase the boundaries between separate words, unconsciously connecting the ideas they signify through sound, creating a likeness despite the difference in meaning. The use of rhyme makes it easier for the listener to subconsciously accept a poet's claims, as the aesthetically pleasing sounds and rhythm are more potent and powerful than regular prose. Even if the listener would normally disagree with the sentiment, the soothing sound of the flowing rhyme reconciles difference and provides for the listener an elated sense of words and language. This paper hopes to investigate rhyme in its various forms and its effect in Arabic texts.

Ibn Ḥazm's (d. 456/1064) Ṭawq al-Ḥamāmah is a sui generis work in the history of mediaeval Ara-bic culture. Modern scholarship on Ibn Ḥazm's Ṭawq proceeds along three lines: (1) editing and translating the Ṭawq; (2) explicating the Ṭawq and enquiring into its originality; and (3) looking into the Ṭawq from a comparative perspective. I intend, however, to pursue further the question of the Ṭawq al-Ḥamāmah's uniqueness, and I would also suggest a new reading of the text based on the exposition of its epistemology. My main proposition is that the Ṭawq al-Ḥamāmah's idiosyncracies rest on Ibn Ḥazm's endeavour to advance an epistemic justification of the concept of love. Ibn Ḥazm stresses that writing on love is beyond any fictional narrative. He underlines the idea that entering into the phenomena of love should adhere to al-ḥaqīqah (the truth) and should avoid any kind of flawed explorations. To arrive at an understanding of the work through the angle of al-ḥaqīqah, Ibn Ḥazm further contends that writing on love should be based on three key principles: (i) testimony ; (ii) observation; (iii) and knowledge stored in memory. These principles are behind the Ṭawq al-Ḥamāmah's epistemology that renders any writing on love not merely a fictional narrative but a textual attempt to depict the actual human experience. By deploying the principles of epistemology to investigate love, Ibn Ḥazm's Ṭawq al-Ḥamāmah not only modifies the existing genre of writing on love and lovers but also considers some aspects of this emotion that had hitherto evaded literary and scholarly treatment. This paper will explore Ibn Ḥazm's perspective on the ways of writing on love and manifest his epistemological approach in exploring the essence of this emotion as well as its causes and symptoms.

Die mittelalterliche arabische adab-Literatur ist weitgehend durch kurze erzählende Einheiten geprägt, von denen viele humoristischer Natur sind. Derartige Erzählungen sind in einem Traditionsgeflecht eingebunden, das sich geographisch vom westlichen Europa über Nordafrika, den Balkan und die Levante bis zum indischen Subkontinent und den islamischen Einflußbereichen Zentralasiens sowie zeitlich von der Antike über das Mittelalter bis in die unmittelbare Gegenwart erstreckt. Die auf einem Archiv von über 12 000 Witzen, Schwänken, Anekdoten und ähnlichen Erzählungen aus der arabischen adab-Literatur des 9.-12. Jahrhunderts basierende Studie untersucht unter Zugrundelegung einer bewußt "arabo-zentrischen" Perspektive die an der Vermittlung der humoristischen Kurzerzählungen beteiligten Instanzen sowie die bei der Vermittlung wirkenden Gesetzmäßigkeiten. Die Studie besteht aus zwei Teilen, einer ausführlichen Besprechung einzelner Regionen und der für sie bedeutenden Werke sowie einem separaten Katalog zu mehr als 1200 Einzelerzählungen. In ihrer Gesamtheit belegt sie, daß die arabische Literatur - abgesehen einzig von der chinesischen - das weltweit größte mittelalterliche Korpus humoristischer Kurzprosa aufweist. So kann der arabischen adab-Literatur als zentralem Umschlagplatz derartiger Texte ein angemessener Stellenwert im Netz der vielschichtigen kulturellen Verflechtungen zugewiesen werden.

Кулешов Вяч. С. Сведения о европейских и русских мечах в памятниках арабской литературы IX–XI вв. // Оружейный сборник. Вып. I. Материалы заседаний Оружейного семинара Государственного Эрмитажа, 2016–2020. Памяти Л. И. Тарасюка / Под общей редакцией Г. В. Вилинбахова. Научный редактор Е. Г. Лазаревская. СПб.: Издательство Государственного Эрмитажа, 2021. — С. 89–99.

المركز: مجلّة الدراسات العربيّة
بريل – مركز أبو ظبي للغة العربيّة

الأمل في الأدبيّ العربيّ

الأمل موضوعةٌ (ثيمة) بارزة في آداب حضارات العالم، وهي تحضر بقوّةٍ في التراث العربيّ، شعره ونثره، وفي الأدب العربيّ الحديث. ومع ذلك، فإنّ عدد الدراسات التي تُعنى بهذه الموضوعة في الأدب العربيّ قليلٌ جدًّا. وهو حال الدراسات الخاصّة بالموضوعات المحدّدة في الأدب العربيّ عمومًا، بخلاف الآداب العالميّة الأخرى. وفي هذا العدد الخاصّ من مجلّة المركز، نرحّب بالمشاركات الخاصّة بموضوع الأمل في مختلف الأنواع الأدبيّة، المنثور منها والمنظوم، وفي أيّ حقبةٍ تاريخيّة عربيّة. وندعو الباحثين إلى معالجة هذا الموضوع في مجالاتٍ متنوّعة وبمقارباتٍ شتّى، في سبيل بناء إطارٍ لدراسة موضوعة الأمل، وغيرها من الموضوعات في المستقبل. آملين أن تشكّل مقالات هذا العدد مخزونًا للآمال والتطلّعات الخاصّة بعوالم التواصل بالعربيّة عبر العصور – شفهيًّا وكتابيًّا –، وأن تُظهر المزايا الخاصّة لهذا الجانب الإنسانيّ، والهواجس المشتركة بين البشريّة.
ومن بين الأسئلة البحثيّة المقترحة:
- هل هناك عصور للأمل في الثقافة العربيّة يمثّلها الإبداع بشقّيه النثريّ والشعريّ؟
- متى ارتفع منسوب الأمل في التراث الأدبيّ العربيّ ومتى انخفض؟ وما علاقة ذلك بالسياقات الثقافيّة والتاريخيّة والسياسيّة والدينيّة؟
- هل عرف التاريخ العربيّ مبادراتٍ لصناعة الأمل؟ وهل كان الوعي بصناعته موجودًا لدى الأفراد أم السلطات؟
- كيف تجلّى انعدام الأمل في الأدب العربيّ؟ وهل عرفت الحضارة العربيّة-الإسلاميّة "أدب البؤس" أو الديسوتوبيا؟
- كيف تأرجح أدب الرحلة في القرن التاسع عشر بين ثنائيّات الوطن والمهجر، والسعادة والشجن، والأمل والتشاؤم؟ وهل تشكّلت يوتوبيا أو مدن فاضلة في سياق هذه الرحلات؟
- كيف اختلف وجود الأمل – حضورًا أو غيابًا – باختلاف الأنواع الأدبيّة؟ وهل لبُنية النصّ علاقةٌ في ذلك؟ فلماذا نجده مثلًا مرتبطًا بخواتيم بعض الأنواع الأدبيّة كالحكايات والمقامات وكتب الفرج بعد الشدّة وحكايات ألف ليلة وليلة؟
- ما علاقة الأمل بالزمن وفساده والشكوى منه؟
- ما الذي يجعل مفاهيم مثل الحرص والطمع والرجاء والأجل تقع ضمن الحقل المعجميّ للأمل؟ وكيف يساهم سبر أبعادها الدلاليّة في فهمٍ أعمق للسياقات الثقافيّة الخاصّة بالأدب العربيّ؟
- كيف تجمع المجتمعات العربيّة بين تربية الأمل على رأي محمود درويش "نربّي الأمل" وبين الاحتكام له على رأي سعد الله ونّوس "محكومون بالأمل"؟

يُرجى من الباحثين المهتمّين إرسال المستخلص قبل يوم 14 ديسمبر 2021 إلى almarkaz@dctabudhabi.ae أو bo00@aub.edu.lb  على أن يتضمّن أطروحة أو دعوى واضحة وتحديدًا للمنهجيّة المتّبعة وذكرًا لأبرز النتائج. ستدرس الهيئة الاستشاريّة المستخلصات وتنتقي منها ما يناسب العدد. ثمّ يُطلب من الباحثين إرسال أبحاثهم النهائيّة قبل 30 مارس 2022. تُنشر الأبحاث بالعربيّة فقط، وفي حال كانت الورقة بالإنكليزيّة فستتمّ ترجمتها إلى العربيّة ونشرها بعد ذلك. تخضع جميع الأبحاث لتحكيم سرّي. يسرّ المجلّة أن تقدّم مكافأة ماليّة رمزيّة للبحوث التي تُقبل للنشر قيمتها 500 يورو.

In this article further broadening this field of inquiry, we explore an older claim about the maqāma. Namely, that the form was first created by the teacher of al-Hamadhānī, Abū al-Ḥusayn Aḥmad Ibn Fāris b. Zakariyyā b. Muḥammad b. Ḥabīb al-Rāzī (d. 395/1005). We do so by considering a rare fragment of Ibn Fāris’ lost work, Qaṣaṣ al-Nahār wa-Samar al-Layl. As we shall argue, this work appears to share much in common with the maqāma genre. It is not to be confused with Ibn Fāris’ al-Layl wa-l-nahār.

إنّ الأمرَ لَغَيرُ ما نشتَغِلُ به
مختارات من كتاب ابن الملك والنّاسك

ما معنى الحياة؟ لماذا تكون أحيانًا قاسيةً ومؤلمة؟ ما هي السعادة الحقيقيّة؟ وأين يكمن الرضا الفعليّ؟ أين يقع الكمال؟ وما سبيل الإنسان إلى تحقيق ذاته؟ تشغلنا مثل هذه الأسئلة في مراحل مختلفة من الحياة، لكنّها تكون أكثر إلحاحًا في مرحلة الشباب. تُعَدُّ أسطورة بلوهر وبوذاسف نقاشًا لمجموعةٍ من الأسئلة المهمّة والشخصيّة، وليس من المستغرب أن يكون بطل هذه القصّة أميرًا شابًّا يصارع للعثور على إجابات هذه الأسئلة.

يُعَدُّ كتاب بلوهر وبوذاسف من أعمال النثر الرائدة والمبكرة في الأدب العربيّ، وهو تأليفٌ يجمع بين بضعة أحداثٍ من أسطورة حياة بوذا وبين موتيفاتٍ أدبيّةٍ أخرى. وتتخطّى أهمّيّة الرواية العربيّة للأسطورة حدودَ العصر العبّاسيّ الأوّل، ففي مطلع القرن الحادي عشر للميلاد، نُقل – أو تحوّل – كتاب بلوهر وبوذاسف من العربيّة إلى روايةٍ مسيحيّة باللغة الجورجيّة، ومنها إلى اللغتينِ اليونانيّة واللاتينيّة ومن ثمّ إلى أكثر من ستّين لغة. ونأمل أن تحقّق هذه المختارات ما نرجوه من بثّ الوعي حول أهمّيّة كتاب بلوهر وبوذاسف بصفته واحدًا من أبرز الأعمال الأدبيّة في العالم، وأن تنجح في دعوة القرّاء إلى اكتشاف عالمٍ مشوّقٍ من تأويلات قصص الأمثال، وإلى إغنائها وربّما تحدّيها من خلال تشكيل رؤاهم الخاصّة في عمليّة القراءة الإبداعيّة.

يُنشر الكتاب ضمن سلسلةِ المكتبة العربيّة للناشئة، وهي مبادرة من المكتبة العربيّة التابعة لمعهد جامعة نيويورك أبو ظبي، في سياق اهتمامها بتقديم الأدب العربيّ للناشئة والقارئ المعاصر عمومًا. تتبنّى هذه السلسلة مقاربة المكتبة العربيّة لإحياء التراث واستعادته بأجناسه وثيماته المتنوّعة والمختلفة من منظور تفاعليّ يتيح الاحتفال بقراءة التراث كفرصة حيويّة للدخول في التجريب والابتكار على المستويَين الشخصيّ والمعرفيّ.

Öz: Yıl içerisinde Müslüman vicdanını şevk ve sürura sevk etme bakımından başka vakitlerle kıyaslanamayacak bir zaman dilimi kuşkusuz mübarek Ramazan ayıdır. Bu ayda Müslüman birey gündüz yemeyerek aç ve bitkin, içmeyerek susuz ve hararetli olduğu halde bambaşka bir huzur ve tarifi gayr-ı kabil bir ferahlık hissetmektedir. Var oluşunu beşeri coşkunluklara borçlu olan edebiyat ve özellikle de araştırma konumuz olarak klasik Arap edebiyatı, mümin vicdanında rûhânî coşkular uyandıran "Ramazan ve oruç" karşısında tabi ki ilgisiz kalmamıştır. Orucu, sahuru, iftarı, teravihi, davulcusu, mukabelesi vb. hususiyetleri Ramazan ayı klasik Arap şairleri tarafından neşeli bir tema olarak edebiyattaki yerini almıştır. Bu ediplerin bir kısmı Ramazan'ın feyzi ile feyezana gelmiş, mübarek ayın faziletine dair dizeler döktürmüştür. Diğer bir kısmı ise hususan yaz aylarına gelmişse orucun nefsine darbe vurduğunu gizleyememiş ve yaşadığı tükenmişliğini dile getirmiştir. Ramazan ayı daha başka pek çok açıdan Arap edebiyatına konu olmuştur. Bu çalışmada klasik dönem Arap edebiyatçılarının bir kısmının Ramazan ve oruç temalı şiir ve haber/hikâyeleri bir araya getirilerek incelenecektir. Çalışma içerik incelemesi olduğu için daha ziyade tasviri yönteme başvurulacaktır. Anahtar Kelimeler: Arap dili ve belâgati, Klasik Arap edebiyatı, edebiyat, Ramazan, oruç. Ramadhan And The Fast In Classic Arab Literature Abstract: Undoubtedly, a period of time that cannot be compared with other times in terms of enthusiasm and expulsion during the year is the holy month of Ramadan. In this month, while the Muslim individual is hungry and exhausted by not eating during the day, thirsty and fervent without drinking, he feels a completely different peace and uncompromising relief. Literature, which owes its existence to human exuberance, and especially classical Arabic literature, as our subject of research, is of course not indifferent to the "Ramadan and fasting" that evokes spiritual enthusiasts in the conscience of believers. Fasting, sahuru, iftar, tarawihhi, drummer, reply, etc. Features of the month of Ramadan have taken place in poetry as a cheerful theme by classical Arab poets. Some of these poets came to the fezzi with the fezzi of Ramadan and made strings about the virtue of the blessed moon. Another part could not conceal that the fast hit the nafs of the fast if it came to the summer months and expressed its burnout. The month of Ramadan has been the subject of Arab poetry in many other ways. In this study, Ramadan and

Кулешов Вяч. С. «Книга» Ахмада ибн Фадлана как литературный памятник и исторический источник // Путешествие Ибн Фадлана: Волжский путь от Багдада до Булгара : Каталог выставки / Государственный Эрмитаж. Государственный историко-архитектурный и художественный музей-заповедник «Казанский Кремль». Научные редакторы А. И. Торгоев, И. Р. Ахмедов. М.: Издательский дом Марджани, 2016. — С. 48–55.

In the fourth century Hijri, traditionalist and innovative approaches emerged in Arabic literary criticism and literary criticism debates were made around these orientations. With the literary criticism debates in this century, Arab literary criticism has made significant progress. In the period of Jahiliyyah, literary criticism, which was far from objective criteria, without showing any justification and with improvisational generalizations and minor criteria, was made mostly by focusing on poems and poets. With Islam, prose, which was in the second place in the period of Jahiliyyah, developed in the Arabic language in terms of wording, meaning, style and imagination, and the principles and rules revealed by Islam in Arabic literary criticism were taken as basis. In the first part of this study, the situation of literary criticism in the period of the Jahiliyyah, the oldest known history of Arabic literary criticism, and then the Prophet Muhammed and the Rashidun caliphs was examined, and then the influence of the period of Jahiliyyah and Islam in literature in the Umayyad period was investigated.
In the second part of this study, the situation of literary criticism in the first period of the Abbasids is discussed, especially the books written on Arab literary criticism in the third century AH and the criteria, and the most common literary criticisms set forth in these books are drawn. The increase in scientific activities in this century, the increase in translation movements from different languages, especially Persian, Greek, and Hindi with the support of the Abbasid caliphs, the change of the Arabic language in terms of wording, meaning, style and imagination for the second time with the effect of the intermingling of the Arabs with other societies has caused new and old debates in Arabic literary criticism.
In the third part, the traditionalist and innovative tendencies that emerged in Arabic literary criticism in parallel with the above change in the fourth century AH, and the debates between the poet Buhturi, who represents the traditionalists, and Abu Temmâm, who represents the innovators, in the second half of this century, the new and old ones clustered around Mutanebbî. In addition, the conciliatory approach, which tried to unite both, was also mentioned. The critics of this period focused on poems and poets, put forward certain criteria and different perspectives on Arabic literary criticism, and made important contributions to the formation of the science of rhetoric with their discussions and analyzes. In this study, the subjects mentioned in the literary discussions mostly on poems and poets are emphasized, and the effect of these discussions on the Arabic literary criticism is explained.

Hicri dördüncü yüzyılda Arap edebi tenkidinde gelenekçi ve yenilikçi yönelimler ortaya çıkmış ve bu yönelimler etrafında edebi tenkit tartışmaları yapılmıştır. Bu yüzyıldaki edebi tenkit tartışmalarıyla Arap edebi tenkidi önemli aşamalar kat etmiştir. Câhiliye döneminde objektif kriterlerden uzak, herhangi bir gerekçelendirme gösterilmeden doğaçlama bir şekilde genellemeler ve cüzi kriterlerle yapılan edebî tenkit, daha çok şiirler ve şairler merkeze alınarak olmuştur. İslam’ın gelmesiyle lafız, anlam, üslup ve hayal olgusu yönünden değişen Arap dilinde daha önce Câhiliye döneminde ikinci planda olan nesir yazısı gelişim göstermiş ve Arap edebî tenkidinde İslam’ın ortaya koymuş olduğu prensipler ve kurallar esas alınmıştır. Bu çalışmanın ilk bölümünde Arap edebî tenkidinin bilinen en eski tarihi olan Câhiliye ve Sadru’l-İslam dönemlerindeki durumu incelenmiş ve ardından Emeviler döneminde edebiyatta Câhiliye ve İslam etkisi üzerinde durulmuştur.
İkinci bölümde Abbasilerin ilk döneminde edebî tenkidin durumu ele alınmış, özellikle hicri III. yüzyılda Arap edebî tenkidi üzerine yazılan kitaplar ve bu kitaplarda ortaya konan kriterlerin ve en yaygın edebî tenkitlerin çerçevesi çizilmeye çalışılmıştır. Bu yüzyılda ilmi faaliyetlerin çoğalması, Abbasi halifelerinin desteğiyle Farsça, Yunanca ve Hintçe başta olmak üzere farklı dillerden tercüme hareketlerinin artması, Arapların diğer toplumlarla içli dışlı olarak onlara karışmasının etkisiyle Arap dilinde ikinci sefer lafız, anlam, üslup ve hayal olgusu yönüyle değişim göstermesi, Arap edebî tenkidinde yeni ve eski tartışmalarını beraberinde getirmiştir.
Üçüncü bölümde hicri IV. yüzyılda yukarıdaki değişime paralel olarak Arap edebî tenkidinde ortaya çıkan gelenekçi ve yenilikçi yaklaşımlar ve bu yaklaşımlar içinde gelenekçileri temsil eden şair Buhturî ile yenilikçileri temsil eden Ebû Temmâm arasındaki tartışmalara, bu yüzyılın ikinci yarısında Mütenebbî etrafında kümelenen yeni ve eski tartışmalarına ve her iki yaklaşımı birleştirmeye çalışan uzlaşmacı bakış açısına değinilmiştir. Bu dönemdeki tenkitçiler şiirlere ve şairlere odaklanarak Arap edebî tenkidine dair belirli kriterler ve farklı bakış açıları ortaya koymuşlar ve yaptıkları tartışmalar ve tahlillerle aynı zamanda belâgat ilminin teşekkülüne önemli katkılar sunmuşlardır. Bu çalışmada, çoğunlukla şiirler ve şairler üzerinden yapılan edebi tartışmalarda değinilen konular üzerinde durulmuş, bu tartışmaların Arap edebi tenkidine olan etkisi ele alınmıştır.

Study of the Islamicate background of two tales which appear in Boccaccio and Chaucer, specifically the Enchanted Pear Tree in the Decameron the Chaste Empress / Persecuted Queen in the Man of Law's Tale.  The former has earlier analogues in Ibn al-Jawzi in Arabic and and Mowlana Jalal al-Din Rumi in Persian.  The latter has analogues in `Attar's Persian telling in the Elahi-nama and in al-Kulayni's Arabic legal compendium, al-Furu` min al-Kafi.  It traces the "enchanted" tree tale in the symbolic trees of paradise and hell in Islamic tradition, and in the apochryphal Book of Daniel and Susanna.  It also traces the Persecuted Empress tale in English, French and Latin tradition, as well as in Arabic and Persian.
Publisher's webpage:  https://brill.com/view/title/15440

The fourth/tenth century work 'Aǧā'ib al-hind, barrihi wa-baḥrihi wa-ǧazā'irihi ('The Marvels of India, its Land, Sea, and Islands'), ascribed to the sea captain (nāḫudāh) Buzurg ibn Šāhriyār al-Rāmhurmuzī, contains some 136 narratives and descriptions of the marvelous phenomena purportedly found in and around the Indian ocean. Although known to scholars for well over a century, the work’s literary aspects have received scant attention in previous scholarship. This article sheds a new light on the work’s literary character, by analyzing the narrative structure of its maritime adventure tales. The narrative analysis offered here (informed by C. Bremond’s narratological model) shows that all the maritime adventure tales in 'Aǧā'ib al-hind revolve around an encounter between seafarers and strange phenomena or 'marvels'. Two narrative patterns are detected: in one, the seafarers take heed of the phenomenon and act prudently toward it, which leads to their salvation; in the other, the seafarers ignore the phenomenon and act rashly, which leads to their demise. The tales are thus shown to emphasize moral and didactic principles such as patience and perseverance (ṣabr), observation (i'tibār), and moral responsibility (taklīf). A comparison of one of the tales with its parallels in the Sindbād cycle and in al-Tanūḫī’s al-Faraǧ ba'd al-Šidda further demonstrates the moral and didactic principles that underlie the narratives of 'Aǧā'ib al-hind.

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.

Moula Abi Abdillah Al Imam al-Husain (as) was 57 at the time of his Shahadat. The Imam (as) must have delivered a series of sermons during his lifetime, conducted thousands of Asb’aq (lessons) for innumerable scholars, and guided thousands on various occasions, but how many people are aware of it? Except for what transpired during his last moments, most don’t know much about him. Qur’an informs that we must follow the Hadi with Ma’arifah (understanding), and it condemns blind faith. Islam does not promote or encourage fanaticism. This becomes evident after reading the sermon of Al-Imam al-Husain (as). The following historical sermon of “Sayyidush Shuhada” Abi Abdillah Al Imam al-Husain ibn Ali (as) was delivered on his way to Kufa from Mina-Makkah in 60 AH. It can be divided into three parts:
i).  Fada’il (merits) of Amir al Mumineen (as) and of the Ahl al-Bayt (as)
ii).  Significance of “al-Amr bil-maruf wan-Nahy Anil-Munkar”
iii). Responsibilities of the Ulama against Zulm (tyranny), Fas’ad (corruption) and the consequences of their silence against the atrocities of tyrants. This alongside the condemnation of Ulama al-Su (corrupt scholars). This powerful sermon reminds each Muslim of their responsibility towards “al-Amr bil-maruf wan-Nahy Anil-Munkar”and the scholars of their assigned duty to inculcate Islamic principles and values in the masses and not to mislead them in the name of religion. It is essential to communicate what Moula Al-Husain ibn Ali (as) has taught. This enlightening Talim is not limited to his era alone but for eras to come till the Day of Judgement. For the convenience of the readers, all parts of the sermon collected from authentic sources are presented here with an explanation. We must pay attention to the Talim (teachings) of Moula Abi Abdillah al-Husain Ibn Ali (as) and act upon them if we truly love him the way we claim to do so.

This paper examines the view of Abbasid scholars and poets of the eighth and ninth centuries who relate to love poetry as a literary device that captures the audience’s attention and establishes an effective poet-listener interaction. The study is divided into two principal parts. The first discusses the anonymous scholar’s argument, quoted by Ibn Qutayba, that the role of the nasīb is to attract the listener’s attention. I propose that Ibn Qutayba deliberately hid the identity of this scholar – al-Jāḥiẓ – who was his contemporary, presumably out of feelings of animosity. A close study of various works by al-Jāḥiẓ shows his use of amatory and sexual texts to stimulate his readers, and reveals his view of love poetry as a literary device that attracts the audience’s attention. The second part examines classical poems that reveal various functions of the nasīb, thereby illustrating the poets’ different approaches to the amatory opening of the qaṣīda and showing their new relation to the poetic tradition.

إياس ناصر، «النّظرة إلى أثر الغزل ودوره في الأدب العربيّ القديم».
باريس: المجلّة الآسيويّة، العدد 308، 2 (2020)، 167-182.

تتناول هذه الدّراسة المفصّلة آراء النّقّاد والشّعراء العبّاسيّين في القرنين الثّامن والتّاسع وتتقصّى أقوالهم المختلفة في السّبب الّذي دفع الشّعراء القدماء إلى افتتاح قصائدهم بالنّسيب، وهو المطلع العاطفيّ الّذي وشّح القصيدة العربيّة قبل الإسلام، وبقي ماثلًا حاضرًا في الكثير من القصائد في الشّعر الأمويّ والشّعر العبّاسيّ، حتّى إنّنا نجده في الشّعر الحديث لا سيّما عند الشّعراء في مدرسة الكلاسيكيّة الجديدة.
تقوم هذه الدّراسة على قسمين أساسيّين. أمّا القسم الأوّل فيُعنى عناية خاصّة بالقطعة الأدبيّة الذّائعة المشهورة الّتي أوردها ابن قتيبة في كتابه «الشّعر والشّعراء» حين تحدّث عن نظام القصيدة القديمة، وأشار إلى ذلك الرّأي الشّائع المعروف الّذي طوّف في الأبحاث العربيّة والغربيّة وملأ خافقَيْها، من أنّ الشّاعر استهلّ قصيدته بالنّسيب ليكون مطيّة لاستمالة الجمهور، ووسيلة إلى اجتذاب الحضور والاستئثار بانتباههم. تبيّن الدّراسة أنّ هذا التّعليل الّذي نقله ابن قتيبة عن أديب من الأدباء من غير أن يُصرِّح باسمه، إنّما أخذه من ناقد معاصر له، بل استقاه من أستاذه الألمعيّ، وهو الجاحظ؛ فإنّ دراسة آثار الجاحظ وما خلّفه من مؤلّفات نفيسة جليلة تكشف عن نظرته العميقة إلى أثر الغزل في اجتذاب القارئ، بل تبيّن أنّ هذا النّاقد النّحرير كان يسوق النّصوص الغزليّة في مؤلّفاته ليستميل القارئ ويبعث نشاطه ويدفعه دفعًا إلى متابعة القراءة. أمّا القسم الثّاني من الدّراسة، فيُعنى بتحليل أقدم ما وصل إلينا من الشّعر العربيّ الّذي يشير إلى دور النّسيب وأثره في استمالة المستمعين قبل الخوض في موضوع القصيدة.

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.

يسعى هذا البحث إلى الكشف عن الأنظمة الحِجاجيّة في قصّة الكِنْديّ الواردة في كتاب البُخلاء للجاحظ التي تُجسّد صراعًا على استعمال مُلكيّة الكنديّ الخاصّة من قِبَل السُّكّان الذين يصدرون عن حقّهم في التّصرّف في البيوت على وفق أحكام الكِراء التي تُتيح لهم امتلاكَ البيوتِ امتلاكًا مؤقَّتًا غير أنَّ الكِنديَّ يسعى إلى إحكام القبضة عليهم ومقاومة طموحهم في السيطرة على البيوت مُعتمدًا على مجموعة من الذّرائع والمسوّغات التّخيليّة.
واعتمدت مقاربة هذا النصّ القصصيّ على مبادئ النظريّة الحجاجيّة في أبعادها التّواصليّة من خلال رصد أبرز أنواع الأساليب الحِجاجيّة التي استعملها الكِنْديّ في إنتاج خطابه دفاعًا عن حقوقه غير القابلة للعبث والتصرّف والتّملّك الجائر. وقد كشف البحث عن أبرز الاستراتيجيّات الحِجاجيّة التي انتقلت بخطاب الحِجاج من إقناع السُّكّان بفحواه ومضمونه إلى ممارسة الإكراه والعُنف من خلال توظيف تّطويع السُّكّان نفسيًّا وعاطفيًّا ومعرفيًّا والاستكانة لهم واستمالتهم بهدف إخضاعهم وقهرهم. وكشفت خاتمة البحث عن أنّ خطاب "قصّة الكِنديّ" يتضمّن مستوىً ظاهرًا يتمثّلُ سرديّة البُخل، ومستوى مُضمرًا يُجسّدُ التقنيّات والأساليب البلاغيّة المُستعملة في التعبير عن جوهر الخطاب القائم على مساءلة الاستعارات الثقافيّة، وتمكين المُخاطب من الكشف عن مكامن التّضاد والتّنافر والتناقض في أبنيتها العميقة، بهدف إماطة اللثام عن سحرها التّخييليّ، ومقاومة سلطتها.

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.