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El. knyga: Arabic Poetics: Aesthetic Experience in Classical Arabic Literature

4.43/5 (12 ratings by Goodreads)
(Princeton University, New Jersey)

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Revealing how an aesthetic of wonder underlies classical Arabic treatments of poetry, the Quran, and Aristotelian poetics, this fresh look at the question of literary quality, using the framework of aesthetic theory, is essential reading for scholars and students of Arabic literature, Islamic Studies, literary theory and Islamic art history.

What makes language beautiful? Arabic Poetics offers an answer to what this pertinent question looked like at the height of the Islamic civilization. In this novel argument, Lara Harb suggests that literary quality depended on the ability of linguistic expression to produce an experience of discovery and wonder in the listener. Analyzing theories of how rhetorical figures, simile, metaphor, and sentence construction are able to achieve this effect of wonder, Harb shows how this aesthetic theory, first articulated at the turn of the eleventh century CE, represented a major paradigm shift from earlier Arabic criticism which based its judgement on criteria of truthfulness and naturalness. In doing so, this study poses a major challenge to the misconception in modern scholarship that Arabic criticism was 'traditionalist' or 'static', exposing an elegant widespread conceptual framework of literary beauty in the post-eleventh-century Islamicate world which is central to poetic criticism, the interpretation of Aristotle's Poetics in Arabic philosophy and the rationale underlying discussions about the inimitability of the Quran.

Recenzijos

'Lara Harb has reconstructed the development of literary theory in Arabic with unfailing lucidity, precision and a wealth of fascinating detail. Even as her book offers an illuminating account of such questions as poetic reasoning, the varieties of literary figures, and the status of the Qur'n in Arabic culture, it advances the new and stimulating thesis, arguing that wonder, in Arabic poetics, becomes implicitly and explicitly 'the defining aesthetic experience of poetic language'.' Daniel Heller-Roazen, Princeton University, New Jersey 'A comprehensive work of classical Arabic philology and a beautifully written study of the art of literary criticism. Lara Harb shows how a millennium of scholarship in Arabic explained the wonder that readers feel as they journey through images in poetry: emotional experience catalyzed by formal innovation.' Alexander Key, Stanford University, California 'An insightful analysis of the aesthetics of mudath or 'modern' Arabic poetry It chronicles a paradigm shift in literary criticism of the 10th-11th centuries, from a focus on the accuracy or truth of artistic representation to a focus on the poet's ability to manipulate language and to create wonder. A truly fundamental contribution to Arabic literary studies.' Devin Stewart, Emory University, Atlanta 'Harb explores the evolution of the aesthetic theory of Arabic poetry in the middle Abbasid era. She demonstrates a shift from poetry valued for its 'naturalness' and 'truthfulness,' dating from pre-Islamic Arab times, to poetry esteemed for its 'eloquence' and ability to engender feelings of 'wonder' and 'discovery.' Harb argues that this new paradigm turns the notion of poetic beauty on its head Finally, Harb offers this aesthetic as potentially relevant to the study of other literatures.' M. F. McClure, Choice

Daugiau informacijos

Reveals how an aesthetic of wonder underlay the classical Arabic treatments of poetry, the Quran, and Aristotelian poetics.
Preface xi
Acknowledgments xv
Note on Dates, Translations, Transliterations, and Names xvii
Introduction 1(24)
Wonder
6(6)
Classical Arabic Literary Theory
12(13)
Poetic Criticism and Badi
13(3)
Aristotelian Arabic Poetics
16(2)
Eloquence and Bayan (Elucidation)
18(1)
The Miracle of the Quran
19(1)
Al-Jurjani and the Science of Eloquence (Balagha)
19(3)
The New Aesthetic
22(3)
1 Wonder: A New Paradigm
25(50)
I The Old School of Literary Criticism
30(14)
Naturalness and Artificiality
31(3)
The Fundaments of Poetry (Amud al-shi'r)
34(1)
Truth and Falsehood
35(7)
Early Defenses of the New Style
42(2)
II The New School of Criticism
44(29)
Make-Believe (Takhyil)
45(8)
The Aesthetics of Make-Believe
53(5)
Hyperbole
58(5)
The Aesthetics of Badi'
63(10)
Conclusion
73(2)
2 Wonder in Aristotelian Arabic Poetics
75(60)
Background
78(3)
Al-Farabi: The Beginnings
81(7)
Ibn Sina: A New Conception of the Poetic
88(13)
Takhyil
89(3)
Muhakat
92(1)
Muhakat and Wonder
93(4)
The Ways of Producing Takhyil: Muhakat and Badi'
97(4)
Ibn Rushd and the Poetics of Alteration
101(10)
Alteration (Taghyir)
101(7)
Why Is Alteration Poetic?
108(1)
What about Muhakat?
108(2)
The Relationship between Muhakat and Taghyir (Alteration)
110(1)
Al-Qartajanni: Strange-Making and Reception
111(13)
Primary and Secondary Takhyil
112(2)
Muhakat and Wonder
114(5)
The Arts of "Strange-Making"
119(3)
Believability and Reception
122(2)
AJ-Sijilmasi: Truth-Falsehood Revisited
124(8)
Takhyil and Discovery
126(2)
Return to the Truth-Falsehood Debate?
128(4)
Conclusion
132(3)
3 Discovery in Bayan
135(36)
Simile as Bayan
138(2)
Al-Jurjani and the Wonders of Discovery
140(12)
Discovery
141(3)
Effort
144(1)
The Distance Formula
144(3)
Strangeness
147(5)
Simile and the Science of Bayan
152(18)
The Purpose of Simile: Discovery and Novelty
153(3)
Strangeness
156(14)
Conclusion
170(1)
4 Metaphor and the Aesthetics of the Sign
171(32)
Abd al-Qahir al-Jurjani and the Eloquence of the Word
172(13)
Metaphor, Figurative Speech, and Metonymy
174(2)
Simile, Analogy, and Metaphorical Analogy
176(3)
Indirect Signification and Eloquence
179(1)
What Makes One Metaphor Better than Another?
180(5)
`Ilm al-Bayan (The Science of Elucidation)
185(16)
Definition of the Science of Elucidation (`Ilm al-Bayan)
185(1)
Signification and Deduction
186(3)
`Ilm al-Bayan and Eloquence
189(3)
Variation in Bay an
192(8)
Simile as Indirect Signification?
200(1)
Conclusion
201(2)
5 Nazm, Wonder, and the Inimitability of the Quran
203(49)
The Miracle of the Quran
203(3)
The Miracle and Wonder
206(4)
Early Arguments
210(2)
`Abd al-Qahir al-Jurjani
212(21)
Nazm
213(2)
Figurativeness in Nazm
215(2)
The Meanings of Syntax vs. the Meaning of Meaning
217(2)
Sentence Construction (Nazm) and Eloquence
219(13)
Nazm and Wonder
232(1)
Nazm after al-Jurjani
233(15)
The Science of Meanings (`Ilm al-Ma'ani)
233(4)
The New Conceptualization of Nazm
237(2)
The Unexpected
239(7)
The Science of Meanings and Eloquence
246(2)
Conclusion: The Miracle
248(4)
Epilogue: Fasaha, Balagha, and Poetic Beauty
252(5)
Conclusion
257(8)
Timing of New Aesthetic
260(1)
Art for Art's Sake?
261(1)
Is It for Everyone?
262(1)
Beyond Arabic Literature
263(2)
Bibliography 265(18)
Index 283
Lara Harb is an Assistant Professor of Near Eastern Studies at Princeton University where she specializes in classical Arabic literary theory, and Arabic conceptions of the 'literary'. She is the author of articles in journals including Journal of American Oriental Society and Middle Eastern Literatures. Her Ph.D. was awarded the S. A. Bonebakker Prize for the best thesis in Classical Arabic Literature in 2014.