In all cases, many human experiences induce emotion, and the most human of activities, those cognitive in nature, are not exempt.

The magazine’s interactions apply to both levels as I relate to both its historical impact on Arabic literature during its publication and following its closure, and with the degree of its effectiveness in outlining the characteristics of modern Arabic poetics following its popularity in the Arabic literary arena. This groundbreaking book uses the conceptual world of classical Arabic poetics (‘ilm al-balagha) to ‘decolonize the overwhelming, illogical divorce between linguistic and literary studies’ of ancient Egyptian. Arabic Poetics offers an answer to what this pertinent question looked like at the height of the Islamic civilization. For librarians and administrators, your personal account also provides access to institutional account management.These questions are the themes that Lara Harb explores in her groundbreaking work, Arabic Poetics: Aesthetic Experience in Classical Arabic Literature. Another interesting avenue for investigation that arises from this book is the relationship between this aesthetic theory of wonder and mystical poetics.

Particularly striking is the manner in which his work treats the pictographic quality of the script as one additional semantic layer that operates in tandem with the rhetorical devices that function at the linguistic level. Finally, this chapter traces the French and English source texts and investigates their influence on the poetic and literary works in the magazine, which indicates, as we shall see, the dominance of the cultural atmosphere of these texts over the literary and cultural direction of the magazine. Mimesis also involves a cognitive process of discovery, but in a poetic syllogism, unlike a demonstrative one, the premises are ‘make-believe,’ meaning they are assumed to be true to evoke wonder by making an unexpected discovery through poetic language (81). Studies dealing with the social, political and philosophical backgrounds of Arabic literature are particularly welcome in the series. but the Routledge Encyclopedia of Arabic Literature contains a wealth of accurate and concise information on all the major figures, movements, and techniques in the classical tradition (as well as reference to modern works up to its time of publishing in 1998).Many articles on the topic did not seem to attract significant attention, but this book cannot be ignored. Text editions are as a rule accompanied by a translation on facing pages; both text editions and translations should include comprehensive, critical introductions which give a full and proper appreciation of the text or texts in question. Moreover, the book traces the discussion and debate surrounding the role of the magazine by investigating the content of the accusations against it implying that the magazine sought to undermine the foundations of Arab heritage represented in standard Arabic ( fuṣḥā) and traditional Arabic poetry. While Chapter 1 covered Jurjānī’s notion of takhyīl and its subsequent role in badīʿ, Chapters 3 and 4 cover the figures of ‘elucidation’ ( bayān). When I set out on this project, I was simply asking the question: How did medieval authors assess the beauty of poetry?

Rashwan has, in a new and surprising manner, been able to reconnect the culture of Arab Egypt to that of its pharaonic past and thereby unearthed a continuity of vision that is grounded in a distinctly similar approach to the use of poetic language. and his successors, inaugurating a new aesthetic standard for poeticity that objectively measures the intrinsic ability of the language to provoke wonder through a cognitive process of discovery, as they move away from the truth-false dichotomy to a rational-imaginative ( ʿaqlī– takhyīlī) paradigm (47). A comprehensive work of classical Arabic philology and a beautifully written study of the art of literary criticism. With its comprehensive overview of the Arabic poetry, translated poetry, and critical articles published in Majallat Shi‘r, this book defines the dimensions of the literary direction the magazine adopted and the identity of the sources from which it drew the foundations of its modernism and creative facets. I plan to continue the investigation of this concept in Arabic literature in my second book project and to consider the implications of such a different understanding of mimesis on medieval Arabic conceptions of literary representation generally-speaking, including in prose and narrative.

I make the argument in my book that the main aesthetic underlying post-10 th-century classical Arabic literary theory was one of wonder; that is, poetic beauty was evaluated based on the ability of language to evoke an experience of discovery and wonder in the listener. Analysing the Qur’an, which is known for confronting the poetry of the time, this book reveals that "post Qur’anic" literature came to be defined against it. Year 2019 ISBN (PDF) 9783631775646 ISBN (ePUB) 9783631775653 ISBN (MOBI) 9783631775660 ISBN (Hardcover) 9783631775639 DOI 10. How many times have we experienced immense joy after solving a mentally rigorous problem, or felt displeasure with the incorrect reasoning of others? This chapter examines the original Arabic poems chosen and shows how Majallat Shi‘r was a laboratory for modernism and how it took the modern Arabic poem into new and different dimensions, thus making it the more mature founder of the concept of Arabic poetic modernism, as it tried to penetrate the traditional foundations.

Rashwan’s eye-opening stylistic study may serve as an impetus for similar comparisons to further the notion of literariness in other ancient Near Eastern cultures. Thus, the cognitive effort in uncovering the unexpected meaning results in feelings of pleasure, leaving one with a sense of wonder for the poetry.Since the literary text is the critic’s material and the touchstone of his theories, I deemed it appropriate to analyze some selected samples to help crystallize the general outline of the method of translation in Majallat Shi‘r.