Nazm

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.

Sūrat al-Najm, Sūrat al-Takwīr, and Visual tajallī The Qur'anic discourse presented within the opening verses of Sūrat al-Najm is highly significant, as these verses stand as self-referential articulations of the Qur'anic onto-theological and revelatory paradigms. The implications therein are of direct relevance to many theological and exegetical questions which are significant both for premodern and contemporary theologians and scholars of Islam.

Özbek Edebi Metinler Antolojisi” üniversitelerin Çağdaş Türk Lehçeleri ve Edebiyatlarıyla ilgili derslerinde kullanılmak amacıyla hazırlandı. XX. yüzyıl başlarından günümüze kadar Özbek edebiyatında yer etmiş belli başlı edebî şahsiyetlerin, karakteristik eserlerinden örnekler seçilmesine gayret edildi. Antolojide metinler edebî şahsiyetlerin doğum yıllarına göre sıralandı ve her bir şahsiyetin kısa hâl tercümesinin ardından örnek seçilen metinlere yer verildi.
Öğrencilerin anlamakta zorluk çekeceği kelime ve ifadeler antolojinin sonundaki sözlük kısmında açıklandı.
Metinlerin büyük bir kısmı günümüzde kullanılan Özbek Latin alfabesiyle ve imlasıyla verilmiştir. Bunun yanında Arap, Latin ve Kiril harfli metinler de antolojide yer almıştır. Böylece lisans ve lisansüstü öğretimde gerekli olan orijinal metin ihtiyacı da belli ölçüde karşılanmış bulunmaktadır.

"How did medieval Arabic literary critics evaluate poetry? Despite the abundance of surviving medieval Arabic works on eloquence and poetics, we know very little about the factors critics took into account when judging the beauty of a line of poetry. Much of what is known seems to focus on dry criteria of correctness, such as the accurateness of poetic meaning and language, its appropriateness, and its truthfulness. This dissertation takes a fresh look at medieval Arabic criticism by examining the question of aesthetic experience. It argues that medieval critics came to base their evaluation of poetic speech primarily on its ability to evoke wonder in the listener. Furthermore, it argues that the development of this theory, which seems to mature in the late 10th/early 11th century, represents an adaptation to the stylistics of muhdath poetry, the much debated "modern" style. This marks a shift in medieval Arabic literary theory from a school of criticism that based its evaluation of poetry on its truthfulness and naturalness (qualities associated with the classical style of the pre-Islamic poets) to one based on its ability to evoke wonder. Wonder, in turn, is linked to strangeness, farfetchedness, rarity, unexpectedness, and novelty (qualities associated with the new manneristic style of muhdath poetry). The first two chapters establish the presence of this new school of criticism in (a) the philosophical tradition starting with Avicenna's understanding of Aristotle's Poetics and (b) texts on literary theory proper, starting with `Abd al-Qāhir al-Jurjānī's work on imagery. The third chapter establishes its relationship with the muhdath poetry and shows how it articulates the aesthetics of the new kinds of literary figures that became popular with it. Finally, the fourth chapter, looks at discussions of the inimitability (i'jaz) of the Quran and argues that—also there—the underlying aesthetic is based on a statement's ability to evoke wonder. The dissertation thus reveals the presence of a widespread stylistic outlook based on wonder, around which a sophisticated theory of aesthetic experience develops, giving us a deeper understanding of medieval Arabic aesthetic values."

"How did medieval Arabic literary critics evaluate poetry? Despite the abundance of surviving medieval Arabic works on eloquence and poetics, we know very little about the factors critics took into account when judging the beauty of a line of poetry. Much of what is known seems to focus on dry criteria of correctness, such as the accurateness of poetic meaning and language, its appropriateness, and its truthfulness. This dissertation takes a fresh look at medieval Arabic criticism by examining the question of aesthetic experience. It argues that medieval critics came to base their evaluation of poetic speech primarily on its ability to evoke wonder in the listener. Furthermore, it argues that the development of this theory, which seems to mature in the late 10th/early 11th century, represents an adaptation to the stylistics of muhdath poetry, the much debated "modern" style. This marks a shift in medieval Arabic literary theory from a school of criticism that based its evaluation of poetry on its truthfulness and naturalness (qualities associated with the classical style of the pre-Islamic poets) to one based on its ability to evoke wonder. Wonder, in turn, is linked to strangeness, farfetchedness, rarity, unexpectedness, and novelty (qualities associated with the new manneristic style of muhdath poetry). The first two chapters establish the presence of this new school of criticism in (a) the philosophical tradition starting with Avicenna's understanding of Aristotle's Poetics and (b) texts on literary theory proper, starting with `Abd al-Qāhir al-Jurjānī's work on imagery. The third chapter establishes its relationship with the muhdath poetry and shows how it articulates the aesthetics of the new kinds of literary figures that became popular with it. Finally, the fourth chapter, looks at discussions of the inimitability (i'jaz) of the Quran and argues that—also there—the underlying aesthetic is based on a statement's ability to evoke wonder. The dissertation thus reveals the presence of a widespread stylistic outlook based on wonder, around which a sophisticated theory of aesthetic experience develops, giving us a deeper understanding of medieval Arabic aesthetic values."

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 po...