On ne trouve pas la racine du mot adab dans le Coran. Dans la littérature pré-islamique, ainsi que dans les hadiths, son utilisation est limitée exclusivement au sens d'« invitation à un banquet », « éducation », « correction » et « punition » (addaba, ta'dīb). Après une période au cours de laquelle les chercheurs n'ont pas considéré l'avis des linguistes et des penseurs musulmans concernant l'étymologie de adab de l'« invitation au banquet de Dieu (ma'dubat Allāh) », des études plus récentes ont remis positivement en question cette opinion. En fait, dans l'histoire des civilisations antiques, la notion de banquet cérémoniel divin ou sacré est très répandue, trouvant son origine dans l'archétype du « Banquet Divin » ou de « L'Hospitalité Divine », qui a exercé une forte influence sur le contexte religieux et culturel d'un certain nombre de différentes civilisations. Cependant, depuis le début du 9é siècle, la littérature religieuse islamique a également commencé à utiliser le terme adab avec un nouvel usage, que l'on pourrait appeler « technique ». La source de cet enrichissement sémantique doit être attribuée aux secrétaires de la cour, les kuttāb, les mawālī persans, les célèbres traducteurs et transmetteurs du patrimoine étatique et culturel persan. En plus d'influencer l'imaginaire culturel de la littérature d'adab classique, l'imagerie de la cour sassanide influencera également la terminologie technique, ainsi que la pratique du soufisme, en engendrant un genre de la littérature soufie, la littérature des ādāb al-ṣūfiyya. / The root of the word adab is not found in the Qur'ān. In pre-Islamic literature as well as in the hadith, its use is limited exclusively to the sense of “invitation to a banquet”, “education”, “correction” and “punishment” (addaba, ta'dīb). After a period in which scholars did not taken seriously the opinion of Muslim linguists and thinkers concerning the etymology of adab from the “invitation to the Banquet of God (ma'dubat Allāh)”, more recent scholarship has questioned this opinion. In fact, the notion of a divine or sacred ceremonial banquet in the history of ancient civilizations is quite widespread, finding its origin in the archetype of the “Divine Banquet” or “Divine Hospitality”, which had a strong influence on the religious and cultural contexts of a number of different civilizations. However, from the beginning of the 9th century CE Islamic religious literature also began to use the term adab in a new usage, that one might call “technical”. The source of this semantic enrichment should be traced to the court secretaries, the kuttāb, the Persian mawālī who were well-known translators and transmitters of Persian state and cultural heritage. In addition to influencing the cultural imaginary of classical adab literature, the Sasanian court imagery will also influence the technical terminology, as well as the practice in Sufism, producing a genre of the Sufi literature, the ādāb al-ṣūfiyya literature.

Este trabalho tem por objetivo analisar a utilização da noção de adab ( ), no \"Livro das Mil e Uma Noites\". Dividido em três capítulos, no primeiro deles tentamos recuperar, através de diferentes estudos dedicados ao tema, a evolução e a variedade de usos desse termo ao longo dos séculos. Essa abordagem visa, sobretudo, mostrar a dificuldade de fixar-se uma definição precisa para o termo, devido ao vasto corpus de adab e a variedade de assuntos que aborda. Num segundo momento, foi observada a presença do termo adab nas narrativas do chamado \"ramo sírio\" do Livro das Mil e Uma Noites. Essa observação teve como ponto de partida a advertência, contida em seu preâmbulo, de que suas histórias estariam \"plenas de adab. Tomando como referência os elementos associados ao termo neste preâmbulo fizemos um levantamento das formas de sua ocorrência e, em seguida, passamos a explorar de maneira mais detalhada sua função através da análise de uma narrativa em particular. Assim, encerramos o trabalho com a análise da história O segundo dervixe ( ), onde a presença desse termo é importante no desenvolvimento da trama. Dando destaque aos momentos da história onde o termo adab se faz presente, efetuou-se a sistematização e a análise de seus significados, enfatizando-se a representação feita por ela da figura do adb ( , o possuidor de adab). / This work aims to analyze the use of the concept of \'adab in the Arabic cycle of narratives known as \"Arabian Nights\". Divided into three chapters, the first of them try to recover, through different studies devoted to the subject, the evolution and variety of uses of the term throughout the centuries. This approach aims, mainly, to show the difficulty of a precise definition for the term, due to the vast corpus of \'adab and the variety of subjects it covers. Secondly, the presence of the word \'adab was observed in the narratives of the \"Syrian branch\" of the \"Book of the Thousand and One Nights\". This observation had as its starting point the warning contained in its preamble, that their stories were \"full of \'adab.\" Taking as reference the elements associated with the term in this preamble, we did a survey of the forms of their occurrence and then, we explore in more detail its function through the analysis of one specific narrative. Thus we closed the work with the analysis of the story \"The second dervish\", where the presence of this term is very important in the development of the plot. Highlighting the moments in history where the term \'adab is present, we performed the systematization and analysis of their meaning, emphasizing how it represents the figure of the \'adib (the possessor of \'adab).

Este trabalho tem por objetivo analisar a utilização da noção de adab ( ), no \"Livro das Mil e Uma Noites\". Dividido em três capítulos, no primeiro deles tentamos recuperar, através de diferentes estudos dedicados ao tema, a evolução e a variedade de usos desse termo ao longo dos séculos. Essa abordagem visa, sobretudo, mostrar a dificuldade de fixar-se uma definição precisa para o termo, devido ao vasto corpus de adab e a variedade de assuntos que aborda. Num segundo momento, foi observada a presença do termo adab nas narrativas do chamado \"ramo sírio\" do Livro das Mil e Uma Noites. Essa observação teve como ponto de partida a advertência, contida em seu preâmbulo, de que suas histórias estariam \"plenas de adab. Tomando como referência os elementos associados ao termo neste preâmbulo fizemos um levantamento das formas de sua ocorrência e, em seguida, passamos a explorar de maneira mais detalhada sua função através da análise de uma narrativa em particular. Assim, encerramos o trabalho com a análise da história O segundo dervixe ( ), onde a presença desse termo é importante no desenvolvimento da trama. Dando destaque aos momentos da história onde o termo adab se faz presente, efetuou-se a sistematização e a análise de seus significados, enfatizando-se a representação feita por ela da figura do adb ( , o possuidor de adab). / This work aims to analyze the use of the concept of \'adab in the Arabic cycle of narratives known as \"Arabian Nights\". Divided into three chapters, the first of them try to recover, through different studies devoted to the subject, the evolution and variety of uses of the term throughout the centuries. This approach aims, mainly, to show the difficulty of a precise definition for the term, due to the vast corpus of \'adab and the variety of subjects it covers. Secondly, the presence of the word \'adab was observed in the narratives of the \"Syrian branch\" of the \"Book of the Thousand and One Nights\". This observation had as its starting point the warning contained in its preamble, that their stories were \"full of \'adab.\" Taking as reference the elements associated with the term in this preamble, we did a survey of the forms of their occurrence and then, we explore in more detail its function through the analysis of one specific narrative. Thus we closed the work with the analysis of the story \"The second dervish\", where the presence of this term is very important in the development of the plot. Highlighting the moments in history where the term \'adab is present, we performed the systematization and analysis of their meaning, emphasizing how it represents the figure of the \'adib (the possessor of \'adab).

Cette recherche s’inscrit dans une double démarche : restitution d’une cohérence globale à l’œuvre d’Ibn Qutayba et essai de définition de la littérature d’adab. Elle s’articule autour de la fonction auteur dans les 'Uyºn al-AÏbær, et dans ce type de textes, ainsi que de la fonction rhétorique de cet ouvrage qui l’apparente à un recueil d’exempla de l’Occident médiéval. La parenté des 'Uyºn al-AÏbær avec le genre de l’encyclopédie y est également abordée. Enrichie d’un éclairage comparatiste apporté par la littérature médiévale occidentale, la confrontation critique de ce texte avec les interprétations qui en ont été données est fondée sur l’analyse rhétorique et stylistique du prologue des 'Uyºn al-AÏbær, ainsi que sur la lecture transversale des introductions des trois ouvrages fondamentaux d’adab d’Ibn Qutayba, que sont l’Adab al-Kætib, les 'Uyºn al-AÏbær et les Ma'ærif. La traduction annotée des deux dernières citées accompagne cette recherche. / The objectives of this thesis were twofold : the first was to restore to the work of Ibn Qutayba its overall coherence ; with this primary objective in view, it was necessary to elucidate its literary context : adab literature.The analysis is conducted firstly in terms of the author-function both in the 'Uyûn al-Akhbâr and in texts similar to it, and secondly in terms of the rhetorical function wich allies it with the Medieval exempla collections of the Western tradition. Drawing on rhetorical and stylistic analysis of the Prologue of the 'Uyûn al-Akhbâr, as well as on a transversal reading of the introductions to the three primary adab works : the Adab al-Kâtib, the 'Uyûn al-Akhbâr and the Ma'ârif of Ibn Qutayba, it was possible to confront the original with critical interpretations of the work. Annotated translations of the introductions to two of these three sister works (the 'Uyûn al-Akhbâr and the Ma'ârif) accompany this study.

Lors de son apparition autour de l’année 236H/850 Adab al-kâtib était une œuvre unique en son genre, jugé comme l’un des ouvrages incontournables en matière de philologie arabe. Écrit par Ibn Qutayba, l’un des plus érudits des philologues, non pas de l’époque abbasside uniquement, mais aussi de toute l’Histoire de la littérature arabe, ce dernier n’hésite pas à soulever un défi de taille. En effet, sa tentation à mettre en place des paramètres destinés à la critique de la prose, à l’instar de la poésie, a tout particulièrement attiré notre attention, de même que le procédé qu’il a suivi pour parvenir à ses fins. Dans ce présent travail, notre souci sera alors centré sur les raisons l’ayant poussé à élaborer un tel projet, sur les spécificités de son discours critique, jugé souvent strict et rigoureux, sur sa propre méthode dans la critique de la prose, et sur le degré de réussite d’un tel essai. S’agit-il d’une théorie fondée sur une base solide ? Et où se manifeste l’innovation dans l’approche critique de cet auteur ? Seule une étude approfondie de l’œuvre de cet écrivain, en particulier, et du patrimoine arabe en lien avec lui, en général, peut nous indiquer la voie qui nous permettra de nous approcher de notre objectif. / On its appearance around the year 236H/850, Adab al-kâtib was a unique piece of work and was considered as one of the essential artworks in Arabic philology. Written by Ibn Qutayba, one of the most learned philologists, not only from the Abbasid Era, but also from the whole history of Arabic literature, he does not hesitate to pose a significant challenge. His temptation to set up parameters for criticism of prose, such as poetry, attracted our attention, as did the process he followed to achieve its aim. In this work, our interest will then be centered on the reasons which led him to elaborate such a project, on the specificities of his critical discourse, often judged strict and rigorous, on his own method in the criticism of prose, and on the degree of success of such a trial. Is it a theory based on a strong basis? And where does the innovation in the critical approach of this author manifest itself? Only an in-depth study of the work of this writer, particularly, and the Arab heritage in relation with it, generally, can indicate the path that will enable us to approach our goal.

Ce travail se propose d’apporter une contribution à la reconstruction et à l’étude de la pensée arabe classiques développée dans le champ de l’adab. Remarquons que nous disons bien la pensée arabe classique développée dans le champ de l’adab, car nous pensons que si nous voulons connaître la manière dont la pensée arabe classique avait tenté de construire une vision éthique et esthétique, c’est dans l’espace de questionnement propre à l’adab qu’il faut la chercher. C’est dire que ce n’est ni dans la philosophie dite islamique, ni dans le système moral mis en place par l’Islam qu’il serait possible de trouver la vision éthique arabe ancienne telle qu’elle avait tenté de s’élaborer et de s’exprimer. En effet, si la pensée arabe classique avait et a encore quelque chose d’original à apporter à la pensée et à la culture universelles, ce ne serait ni à travers le système moral élaboré par la religion islamique, ni au moyen des réflexions menées par les philosophes, mais grâce aux idées développées dans le champ de l’adab. C’est en effet dans et à travers la pensée de l’adab que la culture arabe classique se présente comme étant véritablement elle-même, c’est-à-dire telle qu’elle nous parle à travers les éléments qui lui appartiennent proprement et intrinsèquement. Car si, comme il est souvent dit, la poésie constitue le Diwān des Arabes, c’est-à-dire l’archive de leurs traditions et de leurs sentiments, l’adab, lui, constitue à la fois leur sagesse, leur éthique et leur esthétique. / This work aims to contribute to the reconstruction and the study of classical Arab thought developed in the field of adab. Note that we say good classical Arabic thought developed in the field of adab, because we believe that if we want to know how the classical Arabic thought had tried to build an ethical and aesthetic vision is in space specific to the adab questions must be sought. This means that it is not in the so-called Islamic philosophy, or in the set up by Islamic moral system it would be possible to find old Arabic ethical vision as had tried to develop and express themselves. Indeed, While classical Arabic thought had and still has something original to bring to the mind and universal cultural thing would not be developed through the Islamic religion moral system, or through discussions by philosophers, but thanks to the ideas developed in the field of adab. Indeed, it is in and through the thought of the classical Arabic adab culture as truly present itself, that is to say, as it speaks to us through the elements that belong to it properly and intrinsically. For if, as is often said, poetry is the Diwān of the Arabs, that is to say, the archive of their traditions and their feelings, adab, he is both their wisdom, ethics and aesthetics.

Au vu des monographies récentes portant sur les sciences juives médiévales, Musique est la petite sœur oubliée. Elles sont héritées des sciences, de la méthode philosophique et de la partition du savoir arabes, qui constituent un enseignement où la musique est pourtant inscrite. Elle apparaît notamment dans des classifications arabes des sciences, et des traités lui ont été consacrés, dont certains sont fameux. À en juger par les textes hébreux médiévaux qui nous sont parvenus, les textes arabes ont influencé le discours juif sur la musique. Nous qualifions de « discours sur la musique » l’ensemble des parties textuelles relatives à la musique, dont nous fournissons une traduction française inédite. Il s'agit de textes hébreux produits dans le rayonnement de la culture juive andalouse entre le XIIe et le XVe siècle, traduits ou adaptés de l'arabe et, dans une moindre mesure, d'autres langues, et de textes originaux. Ces textes sont de nature pédagogique et de genres différents : classifications des sciences ou encyclopédies, dialogues, commentaires ou super-commentaires, traités, sermons et notes éparses. Dans cette étude, nous retraçons l'histoire des idées et notions musicales introduites dans les textes juifs, d'une part ; nous déterminons les raisons pour lesquelles leurs auteurs convoquent ces idées et notions, d'autre part. Cette thèse vise à montrer que la musique, considérée par les savants juifs des points de vue rationnel, psychologique ou éthique, est à la fois une des sciences et un des principes unificateurs des différents corps de la connaissance juive médiévale. / Music appears to be an overlooked subject in recent monographs focusing on medieval Jewish sciences. Medieval Jewish scholars are indebted to Arab-Muslim scholars : the former received the philosophical method and the branches of knowledge that the latter conceived. However, music was part of the Arab philosophical education. For instance, it appears in classifications of sciences ; scholars compiled treatises on that matter. Judging by medieval Hebrew texts that have been handed down to us, Arabic texts that circulated have influenced the way Jewish scholars speak about music. The corpus of texts upon which this study is based is constituted of texts or excerpts that can be related to music. They all constitute what will be called « discourse on music ». These Hebrew texts all account for the influence of Judaeo-Spanish culture on Provençal Judaism between the 12th and the 15th centuries. Some of them are original texts ; others are translations or adaptations from texts originally written in Arabic or, to a lesser extent, in other romance languages. These texts are essentially pedagogical and belong to various textual types. The first aim of this study is to trace musical ideas and concepts that are found in Jewish texts ; the second aim is to determine the reasons why Jewish scholars rely upon musical ideas and concepts in texts that are not devoted to the subject. This thesis shall prove that music, a subject that Jewish scholars considered alternatively in a rational, psychological, or ethical way, turns out to be one of the medieval Jewish sciences, and one of the unifying principles of the various bodies of Jewish medieval knowledge.

This study aims to reevaluate Ahmed Midhat&rsquo / s treatises on Ottoman society by revealing his exceptional objectives, which recently have been used in contemporary interdisciplinary studies concerning the 19th century Ottoman social transformation. In view of that, the thesis is formed as a re-reading of Ahmed Midhat&rsquo / s etiquette book, titled Avrupa Adab-i MuaSereti yahud Alafranga, according to some recent debates like that of occidentalism, geographic mapping of culture and civilization, the question of cosmopolitanism and elitism, everyday life practices. The most important aim of this thesis study is to expose the ability and the tool-kit of an Ottoman intellectual, who claims himself belong to the Ottoman Nation, making use of the knowledge of the west for domestic politics and arguments in order to propose and create a genuine, self-governing and permanent Ottoman culture. Besides the knowledge of the west, Ahmed Midhat&rsquo / s Alafranga represents a very significant literary form that demonstrates the modern change in the intellectual production in Europe. In that perspective, exposing his motivations behind writing an etiquette manual, a literary form which is related to the modern idea of creating a mechanism of self-control for the individuals, and at large for the society itself, is significant the ways in which these motivations represent the ideas of a Tanzimat intellectual on the modernization of the Ottoman society, considering his sympathy for the Hamidian worldview and modernization projects.

No description available.

<p>Afghanistan has a long history of Islamic education while Western type of education (<i>maktab</i>) is of more recent date. The latter type of education has expanded rapidly recently. However, girls’ enrolment remains low, around 35 per cent.</p><p>The present study examines children’s, particularly girls’, participation in the two educational systems. Throughout history three conflicting issues are apparent in Afghan education: state control over Islamic education, the role of Islam in education, and girls’ participation. A case study approach has been adopted providing an analysis of how history and the present globalisation processes affect current education, and how students, parents and teachers in two villages perceive the changes. The focus has been on capturing the meaning attached to education.</p><p>The findings indicate high expectations on education as a vehicle to peace, enhanced morals and living standards. The traditional <i>madrasas</i> have declined, other forms of Islamic education have emerged. The Mosque schools are neglected by education authorities but highly esteemed by villagers. Concerns are expressed with the amount of time in maktab and with the quality of learning. The Islamic concept of <i>farz</i> (obligation, responsibility) puts both types of education in high demand.</p><p>Dilemmas are associated with choosing between Islamic and Western type of education, applying <i>farz</i> to girls’ education and the encounter between Islam and globalisation. Two folk theories, one on globalisation and another on <i>farz</i> in education, were formulated as a basis for the further analysis. Worries are articulated about preserving Islamic values and ethics. Although ‘globalisation’ is a never heard of concept, villagers know some of its features, e.g. secularisation, individualism and consumerism, and fear these may lead to a weakened Islamic identity.</p><p>Girls’ education is generally accepted. Albeit some consider a few years enough, most consider girls’ right to education to be identical to boys’, on certain conditions. Besides security, a female teacher is the most important. However, findings from the village with a long established girl school with female teachers indicate that this is not the crucial factor. In Islamic education, girls will continuously be excluded from advanced Islamic studies since female mullahs do not exist.</p><p>Apparently, the real obstacles for girls’ education are the strictly segregated gender roles in Afghan society. Therefore, a new interpretation of <i>farz</i> is emerging, a ‘glocalised’ version. This is likely to be a decisive factor for giving girls equal access to education in both educational systems.</p>