This thesis comprises an edition and analysis of the two travelogues written by the Iraqi Mahmüd Shihäb al-Din al-Alüsi (1802-53), who was Mufti of Baghdad during the first half of the nineteenth century. It is divided into two parts; the core part is the Arabic edition of the two travelogues, Nashwat al-Shumül and Nashwat al-Mudiiml, based on a detailed study of six key Arabic manuscripts. The second part is subdivided into three chapters. The first of these, `Ottoman Society during al-Alüsi's era (1802-53)', investigates the social, political, economic and religious background to the Mufti's life. It deals therefore with issues such as his early life and education, his often strained relationship with the ruling Ottoman government, and the clash between his religious conservatism and the latter's radical reform policies. The second chapter, 'Development and Transformation of a Literary Genre', offers an overview of the rihlah travelogue genre and its development from early Islamic times up until the nineteenth century. It encompasses the travelogues of Ibn Jubayr and Ibn Battüta, two travel writers who helped to establish the rihlah as a bone fide mode of literary expression which would subsequently prove of critical importance to historians of Islamic societies. The third chapter concludes the thesis with a discussion of al-Alüsi's travelogues in the overall context of the genre's development, and, more specifically with a comparative analysis between his approach to travel writing and that of his contemporaries such as al-Tahtäwi and al-Tantäwi. In this way it is hoped that the life of this fascinating and historically significant individual will be recorded and given its rightful place alongside the other major travel writers in Islamic history. Caught in the politico-religious tensions and intrigues of his time, the character of al-Alüsi's is revealing not only on a psychological level but also as evidence of the broader societal developments in Islam, as the Ottoman sultanate in Istanbul impinged directly on Iraq. al-Alüsi's unique and unprecedented contribution to-the rihläh genre gives us considerable insight into the inter-ethnic rivalries and fundamental changes in the role of religion in society symptomatic of this period in Middle Eastern history

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This thesis presents an account of Hejazi prose literature in the period 1908-1941 by tracing its main evolutionary trends, namely the gradual rejection of inherited conventional ideas and literary forms in favour of modern and ‘Western' concepts and genres. Since contemporary political events in Hejaz affect the development of its literature, each of the three parts of this study is prefaced by a brief survey of the political conditions which influenced the character of the Hejazi literature of that period. In Part One (The pre-Hashemite period, 1908-1916), Chapter I examines, by the method of textual analysis employed throughout the thesis, the traditional prose of Hejaz, which was out of step with modern conditions, and the newly introduced essay, a form which represents a departure from convention. Chapter II deals with the origins of the Hejazi press which was instrumental in bringing about literary change. Part Two treats of the Hashemite era (1916- 1925). Chapter I discusses the part played in literature by the Hashemite press; Chapter II analyses the development of the essay from its rudimentary beginnings into a fully-fledged literary form which eventually came to dominate the literary scene. It also refers to the formation of a new radical literary movement of the younger Hejazi writers. Part Three of this thesis deals with the early Saudi period (1925-1941) when Hejazi prose literature matured both in form and in content. Chapter I describes the importance of the Saudi press both as a stimulus and a medium of literary output; Chapter II traces the role of the younger Hejazi writers and studies the further progress of the essay, stressing its predominantly critical character. Chapter III discusses the beginnings of prose fiction in the Hejaz, with the novel, as represented by the roman de theme, still in the experimental stage; and with some notable achievements in the field of the short story and drama.

The aim of this thesis is to present an edition of a unique and important manuscript of Hanbali jurisprudence entitled 'Al-Munawwar fi Rajih al-Muharrar' written by Ahmad b. Muhammad al-Adami (d.c.749AH/AD1329) and which has not yet been studied despite later Hanbali scholars' heavy reliance on it in their work. This edition is supplemented by an introduction designed to make the edited text more accessible. This commentary discusses the manuscript, the author and his sources. A broad discussion of Hanbali legal terminology and a comparison of Al-Muharrar with other important works of jurisprudence provides a better understanding of the text, which is presented with explanatory footnotes in the final section of the thesis. In the process of editing the manuscript every effort was made to do as accurate an edition of the work as possible, preserving the originality of the work whilst making it accessible to the modem reader. The study consists of five parts which are divided into a number of chapters. Part One: This explores the importance of Al-Munawwar, provides a biography of Al-Adami, describes the framework of Al-Munawwar, ascribes it to its author and discusses the plague of 749/1329. Part Two: This describes the sources of Al-Munawwar with particular reference to Al-Majd's Al-Muharrar of which it is an abridgement. I also discuss the methodology and terminology adopted by both Al-Adami and Al-Majd. Part Three: This gives definitions of the major legal terms used in Hanbali jurisprudence, including a history of how this terminology has been understood by different generations. Part Four: This part focuses on the methodology of editing the manuscript. Part Five: The edited and authenticated text is presented with an annotated commentary.

Ce travail se propose d’étudier les traductions en arabe d’œuvres littéraires romantiques françaises, de la fin du XIXe et du début du XXe siècle, pendant la Nahḍa ou Renaissance arabe, pour ainsi dire. À cette fin, nous entreprenons, dans une démarche comparative, d’analyser et d’observer comment certaines œuvres du répertoire romantique français ont été reçues en Égypte et, par extension, dans le monde arabe tout entier. Notre conviction que le Romantisme français est porteur d’une « orientalité » intrinsèque tant au texte original qu’à sa transposition, nous amène à penser qu’il y aurait là, chez les traducteurs arabes, une propension affinitaire à cette esthétique romantique. Notre étude part d’un corpus comprenant le drame hugolien, Hernani, le roman épistolaire, Sous les tilleuls d’Alphonse Karr, « Le Lac » de Lamartine et de quelques poèmes extraits des Orientales d’Hugo : « Fantômes », « Lazzara », « Attente » et « Feu du ciel ». Nous tenterons de concevoir un prisme nouveau pour le regard comparatiste, en nous plaçant, non seulement du point de vue des traducteurs arabes et de l’objet qu’ils ont lu, mais aussi dans la modalité de leur lecture propre de l’œuvre qui s’est imposée à leur intelligence et à leur sensibilité. / This thesis analyses the Arabic translations of French romantic literary works from the late nineteenth and early twentieth century, during the Nahda or Arab Renaissance. To this end the thesis uses a comparative approach which studies and observes how some works of the French Romantic repertoire have been received in Egypt and, by extension, in the entire world. Our conviction that French Romanticism carries an "orientality" intrinsic both to the original text and its transposition, leads us to think that there would be there, among Arab translators, a tendential affinity to this romantic aesthetic. Our study starts from a corpus comprising the Hugo drama, Hernani, the epistolary novel, Under the lime trees by Alphonse Karr, Lamartine’s “The Lake” and some poems extracted from the Orientals Hugo: "Ghosts", "Lazzara", “Waiting” and “Fire from Heaven”. We will try to conceive a new prism for the comparative view, placing ourselves not only from the point of view of the Arab translators, but also in the modality of their own reading of the work that has imposed itself on their intelligence and their sensitivity.

Cette recherche porte sur l'évolution de la critique poétique arabe moderne, elle combine deux volets, l'un diachronique et l'autre analytique. D'une part, elle exAmīne l'histoire de cette évolution qui en l'espace d'un siècle a été impressionnante et d'autre part elle analyse ce phénomène qui dans l'histoire littéraire mondiale ne s'est jamais produit sur une durée aussi courte. La période de la nahḍa a commencé durant la deuxième moitié du XIXème siècle et a duré jusqu'aux années trente du XXème siècle. La littérature arabe a été ébranlée par une multitude de mouvements à la fois conservateurs et modernistes , mouvements qui ont tantôt cohabité et tantôt se sont opposés ; la poésie, en particulier a comblé un retard de cinq siècles, comme en témoignent le nombre de poèmes et de recueils publiés et la multiplication des styles et des écoles littéraires.Durant un siècle et souvent pendant la même période, nous pouvons découvrir des poètes classiques, néoclassiques, romantiques, symboliques et réalistes. La production poétique a aussi été très variée et a respecté les règles classiques relatives à la mesure et aux rimes tout en affichant un retour vers la forme classique pour affirmer la maîtrise. Puis, l'inspiration du "muwaššaḥ" a fait son apparition et s'est détourné de l'exigence de la forme traditionnelle avec quelques tentatives pour écrire de la poésie libre et en prose avec de nouvelles mesures et enfin l'arrivée de la poésie blanche...etc.Toutes ces tentatives pour se rattacher à un courant n'ont pas échappé à la critique qui a parfois ouvert la voix aux poètes et a parfois précédé la production poétique et qui a subi la pression moderniste en essayant de la rejoindre; la critique a puisé dans les écrits anciens et en même temps une ouverture sur la critique occidentale. La révolution contre le traditionalisme est lancée avec des écoles qui ont revendiqué une coupure avec l'héritage des classiques. D'autres courants vont résister à l'influence européenne en prenant pour prétexte le combat contre le colonialisme occidental. Ces courants très résolus ont défendu l'attachement à l'ancienne école en invoquant la pureté de la langue du Coran, la richesse de cet héritage et le fait que cette modernisation peut susciter des théories inadaptées à la réalité sociale et culturelle. Nous tentons dans cette étude de présenter et d'analyser les quatre étapes que la poésie et la critique poétique ont traversées durant cette période :- L'étape de l'imitation médiocre. - L'étape de l'imitation cohérente et éloquente.- L'étape de l'innovation liée à la ferveur nationaliste.- L'étape de l'innovation liée à un sentiment de liberté individuelle. / The research work presented in this manuscript focuses on the evolution of the modern Arab poetry critic. The work is two fold: one diachronic and the other analytical. We detail on one hand the history of such evolution, which, in the space of a century, has been quite impressive, and on the other hand,we analyze this phenomenon, which has never occurred in the world literacy history over such a short time span. The period of the nahda started in the second half of the XIXth century and lasted up to the last years of the XXth century. The history of the Arab literature has been shattered by numerous events, at the same time conservative and modernist. Those events were at times contiguous and at times opposite: poetry in particular, has caught up with a major delayof nearly five centuries, as witnessed by the number of poems and collections published,and as well asby the multiplication of styles and literacy schools.Over the span of a century, and often within the same period, one may discoverand study classical, neoclassical, romantic, symbolic as well as realist poets. Furthermore, the poetry production has also been diversein styles, but at the same time addressed the classical rules related to the measure and the rhymes, while displaying a reversal movement towards the classical form, mainly to show and prove mastering skills. Then, the inspiration of the "muwaššaḥ" appeared and has strayed away from the requirements of the traditional form, with a few attempts to write free poetry as well as prose with new measures, and eventually came to the birth of white poetry,… etc.All those various efforts attempting atreclaiming a main historic literacy flow has definitely not been overlooked by the critic, which at times has brought forward poets, and at times has even preceded the poetic production which has undergone through the modernistic pressure by trying to join that same flow; the critique has drawn in the ancient scripts and at the same time in the opening into the occidental critic. The revolution against traditionalism has been launched with various schools who have claimed a split with the inheritance of the classics.Other currents have resisted to the European influence by pretexting a fight against occidental colonialism. These very resolute currents have defended the attachment to the ancient school by invoking the purity of the language of the Koran, the richness of this heritage and the fact that this modernization can produce ill-adapted theories to the social and cultural reality.We attempt in this work to present and analyze the four stages, through which poetry and the poetry critic have gone through during the past century:1) The stage of mediocre imitation 2) The stage of coherent and eloquent imitation, 3) The stage of innovation linked to a nationalist fervor4) And eventually the stage of innovation linked to a feeling of individual freedom.