« Les Livres des Couvents » (kutub al-Diyārāt) qui font l’objet de cette thèse sont des anthologies thématiques de l’époque médiévale. Elles décrivent des séjours effectués par des musulmans dans des couvents chrétiens pour se divertir. De cette catégorie, représentée par une demi- douzaine de titres, un seul livre nous est parvenu, celui d’al-šābuštī intitulé al-Diyārāt. Les autres ouvrages subsistent sous forme de passages dans des livres de seconde main. Cette thèse tente de combler d’abord les lacunes de cette documentation en restituant les passages appartenant à ces ouvrages perdus. Ce travail de restitution est mis en parallèle avec un examen portant sur la notion du genre. L’auteur met en lumière dans une perspective chronologique l’évolution de cette écriture qui s’est fait jour d’Ibn al-Kalbī (m. 821) à šābuštī (m.998) en passant par al-ḫālidiyyān, al-Iṣbahānī, al-Sarī al-Raffā’, al-šāmšāṭī et Ibn Ramḍān al-Naḥwī. Cette évolution est abordée à l’image de l’histoire de la science évoquée dans ce travail à travers le concept de paradigme. L’objectif est de montrer qu’il s’agit d’un genre littéraire particulier qui a connu, chez ces auteurs, une genèse, une ascension, et une apogée avant de se heurter à de nouvelles anomalies provoquant sa décomposition paradigmatique. / « The Monasteries Books » (kutub al-Diyārāt) are the object of this thesis; they are thematic anthologies of medieval time. They describe the stays of Muslims in Christian monasteries in pursuit of entertainment.Of those anthologies, originally composing half a dozen titles, only one book has reached us: the book untitled al-Diyārāt by al-šābuštī. The other works have only reached us through extracts found in secondhand books. This thesis attempts to fill in the gaps in this documentation by restoring the extracts from the lost works.This work of restoration is paralleled with an examination of the “genre” notion. The author, through a chronological perspective, sheds a light on the evolution of the writing that has come about from authors such as Ibn al-Kalbī (m. 821) or al-šābuštī (m.998), but also al-ḫālidiyyān, al-Iṣbahānī, al-Sarī al-Raffā’, al-šāmšāṭī and Ibn Ramḍān al-Naḥwī. This evolution is studied with the same approach as the history of science, mentioned in this study through the concept of paradigm. The attempt is to show that this particular literary “genre” has known, through those authors, a genesis, a rise and a peak before conflicting with new anomalies causing its paradigmatic decomposition.

Satirical poetry is generally considered as a one of the most important genres of the classical Arabic literature. Genre of poetry was in the pre-Islamic and early Islamic society highly appreciated and the Arabs used to regard it as the only form of the real literature. Unlike prose which was limited to the folklore and educational literature esteemed the Arabs poetry as a real art expression and the poet hold also very strong position within the traditional Arab society. Arabic satirical poetry is believed to grow up from curses and lampoons declaimed by traditional Arab wizards, kāhins, and due to the fact that faith in the power of word was still very deeply rooted in people's minds, Arabic satirical poetry was ascribed a very good reputation. The development of society after the rise of Islam also had a very strong impact upon the function of traditional genres of the Arabic poetry. From its original function of discouraging and threating enemies satirical poetry developed into the means of poet's subsistence, political propaganda and society entertainment. Arabic satirical poetry became an independent genre of art. This thesis deals with the origin and the development of Arabic satirical poetry from its emergence in the pre-Islamic period until it reached its peak during the reign of Umayyad...

This thesis examines the work of the contemporary exilic Iraqi author Ḥasan Blāsim within the framework of magical realism. At the same time it argues for a more formalistic and wider definition of magical realism, which also includes fiction without any supernatural elements. Magical realistic components found in the short story collection Majnūn sāḥat al-ḥurrīya (The Madman of Freedom Square) underline the most important themes in the stories. These are related to the catastrophes that afflicted Iraq and its people in the course of last thirty years. With its emphasis on the documentation of modern Iraqi history dominated by war and exile Blāsim's work belongs to the genre of documentary narrative. The goal of documentary narrative is to contribute to the collective memory of a nation. Despite Blāsim's focus on documenting, magical realism in his work cannot be considered as an attempt to create a parallel cultural world. The supernatural in his stories functions metaphorically and relates exclusively to the real world of war and violence, in which people under heavy circumstances turn into animals, cannibals, which is magical in itself. In addition, Blāsim's work is on a subordinate level discussed from the perspective of postcolonial theory. Postcolonial theory has undergone a complicated...

This dissertation is a philological study of transnational revolutionary print culture in French and Arabic during Algeria’s War for Independence (1954-1962) and its first post-independence regime (1962-1965). Investigating the ways in which women have been written into historical narratives, it is also a feminist historiography. During this era of global decolonization, the Front de libération nationale (FLN)—Algeria’s vanguard revolutionary party—integrated itself into a global coalition of revolutionary movements that provided mutual material and ideological support and self-identified as part of the Third World. While female freedom fighters (mujāhidāt) attained widespread fame as global symbols of anticolonialism, their intellectual work as intermediaries in constructing national and transnational anticolonial culture remains understudied. This dissertation analyzes the mujāhidāt’s discursive interventions in the project of liberating women, the nation, and the wider colonized world. In doing so, it challenges the masculinist and institutionalist biases prevalent in international relations, a field that has predominantly considered men as global political leaders and privileged government documents and official diplomatic correspondence as source material. Among the varied writings that I examine, two mouthpieces of the FLN take center stage: El Moudjahid (est. 1956) and Révolution africaine (est. 1963). My study of the mujāhidāt’s participation in the construction of national and transnational anticolonial culture consists not only of close readings of their writings in nationalist publications, but also a more holistic analysis of the worlds that these periodicals sought to project an image of via references to and excerpts of literature, film, theoretical texts, interviews, and testimonies. While each mujāhida’s contribution to national and transnational community-building varied, the central argument of my dissertation is that despite working in a patriarchal political and publishing environment, the mujāhidāt were able to express themselves by maneuvering at the margins. That is, they deployed a diversity of rhetorical tactics that subtly contested the premises of the system in which they operated, thus exercising power from a seeming position of weakness. While articles authored by the mujāhidāt are a major part of my corpus, I also read more holistically for gendered discourses of liberation in the print and visual culture of the 1950s and 60s. To contextualize the gendered expectations under which they had to write, Chapter One opens with an analysis of “Algeria’s personality” as it was articulated in nationalist texts, with the concept of “family honor” being an essential part of this personality. Chapter Two examines in literature and films that were commonly referenced by nationalist periodicals another key component of this personality: “authenticity,” and more specifically its expression as feminine revolution authenticity. Investigating how mujāhidāt writers navigated such expectations of authenticity, Chapter Three demonstrates how they promoted their own repertoire of female revolutionary icons in nationalist periodicals, especially the figure of the uneducated but radicalized mother as a bastion of cultural authenticity. Finally, Chapter Four reflects on disjunctures in nation-building narratives during Algeria’s post-independence regime. Examining the FLN’s world-building project of cultural diplomacy and national edification primarily via its periodical Révolution africaine, it examines the mujāhidāt’s modalities of intervention in the cultural debates at the intersection between women’s emancipation and the global anticolonial struggle.

No description available.

This thesis is a translation of a chapter that examines the role of Muslim women in politics during the early Islamic period and their engagement with religious and political discourses. This subject raises a combination of provocative challenges for Islamic discourse as Muslim women have had a complex relationship with their religious tradition dating back to the very inception of Islam. Despite Qur’ānic injunctions and Prophetic affirmations of the egalitarian status of Muslim women, social inequality and injustice directed at women remains a persistent problem in Muslim society. In the translated text Abū Shaqqah goes about re-invoking the normative tradition in order to affirm the role of Muslim women in politics. Furthermore the translation is prefaced by a critical introduction outlining the contours of the 20th century landscape, which attempts to describe the struggle of Muslim women in Abū Shaqqah’s time. / Religious Studies and Arabic / M.A. (Arabic)

The dissertation firstly looks at how the Arabic essay and short story developed in Egypt since the beginning of the nineteenth century. Then a discussion follows on the life and contribution of the Egyptian author, Mustafā Lutfī al-Manfalūtī, as representative of this literary evolution. The general influences on Egyptian literature are discussed, and the general development of Arabic prose from 1850 onwards is then detailed, including the efforts to save Arabic literature from stagnation and degeneration. Following this, the focus is on the origins of the essay and short story. This leads to dealing with the growth and advancement of the essay and short story, together with the revival of the Arabic heritage and how the Arabic novel came into being. Then Mustafā Lutfī al-Manfalūtīs biography, environmental circumstances and personalities that influenced his writings are focused on. Afterwards, the core discussion is Al-Manfalūtīs seven literary works, and his ideas and opinions as reflected in his writings. In conclusion, the relevance of his writings and an appraisal of his literary contributions are detailed. / Religious Studies & Arabic / M.A. (Arabic)

From the point of view of literary qualities, Prophetic Traditions stand out among Arabic literature. This study aims at selecting some unique words the Prophet used, and search for their presence or absence in the Arabic Although several sources were used, the reliance for the choice of words is mainly on An-Nihayah fi gharib al-Athar of Ibn al-Athir; and for comparison, several published works. literature. The objective is to find out how the Prophetic words affected the literature. An analysis is attempted to arrive at the meaning of these words as used in Hadith literature, literatures preceding or following it, and compare to find whether they have been used at all, and, if used, in the same meaning or not, or whether they are used in a unique sense. Thus, this study brings to light differences between Prophetic literature, and literatures other than it. / Arabic & Islamic Studies / M.A. (Islamic Studies)

This study politicizes the mixed relationship in Israeli-Palestinian literature. I examine Arab-Jewish and interethnic Jewish intimacy in works by Palestinian national poet Mahmoud Darwish, canonical Israeli novelist A. B. Yehoshua, select anthologized Anglophone and translated Palestinian and Israeli poetry, and Israeli feminist writer Orly Castel-Bloom. I also examine the material cultural discourses issuing from Israel’s textile industry, in which Arabs and Jews interact. Drawing from the methodology of twentieth-century Brazilian miscegenation theorist Gilberto Freyre, I argue that mixed intimacies in the Israeli-Palestinian imaginary represent a desire to restructure a hegemonic public sphere in the same way Freyre’s Brazilian mestizo was meant to rhetorically undermine what he deemed a Western cult of uniformity. This project constitutes a threefold contribution. I offer one of the few postcolonial perspectives on Israeli literature, as it remains underrepresented in the field in comparison to its Palestinian counterparts. I also present the first sustained critique of the hetero relationship and the figure of the hybrid in Israeli-Palestinian literature, especially as I focus on its representation for political options rather than its aesthetic intrigue. Finally, I reexamine and apply Gilberto Freyre in a way that excavates him from critical interment and advocates for his global relevance.

L'utilisation de l'arabe écrit en caractères arabes par les Juifs entre la fin du XIX° et la fin du XX° siècle s'inscrit dans la continuité d'un rapport de longue durée entre les Juifs et la langue arabe, et constitue un phénomène linguistique jusqu'à présent peu étudié. Afin d'en délimiter les contours et d'en prendre la mesure, nous avons constitué, à partir du travail de Shmuel Moreh en Israël, un corpus bibliographique de 654 notices de textes publiés en langue arabe par des auteurs juifs. Son analyse nous a permis de mettre en évidence la faible ampleur de ce phénomène. Premièrement du point de vue de son étendue dans le temps, car même si la première notice de notre corpus date de 1847 et la dernière de 2008, ce n'est qu'entre 1930 et 1970 que se concentre la plupart des documents répertoriés. Deuxièmement, du point de vue de son étendue géographique, car c’est essentiellement en Egypte, en Iraq et finalement en Israël que se développe ce phénomène. A ce sujet, nous préciserons cependant que celui-ci s’est exporté vers Israël, suite au départ des Juifs des pays arabes principalement durant les années 1950. Troisièmement, car il n’est soutenu que par un petit nombre d'individus, sur l’ensemble des auteurs de notre corpus. Ces considérations mises à part, nous avons pu observer un certain dynamisme dans cette production écrite. Celui-ci se manifeste d’abord du point de vue de l'hétérogénéité des genres observés dans le corpus, allant de la poésie au théâtre, en passant par les romans, les nouvelles, les essais et le journalisme. Il apparaît ensuite à travers les différentes variétés de langue arabe utilisées, telles que l’arabe classique, ou les dialectes locaux. / The use of Arabic language, in Arabic characters, by the Jews between the end of the XIXth century and the end of the XXth century is one aspect of the long-standing relationship between the Jews and the Arabic language, and constitutes a distinctive linguistic phenomenon which has so far been little researched. In order to outline it and describe it, and building on Shmuel Moreh’s pioneering work in Israel, we have established a bibliographic corpus of some 654 texts and works published by Jewish authors in the Arabic language in Arabic characters. Its analysis has enabled us to highlight the limited extent of this phenomenon. First of all, from a chronological point of view: although the first reference at our disposal dates back to 1847 and the last one to 2008, most of this literature was produced between 1930 and 1970. Secondly, from a geographical point of view: this phenomenon is associated mainly with Egypt, Iraq and later Israel. In this regard, it must be noted that the phenomenon was exported to Israel after the departure of the Jews from the Arab countries principally during the 1950s, and involves almost exclusively émigré writers. Thirdly, because it involves only a small number of individuals, out of the total number of authors listed in our corpus. However, despite all these considerations, this literature is characterised by a certain degree of dynamism. This can be seen first of all in the heterogeneity of the genres observed, spanning poetry, theatre, novels, short stories, essays and journalism, and in its employ of different varieties of Arabic, such as Classical Arabic or local dialects.