O presente trabalho procura identificar como os elementos linguísticos presentes no romance Dias com ele, da escritora síria Colette Khoury, veiculam valores e crenças, reforçando-os ou contrapondo-se a eles, baseando-se nos pressupostos teóricos da Análise Crítica do Discurso (ACD), especialmente os defendidos por van Dijk, e também os da Linguística Sistêmico-funcional (LSF). A partir de trechos escolhidos, em uma tradução livre do árabe para o português, a obra foi analisada e apresenta indícios de construção de um novo sujeito social; no entanto, o romance também possui traços de um discurso tradicional que considera naturais certas condutas sociais. Buscou-se avaliar se as escolhas lexicais do romance indicam ou não uma tentativa de rompimento de um padrão de submissão atribuído ao segmento feminino da sociedade árabe do final dos anos 50. Khoury não propõe de fato um novo modelo de padrão social feminino, mas mostra-nos uma falta de preparo por parte da sociedade árabe para este novo modelo que estava em construção. Percebemos ser necessário um processo de reeducação para que os homens consigam aceitar este novo modelo social feminino e considerá-lo complementar, em vez de uma ameaça, para que, tanto a humanidade quanto a sociedade, possam evoluir juntamente com os avanços da modernidade / This work seeks to identify how the linguistic elements present in the novel Day with him, from the Syrian writer Colette Khoury, convey values and beliefs, reinforcing them or opposing to them, based on a theoretical framework of Critical Discourse Analysis (CDA), especially those proposed by van Dijk, and also of Systemic Functional Linguistics (SFL) . Through the analysis of some excerpts chosen and freely translated from Arabic into Portuguese, this work shows evidence of building a new social subject, however, the novel also has traces of a traditional discourse that considers certain social behaviors as \' natural \'. We tried to evaluate whether the lexical choices of the novel indicate or not an attempt to change the configuration of the submission assigned to the female segment of Arab society of the late 50s. Khoury does not actually propose a new model of female social standard, but shows us a lack of preparedness on the part of Arab society for this new model that was under construction. Perceiving a process of reeducation is necessary for men to be able to accept this new female social model and consider it complementary, rather than a threat, so that both humankind and society can evolve along with advances of modernity

Thesis: Courtly Love was a comprehensive cultural phenomenon brought about by changes in the social environment and influences from the Arab world. The crisis of the aristocracy in fifteenth-century Spain was a major determining factor in the revival of poetic themes and forms inspired by this literary and sentimental ideology. Oblectives: 1. To study the various trends in scholarship from the sixteenth century to the present day so that the term 'Courtly Love' can be redefined as a valid instrument for critical analysis; II. To investigate the socioeconomic background to the revival of troubadour poetry and chivalric idealism in late medieval Spain. The study inquires into: - I. The Origin and Meaning of Courtly Love. The theories are examined chronologically and analytically. For purposes of analysis they are divided into those concerned with the origins of amour courtois and those concerned with the meaning and validity of the concept. 1. Chronological survey: this survey shows the extent to which opinions on the medieval love lyric reflect contemporary literary fashions and political ideas. 2., Theories of origin: include Chivalric-Matriarchal., Crypto-Catharg Neoplatonic, Bernardine-Marianistg Spring Folk Ritual, Feudal-Sociological and the Hispano-Arabic. The Hispano-Arabio theory stresses the impact of Arab medical doctrines and Slid mysticism on European literature; the Sociological theory attributes the emergence of the troubadour movement to social and economic factors. 3. Theories of meaning: include the interpretation of Courtly Love as a collective fantasy fulfilling a psychological function; as an example of the play element in culture; as a figment of the imagination projected on the Middle Ages by nineteenth-century writers and scholars. II. Background to the Troubadour Revival. Courtly Love was from the start an aristocratic phenomenon. A considerable number of the nine hundred poets who flourished in the courts of Spain and Naples during the fifteenth century were related by ties of kinship and dependence to a rebel aristocracy, whose moral authority had been diminished by changes in the art of war and in the structure of society. Many were court officials Jewish conversos and the lesser landless sons of noble families. The rise of the Castilian love lyric is linked with the prevalence of baronial anarchy and with the rapid inflation of the titular nobility. It was a conservative reaction to social crisis by the dominant minority. 1. The aristocratic theory of society: examines the theory of the three estateat different forms of patronage, and the court as a centre of culture. 2* Historical background to the troubadour revival: outlines events during the reign of the Trastamaran dynasty, and attempts to assess the influence of personalities on cultural attitudes. 3. Documents: include decrees issued by Joan I of Aragon and his successor Harti" extollling the benefits of the Gay Science.

Magister Artium - MA / This thesis involved the various discourses around Egyptian novelist Naguib Mahfouz's representation of women in four of his most well-known novels, which were originally written in Arabic. At the one extreme, he is described as a feminist writer who takes up an aggressive anti-patriarchal stance, delivering a multi-faceted critique on Egyptian society. Mahfouz's personal milieu, as well as the broader social context in which he finds himself, was given careful consideration. It was also considered whether the genre in which the four novels have been written has a significant influence on the manner in which Mahfouz has represented his female characters. / South Africa

This comparative study offers a close reading of Palestinian author Sahar Khalifeh’s Wild Thorns and The End of Spring. The paper focuses on the discussion that the novels explore with regards to the varying methods of resistance to the Israeli occupation of Palestine. I argue that the novels mainly portray two differing modes of resistance: steadfastness, or nonviolent resistance and armed resistance. Additionally, I analyze the critique that Khalifeh provides in her novels of the Palestinian Authority government in the West Bank and discuss the mental and emotional repercussions of the occupation on the daily lives of civilians.

“Reading, Writing, Roaming: The student abroad in Arab women’s literature” details new developments in a sub-genre of Arabic travel literature, the study abroad narrative. An increasing number of female writers, and particularly female writers born after the colonial period, study in Europe and write about their experiences in memoirs or fictionalized accounts. Their intervention in the genre offers alternative modes of cultural interaction to the binaries of power detailed in earlier narratives. They suggest a move away from earlier texts such as Tayeb Salih’s Season of Migration to the North, where the binary between colonizer and colonized is inverted rather than demolished. The protagonists of Fadia Faqir’s My Name is Salma and Somaya Ramadan’s Leaves of Narcisuss deconstruct this binary by creating specific spaces of multiplicity and heterogeneity. These spaces can be physical, as is the cottage in which Salma rents a room, or they can be literary, like the traditions of British and Arabic literature that Ramadan’s novel brings together. The women in these narratives embark on not just travel but education, developing tools of reading and writing to help them re-construct a literary and political history. The traditions and places produced by feminine narratives alter the framework of canons and spaces defined by national terms, creating what Jahan Ramazani calls transnational “alliances of style and sensibility.” Using Kristeva’s work on women’s and monumental time, I argue that women participate in specific modes of time and space, modes defined by dynamic, cyclical changes, that allow them to create these kinds of projects. Through shared living spaces and hybridized literary traditions, Faqir and Ramadan re-write the study abroad narrative to include for a greater possibility of experiences and interactions. They appropriate a structure originally available only to privileged young men and apply it to women, even to an impoverished refugee in Salma’s case. These novels encourage readers to move beyond the colonial and even the postcolonial discourse by developing new vocabularies for discussing traditions, cultures and the value of education. / text

Whether as a distinct cultural form, or as a problem exaggerated and imagined by a paranoid interpretive bent, “rumor” (al-ishāʿa) claims a place in the writings of many Egyptian intellectuals, littérateurs, journalists, and politicians in the twentieth century that has yet to be adequately addressed and theorized. At the intersection of cultural studies and Arabic literature, this dissertation investigates rumor as a fiercely contested mode of reading and writing public culture in Egypt since 1952. Eschewing the legislative trend in the modern social and clinical sciences that has positioned rumor as an object to be combatted, or reduced it to the mechanisms and motives of mass psychology, I examine some of the many ways in which it generates, animates, or interferes with scenes in the lives of social actors as they move between the centers and peripheries of power. Rumor possesses both affirmative and destructive powers, often inseparably, and in order to theorize its complex imbrications with character, community, and culture beyond the urge to evaluative critique, I develop a host of concepts – such as noise, play, paranoia, and parody – capable of bringing this oft-neglected ambivalence into view. Notoriously resistant to analysis, whether due to is conceptual vagueness or ephemeral phenomenological status, rumor and the scenes it makes require a rethinking of the modes of scholarly writing that dominate the humanities and social sciences. A degree of mobility and eclecticism, drawn from the object itself in its flight across history and culture, imbues the organization and style of this dissertation: rumor is the object, and inspires the mode, of my investigation. Each of the three Parts of the dissertation investigates a different field of public culture in post-1952 Egypt. Part 1 analyzes the rhetoric and interpretive practices deployed by state actors in their confrontation with what they call “rumors.” Three historical events are taken as significant: the rhetorical and dramatic performances of the Free Officers in the early revolutionary period (1952-1954), the social scientific celebration of “planning” (takhṭīṭ) in 1964, and the Mubarak death rumors of 2007. While here rumor comes into view as the object of state discipline and paranoid interpretation, the remaining two Parts investigate its role in the performances of artists, littérateurs, and bloggers. Part 2 analyzes the literary texts of Gamal al-Ghitani, which are unique in their simultaneous recording and performing of rumors in Egyptian cultural politics at the turn of the millennium. Finally, Part 3 examines intersections between play, parody, and the paranoid style of interpretation in cyberspace, including an investigation into the blogging campaign “Mubarak Mat” (“Mubarak has Died,” 2008) and Ashraf Hamdi’s response to rumors spun by the counterrevolution (2011-2012). While rumor, across these many contexts, is deplored as a destructive force, it also, I contend, salvages possibility from necessity, explores alternatives to the status quo, and serves as an unexpected catalyst for innovative cultural and political forms. As noise, it creates disorder and generates a new order. It is at once in public culture, and making public culture. / text

The importance of the Qur'an can be gauged from the fact that it was the first book which Muslim scholars concerned themselves with and by virtue of the belief of Muslims in general that it is the verbatim Word of Alllih culminated in their associating utmost reverence to the Qur'an in its written form and oral recitation. Thus, it is for this very reason that great concern was directed to the correct reading and pronunciation of the Arabic Qur'anic text Moreover, in view of the fact that there were several Arabic dialects and no declensions were at that time assigned to the text of the Qur'an, scholars of the Qur'an found it imperative to assign correct reading and recitation of the Arabic text of the Qur'an. Scholars before al-JazarI's time assigned several rules for the correct rendering of the Qur' anic recitation. This was necessary because incorrect reading, recitation and pronunciation of the text of the Qur'an could result in changing the meaning of the text thus nullifying what was originally intended. , lmiim lbn al-Jazari's main contribution in this field is that after surveying the previous works on the subject, further refined and articulated the discipline of reading and recitation of the Qur'an. Hence, lmiim lbn al-Jazarf's works on this important discipline made an everlasting impact ,on the later history of discipline of the recitation of the Qur'an. Several of Imdm lbn al-Jazarf's works were published and there are still several of them which have been preserved in manuscript forms in various libraries throughout the 2 Muslim world, suchas in Turkey, Syria, Iran andEgypt Thesemanuscripts are not easily accessible to the general publicin our present times. The objectives of this studyare to: 1. trace the origin and development of 'ilm al-Qirli'at (the Science of Qur'anic Recitation); 2. give an account of the life ofImam Ibn al-Jazarf; 3. survey the worksImdm Ibn al-Jazari; and 4. to examine and evaluate the contributions of lmiim Ibn al-Jazari on later scholars/works. / Thesis (Ph.D)-University of Durban-Westville, 2004.

Al-ghazal al-‘udhri emerged as a remarkable literary genre in Arabic literature during the Umayyad period (7th-8th centuries CE). The leaders of this genre are famous poet-lovers who were known for their dramatic love stories and unique poetry, such as Majnun Layla, Qays Lubna and Jamil Buthaynah. There is a common presumption of the absence of the concept of the body in al-ghazal al-‘udhri; most scholars to date have only reproduced commonly- held ideas about the purity of ‘udhri love without doubting its supposed chastity. This thesis, however, argues that the body has a privileged position in al-ghazal al-‘udhri. It shows that the body’s presence is represented, realistically or allegorically, in various ways, both in anecdotes ascribed to ‘udhri poets as well as in their poetry. Although some critics have discussed the theme of the ‘depiction of the beloved’s body’, it is the contribution of this study to illuminate the ‘ethereal nature of beauty’ in this depiction. Moreover, this thesis provides a discussion about the symbolic body in ‘udhri poetry. It provides a departure from the prevailing views on the ‘udhri phenomenon in studies of classical Arabic literature. It opens the door to new discussions on the relationship between love poetry and Arab society in the classical age. It is also a contribution to literary studies of representations of the body.

This thesis examines the literary representations of feminist and nationalist struggles in the Middle East particularly in Lebanon and Palestine. It aims to explore the simultaneous articulation of these two pivotal concerns in contemporary Arabic literature written by Arab women, from the 1960s to the present. One of the primary goals of this thesis is to explore how contemporary feminist literature reflects the effects of national crises in the Middle East on women’s status. To this end, this thesis reads closely a number of the novels of two contemporary Arab women writers: Ghādah al‐Sammān and Sah|ar Khalīfah whose work engages in this literary interrelationship of nationalist and feminist struggles in Lebanon and Palestine, respectively. Through the close analyses of these authors’ novels, this thesis explores how, in their response to the political turmoil in the Middle East, contemporary Arab women writers render reality in creative forms: al‐Sammān cries for freedom by exploiting literary existentialism to reflect the human struggle against the backdrop of the Lebanese civil war, while Khalīfah employs critical realism in her portrayal of the human pain during the Palestinian‐Israeli conflict. This thesis argues that both writers challenge long‐established literary traditions by advancing these themes in new artistic styles: literary existentialism and realism, and, therefore, considers this a manifestation of the avant‐gardism of both writers for they move the writings of Levantine women to a higher level by adding these literary forms to the repertoire of contemporary Arab women’s literature. The contribution of this thesis lies in its investigation of the innovative literary styles of these two authors and their place in the writings of contemporary Arab women. Thus, this thesis aims to remedy the neglect of the writings of these authors by presenting close analyses of some of the works of al‐Sammān and Khalīfah with a view to understanding their use of literary existentialism and critical realism.

Thesis--Université de Paris. / French and Arabic. "Bibliographie": p. [13]-41.