Texte remanié de: Dissertation--Berlin--Freie Universität, 1990. / Comprend une notice biogr. de Al Abbas ibn al Ahnaf en arabe. Bibliogr. p. 225-238. Notes bibliogr. Index.

La présence d’objets en terre est assez courante sur les sites néolithiques y compris les sites néolithiques du Proche-Orient. Il s’agit dans la plupart des cas d’objets de petite taille dont les formes sont assez variées. Ces objets ont une valeur particulière pour les chercheurs. Dans ce travail nous avons présenté notre propre recherche basée tout d’abord sur des données nouvelles, obtenues récemment grâce à de nouvelles fouilles comme la fouille de Tell Halula, la fouille de Tell Aswad et ‘Ain Ghazal.C’est à partir de ces nouveaux éléments et en les confrontant avec des données plus anciennes que nous avons suivi le développement des objets en terre depuis leur première apparition au PPNA et à travers les différentes étapes de la néolithisation : PPNA (9500-8700 BC), PPNB ancien (8700-8200 BC) et PPNB moyen (8200-7500 BC). Le cadre géographique a été limité au Levant.Les questions posées dans cette recherche s’appuient, d’une part sur l’homogénéité de la typologie ou non des objets en terre et leur distribution sur les sites de la région, d’autre part sur tout ce qui concerne la technique de fabrication. Après une étude d’analyse détaillée des objets du corpus, nous avons regroupé les objets en terre selon leur type de représentation dans plusieurs catégories : représentations humaines, représentations animales, objets divers et récipients en terre.Dans la troisième partie et en se basant sur l’analyse des objets du corpus par catégorie, nous avons comparé le développement de ces objets par période et par catégorie. / The presence of clay objects is fairly common at Neolithic sites, including those sites in the Near East. In most cases the objects have a small size and occur in different shapes. These objects have a particular value to researchers. This thesis illustrates our research based on new data, which were provided by new excavations like those of Tell Halula, of Tell Aswad and Ain Ghazal. These new elements and their comparison with earlier data enabled us to followed the development of clay objects since their first appearance in the PPPA period and through the various stages of the Neolithic period: PPNA (9500-8700 BC), early PPNB (8700-8200 BC) and middle PPNB (8200-7500 BC). The geographical area considered for this research was limited to the Levant.The questions posed in this research are based first on the homogeneity/heterogeneity of the typology of these clay objects and their distribution at the sites in the region. Secondly, we also focused on production technique.After a detailed analysis of the whole corpus, the clay objects were grouped in several categories according to their type of representation: human figures, animal figures, “other objects” and small clay vessels.In the third part of the thesis we analysed and compared the development of the objects by period and by category.

In this paper I explore the role of ambiguity in the creation of meaning in the Urdu ghazal. Ghazal, the predominant genre of Urdu poetry, consists of a series of thematically unrelated yet metrically and prosodically related couplets, each densely packed with multiple and complex meanings. Ambiguity, both lexical and grammatical, is a key technique in the poetics of this genre. Here I not only analyze the different ways ambiguity manifests itself but also the way it has historically been and continues to be mobilized by poets and practitioners of the genre to further imbue each couplet with culture-specific, socially relevant meanings. Breaking with previous approaches to Urdu poetry and poetics, I examine ambiguity in the ghazal with reference to theoretical traditions in linguistic anthropology of ethnopoetics, performance and verbal art, and ethnographic examination of poetic praxis. Finally, addressing various phenomenologies of language, I propose a phenomenological turn in the study of this poetry in order to better theorize processes of meaning creation on both an individual and wider ethnographic level. / text

Thesis (Ph. D.)--University of Chicago, Dept. of Near Eastern Languages and Civilization, December 1995. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

This thesis examines the Persian ghazal poetry of Mirza Ghalib. It does so in the light of the corpus of critical literature in Urdu, Persian, and English that concerns both the poetry of Ghalib as well as the poetry of the so-called “Indian Style” of Persian poetry. Poems by Ghalib and his literary forebears, including Fighani, Naziri, ‘Urfi, Zuhuri, Sa’ib, and Bedil are offered in translation; critical commentary follows each text. The thesis explicates the ways in which each of these authors engaged in an intertextual dialogue, here called javaab-go’ii, or appropriative response-writing, with his forebears, and argues that the dynamics of this intertextual dialogue contribute significantly to the poetry’s aesthetics. These “aesthetics of appropriation” are discussed, analyzed, and evaluated both in the light of Ghalib’s writings on literary influence and Persian poetics, as well as in the light of the aforementioned corpus of critical literature. / text

[pt] No presente trabalho, faço traduções comentadas de dez gazéis do poeta persa do século XIV Hafiz de Xiraz. São traduções diretas do persa para o português, levando em consideração os elementos formais e temáticos do gazel – um tipo de poema lírico estruturado em dísticos. No que tange a forma, buscou-se adaptar os elementos formais – entre os quais se pode destacar a monorrima e os versos longos – tomando emprestando recursos da poesia espanhola. Em termos temáticos, as traduções consideraram as convenções tradicionais da poesia lírica amorosa do gazel, bem como a influência do sufismo, corrente mística do Islã. Considera-se que um elemento central da poética hafiziana é o jogo entre significados profanos e místicos, gerando indefinição e questionamento no leitor. Os gazéis que foram selecionados não seguem necessariamente uma linha em comum, mas são poemas icônicos de seu divã, frequentemente traduzidos. / [en] This thesis presents annotated translations of ten ghazals by the 14th-century Persian poet Hafez of Shiraz. These are direct translations from Persian into Portuguese, considering the formal and thematic elements of the ghazal – a genre of poem structured in couplets. In terms of form, my translation tries to adapt the formal elements of the ghazal – mainly its monorhyme and long lines. When it comes to themes, the translations take into consideration the traditional conventions of the amorous lyric ghazal, as well as the influence of Sufism – usually defined as Islamic mysticism. I see the interplay between profane and mystic meanings as a central aspect of Hafezian poetics, generating uncertainty in the reader. The ghazals that have been selected for translation do not necessarily follow a common thread, but are all iconic, oft translated, poems from his divan.