Qabus ibn Wushmagir : a study of rhythm patterns in Arabic epistolary prose from the 4th century AH (10th century AD)

This study focuses on the Arabic prose style of Qabus ibn Wushmagir, a Persian ruler of the 4th century AH (10th century AD). Through a textual analysis of a selection of his letters it identifies some fascinating rhythmical patterns using the statistical technique of log-linear modelling. The quantitative analyses are based specifically on syllable patterns in the texts which are evaluated according to the theme of each letter. The study concludes that in some letter types in particular there is a certain predictability in the rhythmical patterns of the text which indicate that the style of a given piece was determined to some degree by the theme of the letter.

Poetry descends from the sacred : an interview with Camille Paglia

An interview with writer Camille Paglia is presented. When asked of the people she criticized in her book "Break, Blow, Burn," she says that no name is known in the second half of the book. She also mentions that there has been a estrangement from poetry's visibility in education or even for magazine and newspaper reader. She adds that compared to prose, poetry is more magical.

The sword and the pen in the pre-modern Arabic heritage : a literacy representation of an important historical relationship

The so-called "literary debate" in Greek, Latin and many Near Eastern
languages is a well-developed genre. In his 1987 article, Geert Jan van Gelder surveyed its background more than adequately, 1 and very few details of that paper need to be repeated here. He assessed thoroughly the historical contribution of numerous poets to the relationship between "the sword and the pen," and also analyzed various aspects of this relationship in a few prose texts.

Prose fiction’s infinite playlist : encountering music in fiction narrative

This paper will argue that reference to music in young-adult prose fiction stimulates movement across narrative and artistic boundaries in ways that facilitate a unique reading encounter. The inclusion of musical reference opens up a space for a multisensory experience that is beyond that of the reading experience devoid of musical association, even when the audio is not immediately available at the time of reading. This experience is bound to the role of the reader, however, be it through the remembered or imagined experience of the music that is signaled in-text, or even the reader’s pursuit of the audio in response to the reading. As ‘a threshold literature’ (Eaton 2010, np) that targets a young audience for whom ‘popular music is globally acknowledged as affectively and culturally central’ (Bloustien & Peters 2011, 4), young-adult fiction is an apt space for explorations into the potential that exists when a text includes musical reference. In particular, Gerard Genette’s paratexts (1997), J Hillis Miller’s ‘membranes’ (2005) and T Austin Graham’s ‘literary soundtrack’ (2009) will be used to examine how Rachel Cohn and David Levithan’s young-adult fiction novel Nick and Norah’s infinite playlist (2006) functions as an ‘infinite playlist’ in itself via a series of paratextual and epitextual elements. Discussion of the latticework of music-narrative interaction that exists as a part of this text will facilitate an understanding of how musical reference can encourage movement within and beyond the narrative towards a potentially unique reading experience.

Beckett and Bion: The (Im)patient voice in psychotherapy and literature

This book focuses on Samuel Beckett’s psychoanalytic psychotherapy with W. R. Bion as a central aspect both of Beckett’s and Bion’s radical transformations of literature and psychoanalysis. The recent publication of Beckett’s correspondence during the period of his psychotherapy with Bion provides a starting place for an imaginative reconstruction of this psychotherapy, culminating with Bion’s famous invitation to his patient to dinner and a lecture by C.G. Jung. Following from the course of this psychotherapy, Miller and Souter trace the development of Beckett’s radical use of clinical psychoanalytic method in his writing, suggesting the development within his characters of a literary-analytic working through of transference to an idealized auditor known by various names, apparently based on Bion. Miller and Souter link this pursuit to Beckett’s breakthrough from prose to drama, as the psychology of projective identification is transformed to physical enactment. They also locate Bion’s memory and re-working of his clinical contact with Beckett, who figures as the 'patient zero' of Bion’s pioneering postmodern psychoanalytic clinical theories.

'Unconscionable mystification'? : rooms, spaces and the prose poem

Since the 19th century, when a number of French writers—most conspicuously Charles Baudelaire and Arthur Rimbaud—introduced what we may think of as the modern prose poem into European literature, prose poetry has been part of a significant debate about the contemporary usefulness of existing literary modes and genres. While early French practitioners partly used the form to subvert and problematise traditional poetic prosody, once this aim was achieved prose poetry remained a significant contemporary literary form, achieving wide acceptance. In the context of contemporary developments and manifestations of prose poetry, this article discusses John Frow’s comments that texts might “‘perform’ a genre, or modify it in ‘using’ it, or only partially realise a generic form, or … be composed of a mix of different genres” (2015: 11). It also discusses the authors’ Rooms and Spaces project, which explores—and exemplifies through its component of creative practice—ways in which prose poetry may be considered “poetic”; how the forms of prose poetry may be room-like and condensed; or open and highly suggestive (sometimes both at once); how prose poetry is intertextual and polysemous; and how prose poetry frequently conveys a sense of completeness despite tending to be fragmentary. Prose poetry may generically problematic but the authors suggest that this may make it an exemplary post-postmodern form of writing; and that reading prose poetry may provide significant insights into understanding how unstable genre boundaries really are.

Response to Islamophobia in the Arabic Islamic discourse: a critical discourse analysis

In the aftermath of September 11, Muslim scholars made numerous attempts to explain Islamophobia from the Islamic perspective; they presented arguments that are not addressed in the Western narrative. Two texts in Arabic by the prominent Muslim preacher, Mohammad Hassan and by the Muslim orator Fadhel Sliman are analysed from a Critical Discourse Analysis (CDA) viewpoint. This analysis aims to demonstrate how language is inextricably linked with ideology. This paper demonstrates that textual strategies in the Arabic Islamic discourse and their ideological implications show distinct characteristics some of which add to the present literature on discourse. The aim of the chosen texts is to educate and create solidarity between the speakers and the audience in fighting Islamophobia. The reliance of the speakers on tactics such as quoting from the Holy Qur’ān and ḥadīth to defend Islam, and choice of words and sentence structures may instigate discussions about the persuasive power of the Arabic Islamic narrative.