Kitāb Sharḥ Burdat al-mukhtār / lil-Shaykh al-Imām al-ʻĀlim al-ʻĀmil Shihāb al-Dīn Abū al-ʻAbbās Aḥmad ibn ʻImād al-Dīn ʻAbd al-Bāqī al-Aqfahsī : manuscript, 1635

Written in one column, 17 lines per page, in black with punctuation in red.

Textual criticism and medieval Irish studies

Many textual scholars will be aware that the title of the present thesis has been composed in a conscious revisionary relation to Tim William Machan’s influential Textual Criticism and Middle English Texts. (Tim William Machan, Textual Criticism and Middle English Texts (Charlottesville, 1994)). The primary subjects of Machan’s study are works written in English between the fourteenth and sixteenth centuries, the latter part of the period conventionally labelled Middle English. In contrast, the works with which I am primarily concerned are those written by scholars of Old and Middle Irish in the nineteenth, twentieth and twenty-first centuries. Where Machan aims to articulate the textual and cultural factors that characterise Middle English works as Middle English, the purposes of this thesis are (a) to identify the underlying ideological and epistemological perspectives which have informed much of the way in which medieval Irish documents and texts are rendered into modern editions, and (b) to begin to place the editorial theory and methodology of medieval Irish studies within the broader context of Biblical, medieval and modern textual criticism. Hence, the title is Textual Criticism and Medieval Irish Studies, rather than Textual Criticism and Medieval Irish Texts

Najważniejsze kierunki, motywy i podstawy konstrukcji wierszy Pirbala Muhammuda

Wydział Neofilologii: Katedra Studiów Azjatyckich

The Oud Across Arabic Culture

This study is a compilation and compendium of information on the oud, the most important instrument in Arabic classical music. It has grown out of my own long-time involvement in studying and playing the oud, and in particular out of my interest in the lack of sources and knowledge available to the vast majority of oud players and researchers, as well as for the readers. My own path started from an intensive study of the oud, which included exposure to several treaties; some housed in museums around the globe, and some only available in the Arabic language. The study combines archival research (including Arabic poetry and pre-Islamic Era and medieval treaties), symbolism, new archaeological discoveries, field interviews, and analysis of existing scholarship, and draws on my professional performance experience for detailed stylistic analysis of the oud's performance practice and its historical development. The study consists of participant observation, personal performance, and interviews conducted in person, via telephone, and/or via e-mail, according to the choice of the performers. The performers have been selected from networks of musicians who perform regularly at lounges, concert halls, and private events. These performers have been chosen according to their musical knowledge, technical skill, experience, and activity in Arabic music and oud performance. Chapter one deals with the purpose of this study and the methods of investigation, as well as giving a brief overview of the history of the oud. In addition, there will be an introduction to the Arabic musical system (mâqâm), which is primarily based on the mechanics and sound production of the oud. Chapter two deals with the oud in Arabic sources: the first source is Arabic poetry in the pre-Islamic Era. The second source is Arabic poetry in the medieval era, in which I found a significant number of poets who allude to the oud, providing accurate descriptions of the player, singers, and the scenes within the contexts of oud performance. The third source is the Arab scholars' intensive treatises with meticulous accounts of the instrument's apparatii, including descriptions and measurements of the parts, strings, and tuning. While chapter three deals with the classification, the development of the oud, chapter four deals with topics such as: the symbolism of the oud and its relation to cosmology, astronomy, mathematics and anatomy. In most of the pertinent Arabic writings, philosophers mention a significant correlation between the oud and the other sciences. Chapter five deals with recreating the performance practice of the oud. A case study of the oud performers focuses on their style, technique, training, and personal experiences. Topics such as improvisation and ornamentation, the oud in the Arabic musical ensemble, the social uses and functions, and gender in musical performance practices will be included in detailed analysis. Other important topics will be analyzed such as traditional vs. modern technique, and the repertoire of the oud. Specifically, in regard to technique, the study outline the style of the music, the role of the oud in Arabic ensembles, the function of the oud in music composition, and the form of the ensembles in Arabic performance and practice.

Aruz-i Endelusi şerhi

[ʻAbd al-Muḥsin al-Qayṣarī].

Kitāb Nayl al-arab fī muthallathāt al-ʻArab

li-Ḥasan Quwaydir al-Khalīlī ; tarjamat al-muʼallif Muḥammad Ibrāhīm Fannī.

Hādhā Sharḥ Dīwān Imruʼ al-Qays ibn Ḥajar al-Kindī

[li-ʻĀṣim ibn Ayyūb al-Baṭalyawsī].

Şerh-i Kaside-yi Bürde : manuscript, 1627

Translation and commentary on el-Būṣīrī's "Qaṣīdat Burda". Commentator first provides the verse in Arabic followed by a literal translation into Turkish and commentary.

Kitāb al-Ḥujjah fī sariqāt ibn Ḥijjah / taṣnīf al-Shaykh al-Imām al-ʻAllāmah ... Abī ʻAbd Allāh Shams al-Dīn Muḥammad ibn Ḥasan ibn ʻAlī al-Nawājī al-Shāfiʻī : manuscript, undated

Missing leaves at the end.

Kitāb al-Masāʼil al-mushkilāt maʻa jawābihinna fī al-qirāʼāt / jamaʻahum ʻAbd al-Qudūs ibn ʻUmar ibn [?] al-Gazzī al-Shāfiʻī : manuscript, undated

بسم الله الرحمن الرحيم اللهم الذي صلى على محمد مسئلة فان قيل من اختار الاشمام الجميع ... :Incipit

Sharḥ al-Ḥamāsah : manuscript, undated

Volume 1 of a two-volume set.

Specimens of Arabian poetry, from the earliest time to the extinction of the khaliphat, with some account of the authors.

Poems in English and Arabic

Specimens of Arabian poetry : from the earliest time to the extinction of the khaliphat, with some account of the authors.

Poems in English and Arabic.

Specimens of Arabian poetry, from the earliest time to the extinction of the Khaliphat with some account of the authors [microform] /

Arabic and English.

Buland al-Ḥaydarī – poeta pokolenia prekursorów współczesnej poezji arabskiej. Interpretacja twórczości

Głównym celem dysertacji jest interpretacja twórczości Bulanda al-Ḥaydarīego (iracki poeta kurdyjskiego pochodzenia (1926-1996)). Utwory Al-Ḥaydarīego zawierają w sobie charakterystyczne cechy współczesnego wiersza arabskiego. Opisują ponadto najważniejsze historyczne, społeczne i osobiste doświadczenia literackiego pokolenia tego poety, jak również innych członków społeczności arabskiej w okresie po II wojnie światowej. Praca doktorska składa się z dwóch części. Pierwszą część poprzedza krótki opis stanu badań nad liryką Al-Ḥaydarīego. W pierwszym jej rozdziale przedstawiono życiorys i biografię literacką poety oraz wyjaśniono pojęcia takie jak: ‘współczesna poezja arabska’, ‘wolna poezja’, ‘poemat prozą’ czy ‘ruch wolnej poezji’. Wspomniano również o głównych nurtach w poezji arabskiej w latach 50. i 60. XX w., jak również ukazano sposób, w jaki modernistyczni poeci postrzegali poezję. Natomiast w drugim rozdziale przedstawiono pokrótce charakterystyczne cechy (stylistyczne, składniowe i melodyczne) współczesnego wiersza arabskiego i zilustrowano je fragmentami utworów Al-Ḥaydarīego. Druga część dysertacji składa się z pięciu rozdziałów. W każdym z nich przedstawiono jeden lub kilka głównych motywów oraz ich różne warianty: w pierwszym rozdziale – motyw miłość, w drugim – motyw istnienia (życie i śmierć), w trzecim – motywy ojczyzny, obczyzny, zaangażowania społecznego twórcy i jego wyobcowania, w czwartym – motyw przestrzeni (np. dom, droga, raj, piekło) oraz w piątym – motyw czasu (przeszłość, teraźniejszość, przyszłość).