Added diacritics to names
Okumaya devam et...
← Previous revision | Revision as of 05:46, 10 May 2024 |
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| === Etymology === | === Etymology === |
| The meaning and original use of the word “maqāma” to describe the literary genre are the subject of some scholarly debate. Al-Hamadhani referred to his anecdotes as “''maqāma''” in a letter written as early as the year 922 C.E<ref name=":0">Qian, A. (2012). [https://repository.upenn.edu/server/api/core/bitstreams/9ff5438b-48b5-4f56-8c1d-8a281507fb8d/content The Maqāmah as Prosimetrum: A Comparative Investigation of its Origin, Form and Function] [Unpublished doctoral dissertation]. University of Pennsylvania.</ref>. ***** Shah writes in her introduction to ''The Assemblies of Al-Harīrī'' that the word ''maqāma'' may be taken to mean “a place where one stands upright”, “the persons assembled at any place”, or “the discourses delivered or conversations held in any such assembly”<ref name=":1">{{Cite book |last=Shah |first=***** |title=The Assemblies of Al-Hariri |publisher=Ishk Book Service |year=1980 |isbn=9780900860867 |pages=ix-xi}}</ref>. Qian wrote that, at the time that al-Hamadhani wrote and compiled his ''Maqāmāt'', the term ''maqāma'' and its common substitutes could be used to denote an assembly, a heroic boast, or a religious or moralizing sermon, among other meanings. The word ''maqāma'' or ''maqām'' (used interchangeably at this time) were often used in explaining eloquence and speech appropriate for particular situations<ref name=":0" />. Given this historical context, Qian proposes that al-Hamadhani may have intended a moralistic or religious meaning in his use of the word “''maqāma''” to describe his work<ref name=":0" />; however, the word has since come to exclusively refer to the literary genre, and conversations like those one might find within its works<ref name=":1" />. | The meaning and original use of the word “maqāma” to describe the literary genre are the subject of some scholarly debate. Al-Hamadhānī referred to his anecdotes as “''maqāma''” in a letter written as early as the year 922 C.E<ref name=":0">Qian, A. (2012). [https://repository.upenn.edu/server/api/core/bitstreams/9ff5438b-48b5-4f56-8c1d-8a281507fb8d/content The Maqāmah as Prosimetrum: A Comparative Investigation of its Origin, Form and Function] [Unpublished doctoral dissertation]. University of Pennsylvania.</ref>. ***** Shah writes in her introduction to ''The Assemblies of Al-Harīrī'' that the word ''maqāma'' may be taken to mean “a place where one stands upright”, “the persons assembled at any place”, or “the discourses delivered or conversations held in any such assembly”<ref name=":1">{{Cite book |last=Shah |first=***** |title=The Assemblies of Al-Hariri |publisher=Ishk Book Service |year=1980 |isbn=9780900860867 |pages=ix-xi}}</ref>. Qian wrote that, at the time that al-Hamadhānī wrote and compiled his ''Maqāmāt'', the term ''maqāma'' and its common substitutes could be used to denote an assembly, a heroic boast, or a religious or moralizing sermon, among other meanings. The word ''maqāma'' or ''maqām'' (used interchangeably at this time) were often used in explaining eloquence and speech appropriate for particular situations<ref name=":0" />. Given this historical context, Qian proposes that al-Hamadhānī may have intended a moralistic or religious meaning in his use of the word “''maqāma''” to describe his work<ref name=":0" />; however, the word has since come to exclusively refer to the literary genre, and conversations like those one might find within its works<ref name=":1" />. |
| Beyond its historical context, there has been some discussion of the word “''maqāma''” as it refers to the genre. K. Okazaki wrote that the word ''maqāma'' as “assembly” is meant to reflect the assemblages of characters within the narrative witnessing the acts committed and subsequent trials faced by the roguish protagonist<ref>Okazaki, K., ”Maqama as a Courtroom Play- Disguised Hero, Duped Judge”, Orient, Vol. XVll 2007, 125-149.</ref>. Alain George argues that this reflection is two-fold. By his assertion, not only does “assembly” refer to the characters within the narrative, but it also refers to the small audiences of elite scholars who, according to George, would attend private readings of al-Hariri’s ''Maqāmāt''<ref>George, A. F. (2012). Orality, Writing and the Image in the Maqāmāt: Arabic Illustrated Books in Context. ''Art History'', ''35''(1), 10–37. https://doi.org/10.1111/j.1467-8365.2011.00881.x </ref>. | Beyond its historical context, there has been some discussion of the word “''maqāma''” as it refers to the genre. K. Okazaki wrote that the word ''maqāma'' as “assembly” is meant to reflect the assemblages of characters within the narrative witnessing the acts committed and subsequent trials faced by the roguish protagonist<ref>Okazaki, K., ”Maqama as a Courtroom Play- Disguised Hero, Duped Judge”, Orient, Vol. XVll 2007, 125-149.</ref>. Alain George argues that this reflection is two-fold. By his assertion, not only does “assembly” refer to the characters within the narrative, but it also refers to the small audiences of elite scholars who, according to George, would attend private readings of al-Harīrī’s ''Maqāmāt''<ref>George, A. F. (2012). Orality, Writing and the Image in the Maqāmāt: Arabic Illustrated Books in Context. ''Art History'', ''35''(1), 10–37. https://doi.org/10.1111/j.1467-8365.2011.00881.x </ref>. |
| === Development in Hebrew === | === Development in Hebrew === |
Okumaya devam et...