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Mohamed Enani

rendered in verse and readers expected translated poetry to sound poetic in Arabic. However, Egyptian translators of the sonnets, especially Badr Tawfiq, who had been an army officer before acquiring a working knowledge of English, helped to re

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Haifaa Majadly and Aharon Geva-Kleinberger

Introduction Language has the important function of serving as a means of communication among people and as an instrument of expression and thought. The Arabic language presents special challenges insofar as it is a classical language, is

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Appropriations and Contestations of the Islamic Nomenclature in Muslim North India

Elitism, Lexicography, and the Meaning of The Political

Jan-Peter Hartung

system”). Similarly, the terms used by non-Dravidian Muslims in the subcontinent originate almost exclusively from Arabic and have clear religious and socioreligious connotations, which were never fully lost in the semantic developments over time. Yet

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Mahmoud F. Al-Shetawi

Building on what has already been documented in related scholarship concerning this topic, this article will look into facets of postcolonial theory vis-à-vis appropriations and adaptations of the plays of Shakespeare in Arabic. In doing so, the article will compare known postcolonial 'Shakespeares', and Arabic appropriations of his plays. It will comment on the postcolonial aspects of these plays and show whether Arab dramatists have been 'writing back', so to speak, in response to the colonial experience. The article addresses the following questions: first, do Arab playwrights deal with postcolonial issues in their appropriations of Shakespeare? Second, to what extent have Arab playwrights used Shakespeare to 'strike' at colonialism? Third, are Arab playwrights aware of postcolonial theory and discourse? And fourth, what is the nature of the Arabic contribution to postcolonial discourse? Although the treatment of Shakespeare in Arabic literature, especially drama and poetry, has been considered elsewhere, this particular approach to the Bard is relatively new. The article contends that there are postcolonial appropriations of Shakespeare in Arabic, which need to be properly investigated and commented upon with reference to postcolonial literary theory.

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Conceptual History of the Near East

The Sattelzeit as a Heuristic Tool for Interrogating the Formation of a Multilayered Modernity

Florian Zemmin and Henning Sievert

Conceptual history holds tremendous potential to address a central issue in Near Eastern Studies, namely the formation of modernity in the Near East, provisionally located between the mid-nineteenth and mid-twentieth centuries. The encounter with European powers, primarily Britain and France, was a decisive historical factor in this formation; and European hegemony is, in fact, inscribed into the very concept of “modernity,” which we take as an historical, rather than analytical, concept. The conceptual formation of modernity in Arabic and Turkish was, however, a multilayered process; involving both ruptures and continuities, intersecting various temporalities, and incorporating concepts from several languages. To interrogate this multilayered process, we suggest the metaphor of the Sattelzeit (Saddle Period) as a heuristic tool, precisely because of its being tied to modernity. Finally, the article will show what conceptual history of the Near East has to offer to conceptual history more broadly.

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The Taming of the Tigress

Faṭima Rushdī and the First Performance of Shrew in Arabic

David C. Moberly

evolving debates about the nature of women and the marriage relationship. Shrew has been translated multiple times for the stage, into both colloquial and more literary registers of Arabic, and several Egyptian film producers have adapted it for the

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The Quest for the Sonnet

The Origins of the Sonnet in Arabic Poetry

Kamal Abu-Deeb

Epilogue (For the English Version of the Study) Sometime in the mid-1980s, I was working on a paper to be delivered at an international conference on the impact of Arabic literature on Western literatures. As I explored various possibilities

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Shakespeare’s Orientalism Revisited

A Postcolonial Study of the Appropriation of Arabic/Islamic Allusions and Matters in the Bard’s Oeuvre

Mahmoud F. Al-Shetawi

Edward Said's theory of Orientalism. 2 Shakespeare appropriates into his drama and poetry a relatively large body of Arabic and Islamic matters which he has gleaned from different sources such as travel literature, tales of pilgrims, history annals and

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Hilary Pomeroy

significant contribution to religious and legal practice and to material culture and brought with them their language, Spanish, which would develop its own distinctive form, Haketía, containing numerous Moroccan Arabic elements, as well as the oral literature

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Frédéric Viguier

: standard Arabic would be the language of religion and tradition, French and—to a lesser degree—English would be the languages of modernity and openness to the North, Darija (Moroccan spoken Arabic), and the different Berber languages would be the daily