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197, identified the author as someone from the Ibn Hisdai family see also J. Schirmann, Shirim Hadasbim min ha-Genizah, 371-372, n.
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Brann, The Compunctious Poet: Cultural Ambiguity and Hebrew Poetry in Muslim Spain (Baltimore 1991) 144, 147, 148. Stern, Hispano-Arabie Poetry, 141-142 Corriente, Poesia dialectal arabe, 313 (H 9) Judah ha-Levi, Diwan II, 321-322. Stern, Hispano-Arabie Poetry, 147 Corriente, Poesia dialectal arabe, 318-319 (H 17) Brody, Gürtelgedichte, 54. Brody, Gürtelgedichte des Todros Abu’l-’Afiyah (Berlin 1933) 57 Judah ha-Levi, Diwan II, 113. Rosen, ‘Towards the Kharja: a Study of Penultimate Units in Arabic and Hebrew Muwashshahaf, in F. Jones, Romance Kharjas in Andalusian Arabic Muwashshah poetry (London 1988) 101-105 (no. Corriente, Poesia dialectal arabe y romance en Alandalus (Madrid 1997) 288 (A 18) 312 (H 7) A. Yahalom, ‘The Importance of the Genizah Manuscripts for the Establishment of the Text of the Hispano-Romance “Kharjas” in Hebrew Characters’, Romance Philology (1986) 139f Stern, Hispano-Arabie Poetry, 138.į. 651 the same kharjah occurs with Judah ha-Levi, Diwan I, 176-177 cf. Bishri al-Aghranati, (Cambridge 1992), no. Jones, ed., Kitab ‘Uddat al-jalis wa-mu’anasat al-wazir wa l-ra‘is, talif Ali b. Schirmann, Shirim Hadashim min ha-Genizah (Jerusalem 1965) 371–372, n. Schippers, Spanish Arabic Poetry and the Arabic Literary Tradition (Leiden 1994) 128.
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Pérès, La poésie andalouse en Arabe classique au Xle siècle (Paris 1937) 383 A. Guichard, Structures sociales ‘orientales’ et ‘occidentales’ dans l’Espagne musulmane (Paris 1977) chapters 1–4. Zwartjes, Love Songs from al-Andalus: History, Structure, and Meaning of the Kharja (Leiden 1997) 5-22. Menocal e.a., eds, The Literature of al-Andalus, (Cambridge 2000) 57 for the language situation, see also O. I that this term does not derive from wishah (‘girdle’) but from tawshih (‘embellishment’) ’.Ĭ.L. Stern, Hispano-Arabie Strophie Poetry: Studies Selected and Edited by Leonard Patrick Harvey (Oxford 1974) 12, n. Ribera, Disertaciones y opúsculos (Madrid 1928) 55-56, n. Abu-Haidar, Hispano-Arabie Literature and the Early Provençal Lyrics (Richmond 2001) 124 argues with J. Muwashshab is often translated as ‘girdle poem’ (Hebr.
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This process is experimental and the keywords may be updated as the learning algorithm improves. These keywords were added by machine and not by the authors. Especially muwashshab s with a love theme or a wine theme can have a Romance or vernacular Arabic kharjah: a girl who is suffering from love passion speaking to her beloved or her mother, or a drunkard asking for the way to the tavern. This last refrain part of the muwashshab is called kharjah (‘exit’). At the linguistic level, different poetic languages can coexist, especially the refrain part (ZZ) of the fifth and last strophe (eeeZZ) can be in a language other than Classical Arabic or Hebrew, such as Colloquial Andalusian Arabic or even a Romance language. 1 It originated in the tenth century and has five strophes and a rhyme scheme /aaaZZ/bbbZZ/-eeeZZ, thus deviating from the normal Arabic ode, which has only one metre and no strophes. The literary genre called muwashshab is a specific form of Arabic and Hebrew Andalusian poetry with striking rhyme and metrics.