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The Transmission and Dynamics of the Textual Sources of Islam: Essays in Honour of Harald Motzki

The Transmission and Dynamics of the Textual Sources of Islam: Essays in Honour of Harald Motzki Book Reviews 217 provides the background transmission history and outlines textual variants, yet without distracting from the discussion at hand, which is to demonstrate how the male-centred framing of the story has not, in her estimation, diminished Nazhu¯n’s place in the satiric anecdote. Hammond’s careful argument could be readily used in either an under- graduate or graduate classroom to discuss how one might think about these frames and their contents as gendered structures; rather than closing off further argument, Hammond lays the groundwork for additional discussion with further data. If Chapter 4 engages a difficult logical problem, Chapter 5, “He Desires Her?”, suggests strongly that the use of a woman’s voice in particular genres of poetry need not be interpreted in only one way. Looking at muwashshaha, “an Arabic and Hebrew genre which developed in Andalusia before the tenth century” (p.25),she describes how this genre typically portrays women’s voices (and sexual expression) in the closing sections, and notes that this has largely been understood as men construct- ing women’s voices. She argues that women were also involved in the courtly musical lyrical traditions from which this genre grew, and we ought not assume automatically that all the anonymous verse http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Al-Masaq: Journal of the Medieval Mediterranean Taylor & Francis

The Transmission and Dynamics of the Textual Sources of Islam: Essays in Honour of Harald Motzki

3 pages

The Transmission and Dynamics of the Textual Sources of Islam: Essays in Honour of Harald Motzki

Abstract

Book Reviews 217 provides the background transmission history and outlines textual variants, yet without distracting from the discussion at hand, which is to demonstrate how the male-centred framing of the story has not, in her estimation, diminished Nazhu¯n’s place in the satiric anecdote. Hammond’s careful argument could be readily used in either an under- graduate or graduate classroom to discuss how one might think about these frames and their contents as gendered...
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Publisher
Taylor & Francis
Copyright
© 2014 Abdessamad Belhaj
ISSN
1473-348X
eISSN
0950-3110
DOI
10.1080/09503110.2014.915113
Publisher site
See Article on Publisher Site

Abstract

Book Reviews 217 provides the background transmission history and outlines textual variants, yet without distracting from the discussion at hand, which is to demonstrate how the male-centred framing of the story has not, in her estimation, diminished Nazhu¯n’s place in the satiric anecdote. Hammond’s careful argument could be readily used in either an under- graduate or graduate classroom to discuss how one might think about these frames and their contents as gendered structures; rather than closing off further argument, Hammond lays the groundwork for additional discussion with further data. If Chapter 4 engages a difficult logical problem, Chapter 5, “He Desires Her?”, suggests strongly that the use of a woman’s voice in particular genres of poetry need not be interpreted in only one way. Looking at muwashshaha, “an Arabic and Hebrew genre which developed in Andalusia before the tenth century” (p.25),she describes how this genre typically portrays women’s voices (and sexual expression) in the closing sections, and notes that this has largely been understood as men construct- ing women’s voices. She argues that women were also involved in the courtly musical lyrical traditions from which this genre grew, and we ought not assume automatically that all the anonymous verse

Journal

Al-Masaq: Journal of the Medieval MediterraneanTaylor & Francis

Published: May 4, 2014

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