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This study of Arab autobiographical discourse investigates various modes of cultural identity which have emerged in Arab societies in the last 40 years. During this period, autobiographical texts moved away from exemplary life narratives and toward more unorthodox techniques, such as erotic memoir writing, postmodernist self-fragmentation, cinematographic self-projection, and autobiographical blogosphere. The book argues that the Arabic autobiographical genre has evolved into a mobile, unrestricted category arming authors with narrative tools to articulate their selfhood. Reading works from such Arab nations as Egypt, Iraq, Morocco, Syria, and Lebanon, the author connects the century's rapid political and ideological developments to increasing autobiographical experimentation in Arabic works. The scope of the study also forces a consideration of film and cyber forms of self-representation as new autobiographical sub-genres. The monograph offers a novel theoretical framework to these diverse modes of autobiographical cultural production and situates Arabic autobiographical discourse as an integral part of global identity-making cultural production.

This book radically re-interprets the nature of medieval Arabic love poetry in the classical age. It challenges stereotypical ideas about the absence of the body in ʿUdhri love poetry. Investigating the ʿUdhri tradition through close readings of the classical 10th-century Arabic sources including anthologies such as the Kitab al-Aghani, the book contributes to literary studies on the representations of the body. It also includes close readings of difficult literary texts in classical Arabic including the work of ʿUrwah b. Hizam, Majnun Layla,  Qays b. Dharih, Jamil Buthaynah and Kuthayyir ʿAzzah.  The author re-appraises the relationship between love, poetry and Arab society in the 8th to 11th centuries. She avoids familiar clichés about the purity of love in ‘Udhri poetry. Broadly speaking, this book is an Arabic counterpart to the western medieval concept of unconsummated courtly love. It questions the traditional much-vaunted emphasis on chastity and the assumption that this poetry omits any concept of the body. 

This two-volume work represents a textual and contextual study of an early Arabic mirror for princes, the book known as Naṣīḥat al-mulūk (‘Counsel for Kings’) and attributed to the jurist and polymath Abū l-Ḥasan al-Māwardī (d. 450/1058). Following earlier studies, Wisdom and Politics in Tenth-Century Iran finds the Arabic mirror’s traditional ascription to al-Māwardī to be unlikely, and proposes instead an early tenth-century dating, and an eastern Iran setting. On this assumption, Wisdom and Politics interprets the mirror as a product of and reflection on the political culture and social and cultural conditions of the early Samanid period, portrayed through the critical argument and counsel of an author, referred to as Pseudo-Māwardī, likely to have resided in or near the city of Balkh. Pseudo-Māwardī’s perceptions and opinions reflect a largely Ḥanafite legal affiliation and strongly Muʿtazilite patterns of thought, of a kind associated with Abū l-Qāsim al-Kaʿbī al-Balkhī (d. 319/931), who furthered the ‘Baghdadi’ branch of Muʿtazilite theology in eastern Iran. Naṣīḥat al-mulūk also displays an affinity with the philosophical perspectives of Abū Zayd al-Balkhī (d. 322/934), and a thorough familiarity with Arabic literary culture. Volume I explores the context in which Naṣīḥat al-mulūk arose and to which it responds. Against an early tenth-century Samanid background, it studies Pseudo-Māwardī’s portrayal of kingship and governance, his arguments for the ruler’s optimal treatment of the various social groups, his references to the diversity of the region’s religious culture, his largely inclusive but also boundary-establishing assertions regarding religious beliefs and practices, the literary representations of heterodoxy that shaped his mentality and the resonance of his text in the setting that produced it.

The Edinburgh Companion to Irish Modernism showcases cutting-edge developments in Irish and modernist studies. Extending the timeline of modernism, the Companion reaches back to the Irish Literary Revival of the late nineteenth century and forward to recent innovations in the arts. The Companion also calls for a more inclusive understanding of Irish modernism, drawing greater attention, for example, to the pioneering work of women and prompting a richer awareness of 'gender trouble' in the long twentieth century. It departs from other handbooks and critical anthologies by highlighting the ‘heresies’ of Irish modernism, its trademark modes of resistance to orthodoxy and tradition. Among those modes, the Companion identifies ‘heresies of time and space’, ‘heresies of nationalism’, ‘aesthetic heresies’, and ‘heresies of gender and sexuality’ as the organising rubrics for each section of the volume, concluding with ‘critical heresies’ that have reshaped the academic field. Under these five rubrics, contributors address a wide range of modernist achievements in drama, poetry, fiction, cinema, journalism, decorative arts, and philately, while the introduction offers pointers for further exploration of Irish music, painting, and architecture, accompanied by photographic reproductions. Granting that heresies often overlap, the chapters are organized to reflect their respective emphases, with the proviso that heresies are defined by their impurity, as well as by the orthodoxies they betray—the word ‘betray’ implying both transgression and revelation.

This book analyses the field of contemporary Iranian literature. It explores how literature has functioned and circulated since the 1979 revolution until the present, both within Iran and in countries of the Iranian diaspora, focusing on North America, Western Europe and Australia. It focuses on prose productions, analysing several genres and media. The book takes Iran as its starting point, revealing the forms, structures and functions of Iranian literature within Iranian society, before turning to the global diaspora to examine the current dynamics of literary production and circulation between Iranian diasporic spaces and the homeland. It provides a comprehensive analysis of the contemporary Iranian literary field in its relation to the social, economic and political fields, both within Iran and in the diaspora. It is also a critical intervention in the field of World Literature as it explores Persian literary texts and the Iranian literary field in their worldly dimensions, with an interdisciplinary and global perspective. It is based on 15 years of fieldwork and travels in Iran, with unique interviews, data collection and participant observation.

This book provides a commentary on a neglected, but illuminating, area of postcolonial fiction, and makes a timely contribution to the understanding of wider Iraqi culture and society. It is designed to fill a gap in existing research in English on modern Arabic fiction, which has barely begun to address the work of Iraqi novelists. It first explores early pioneering works and then moves towards an outline of the vibrant Baghdad cultural scene during the 1940s and 1950s. Particular attention is paid to detailed textual analysis and the evaluation and comparison of the aesthetic and poetic qualities of the key works of the four writers who form the central subject of the book: ‘Abd al-Malik Nuri (1921-1998), Gha’ib Tu‘ma Farman (1927-1990), Mahdi Isa al-Saqr (1927-2006) and Fu’ad al-Takarli (1927-2008), all of whom began to write in or around the pivotal decade of the 1950s. It is in these writers’ works that Iraqi fiction came of age and reached artistic maturity. The best of these writers’ works are among the most complex portrayals of the particularities of life in Iraq and the human condition in general to come out of the Arab world.

In memoirs, Arab writers have invoked solitude in moments of deep public involvement. Focusing on Taha Hussein, Sonallah Ibrahim, Assia Djebar, Latifa al-Zayyat, Mahmoud Darwish, Mourid Barghouti, Edward Said, Haifa Zangana, and Radwa Ashour, this book reads a range of autobiographical forms, sources, and affinities with other literatures. Taking a comparative approach, the book shows the local sources of contemporary Arab autobiography, adaptations of a global genre, and cultural exchange. It also examines different aspects of the contemporary autobiography as it has evolved in the Arab world during the past half-century, focusing on the particularity of the genre written in different languages but pertaining to one overarching Arab culture. Drawing on memoirs, testimonies, autobiographical novels, poetic autobiography, journals, and diaries, it examines solitude and national struggles in contemporary Arab autobiography.

Material Poetics in Hemispheric America examines poets and artists in the Americas during the late twentieth and early twenty-first centuries to show how they worked to make language into material objects and material objects into language. It builds a theory of ‘material poetics’ that provides an alternative account of poetry in hemispheric America. It argues that by reframing American poetry to prominently include object-oriented practices within and beyond the United States, material poetry can be seen as representing a significant branch of the American poetic tradition. This book puts contemporary theories of objects and matter into conversation with a variety of American approaches to material poetics. These approaches result in one-word poems more concerned with the look of language than its meaning, artworks that invite viewers to physically engage with language, poems assembled from networks of out-of-place words and things, poetic monuments that meditate on (and take up) space, and poetry that attempts to materialise the remnants of lyrics and lives. By examining five case studies, drawn from Brazil, Chile, the United States, and Canada, it investigates five ways of conceptualizing these poetic objects—as autonomous, relational, assembled, architectural, and posthuman. Poets and artists featured include Haroldo de Campos, Décio Pignatari, Augusto de Campos, Ferreira Gullar, Hélio Oiticica, Lygia Pape, Juan Luis Martínez, Ronald Johnson, and Anne Carson.

This book provides a comprehensive theoretical framework for the study of the literary history of the diverse production of contemporary Arabic literary texts and the reasons for their canonization. Based on the achievements of historical poetics, the book offers flexible, transparent, and unbiased tools for understanding these texts and their contexts. The aim is to enhance understanding of Arabic literature, throw light on areas of literary production that traditionally have been neglected, and stimulate others to take up the challenge of mapping out and exploring them. Three categories are used: The first is the investigation of the literary dynamics in synchronic cross-section ― potential inventories of canonized and non-canonized texts in both the standard language, fuṣḥā, and the vernacular, ‘āmmiyya, in three subsystems: texts for adults, children’s literature, and translated texts for adults and children. The internal and external interrelations and interactions between the various subsystems need to be studied if we wish to arrive at a comprehensive understanding of Arabic literature. The second category consists of the study of the historical outlines of the literary system’s diachronic development, that is, the interactions with other extra-literary systems that have determined the historical course of Arabic literature since the nineteenth century. The third category is intended to concentrate on the historical diachronic development that each genre underwent and on the relationships between the various genres. Since literary genres do not emerge in a vacuum, the issue of generic development cannot be confined to certain time spans; emphasis must be laid on the relationship between modern literature and classical and postclassical literature.

Mad love in the Arabic novel is an expression of the anxiety surrounding Arabic novel's search for form. It is symptomatic of nostalgia for the future that, in the absence of a viable trajectory in the Arab world's disappointment in the nation-state and modernisation, retreats into the past, arguing with it and looking in it for a resolution for the love triangle it creates for nation-state, modernity and tradition. This book uncovers the politics of nostalgia inherent in the Arabic novel, places these in the context of the birth of the Arabic novel in the intercultural networks of exchange between East and West, past and present, and traces them to the discourses on aesthetics, ethics and politics relevant to cultural and literary transformations of the Arabic speaking world in the nineteenth and twentieth centuries. Nostalgia and madness are the tropes through which the Arabic novel writes its own history as a story of grappling with and resisting the hegemony of both the state and tradition.

This book is devoted to the life and academic legacy of Mustafa Badawi who transformed the study of modern Arabic literature in the second half of the twentieth century. Prior to the 1960s the study of Arabic literature, both classical and modern, had barely been emancipated from the academic approaches of orientalism. The appointment of Badawi as Oxford University's first lecturer in modern Arabic literature changed the face of this subject as Badawi showed, through his teaching and research, that Arabic literature was making vibrant contributions to global culture and thought. Part biography, part collection of critical essays, this book celebrates Badawi's immense contribution to the field and explores his role as a public intellectual in the Arab world and the west.

The Unmaking of the Arab Intellectual examines the figure of the intellectual as prophet, national icon, and exile in contemporary Arabic literature and film. Staging a comparative dialogue with writers and critics such as Elias Khoury, Edward Said, Jurji Zaidan, and Mahmoud Darwish, Halabi focuses on new articulations of loss, displacement, and memory in works by Rabee Jaber, Elia Suleiman, Rawi Hage, Rashid al-Daif, and Seba al-Herz. She argues that the ambivalence and disillusionment with the role of the intellectual in contemporary representations operate as a productive reclaiming of the 'political' in an allegedly apolitical context. The Unmaking of the Arab Intellectual invites us to engage in a practice of criticism that is inherently retrospective and evaluative, putting into question the very foundation of what constitutes the modern Arab intellectual legacy. It suggests a methodology to understand the evolving relations between intellectuals and power; authors and texts and generates a politics of reading that locates the political in the hitherto uncharted contemporary era.

This book unearths a rich tradition of creative flexibility, collaboration and mutual influence between literary culture and Egyptology from the late nineteenth century to the early decades of the twentieth century, culminating in the aftermath of the high-profile discovery of the tomb of Tutankhamun in 1922. The first book-length study to focus in depth on the symbiotic relationship between literature and Egyptological culture, it analyses the works of Egyptologists including Howard Carter and E. A. Wallis Budge alongside those of their literary contemporaries such as H. Rider Haggard and Marie Corelli. Combining literary criticism with book history and reception studies, it incorporates a number of archival primary sources which have, until now, escaped critical attention, and reads canonical literature alongside works by lesser-known authors, to ascertain the proliferation of twin Egyptological and literary interests. It was across this period, this book shows, that as a result of the public fervour stirred up by its gilded discoveries and the ancient language that its scholars had so recently deciphered, its high-profile practitioners (both expert and amateur) and its wide range of associations in the cultural consciousness (from magic and longevity, to sexual desire and horror), that Egyptology and its cultural offshoots infiltrated the libraries, lives and minds of an extraordinarily eclectic audience.