Emily Selove - Böcker

The 13th-century Arabic grimoire, al-Sakkākī's Kitāb al-Shāmil (Book of the Complete), provides numerous methods of contacting jinn. The first such jinn described, Abū Isrā'īl Būzayn ibn Sulaymān, arrives with a donkey. In the course of offering an explanation for his ritual, this Element reveals the double-sided nature of asinine symbology, and explains why this animal has served as the companion of both demons and prophets. Focusing on two nodes of donkey symbology-the phallus and the bray-it reveals a coincidentia oppositorum in a deceptively humble and comic animal form. Thus, the donkey, bearer of a demonic voice, and of a phallus symbolic of base materiality, also represents transcendence of the material and protection from the demonic. In addition to Arabic literature and occult rituals, the Element refers to evidence from the ancient Near East, Egypt, and Greece, as well as to medieval Jewish and Christian texts.

The 13th-century Arabic grimoire, al-Sakkākī's Kitāb al-Shāmil (Book of the Complete), provides numerous methods of contacting jinn. The first such jinn described, Abū Isrā'īl Būzayn ibn Sulaymān, arrives with a donkey. In the course of offering an explanation for his ritual, this Element reveals the double-sided nature of asinine symbology, and explains why this animal has served as the companion of both demons and prophets. Focusing on two nodes of donkey symbology-the phallus and the bray-it reveals a coincidentia oppositorum in a deceptively humble and comic animal form. Thus, the donkey, bearer of a demonic voice, and of a phallus symbolic of base materiality, also represents transcendence of the material and protection from the demonic. In addition to Arabic literature and occult rituals, the Element refers to evidence from the ancient Near East, Egypt, and Greece, as well as to medieval Jewish and Christian texts.

Ḥikāyat Abu al-Qāsim, probably written in the 11th century by the otherwise unknown al-Azdī, tells the story of a gate-crasher from Baghdad named Abū al-Qāsim, who shows up uninvited at a party in Isfahan. Dressed as a holy man and reciting religious poetry, he soon relaxes his demeanour, and, growing intoxicated on wine, insults the other dinner guests and their Iranian hometown. Widely hailed as a narrative unique in the history of Arabic literature, Ḥikāyah also reflects a much larger tradition of banquet texts. Painting a picture of a party-crasher who is at once a holy man and a rogue, he is a figure familiar to those who have studied the ancient cynic tradition or other portrayals of wise fools, tricksters and saints in literatures from the Mediterranean and beyond. This study therefore compares Ḥikāyah, a mysterious text surviving in a single manuscript, to other comical banquet texts and party-crashing characters, both from contemporary Arabic literature and from Ancient Greece and Rome.

This study compares ?ikayah, a mysterious text surviving in a single manuscript, to other comical banquet texts and party-crashing characters, especially from Ancient Greece and Rome.

Hikayat Abi l-Qasim al-Baghdadi (The Portrait of Abu l-Qasim al-Baghdadi) is an 11th-century Arabic work by Abu l-Mutahhar Muhammad ibn Ahmad al-Azdi which tells the story of a Baghdadi party-crasher crashing a party in Isfahan. It is introduced by its author as a microcosm of Baghdad. This work, written in prose but containing numerous poems, is widely hailed among scholars as a narrative unique in the history of Arabic literature, but The Portrait also reflects a much larger tradition of banquet texts, from "Trimalchio's Dinner Party" and Plato's Symposium to the works of Rabelais. It also paints a portrait of a party-crasher who is at once a holy man and a rogue, a figure familiar among scholars of the ancient Cynic tradition or other portrayals of wise fools, tricksters, and saints from literatures around the Mediterranean and beyond. While some early scholars of The Portrait dismissed it as disgusting and obscene, this work, with its wealth of material-cultural, philosophical, spiritual, and literary treasures, is much more than just a "dirty book".Following an introduction, which offers new insights into the relationship of the work to both its Greek predecessors and to its European descendants, the volume presents a new, improved edition of the Arabic text, together with a richly annotated translation, that aims at being both scholarly and readable, reflecting the often racy style of the Arabic. This makes it not only useful to specialists and students of medieval Arabic literature, but also accessible to a much wider general readership of those interested in comparative literature or "world literature". There are extensive indexes of names, places, subjects, and rhymes.