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- Ağbaht, Mahmut
(författare)
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The Arabic Dialect of Šɛ̄xṭɔ̄ba/Shaykh Taba (northern Lebanon) in its Regional context
- 2023
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study provides the first grammatical description of a sedentary type of Arabic from Akkar (محافظة عكار), the northernmost governorate of Lebanon. It deals with the Arabic dialect spoken in Šɛ̄xṭɔ̄ba/Shaykh Taba (الشيخ طابا) and covers the main features of its phonology (with focus on pausal phenomena) and morphology, as well as selected semantic fields within the lexicon. In addition to general comparative notes in relation to dialects of Levant and beyond, the study provides a comparison in Phonology to four dialects in the governorate of North which borders Akkar to the south. These are Tripoli, Bišmizzīn, Kfar-Ṣghāb and Zgharta. It also includes a comparison in Morphology to Tripoli, Bišmizzīn and Kfar-Ṣghāb.Furthermore, the study examines where ŠṭA stands within Henri Fleisch’s survey of the Lebanese dialects.Šɛ̄xṭɔ̄ba has a rather complex pausal system, which affects not only consonants and vowels, but also diphthongs. There are also pause-conditioned morphophonological alternations. Besides filling a gap in our knowledge of Arabic dialects in Lebanon, this work adds a new case study of pausal forms to Arabic and Semitic. The results of the investigation of pause in Šɛ̄xṭɔ̄ba, as well as a few other case studies, lead us to identify pausal forms involving retentions, as well as new pausal processes, and thus to propose a revision to the current classification of the pausal forms in modern Arabic dialects.
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- Ağbaht, Mahmut, et al.
(författare)
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The Fann, a Genre of Oral Poetry in Antiochian Arabic : Remarks on Form and Performance Practice
- 2024
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Ingår i: Journal of Semitic Studies. - 0022-4480 .- 1477-8556.
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Tidskriftsartikel (refereegranskat)abstract
- The fann is a genre of oral poetry in the vernacular Arabic of the Alawi community in the Antioch/Hatay province of Turkey. Until recently, it has hardly been mentioned in academic literature. Poetic form and rhythm structure are largely fixed in this genre and it is almost always performed in a similar way; when it comes to the quality of the voice, including a more or less clear melodic shape, there is more left up to the performer. During performances, the rhythmical element dominates the essence of melodic aspects. A preliminary comparison with related genres in the region demonstrates that both the form and performance practice of fann resemble genres in neighbouring Arab countries. Comparison also finds that there is hardly any connection with any Turkish and Kurdish singer-poem tradition as practised in nearby regions. Only recent changes indicate influences from contemporary Turkish music.
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