{"title":"Travelers from an Antique Land: Shelley's Inspiration for \"Ozymandias\"","authors":"John Rodenbeck","doi":"10.2307/4047422","DOIUrl":"https://doi.org/10.2307/4047422","url":null,"abstract":"An enduring myth about artists of all kinds is that work arises from personal physical experience. A case in point is Shelley's great political sonnet \"Ozymandias,\" which is conventionally presumed to have been \"inspired\" by an ancient Egyptian sculpture. Shelley never traveled to Egypt and thus certainly never saw the landscape he describes in his sonnet. Contrary to popular belief, moreover, he likewise never saw the sculptured head allegedly described in the sonnet, which did not arrive in England until a day or two after he and his family had moved permanently to Italy and more than six months after he had published the poem. All the sources and influences visible in the poem were entirely literary and all were part of the common currency of the era. Apart from Diodorus Siculus and the political sonnets of Milton and Wordsworth, they include several classics of travel literature in English and French, most notably the work of Volney. ********** This article concentrates on one of the greatest and most famous poems in the English language, Shelley's masterly sonnet \"Ozymandias,\" and deals with three areas of inquiry: 1) the sources of the poem in contemporary travel literature, 2) its meaning, and 3) what its sources and meaning tell us about the nature of \"poetic inspiration.\" Travel literature offers experience to the entirety of a literate public and for that reason alone has historically had far greater cultural impact than the experience of mere travel itself, which can only be individual and private. To take one small and suggestive example: the two most popular manuscript texts of the late Middle Ages were probably Mandeville's Travels and Marco Polo's Description of the World. Like Herodotus' Histories, these two books are literary compilations, rather than simple records or observations, and as such they quite rightly include fictional elements. It was inevitable that they should have been among the earliest European best-sellers in print, anticipating by many decades the great Renaissance collections of Ramusio and Hakluyt. (1) But what were the needs they obviously fulfilled? The question cannot begin to be answered until we bear in mind that they inspired not only More's Utopia--the fountainhead of an artistic lineage that includes major works of Rabelais, Cervantes, Bacon, Swift, Defoe, Voltaire, Melville, Twain, Shaw, Wells, Huxley, Orwell, Nabokov, and Calvino, not to mention V. S. Naipaul, Paul Theroux and J. G. Ballard--but also Columbus' voyage in search of the Indies. In the case of Shelley's \"Ozymandias\" the fact that the poem has nothing to do with the poet/speaker's personal physical experience is announced by the first line, which tells us explicitly that the person who had the fictive experience that the poem uses as its central metaphor was not the poet-speaker at all, but \"a traveler\": Ozymandias I met a traveler from an antique land Who said: \"Two vast and trunkless legs of stone Stand in the desert. Near them on the","PeriodicalId":36717,"journal":{"name":"Alif","volume":"96 1","pages":"121"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74254816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"From Past to Present and Future: The Regenerative Spirit of the Abiku","authors":"Mounira Soliman","doi":"10.2307/4047423","DOIUrl":"https://doi.org/10.2307/4047423","url":null,"abstract":"This article investigates the representation of the famous West African abiku phenomenon in three works by three Nigerian writers, namely, J. P. Clark-Bekederemo's poem \"Abiku\" (1965), Wole Soyinka's poem also entitled \"Abiku\" (1967) and Ben Okri's novel The Famished Road (1991). The article offers a socio-political reading of the abiku (the myth of a child who dies to be reborn) as handled by the three writers and based on a traditional West African world view. The article investigates how the abiku motif has attracted many writers who are engaged in various agendas of cultural nationalism and identity formation, and how a close reading of their work points to their aesthetic and ideological concerns. ********** Our country is an abiku country. Like the spirit child, it keeps coming and going. One day it will decide to remain. It will become strong. --Okri, Infinite Riches Modern African literature, written in European languages, is characterized as being a literature that is extremely culture-specific as it relies heavily on local cultures, on African cosmology, and on oral tradition. This cultural specificity, in most cases, projects a political intention that is hard to disregard in any attempted interpretation of a literary text. On the other hand, these two characteristics of African literature have for the past fifty years or so created a kind of literature that is not quite accessible to the Western reader who, first of all, is not well versed in African local cultures and, second, is unable to perceive the political intentions of African writers. Ultimately modern African literature has come to be regarded as an exotic kind of writing but not really serious literature. The Nigerian writer, Ben Okri, sarcastically comments on the way the West perceives African literature: \"'[t]hey say, 'oh dear, I'm reading an African novel. Ooh dear it's bound to be a bit strange--there are bound to be rituals and things'\" (Taylor 34). What the West fails to understand, in fact, is that culture specificity in this case is part of the national agenda of many African writers who are keen on promoting an exclusively African literary identity despite their awareness of the problematic and implications of writing in a foreign language as in the case of writers like Chinua Achebe, Gabriel Okara, Aye Kei Armah, among others. Indeed, Anthony Appiah explains that African intellectuals are always seeking to develop their cultures in directions that will give them a role and that, unlike the European writer, the African writer asks not \"who am I?\" but \"who are we?\" (76). Thus, the resort of African writers to their oral tradition is not simply an act of anthropological retrieval of a culture that has been intentionally confiscated by the colonizer, as Western criticism is fond of pointing out (see Cooper's discussion on this point 51-60). On the contrary, it is more of a socio-political agenda. For even though the anthropological project may have been true at a ver","PeriodicalId":36717,"journal":{"name":"Alif","volume":"68 1","pages":"149"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87260689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Pilgrim Clouds: The Polymorphous Sacred in Indo-Muslim Imagination","authors":"S. Kugle","doi":"10.2307/1350079","DOIUrl":"https://doi.org/10.2307/1350079","url":null,"abstract":"This article explores one Urdu poem of the early twentieth century, by the Indian poet Sayyid Muhammad \"Muhsin\" Kakorvi. \"In Praise of the Best of Messengers\" includes imagery of shape-shifting clouds that the poet skillfully uses to evoke the sacred and to describe his own relationship to the Prophet Muhammad from his locale as a Muslim in colonial India. He does this by invoking multiple geographic, cultural, and religious references in juxtaposition, as he moves from Qur'anic to Indic religious motifs through cloud images. His sense of the sacred is rooted in Indian imagery even as it embraces a wider Islamic identity that is also Persianate and Arabian. Muhsin's poetry seeks to reassert a multi-dimensional Islamic identity in India, anchored in Sufi theo-erotic mysticism and \"oneness of being\" philosophy. This is in stark contrast to other colonial Urdu poets, like Hali and Iqbal, whose use of religious imagery is more ideological and who saw poetry as a vehicle for nascent nationalism and communal separatism in a self-consciously \"modernist\" movement. ********** Ritual gives the force of the sacred a fixed form and knowable boundaries. Temples, mosques, and pilgrimage destinations root the sacred in specific places and known precincts. Prayers, sacrifices, and pilgrimage journeys fix the sacred a specific time and known duration. These sacred times and places give the chaos and uncertainty of profane life a certain sureness and foundation in a time beyond time and a place beyond place. (1) In contrast, in the field of poetry, the sacred can manifest in a persistently polymorphous way. In the free play of words, the sacred can infuse any metaphor or image, even those that seemingly belong to more profane spheres of life. In poetry, a single metaphor can suggest both sacredness and profane life at the same time in ways that are provocative and arresting, or even transgressive. Like clouds, metaphors in poetry are free to shift spaces and forms, suggesting a sense of space and time which is beyond the structure of routine life on the ground. The clouds are natural symbols of liminality, that quality of the sacred which anthropologist Victor Turner captures as \"betwixt and between\" the structures of social life on the one hand and ritual life on the other. The shape-shifting dynamism of clouds inspired one of modern Urdu literature's most intriguing poems in praise of the Prophet Muhammad. Written by Sayyid Muhammad \"Muhsin\" (who died in 1905 CE), this poem is in the genre of na't. Na't literally means \"description\" but in Urdu poetry always means the poetic description of the virtuous qualities of the Prophet Muhammad. This na't is unusual, however, in that it describes the movement of clouds. Beneath the shifting surface of cloud images, their power of movement and ability to change shape allow Muhsin to use clouds as an intermediary between heaven and earth. The image of clouds helps Muhsin to overcome the geo-cultural distance between himsel","PeriodicalId":36717,"journal":{"name":"Alif","volume":"10 4 1","pages":"155"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78348810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"La Poesie Impie Ou le Sacre Du Poete: Sur Quelques Modernes","authors":"Olivier Sécardin","doi":"10.2307/1350081","DOIUrl":"https://doi.org/10.2307/1350081","url":null,"abstract":"In France, the \"modern\" generation of poets--like Baudelaire, Mallarme and Rimbaud--had the ambition to give birth to a new conception of the sacred. Until then, the sacred was the experience of a transcendence whose inscrutable profundity language had to strive to reach. With poetic modernity, it is the immanence of poetic structure that contains and distills the sacral dimension. The poem is henceforth sacred because it is secret, locked up on itself and from the inside. It is secret in the etymological meaning of the word secretus: it is the mystery. Dreaming language, language of dream, lost tongue--these are the founding and heroic permutations of poetic modernity, a new sacred which disposes transcendence within structure. ********** La theologie, Qu'est-ce que la chute? Si c'est l'unite devenue dualite, c'est Dieu qui a chute, En d' autres termes, la creation ne serait-elle pas la chute de Dieu? Charles Baudelaire, Fusees Le moment poetique defini comme tel par Rimbaud: \"Ineffable torture ou il (le Poete) a besoin de toute la foi, de toute la force surhumaine, ou il devient entre tous le grand malade, le grand criminel, le grand maudit--et le supreme Savant!\", repond d'un clivage absolument moderne en meme temps qu'il conjoint des aspirations plus qu'inactuelles. Don de prophetie ou d'enthousiasme, la poesie est l'articulation d'une part divine, celle de l'\"Est deus in nobis\" d'Ovide et d'une part maudite, celle que theorisera Bataille. \"Voleurs de feu\", les modernes veulent recomposer une societe qui n'est pas possible sans art. L'art ne leur est pas seulement une religion figuree par le Livre comme Temple, mais aussi le lieu des ceremonies sociales. Le Livre n'est pas un cenacle restreint mais le centre radiant de la Cite. Outrepassant le cadre chretien et le neoplatonisme d'epoque, il s'agit pour le poete d'integrer cette heterodoxie au profit d'un syncretisme de plus en plus profane. Non seulement le moderne peut se reclamer de faire autorite, puisqu'il est inspire: cela signifie que le politique devient un attribut (une greffe) de la \"vertu poetique\", le poete pouvant tout aussi bien creer des vers, conseiller les puissants et guider l'opinion comme du Bellay; mais d'autre part il peut suppleer les pretres puisqu'il detient les secrets du nouveau Verbe s'edifiant sur les ruines de la theologie. Pour le poete chretien, il s'agissait de louer, double mouvement d'une invocation et d'une dedicace, le Createur et la Creation. La poesie etait subordonnee a son modele qui etait la Nature et les arcanes de la Creation. Desormais, la poesie opere une dissociation entre le sacre et le profane et la poesie elle-meme passe dans l'espace laique. C'est dire qu'elle est disponible au plus grand nombre. Il s'agit de travailler le vers: celui-ci n'est pas immediatement disponible ni mediatement abouti, la creation poetique reste un metier, le meme que Boileau ou Bossuet, mais c'est un metier investi. C'est la la condition pour le poete d'exprimer avec","PeriodicalId":36717,"journal":{"name":"Alif","volume":"34 1","pages":"212"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88172829","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Dilemma of the Literary Approach to the Qur'an","authors":"Nasr Abu-Zayd","doi":"10.2307/1350075","DOIUrl":"https://doi.org/10.2307/1350075","url":null,"abstract":"The principal intention of this article is to discuss some of the difficulties that challenge a literary approach to the Qur'an, an approach that focuses on the Qur'an as basically a literary text. Such an approach was invoked by Amin al-Khuli (1895-1966) as the only approach capable of explaining the inimitability, i'jaz, of the Qur'an. His point is that the acceptance of the Qur'an, and accordingly the acceptance of Islam by the Arabs, was based on recognizing its absolute supremacy compared to human texts. In other words, the Arabs accepted Islam on the basis of evaluating the Qur'an as a literary text that surpasses all human production. The literary method should, therefore, supersede any other religio-theological, philosophical, ethical, mystical or judicial approach. (1) Our analysis is based on the discussion that took place in the 1940s in Egypt around Muhammad Ahmad Khalafallah's (1916-98) Ph.D. thesis, presented to the Department of Arabic Language and Literature, Faculty of Arts, Fu'ad al-Awwal University (now Cairo University) in 1947. It was entitled Al-Fann al-qasasi fi al-Qur'an alkarim and was written under the supervision of Amin al-Khuli. The nature of the discussion that the thesis raised inside and outside the university will be the main focus of analysis. When the thesis was submitted to the examiners' committee in 1947 to set the date for the defense, the committee members, according to al-Khuli, were satisfied with the academic level, but they demanded some modification. Some information about the thesis was leaked to the media, and a heated polemical debate took place questioning the university academic regulation in a Muslim society that allowed such a thesis. The line of argumentation against the method and the thesis could be summarized as follows: (1) A literary text is a composition of human imagination while the Qur'an represents the word of God that should not be compared to any human discourse. (2) To deal with the Qur'an as a work of literary art, fann, is to suggest that it is written by Muhammad. (3) Furthermore, claiming that the stories of the Qur'an do not present actual historical facts, as the literary approach suggests, is committing the greatest blasphemy that amounts to apostasy. (2) It places the Qur'an in a lower position than a book of history. (3) (4) More insulting to the Qur'an from the point of view of the traditional dogma is to claim that its language and structure is historically determined and culturally formed. It could be easily interpreted to mean that the Qur'an is a human text. (4) The objection against the literary approach to the Qur'an is still very strong in the ongoing debate in modern Islamic thought between the traditionalists and the modernists, on one hand, and between Muslim and Western non-Muslim scholars, on the other hand. It presents to a great extent a continuation of the debate about Khalafallah's thesis, in which classical Islamic thought always plays an undeniable role ","PeriodicalId":36717,"journal":{"name":"Alif","volume":"34 1","pages":"8"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87076566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"الجميل والمقدس في خبرتي الدين والفن","authors":"سعيد توفيق, S. Tawfiq","doi":"10.2307/1350086","DOIUrl":"https://doi.org/10.2307/1350086","url":null,"abstract":"","PeriodicalId":36717,"journal":{"name":"Alif","volume":"14 1","pages":"8"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80667676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Floire and Blancheflor: Courtly Hagiography or Radical Romance?","authors":"Marla Segol","doi":"10.2307/1350082","DOIUrl":"https://doi.org/10.2307/1350082","url":null,"abstract":"In the late twelfth-century Old French aristocratic version of Floire and Blancheflor, the writer employs sacred forms to subvert Church ideology. In this romance, the writer uses Christian iconography and narrative conventions to elaborate the courtly love relation, and to assert affinity between Christians and Muslims. In showing affinity across lines of religion and culture, the writer undermines the medieval Christian eschatological understanding of history based in radical difference between Christians and non-Christians. In so doing, the author also launches a critique of Catholic Church policy predicated on radical difference between Christians and non-Chrsitians, such as the drive toward Crusades and forced conversion. ********** The Old French aristocratic version of Floire and Blancheflor is generally considered a roman idyllique, an idyllic romance treating the adventures of two innocents, unconcerned with the courtly or the political. While the characters themselves are, in the beginning, seemingly uninterested in these matters, the romance as a whole advances some unconventional political opinions in the form of a counter-history. The redactor for the Old French aristocratic version of Floire et Blancheflor uses sacred conventions to rewrite a secularized communal history. This version of history expresses ancestral and cultural affinity to Muslims, a secularized view of human relations, and ultimately, a strong argument against crusade. Floire et Blancheflor was one of the most popular medieval romances, with a multitude of surviving manuscripts in Old French, Middle English, Low German, Old Icelandic, Old Norse, Ladino, Italian, Middle Dutch, and Old Spanish. Historically, there has been significant contention over the derivation of this romance, with \"some critics believing in its creation by a French poet, and others arguing for Persian, Byzantine, or otherwise undefined Oriental origins.\" (1) While the derivation of the tale has not been established, Patricia Grieve, in her recent book Floire and Blancheflor and the European Romance, (2) definitively identifies the Spanish versions as the earliest strains of the tale, probably composed in about the ninth century. (3) The Cronica version with which Grieve worked, the Cronica de Flores y Blancaflor, was found interpolated at various points in a late-fourteenth or early fifteenth century manuscript of Alfonso el Sabio's thirteenth century history of Spain, the Primera Cronica General. Chronologically next are the two Old French versions, with the aristocratic version--the work under study here--dating from about 1150-1170, by some estimates, and about 1200-1225 by others, (4) with its earliest surviving manuscript in Old French dating from about 1288. (5) The popular version appears slightly later than the composition date of the aristocratic version, probably in the mid-thirteenth century. (6) Soon after these the Middle English version appears in about 1250. In the Old French ari","PeriodicalId":36717,"journal":{"name":"Alif","volume":"130 1","pages":"233"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79612360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Authorship in Sufi Poetry","authors":"Michael Frishkopf","doi":"10.2307/1350077","DOIUrl":"https://doi.org/10.2307/1350077","url":null,"abstract":"This article explores authorship in the Sufi poetry of Egypt. How do we explain apparent paradoxes: attribution of new poetry to an old saint, to more than one person, or to a performer? The Sufi's world includes a close-knit spiritual-social network, spanning entities (both living and dead), across which text and inspiration flow. Poetic production (primarily the recombination of pre-fabricated units), occurs as much in social performance as in \"private\" composition. Since the Sufi author is always network-connected, every poetic practice is always collaborative. Conversely, every Sufi (\"poet,\" performer, or listener) acquires authorial attributes. The article terms the social network of authors the \"interauthor,\" and claims that it is precisely the social analog to the symbolic \"intertext\" emphasized through textual repetition. Paradoxes result from coercing the Sufi interauthor into an alien modernist frame of autonomous authorship. Ironically, in practice this sacred \"tradition\" exhibits more postmodern features of authorship than contemporary secular Arab poetry. ********** The celebrated Sudanese Shaykh Muhammad 'Uthman 'Abdu al-Burhani, founder of a now-global Sufi order (tariqa), (1) passed away on April 4th, 1983; several years later, the tariqa published his collection (diwan) of sacred poetry, Sharab al-wasl [The Drink of Union] (al-Burhani). Each poem in this diwan carries the date of its composition, and poems are presented in chronological order. All of this seems perfectly ordinary. Somewhat less ordinary is the date of the first poem, April 13th, 1983, a full week after the death of its putative author. How can we understand such an enigma? What is the meaning of authorship for the Sufis? I. Problems of Authorship, and Sufi Poetry This article is an exploration of authorship, and related concepts of textuality and meaning, in Sufi poetry, based on more than five years' participant-observation research among Sufis, Sufi singers, and Sufi poets in Egypt. What I intend to do is to interpret the concept of authorship of Sufi poetry as Sufis themselves appear to understand it, without attempting to bracket their beliefs within the confines of a \"higher\" theory. Rather, I seek to trace the relation between their \"emic\" (insider) view, and the \"etic\" (outsider) theories propounded by Western literary philosophers and critics. An analysis of Sufi authorship may help in developing a theory of authorship for sacred literatures, and perhaps even contribute towards theories of authorship in general. Conventional assumptions about authorship were most famously challenged by Roland Barthes in a highly influential article (Barthes, \"The Death of the Author\"), in which he melodramatically declared the \"death of the author.\" But I rather follow Foucault (\"What is an Author?\") in problematizing the contours of authorship (the \"author-function\"), freeing \"authorship\" from necessary attachment to a singular concept of individualized creative genius. ","PeriodicalId":36717,"journal":{"name":"Alif","volume":"28 1","pages":"78"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73328422","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"قراءة في سفر الجسد","authors":"بطرس الحلاق, Butrus al-Hallaq","doi":"10.2307/1350092","DOIUrl":"https://doi.org/10.2307/1350092","url":null,"abstract":"","PeriodicalId":36717,"journal":{"name":"Alif","volume":"80 1","pages":"133"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79703875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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