Abstract
This paper employs and describes an experimental methodology of viewing medieval Arabic authors through the lens of stage actor performance theory. In particular, it argues that semi-canonical writings, such as al-Ṭabarī’s History of the Prophets and Kings, become the “script” that later authors, such as Ibn al-Athīr and Ibn Kathīr “perform” as actors. This methodology is novel, and argues that by examining the changes authors made to narratives presented in earlier Arabic texts, we can draw important conclusions about the authors’ opinions of the relative importance of narrative elements, the authors’ literary-narrative strategies for endowing memories with meaning, and establish each author's super-objective (his primary thematic or narrative concerns).
Highlights
The academic study of Islamic historiography has reached a transitional period, and is currently occupied by a number of competing approaches
This paper employs and describes an experimental methodology of viewing medieval Arabic authors through the lens of stage actor performance theory. It argues that semi-canonical writings, such as al-Ṭabarī’s History of the Prophets and Kings, become the “script” that later authors, such as Ibn al-Athīr and Ibn Kathīr “perform” as actors
Borrut has pointed out the importance of Karbalāas a “site of memory;”[51] sure enough, Ibn Kathīr agrees on the importance of the moment, and interrupts his narrative with the following monologue, which, in theatrical terms, can best be described as an aside to the reader that breaks the fourth wall: “Every Muslim must feel grief at [al-Ḥusayn’s] death, may God be pleased with him
Summary
The academic study of Islamic historiography has reached a transitional period, and is currently occupied by a number of competing (though not necessarily mutually exclusive) approaches.
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