Malti-Douglas Research Articles

Yusuf’s “Queer” Beauty in Persian Cultural Productions

In the Hebrew Bible, Joseph is one of Jacob's twelve sons whose story is woven throughout the final chapters of Genesis. In the quranic account, (Joseph) is the only prophet whose story gets a whole chapter of its own. According to tradition, the entire Sura Yusuf, which takes up 111 verses, was once revealed to the Prophet Muhammad. In Persian literature, Yusuf's story appears in the works of almost every poet from the classical period (900-1500). The most famous work involving the story of is the narrative poem Yusuf o by 'Abd alRahman Jami (d. 1492). Jami's poem, which has generated numerous commentaries, is a reinterpretation of Sura Yusuf. The poem has been the inspiration for various literary and historical texts and continues to be a central narrative in Islamic cultures. However, the majority of these commentaries and works focus on the significance of female sexuality--feminine guile, fitna, and its negative implications--which is central to the understanding of sexuality as it is depicted in Islam, as opposed to male sexuality. For example, Denise A. Spellberg has discussed the political role of Zulaikha (Potiphar's wife, whose name in the Hebrew and quaranic version is never mentioned). Fedwa Malti-Douglas draws on the importance of Zulaikha's feminine guile in Medieval Arabo-Islamic literature. Barbara F. Stowasser, delineating the various interpretations of the story in Arabic literature, suggests that studying female figures such as Zulaikha helps us understand how religious ideas are linked with social reality in affective relationships. Gayane Merguerian and Afsaneh Najmabadi, too, in examining the different views of Zulaikha, contribute to the understanding of female sexuality in Islamic literature. Although discussions of female sexuality are of utmost significance, consideration of masculinity and male sexuality is equally important for understanding the construction of sexuality in general. This article, therefore, looks at descriptions of Yusuf's beauty not only in Jami's Yusuf o but in the portrayal of Yusuf's masculinity in other Persian cultural productions: a 20th century painting, two tile works from Qajar era (1779-1925), and two contemporary tableau rugs which tell the story of Yusuf o Zu laikha. (1) In these cultural productions, is depicted as androgynous, and although his androgyny falls under the accepted standard of beauty in pre-modern Islamicate culture, to the contemporary viewer familiar with rigid conceptions of gender and sexuality, this type of portrayal seems disruptive. Furthermore, both in Jami's poem, in the paintings, and in the tile works, while androgynous, is portrayed as a passive recipient of female gaze, thus emasculating and feminizing him. This too seems disruptive to the pre-modern understanding of malefemale, active-passive gender roles in the Muslim world. Therefore, this paper argues that these cultural productions queer Yusuf's masculinity, and in so doing, they construct gender in a reverse manner, challenging gender categorization and illustrating the fluidity of sexuality for both pre-modern and modern readers and viewers, albeit in different ways. (2) One of the most significant differences between the biblical and quranic versions of the story is in the character of Potiphar's wife, and the way that in the quranic version, Potiphar's wife tries to prove to Egyptian women that falling in love with was not her fault. In Genesis 39, Potiphar's wife becomes infatuated with Joseph and tries to seduce him. When Joseph refuses her, she claims that he had tried to seduce her. Hearing his wife's story, Potiphar immediately believes her and imprisons Joseph. Afterwards, there is no mention of either Potiphar or his wife again in the Bible. The biblical account of the story highlights female desire, temptation, and vengeance. In the biblical account, Potiphar's wife does not have a name. …

THE PROMISE AND PITFALLS OF MEDIEVAL ISLAMIC SOCIAL HISTORY

When I was in graduate school, in the 1980s, one frequently heard complaints about the comparatively unsophisticated nature of the historiography of the medieval Middle East. There was considerable envy of historians in fields like early modern European history, who pushed broader disciplinary limits and whose works were read not just for content but also for historiographical and theoretical inspiration. There were some in our own corner of the profession blazing new methodological trails—Clifford Geertz, for example, who, though not a historian, had much to say to historians, and whose books were read eagerly by historians, and not just in Middle Eastern history; or Fedwa Malti-Douglas, as much at home in feminist literary theory as in medieval Arabic literature. But many graduate students in Middle Eastern history felt a bit underrepresented on the cutting edge of historical thought and practice.

Where Do We Go From Here?: Reading “Arab Women’s Writing” Today

Al-Hassan Golley, Nawar, ed. 2007. Women's Lives Retold: Exploring Identity Through Writing. New York: Syracuse University Press. $45.00 he. $22.95 sc. xxxvi + 271 pp.Mehta, Brinda. 2007. Rituals of Memory In Contemporary Women's Writing. New York: Syracuse University Press. $45.00 hc. 303pp.No one today is purely one thing.(Edward Said, Culture and Imperialism)Who is writer? Both Nawar el-Hassan Golley s edited collection and Brinda Mehta's book confront us with this label. Indeed, category of often functions as a stock subset of both postcolonial and studies. The classification Arab may expand into North African and Eastern, women's studies into gender studies.These represent slightly more pertinent, but still extremely general categories. In aftermath of pan-Arabism, rise of Islamism, and increasing examples of sectarian conflicts throughout region, usefulness of term Arab must itself be interrogated. As example of Morocco perhaps illustrates best, women who under current theoretical paradigms fall under Arab or Middle Eastern umbrella may, in fact, define themselves as neither, choosing simply Moroccan or Amazighii instead. However, as is usually case, categories remain maddeningly hard to shift. Indeed, at its worst category writing serves to sell odalisque back to (ex)colonizer, giving us opportunity to once again turn a sexualized yet politically correct gaze on orientalized Other. In this way, socio-political and economic consequences of decolonization have created a curious reversal: Oriental woman has too-often become (writer), who now sells her story of brutal opression, followed by liberation and realization of Western values, to ex-colonizer.In this light, entire category of writing can be seen as a kind of literary prostitution in which teller performs empowerment of Western reader. Ayan Hirsi Alis Infidel provides a recent, popular example of this new genre, whilst highbrow literary texts such as Fatima Mernissi's Dreams of Tresspass or Assia Djedbar's L'amour, la fantasia take a second path, attempting to correct Western misperceptions of their oppression by offering a more complex narrative framwork. Both narrative types enjoy a new popularity in wake of post-September 1 1 politics. Also building on interest in grouping of texts we call writing are critical works such as those by al-Hassan Golley and Mehta. Academic work on as it appears most often today tends to overlap a great deal with discourse of postcolonial studies, both in its choice of primary texts and tendency to rely always on same three theorists (Said, Homi Bhaba, Spivak).We also find a marked tendency to focus on autobiographical writing, or at least to point out way in which a given fictional text exemplifies lived reality. In all fairness, as Lydie Moudelino has pointed out, this is in part due to production of a large quantity of autobiographical or semi-autobiographical material as a necessary first step as those whose voices have been silent begin to write (Moudelino 2006, 13).With its choice of subject matter, Women's Lives Retold follows in steps of its predecessors, such as Cooke and Badran's Opening Gates (2004) or Fedwa Malti-Douglas's Women's Body, Women's Word (1991), or even alHassan Golley's previous book Reading Women's Biographies (2003). In her introduction to new collection, Golley lays out four main theoretical areas anthology will address: cultural hybridity, transnationalism, communal identity, and the personal and political (xxviii). All four areas are hotly contested in this critical moment for postcolonial studies, where many are trying to write a way out of more traditional theoretical paradigms. …

Comparative literature in an age of globalization

As an academic discipline built upon Enlightenment thought and a cosmopolitan worldview-not grounded in the literary tradition of any single language or nation-comparative literature has benefited from regular reexamination of its basic principles and practices. The American Comparative Literature Association 1993 report on the state of the discipline, prepared under the leadership of Charles Bernheimer, focused on the influence of multiculturalism as a concept transforming literary and cultural studies. That report and the vigorous responses it generated, published together as Comparative Literature in the Age of Multiculturalism, offered a comprehensive survey of comparative criticism in the 1990s. In the first decade of the twenty-first century, globalization has emerged as a defining paradigm in nearly every area of human activity. This latest report from the ACLA demonstrates that comparative critical strategies today can provide unique insights into the world's changing-and, increasingly, colliding-cultures. Incorporating an even wider range of voices than had its predecessor, the report examines how the condition (or myth) of globalization in all its modes and moods, affirms or undercuts the intuitions of comparative literature; how world literatures whether seen as utopian project or as classroom practice, intersect with the canons and interpretive styles of national literatures, and how material conditions of practice such as language, media, history, gender, and culture appear under the conditions of the present moment. Responding to the frequent attacks against contemporary literary studies, Comparative Literature in an Age of Globalization establishes the continuing vitality of the discipline and its rigorous intellectual engagement with the issues facing today's global society. Contributors: Emily Apter, Christopher Braider, Marshall Brown, Jonathan Culler, David Damrosch, Caroline Eckhardt, Caryl Emerson, David Ferris, Gail Finney, Roland Greene, Linda Hutcheon, Djelal Kadir, Francoise Lionnet, Fedwa Malti-Douglas, Richard Rorty, Haun Saussy, Katie Trumpener, Steven Ungar, Zhang Longxi

Blurred Genres, Blended Memories: Engendering Dissidence in Nawal el Saadawi's Memoirs of a Woman Doctor and Tsitsi Dangarembga's Nervous Conditions

Blurred Genres, Blended Memories Engendering Dissidence in Nawal el Saadawi's Memoirs of a Woman Doctor and Tsitsi Dangarembga's Nervous Conditions Katwiwa Mule Is it possible to read some African women's novels as instances of a complex amalgamation of the self, the social, and the political even when such novels do not on the first encounter confront us as autobiographical writing? Can some African women's novels be read as a challenge to the received critical notions of autobiographical writings in order to allow for diverse modalities of representations of the self, the social, and the political? (Boldrini and Davies 2004, v). My response to both questions is in the affirmative because, as African literatures become more and more institutionalized in the American and European curricula, we need to reexamine the conventional ways we read such texts, 1 especially whether we should use the same strategies to read African autobiographical fiction that we typically use for Western autobiographies. As Abiola Irele forcefully argues, To engage upon a discussion of the question of an adequate approach to scholarly study and critical interpretation of African literature is to postulate at the outset a specific character of this literature which distinguishes it in some particular respects from other literatures and which for that reason requires such an approach. . . . There are certainly external factors and internal traits that, taken together in their attachment to our literature, [End Page 93] both traditional and modern, mark it off as a specific area of literary production and imaginative expression, and which make it imperative to undertake a kind of clearing of the ground in order to place it within a critical perspective appropriate to it. ([1981] 1990, 9) 2 I assert in the paragraphs that follow that in reading texts such as Nawal el Saadawi's Memoirs of a Woman Doctor and Tsitsi Dangarembga's Nervous Conditions (henceforth MoWD and NC, respectively), an ideology of the self that separates the self from the social cannot account for the political aspects, especially feminist politics, of these apparently autobiographical writings. Put another way, el Saadawi and Dangarembga mobilize the politics of identity in these two novels through the paradigm of self-referentiality in order to challenge and reject the strictures placed on all women in their societies. This essay, excerpted from a longer project called "Representations of Childhood in African Literature," presents a revisionist reading of the juvenilia of these two well-known African women writers as instances of what Lucia Boldrini and Peter Davies refer to as "the use of fictionalized autobiography and autobiographised fiction" (2004, vii), that is to say, as novels in which the rhetorical strategies and the texts' generic structure enable the varying modalities of representation of lived experiences, in the words of Caren Kaplan, to "always [pressure] the boundaries of established genres" (1998, 209a) and thereby "propose alternative parameters for the definition and articulation of literary boundaries" (209a). As Simon Gikandi in a different context reminds us, "If a writer's early works are symptomatic of the anxieties that generate a literary career, then it is appropriate to see [el Saadawi's and Dangarembga's] juvenilia as containing the germs of the questions of displacement and the desire for radical social transformation" (2000, 41). My reading of the two novels is based on a straightforward argument: both MoWD and NC are overwhelmingly grounded on the writers' direct knowledge and life experience or what Fedwa Malti-Douglas calls the "female Bildungsroman that adopts the fiction of autobiography" (1995, 18, 22). By calling attention to the structural similarities and differences between the novels, and to the close affinities between the writers' direct knowledge and experience, I do not wish to reduce the texts to instances of narrations of the subjective lives of the two writers or to suggest that their lives are exactly the same as those of their fictional characters. Rather, I want to...

Shahrazad is One of Us: Practical Narrative, Theoretical Discussion, and Feminist Discourse

Setting out to investigate the frame-story the Nights and its impact on Eastern and Western literature, I was unaware the wealth studies that have been published. They range from strictly philological research to postmodern literary studies. The former often include considerable reservations about the latter and their seemingly inflated interpretations details. For this reason, I have largely restricted myself to reconsidering previous theses and theories and will regroup different approaches as to content, form, or both while focusing on Shahrazâds different roles as heroine, narrator, and woman. Introduction Your name's really Sherazade? Yes. Really? It's it's so How can I put it? know who Sheherazade was? Yes. And that doesn't mean anything to you? No. You think you can be called Sherazade, just like No idea. He looked at her, standing the other side the high, round counter at the fast-food, unable to believe his eyes. And why not Aziyade? Who's that? A beautiful Turkish woman from Istanbul who Loti was in love with, a hundred years ago. Pierre Loti I've heard of. Not Aziyade. . Aziyade belonged to the harem an old Turk. was a young Circassian slave, converted to Islam. Why you telling me about this woman? She's got nothing to do with me. She had green eyes, like you. That's no reason. Sherazade was drinking her Coke out the can. wasn't listening any more. Julien Desrosiers went back to reading the small ads in Liberation. (Sebbar 1-2) Shahrazâd seems to be common property for Arabs and Europeans, natives and migrants, the educated and the uneducated alike. Beyond the diffusion Shahrazâd's own story and the repertoire her stories into many cultures, there is also evidence for their origins in many cultures. The collection known as Thousand and One Nights is the result a and ethnic meltingprocess (Walther 12), in which Indian and Persian elements blend (not to mention Greek, Egyptian, and Turkish). Against this multinational backdrop, the principle intertwined stories corresponds to Arab concepts adab by underlining the power the word and brilliant speech. Shahrazâd herself is a cultural amalgamate, for she speaks the Arabic language, bears a Persian name (meaning of noble appearance and/or origin), and employs an Indian narrative mode, the frame-story device. Moreover, it has repeatedly been pointed out that, long before Galland's French translation the Nights started its triumphant march through the Western world, its forerunners had already stimulated European and Judeo-Christian culture. The Sindbâd-cycle has been compared to Homer's Odyssey, and Shahrazâd has been considered-and refuted-to be a sister the biblical Esther (De Goeje; Cosquin), while the opening story the two kings Shariyâr and Shâhzamân has been believed a variation paradise lost and regained (Ghazoul 18). Whatever common grounds the Nights and the foundation myths Judeo-Christian culture may have, there is no doubt that before they were even translated into French, English, and German, the Nights made their mark on European literature, in particular on the literature Renaissance Italy (Walther 17; Littmann 359). In Europe and America as well as in the Near East, writers in the twentieth century (in fact more so than ever) still used the characters Shahrazâd's tales and her narrative mode as models for their own writings. With this in mind, Fedwa Malti-Douglas states: Were the Arabic Shahrazad to awaken, like some fairy tale princess, centuries after she first wove the stories in The Thousand and One Nights, she would undoubtedly be surprised by her numerous literary transformations (Shahrazad Feminist 40). Robert Irwin states that it is probably easier to specify the few Western or non-Arab authors who were not affected by the Nights (Irwin 358; Pinault 65-66) than to present a comprehensive list those who were-this list ranging from Johann Wolfgang von Goethe, Sir Walter Scott, and William Thackeray through Gustave Flaubert, Stendhal, and Gerard de Nerval to H. …

Fedwa Malti-Douglas, Power, Marginality, and the Body in Medieval Islam. (Variorum Collected Studies Series, 723.) Aldershot, Eng., and Burlington, Vt.: Ashgate, 2001. Pp. xxii, 290, numbered nonconsecutively; black-and-white frontispiece portrait, black-and-white plates, tables, and 1 diagram. $105.95.

Fedwa Malti-Douglas, Power, Marginality, and the Body in Medieval Islam. (Variorum Collected Studies Series, 723.) Aldershot, Eng., and Burlington, Vt.: Ashgate, 2001. Pp. xxii, 290, numbered nonconsecutively; black-and-white frontispiece portrait, black-and-white plates, tables, and 1 diagram. $105.95.

NAWAL EL SAADAWI, The Innocence of the Devil, trans. Sherif Hetata (Berkeley: University of California Press, 1998). Pp. 278.

Originally published in 1994, The Innocence of the Devil, by the Egyptian feminist Nawal El Saadawi, has been reissued in a paperback edition with a striking cover. Included in this edition is a well-written and well-documented Introduction by Fedwa Malti-Douglas, which provides a review of El Saadawi's life, a summary of the story, and insights into many aspects of the book. Malti-Douglas is a professor of Near Eastern Languages and Cultures at Indiana University, Bloomington, and a commentator on El Saadawi's works and life. El Saadawi, a medical doctor and a writer, has used both her fiction and nonfiction as social commentaries on Egyptian—and more specifically, Muslim—society. She was educated in Cairo and the United States, practiced as a physician in Egypt, was director of health education in the Egyptian Ministry of Health from 1958 to 1972, has served on United Nations commissions, and is a practicing psychiatrist. Over the years, she has written several nonfiction books along with numerous short stories and novels. In this book, she comments on many facets of Egyptian culture, but the main thrust is that religion is the underlying cause of women's oppression. She emphasizes theological patriarchy in terms of monotheism (a single male god), the weakness of Eve as fallen woman, a male Satan (the serpent), and males designated as religious leaders who hold authority over women.

The Thousand and One Nights in Arabic Literature and Society. Edited by Richard G. Hovannisian and Georges Sabagh, with an Introduction by Fedwa Malti-Douglas. (Twelfth Giorgio Levi della Vida Biennial Conference), pp. 121. Cambridge, Cambridge University Press, 1997. £30.00.

The Thousand and One Nights in Arabic Literature and Society. Edited by Richard G. Hovannisian and Georges Sabagh, with an Introduction by Fedwa Malti-Douglas. (Twelfth Giorgio Levi della Vida Biennial Conference), pp. 121. Cambridge, Cambridge University Press, 1997. £30.00.

"The Thousand and One Nights" in Arabic Literature and Society

Introduction Fedwa Malti-Douglas 1. The Thousand and One Nights in Arabic literature and society Andre Miquel 2. Historical and mythical Baghdad in the tale of Ali b. Bakkar and Shams al-Nahar, or the resurgence of the imaginary Jamel Eddine Bencheikh 3. Aja'ib in The Thousand and One Nights Roy P. Mottahedeh 4. Shahrazad Feminist Fedwa Malti-Douglas 5. Nihil obstat in storytelling? Seeger A. Bonebakker 6. From history to fiction: the tale told by the King's steward in The Thousand and One Nights Muhsin H. Mahdi 7. Ancient Near Eastern traditions in The Thousand and One Nights Stanislav Segert.

Women in Middle Eastern History: Shifting Boundaries in Sex and Gender. Nikki R. Keddie , Beth BaronAccommodating Protest: Working Women, the New Veiling, and Change in Cairo. Arlene Elowe MacleodBoth Right and Left Handed: Arab Women Talk about Their Lives. Bouthaina ShaabanWoman's Body, Woman's Word: Gender and Discourse in Arabo-Islamic Writing. Fedwa Malti-DouglasWomen and Gender in Islam. Leila Ahmed

<i>Women in Middle Eastern History: Shifting Boundaries in Sex and Gender</i>. Nikki R. Keddie , Beth Baron<i>Accommodating Protest: Working Women, the New Veiling, and Change in Cairo</i>. Arlene Elowe Macleod<i>Both Right and Left Handed: Arab Women Talk about Their Lives</i>. Bouthaina Shaaban<i>Woman's Body, Woman's Word: Gender and Discourse in Arabo-Islamic Writing</i>. Fedwa Malti-Douglas<i>Women and Gender in Islam</i>. Leila Ahmed

Arab Comic Strips: Politics of an Emerging Mass Culture, Allen Douglas and Fedwa Malti-Douglas

Arab Comic Strips: Politics of an Emerging Mass Culture, Allen Douglas and Fedwa Malti-Douglas

Naguib Mahfouz: from regional fame to global recognition

The Arab Laureate and the Road to Nobel, Salma Khadra Jayyusi Mahfouz and the Nobel Prize, Sarah Lawall Mahfouz and the Arabic Novel, Roger Allen From Naguib Mahfouz Remembers, Gamal al-Ghitani Place and Time in Mahfouz's al-Qahira, Caroline Williams Respected Sir, Samia Mehrez Existential Themes in a Traditional Cairo Setting, Mona N. Mikhail The Mahfouzian Sublime, Michael Beard Men Constructed in the Mirror of Prostitution, Miriam Cooke Mahfouz's Dreams, Fedwa Malti-Douglas Mahfouz's Critics, Gaber Asfour.

Fedwa Malti-Douglas, Woman's Body, Woman's Word, Gender and Discourse in Arabo-Islamic Writing, Princeton, N.J., 1991, X, 206 pp. Cl. $37.50, £25.00; P. $12.95, £9.95

Fedwa Malti-Douglas, Woman's Body, Woman's Word, Gender and Discourse in Arabo-Islamic Writing, Princeton, N.J., 1991, X, 206 pp. Cl. $37.50, £25.00; P. $12.95, £9.95

Arab Women's Words with New Vision

Arab Women's Words With New Vision Fedwa Malti-Douglas. Woman's Body, Woman's Word: Gender and Discourse in Arabo-Islamic Writing. Princeton: Princeton University Press, 1991. xii + 206 pp. ISBN 0-691-06856-9 (cl); 0-69101488 -4 (pb); $37.50 (cl); $12.95 (pb). Evelyne Accad Much of the Uterature on Arab women by Arab women these days desperately tries to demonstrate that the "evidence" shows that Arabo-Islamic tradition was not misogynistic, if anything it was outright "liberating." Fedwa Malti-Douglas's Woman's Body, Women's Word is here to show us that this is not the case, and she does so in a brilUant, scholarly manner. Whüe I understand and sympathize with the other women writers' and inteUectuaIs' concerns and their sfrategy for bringing about change by reclaiming a past they so much want on their side, knowing it may be the only way to move people in Arab society to necessary reforms, I prefer the more truthful and thorough approach of Malti-Douglas. MaltiDouglas is no less concerned with the needed revolution resulting from Arab women's plight, but her approach is to look for subversive elements in the texts and Uves of Arab women. She forcefuUy demonsfrates that their roles have not undergone a major change since the Middle Ages. And she does this through an unusual method she designed, which I wül analyze further. I find this approach much more convincing. Malti-Douglas's work is revolutionary, both in form and content. She breaks out of the chronologicaUy critical divisions in Arabic letters that address the classical or medieval Arabic literature, on the one hand, and the modern literature, on the other, by analyzing texts from both periods. She also breaks out of the textual or generic boundaries by mixing and analyzing disparate fields—phüosophy, mysticism, geography, cosmography , biography,—thereby providing a wider multi-disciplinary scope to her analysis. She also goes against the canon by choosing profane texts as weU as less-known ones, thus valorizing aU of them. This methodology leads her to some of her most interesting conclusions. The Unking thread of her analysis is the connection between women's body and woman's word. She successfuUy confronts classical prose discourse by male authors who warn of the tricks of women and modern prose by female authors, who chaUenge them with tricks of their own. One of her conclusions is that "whether a woman must speak through the body (as in the classical) or in reaction to it (as in the modern)... for woman, the word remains anchored in the body" (p. 10). > 1992 Journal of Women's History, Vol 4 No. ι (Spring) 1992 Book Review: Evelyne AccAD 149 The fascinating ideas analyzed in this study are Shahrazad's tricks in The Thousand and One Nights. Although criticized by many writers in the Arab world and in the West as documented by Malti-Douglas, she adds a new dimension to the analysis by demonstrating how the two sisters in these tales actuaUy use sex instead of being used by it. She also shows how verbal games and wit are part oiadab (Uterary) discourse and how they can be used to change situations. She also interprets various stories in the Qur'an, found also in the Bible, and points out their differences: the story of Adam and Eve, who, in the Qur'an, both share the blame for expulsion from Paradise; and of Joseph, who, in Arabo-Islamic tradition, links "woman's verbal meddting and the crime of sexual aggressiveness" (p. 52). With these stories, "the idea of women's trickery, with aU its sexual overtones , enters the Muslim unconscious" (p. 53). The lbn al-Batanuni's Makayid (an adab coUection on the tricks of women, ninth century A.H./fifteenth century A.D.) is a kind of exhortation about women in which their bodies are portrayed as powerful and dangerous. An attempt is made to create a male utopia freed from these uncontroUed bodies. This vision is analyzed in a masterpiece of medieval Arabic prose, Hayy ibn Yaqzan, by the Andalusian phüosopher-physician lbn Tufayl. The discussion provides some of the most interesting, innovative...

Fedwa Malti-Douglas: Structures of avarice: the Bukhaā in medieval Arabic literature. (Supplements to the Journal of Arabic Literature. Studies in Arabic Literature, Vol. xi.) x, 183 pp. Leiden: E. J. Brill, 1985. Guilders 60, $27.25.

Fedwa Malti-Douglas: Structures of avarice: the Bukhaā in medieval Arabic literature. (Supplements to the Journal of Arabic Literature. Studies in Arabic Literature, Vol. xi.) x, 183 pp. Leiden: E. J. Brill, 1985. Guilders 60, $27.25. - Volume 51 Issue 1

REVIEWS

Journal Article REVIEWS Get access FEDWA MALTI-DOUGLAS, Structures of Avarice. The Bukhalā' in Medieval Arabic Literature (Studies in Arabic Literature, Supplements to the Journal of Arabic Literature, XI), E. J. BrillLeiden 1985. Pp. xii + 183. Price: F 70. G. M. WICKENS G. M. WICKENS UNIVERSITY OF TORONTO Search for other works by this author on: Oxford Academic Google Scholar Journal of Semitic Studies, Volume XXXII, Issue 1, SPRING 1987, Pages 227–230, https://doi.org/10.1093/jss/XXXII.1.227 Published: 01 March 1987