The first examples of the novel genre in modern Arabic literature emer-ged with the innovation movements initiated in this country after Napoleon's invasion of Egypt. In terms of technique and fiction, the Arab novel's reaching the desired standards and the first novel examples in the literary sense were made possible by the contributions of many writers who came to the fore with their different identities from writing novels. One of these writers, better known as a critic, is Ibrāhīm ʽAbd al-Qādir (...) al-Māzinī. Māzinī, who has written works in many fields of literature, is a master writer who has mostly written psychological novels. The aim of this study is to examine the themes that Māzinī, one of the important names of Arabic literature, included in his novels. In our study, Māzinī's novels Ibrāhīm al-Kātib, Ibrāhīm al-Thānī and Thalāthat Rigâl wa’mra’ah were examined and in these novels, mainly love, affection, pressure of tradition, despair, pessimism, disappointment, sadness, fear, delusion, jealousy and stinginess were examined. It has been determined that themes such as While many different themes were seen in the novels of many writers of his time, it is seen that the themes in Māzinī's novels are mostly psychological themes that reflect the inner world of man. In this respect, Māzinī differs from many other Arab novelists. (shrink)

BackgroundConsenting for retrospective medical records-based research (MR) and leftover tissue-based research (TR) continues to be controversial. Our objective was to survey Saudis attending outpatient clinics at a tertiary care hospital on their personal preference and perceptions of norm and current practice in relation to consenting for MR and TR.MethodsWe surveyed 528 Saudis attending clinics at a tertiary care hospital in Saudi Arabia to explore their preferences and perceptions of norm and current practice. The respondents selected one of 7 options from (...) each of 6 questionnaires.ResultsRespondents' mean (SD) age was 33 (11) years, 42% were males, 56% were patients, 84% had ≥ secondary school education, and 10% had previously volunteered for research. Respectively, 40% and 49% perceived that the norm is to conduct MR and TR without consent and 38% and 37% with general or proposal-specific consent; the rest objected to such research. There was significant difference in the distribution of choices according to health status (patients vs. companions) for MR (adjusted Kruskal-Wallis test P = 0.03) but not to age group, gender, education level, or previous participation in research (unadjusted P = 0.02 - 0.59). The distributions of perceptions of current practice and norm were similar (unadjusted Marginal Homogeneity test P = 0.44 for MR and P = 0.89 for TR), whereas the distributions of preferences and perceptions of norm were different (adjusted P = 0.09 for MR and P = 0.02 for TR). The distributions of perceptions of norm, preferences, and perceptions of current practice for MR were significantly different from those of TR (adjusted P < 0.009 for all).ConclusionsWe conclude that: 1) there is a considerable diversity among Saudi views regarding consenting for retrospective research which may be related to health status, 2) the distribution of perceptions of norm was similar to the distribution of perceptions of current practice but different from that of preferences, and 3) MR and TR are perceived differently in regard to consenting. (shrink)

al-Juzʼ al-awwal. Dirāsāt fī al-manṭiq wa-falsafat al-ʻulūm -- al-juzʼ al-thānī. Dirāsāt fī al-manhaj wa-al-ʻilm al-ʻArabī.

Faylasū al-ʻArab: al-Kindī -- al-Muʻallim al-thānī: al-Fārābī -- al-Shāʻir al-ḥakīm: al-Mutanabbī -- Baṭalīmūs al-ʻArab: Ibn al-Haytham -- Shaykh al-Islām: Ibn Taymīyah.

al-juzʼ 1. Min alif ilá sīn. -- al-juzʼ 2. Min shīn ilá yāʼ.

The theoretical system of Ottoman music was developed through the works of Safi al-Din al-Urmawī (d. 693/1294) and ʿAbd al-Qādir Marāgī (d. 838/1435). Considering the first period, although the 24-tone sound system was not developed in theory, it is clear that it was used in practice. However, in a theoretical sense, the 17 sound system initiated by al-Urmawī continued to be used until the 20th century. In this century, the Turkish theoretical musical system evolved into a different point with the (...) efforts of Raūf Yektā (d. 1935). Here we have an unequal 24-track sound system. The first written traces of the 24-tone sound system can be seen in the work of La Borde (d. 1208/1794). Later, Muhammad al-‘Attār (d. 1243/1828) and his student Mīkhāʾīl Mishāqah (d. 1305/1888) found fame with their 24-tone sound system. Mishāqah's work named Riṣālah al-Shihābiyyah fī al-ṣināʻah al-mūsīqiyyah, which also includes this system, has become an important cornerstone in the shaping of modern Arabic music. Raūf Yektā, who noticed this system through a newspaper article, determined that this note system, which is divided into 24 equal parts, provides great convenience in Turkish music, especially in naming intermediate sounds. This determination of Yekta is largely similar to the note names in Mishāqah's system, despite some differences. The main difference between this system that Yektā introduced to Turkish music and Mishāqah's system is that Yektā prefers unequal sounds. In this study, information about who first introduced the 24-tone sound system is included. However, no clear data on this subject has been found. From the perspective of Turkish music, this systematic breakthrough succeeded by Yektā - although not put forward by Yektā - enabled him to lay the foundations of today's theory with the Arel-Ezgi-Uzdilek trio. In this research, it has been determined that some of the concepts included in Mishāqah's work are the same in terms of content with the concepts in Turkish music. The focus of this study is the work named Riṣālah al-Shihābiyyah fī al-ṣināʻah al-mūsīqiyyah, written by Mīkhāʾīl Mishāqah, which Murat Bardakcı clearly stated in an article and which we think Raūf Yektā used in creating the sound system of Turkish music. The aim of the article is to reach the first traces of the 24-tone sound system and to reveal its connection with Turkish music. In the literature study, it is founded that no detailed study has been conducted on both Mīkhāʾīl Mishāqah and where the traces of the 24-track sound system can be traced. In this respect, seeking answers to these questions constitutes the originality of the article. Qualitative research method is used and, the information obtained through literatüre review was discussed with data analysis. (shrink)