Relevant bibliographies by topics / Muslim fiction

Academic literature on the topic 'Muslim fiction'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Muslim fiction"

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Johnson, Dan R. "Transportation into literary fiction reduces prejudice against and increases empathy for Arab-Muslims." Scientific Study of Literature 3, no. 1 (May 31, 2013): 77–92. http://dx.doi.org/10.1075/ssol.3.1.08joh.

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In two studies, indirect out-group contact via narrative fiction was shown to foster empathic growth and reduce prejudice. Participants read an excerpt from a fictional novel about a counterstereotypical Arab-Muslim woman. Individuals who were more transported into the story rated Arab-Muslims significantly lower in stereotypical negative traits (Study 1, N = 67) and exhibited significantly lower negative attitudes toward Arab-Muslims (Study 2, N = 102) post-reading than individuals who were less transported into the story. These effects persisted after controlling for baseline Arab-Muslim prejudice, reading-induced mood change, and demand characteristics. Affective empathy for Arab-Muslims and intrinsic motivation to reduce prejudice were also significantly increased by the story and each provided independent explanatory mechanisms for transportation’s association with prejudice reduction. Narrative fiction offers a safe and rich context in which exposure and understanding of an out-group can occur and can easily be incorporated in educational and applied settings.
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Ouyang, Wen-chin. "The Qur’an and Identity in Contemporary Chinese Fiction." Journal of Qur'anic Studies 16, no. 3 (October 2014): 62–83. http://dx.doi.org/10.3366/jqs.2014.0166.

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How is it possible to comprehend and assess the impact of the Qur’an on the literary expressions of the Hui Chinese Muslims, who have been integrated into Sinophone and China’s multicultural community since the third/ninth century, when the first ‘translations’ of the Qur’an in Chinese made by non-Muslims from Japanese and English appeared only in 1927 and 1931, and that by a Muslim from Arabic in 1932? This paper looks at the ways in which the Qur’an is imagined, then embodied, in literary texts authored by two prizewinning Chinese Muslim authors. Huo Da (b. 1945) alludes to the Qur’an in her novel The Muslim’s Funeral (1982), and transforms its teachings into ritual performances of alterity in her saga of a Muslim family at the turn of the twentieth century. Zhang Chengzhi (b. 1948) involves himself in reconstructing the history of the Jahriyya Ṣūfī sect in China between the seventeenth and nineteenth centuries in his only historical novel, A History of the Soul (1991), and invents an identity for Chinese Muslims based on direct knowledge of the sacred text and tradition.
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Zahra, Kanwal, and Aisha Jadoon. "Under Western Eyes: A Critical Consideration of Fictitious Muslim Stereotyping in English Fiction." Global Social Sciences Review IV, no. III (September 30, 2019): 441–50. http://dx.doi.org/10.31703/gssr.2019(iv-iii).55.

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English fiction pertaining to the British rule in India marked Indian Muslims intovisibility through the portrayal of their stable stereotypical identity, and since itspublication, A Passage to India has gained the status of authentic imagining of Muslims asconservative religious ‘Other’ of the West. As such, they are analyzing this text as an instance ofcolonial fixity necessitates the identification and consideration of those discursive strategies used bythe text for the projection of abrasive Muslim images. The focus of this paper is to critically approachA Passage to India through the application of Fairclough’s threedimensional model so as to validate the claim of stereotypicalrepresentation of Muslims in India during colonial rule. Largely amatter of despotic manipulation within the text, the narrator doteson the anecdotal treatment of Muslim characters with a purpose tojustify. By adhering to colonial discursive binarism, this noveldepicts colonized Muslims as dehumanized and caricatured othersin essentialist terms by shelving their political, historical andcontextual identification.
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Chambers, Claire, Richard Phillips, Nafhesa Ali, Peter Hopkins, and Raksha Pande. "‘Sexual misery’ or ‘happy British Muslims’?: Contemporary depictions of Muslim sexuality." Ethnicities 19, no. 1 (February 21, 2018): 66–94. http://dx.doi.org/10.1177/1468796818757263.

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We begin this article with a close look at some contemporary pictures of sexual life in the Muslim world that have been painted in certain sections of the Western media, asking how and why these pictures matter. Across a range of mainstream print media from the New York Times to the Daily Mail, and across reported events from several countries, can be found pictures of ‘sexual misery’. These ‘frame’ Muslim men as tyrannical, Muslim women as downtrodden or exploited, and the wider world of Islam as culpable. Crucially, this is not the whole story. We then consider how these negative representations are being challenged and how they can be challenged further. In doing so, we will not simply set pictures of sexual misery against their binary opposites, namely pictures abounding in the promise of sexual happiness. Instead, we search for a more complex picture, one that unsettles stereotypes about the sexual lives of Muslims without simply idealising its subjects. This takes us to the journalism, life writing and creative non-fiction of Shelina Zahra Janmohamed and the fiction of Ayisha Malik and Amjeed Kabil. We read this long-form work critically, attending to manifest advances in depictions of the relationships of Muslim-identified individuals over the last decade or so, while also remaining alert to lacunae and limitations in the individual representations. More broadly, we hope to signal our intention to avoid both Islamophobia and Islamophilia in scrutinising literary texts.
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Brioua, Nadira. "Postcolonialism, Islamophobia and Inserting Islam Facts in African-American Fiction: Umm Zakiyyah’s If I Should Speak." Al Hikmah International Journal of Islamic Studies and Human Sciences 4, Special Issue (June 28, 2021): 1–33. http://dx.doi.org/10.46722/hkmh.4.si.21a.

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Islam has been growing quickly in the world, yet it is a predominately misunderstood religion. Othering Islam through media propaganda and western writings, and mis associating it with some assumptions are still rampant. Thus, the researcher attempts at showing these assumptions stereotypical prejudgments of Islam and Muslims that are commonly associated with Western assumptions resulted in Islamophobia and exploring the role of counter-discourses in contemporary Black-American Fiction by analyzing Umm Zakiyyah’s If I Should Speak and showing to what extents the novel has an important role in correcting assumptions and narrating the Islamic facts. Thus, this article highlights Umm Zakiyyah’s narrative of Islam’s truth within its historical sources the Qur’an and the Sunnah. The paper analyses Umm Zakiyyah’s reconsideration of Islam’s truth, by focusing on the meaning of Islam and being a Muslim. To do so, this qualitative and non-empirical research is conducted in a descriptive-theoretical analysis, using the selected novel as a primary source and library and online critical materials, such as books and journal articles, as secondary references. Based on the analysis, it is found that Umm Zakiyyah narrates Islam and Muslims to counter the West’s negative view on Islam. Furthermore, based on the story, the power of Muslim self-identification within the historical transparent knowledge based on the Quran’s perspectives leads to the conversion of Tamika Douglass, proving that Islam can be perceived positively by non-Muslims; in this case, it is represented within its subjectivity. It is found that the novel can be a tool of Islamic da’wah [call for the faith]. Hence, the Muslim writers and novelists should write to solve the challenges facing Muslims and the Ummah by Islamizing English fiction.
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Parray, Tauseef Ahmed. "Images of the Prophet Muhammad in English Literature." American Journal of Islamic Social Sciences 36, no. 4 (October 1, 2019): 125–28. http://dx.doi.org/10.35632/ajiss.v36i4.666.

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‘Literary Orientalism’, a significant and fast-emerging sub-genre, is simply defined as “the study of the (mis)representation of Islam and Muslims in the English (literary) works.” In this field, one of the prominent Muslim writers from India is Abdur Raheem Kidwai (Professor of English, and Director, K.A. Nizami Centre for Quranic Studies, Aligarh Muslim University, India). Some of his previous works in this genre include Orientalism in Lord Byron’s Turkish Tales (1995); The Crescent and the Cross (1997); Stranger than Fiction (2000); Literary Orientalism (2009); Believing and Belonging (2016); and Orientalism in English Literature (2016). To download full review, click on PDF.
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Parray, Tauseef Ahmed. "Images of the Prophet Muhammad in English Literature." American Journal of Islam and Society 36, no. 4 (October 1, 2019): 125–28. http://dx.doi.org/10.35632/ajis.v36i4.666.

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‘Literary Orientalism’, a significant and fast-emerging sub-genre, is simply defined as “the study of the (mis)representation of Islam and Muslims in the English (literary) works.” In this field, one of the prominent Muslim writers from India is Abdur Raheem Kidwai (Professor of English, and Director, K.A. Nizami Centre for Quranic Studies, Aligarh Muslim University, India). Some of his previous works in this genre include Orientalism in Lord Byron’s Turkish Tales (1995); The Crescent and the Cross (1997); Stranger than Fiction (2000); Literary Orientalism (2009); Believing and Belonging (2016); and Orientalism in English Literature (2016). To download full review, click on PDF.
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KITLV, Redactie. "Book reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 165, no. 4 (2009): 568–627. http://dx.doi.org/10.1163/22134379-90003633.

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Leonard Y. Andaya, Leaves of the same tree; Trade and ethnicity in the Straits of Melaka. (Henk Schulte Nordholt) Coeli Barry (ed.), The many ways of being Muslim; Fiction by Muslim Filipinos. (David Kloos) Leon Comber, Malaya
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Mansoor, Asma. "Exploring Alternativism: South Asian Muslim Women's English Fiction." South Asian Review 35, no. 2 (October 2014): 47–65. http://dx.doi.org/10.1080/02759527.2014.11932970.

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HASSAN, W. S. "Leila Aboulela and the Ideology of Muslim Immigrant Fiction." Novel: A Forum on Fiction 41, no. 2-3 (June 1, 2008): 298–318. http://dx.doi.org/10.1215/ddnov.041020298.

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Dissertations / Theses on the topic "Muslim fiction"

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Durdana, Benazir. "Muslim India in Anglo-Indian fiction /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487944660930967.

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Ameri, Firouzeh. "Veiled experiences: Rewriting women's identities and experiences in contemporary Muslim fiction in English." Thesis, Ameri, Firouzeh (2012) Veiled experiences: Rewriting women's identities and experiences in contemporary Muslim fiction in English. PhD thesis, Murdoch University, 2012. https://researchrepository.murdoch.edu.au/id/eprint/10197/.

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In dominant contemporary Western representations, including various media texts, popular fiction and life-narratives, both the Islamic faith in general and Muslim women in particular are often vilified and stereotyped. In many such representations Islam is introduced as a backward and violent religion, and Muslim women are represented as either its victims or its fortunate survivors. This trend in the representations of Islam and Muslim women has been markedly intensified following the terrorist attacks of 9/11 2001. This thesis takes a postpositivist realist approach to reading selected contemporary women’s fiction, written in English, and foregrounding the lives and religious identities of Muslim women who are neither victims nor escapees of Islam but willingly committed to their faith. Texts include The Translator (1999) and Minaret (2005) by Leila Aboulela, Does my head look big in this? (2005) by Randa Abdel-Fattah, Sweetness in the belly (2005) by Camilla Gibb and The girl in the tangerine scarf (2006) by Mohja Kahf. Attempting to explain how these fictional texts can be read as variously writing back to the often monolithic representations of Islam and Muslim women characteristic of mainstream Western texts (such as those depicted in popular life narratives), the thesis draws attention to the ways in which particular narrative techniques highlight the complexities of Muslim women’s religious identities and experiences. Since the novels depict the lives of Muslim female characters in the West, this study is especially concerned with the exploration of the tensions and contradictions of women’s Muslim identities in Western countries, and addresses Western people’s interests and prejudices in their encounter with Muslim women. Finally, given that various aspects to Muslim women's identities and experiences are typically elided in dominant representations, it is argued that a disruption of the stereotypes of Muslim women signals the potential for the compatibility of Muslim women's distinct identities with Western values.
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Mallick, Suman. "Apples and Knives (A Novel)." PDXScholar, 2016. http://pdxscholar.library.pdx.edu/open_access_etds/3023.

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ZULEIKHA, who was trained as a pianist in her hometown of Lahore, Pakistan, arrives in Irving, Texas after her arranged marriage to ISKANDER, but finds it difficult to get accustomed to the appurtenances, encumbrances, and perquisites of the middle-class housewife lifestyle. Despite giving birth to a son, WASIM, she quickly falls out of love with her dutiful but straight-laced husband. She begins giving private lessons, and commences an affair with PATRICK, a transplanted Canadian who is trapped in his own loveless marriage. When she gets pregnant, Zuleikha is convinced the child belongs to her husband. She ends her affair with Patrick, but Iskander finds out about it anyway. The ensuing confrontation between Zuleikha and Iskander turns into a physical altercation, during which Zuleikha, having fallen to the floor, is unable to see if Iskander stomps on her belly, or falls on her by accident as he will later claim. The trauma results in a miscarriage. The unusual set of circumstances surrounding this violent episode serves as the backdrop for the rest of the story, by catapulting this otherwise nondescript couple into the glare of the public eye. Iskander is arrested and charged with feticide, and he faces a long prison sentence under Texas law. A court order prohibits him from contacting Zuleikha and Wasim, who are taken to a shelter for Muslim women and children. There, the other domestic abuse victims view Zuleikha as someone who "had it coming" because of her infidelity, and are therefore openly hostile to her. The shelter's director, a woman named REZA, is beholden to wealthy Muslim donors, and therefore arranges for Zuleikha to meet with members of a highly controversial Islamic tribunal. Zuleikha is pressured to forgive her husband and testify in his favor, so as not draw further negative attention to the Muslim community. JANE, the District Attorney, on the other hand, initially plays nice with Zuleikha and informs her that she will devote any and all available resources in the prosecution of Iskander. When Zuleikha can't get her story straight and hesitates about testifying against her husband, however, Jane, too, turns against her. Zuleikha discovers that the DA has been caught hiding her own secrets and now faces a public confidence crisis of her own. Zuleikha comes to realize that Jane's reasons for being so gung-ho about winning Iskander's conviction have as much to do with re-endearing herself to her electorate as with justice. Zuleikha thus finds herself at the epicenter of a political firestorm fueled by winds of anti-Muslim hysteria, with different people trying to use her situation to their own advantage. When Wasim gets in a scuffle at the shelter and has to be taken to a clinic, she panics and contacts Iskander against her better judgment. Husband and wife finally confront each other while Wasim is being treated. Iskander claims to still love Zuleikha and begs her to take him back so that they and their son can resume their prior family life. But Zuleikha realizes that even if Iskander is sincere and not merely seeking reconciliation in order to avoid a harsh prison sentence, she will never be able to forgive him, let alone love him and live with him again. She comes to accept the fact that she has no control over Iskander's fate in court, and can only move forward by testifying truthfully and trying to do what is best for her and her son. While waiting for the trial to begin, she gains admission in a summer training program for piano instructors and begins the next phase of her life.
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Aydogdu, Zeynep. "Modernity, Multiculturalism, and Racialization in Transnational America: Autobiography and Fiction by Immigrant Muslim Women Before and After 9/11." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1557191593344128.

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Hayhurst, Lauren Amy. "Fictive responsibility : why all novelists are political writers (whether they like it or not)." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/33196.

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This PhD is part novel and part thesis. The novel, The Girl Upstairs (TGU), is in three parts. Parts one and two are included here in full. A synopsis of part three is included in the appendices. The thesis presents an original “action model” for Creative Writing (CW) called “fictive responsibility”. TGU can be treated as a case study, demonstrating the practical application of this new model. TGU follows a Bengali-Muslim family as they confront the wayward behaviour of Kifah Rahman, a feisty sixteen-year-old. Set somewhere in south-west England, Kifah’s misadventures start when she discovers an envelope discarded in a drawer. The address is her mother’s childhood home across the city, but she’s never heard of the addressee, Zubi Rahman. Kifah sneaks off school to investigate. Kifah’s clandestine visits incite rumours and soon Kifah is accused of tarnishing the family’s reputation. TGU confronts the difficult subjects of “honour”-based-violence (HBV), domestic violence and “crimes-of-passion”. By exploring different types of violence-against-women (VAW), TGU shows how perceived differences in, for example, “culture”, religion, or heritage, rather than dividing us, can present new ways to connect across moral values or lifestyles, ultimately promoting togetherness and empathy between different cultures. The thesis explores how the “political” relates to “literature” through the writer’s creative process, suggesting that all novelists are inherently politicised individuals and fictions are produced through an inherently politicised process. The significance of this is undermined by those who claim fiction writers just “make it up”. Failing to recognise the “politics of representation” that operates alongside invention in CW has contributed to the recent exacerbation around “cultural appropriation”. For some writers this presents a threat to “free” expression. For others, “free” expression must be treated with respect, especially when fictionalising characters that appear external to the writer’s own experience. Theoretical and conceptual analysis is drawn from cultural studies, ethnography, literary criticism and philosophy. Case studies include fictions with Muslim female characters in a post-9/11 setting. In addition to literary analysis, the thesis explores how “authenticity” interacts with an author’s perceived affiliation with characters or themes within the fiction.
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Leafgren, Luke Anthony. "Novelizing the Muslim Wars of Conquests: The Christian Pioneers of the Arabic Historical Novel." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10362.

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During the Arabic cultural renaissance of the nineteenth century known as the nahda, Christian Arabs made a substantial contribution to the development of fiction and journalism. Among these pioneers, Salim al-Bustani, Jurji Zaydan, and Farah Antun were inspired by translations of European fiction to write the first historical novels in Arabic. Their narrations of the Muslim wars of conquest are carefully constructed blends of history and fiction that emphasize the cultural and religious values that Christian and Muslim Arabs hold in common. In their novels, these authors celebrate the historical achievements of the Arabs and seek to inspire a new sense of Arab cultural identity, open to Christians and Muslims alike and based on shared language, history, territory, values, and aspirations for reform. In this way, these authors respond to the sectarian tensions of their time, European imperialism, and the challenges of modernism with ideas that would become central to Arab nationalist discourse in the twentieth century.
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Boone, F. Khalilah. "Really Daddy: A Collection of Stories." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/77482.

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Really, Daddy is a collection of twelve stories that explore the dynamics of racial, intra-racial, gender, and religious power clashes. In narratives that range from realistic to postmodern, characters move through conflicts on a path to self-realization. Ostensibly the responsible ones, the protagonists’ identities are elucidated in the context of the burdens that they carry. At the center of this collection are women and fathers in crisis, as they attempt to save their families or to nourish their own spirits. Whether the character is an African-American Muslim mother shocked into indecision when the Qur’an doesn’t lead her family in its crisis, or an enslaved woman torturing other slaves out of anger over losing her female love, fabulist techniques are combined with realism to unfold the haunting and humorous tales of the imposition of family responsibilities on the lives of the most vulnerable. Here, the reader will find the lapsed Catholic and her wife seeking help from African religion devotees who don’t approve of lesbian relationships, the maid who sacrifices her daughter to a lecherous boss so the rest of her family can eat, and the gay Muslim brother and his lesbian sister in conflict over what to do with his baby. Reflecting the contemporary world in which people live in overlapping marginal spaces of society, these are the stories of America’s forgotten subcultures.
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Banting, Adrian. "Muslims and the politics of love in contemporary British fiction." Thesis, University of East London, 2017. http://roar.uel.ac.uk/6721/.

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This thesis explores the connections between love, multiculturalism and the novel through a study of the figure of the Muslim as understood within secular Britain. I examine representations of love in British fiction published since the Rushdie affair, arguing that love is a crucial means by which novels reproduce, subvert and challenge dominant cultural and political discourses around Muslims and Islam. Selected literary texts include a wide range of subject matter, spanning varied authors and genres, but all are united by their inclusion of Muslim subjectivities and romantic relationships in Britain. In addition to studying literary texts, I also consider the critical reception of texts, exploring critics’ negotiations of the discourses around Muslims and Islam pervasive in British media and politics after the Rushdie affair. Drawing upon Talal Asad’s notion of an ‘anthropology of secularism’, I explore love in the novel as a site of secular knowledge (Asad 2003: 1). I argue that contemporary novels which depict Muslims and Islam frequently use love as the basis for their inclusion within or exclusion from the nation. Love operates alongside and within formal literary strategies as well as concepts of gender, race, culture and class, to respond to popular debates which contest the presence of Muslims and Islam within Britain. Despite its ubiquity within popular culture, love is an under researched area which can shed light on the complex dynamics which construct and situate individuals and communities in relation to the British nation and the West more widely. Through a study of representation, this study originally contributes to an understanding of love’s invisible power in political discourse.
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Godsall, Jonathan. "Pre-existing music in fiction sound film." Thesis, University of Bristol, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633201.

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A study of the use of pre-existing music in fiction sound film, this thesis fills a gap in the literature by studying pre-existing music as a category of music in film in itself, the premise being that there are conclusions to be drawn about the use of such music that relate to its pre-existing status, regardless of style, genre, and so on. The main questions are as follows: How and why is pre-existing music used in films? What effects can its use have for and on films and their audiences? And what lasting effects does appropriation have on the music? The exploration of these issues draws on concepts and frameworks from fields beyond that of the study of music in film, including literary theory and scholarship on musical borrowing defined more generally, and incorporates discussion of factors such as those of copyright and commerce alongside examination of texts and their effects. The thesis establishes a framework from which future work in the area can more efficiently proceed, and in relation to which previous work can be contextualised. Broadly, pre-existing music is shown to have unique attributes that can affect both how filmmakers construct their works (practically as well as artistically), and how audiences receive them, while film is argued to be a powerful influence in and on processes of musical reception. The thesis is a significant contribution to scholarship on music on film, but can also be seen as a study of the reception of music (both by and through film), and as situated within the fields of scholarship on musical borrowing and musical intertextuality.
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Borrebach, Peter Andew. "Gravel music." FIU Digital Commons, 2010. http://digitalcommons.fiu.edu/etd/1736.

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Gravel Music is a collection of poems, encompassing a wide range of styles from free verse to sonnets, including several unique forms, using rhyme where it was deemed pertinent, but also operating in a deconstructive mode where prosody is concerned. The book is divided into three sections. Poems in the first section strive toward political and critical utterance, addressing Marxism, Darwinism, neo-pragmatism, and humanism in a sequence of interrogations of the barriers between aesthetics, politics, critical theory, and philosophy, hoping to find traces of truth, fact, and authenticity that transcend category. The second section is comprised of a single lyrical narrative which follows a married couple as they interact on their small farm in late Autumn, addressing themes of literacy, love, and domesticity. The third section continues the focus on domestic life, but also addresses themes of nostalgia for childhood and lost love. The poems of this section move away from the formal, socio-political outbursts of the first section, instead operating primarily through persona and voice, bringing the book to a quiet, personal close.
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Books on the topic "Muslim fiction"

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The many ways of being Muslim: Fiction by Muslim Filipinos. Ithaca, NY: Cornell Southeast Asia Program, 2008.

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Muslim India in Anglo-Indian fiction. Dhaka: writers.ink, 2008.

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Anzur, Omar. Muslim cleavage. [Place of publication not identified]: [publisher not identified], 2010.

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Qureshi, Sylvia. English fiction book-list for Muslim children. [Hayes?: CBP Central Office, 1986.

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Roger, Allen, ed. A Muslim suicide. Syracuse: Syracuse University Press, 2011.

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The good Muslim. Edinburgh: Canongate, 2011.

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The good Muslim. Leicester: Charnwood, 2012.

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Reading contemporary Indonesian Muslim women writers: Representation, identity and religion of Muslim women in Indonesian fiction. Amsterdam: Amsterdam University Press, 2009.

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British Muslim fictions: Interviews with contemporary writers. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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Anam, Tahmima. The good Muslim: A novel. New York: Harper, 2011.

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Book chapters on the topic "Muslim fiction"

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Wijemanne, Nissanka. "The Muslim Reverend1." In The Routledge Companion to Sinhala Fiction from Post-War Sri Lanka, 113–20. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003094708-11.

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Kanwal, Aroosa. "Global Ummah: Negotiating Transnational Muslim Identities." In Rethinking Identities in Contemporary Pakistani Fiction, 157–97. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137478443_5.

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Chambers, Claire. "‘England-Returned’: British Muslim Fiction of the 1950s and 1960s." In Britain Through Muslim Eyes, 143–88. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137315311_5.

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Musa, Umma Aliyu. "Introduction." In Emotions in Muslim Hausa Women’s Fiction, 1–25. New York : Routledge, 2019. | Series: Global Africa; 13: Routledge, 2019. http://dx.doi.org/10.4324/9780429020797-1.

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Musa, Umma Aliyu. "The context of Hausa female fiction writing in northern Nigeria." In Emotions in Muslim Hausa Women’s Fiction, 26–50. New York : Routledge, 2019. | Series: Global Africa; 13: Routledge, 2019. http://dx.doi.org/10.4324/9780429020797-2.

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Musa, Umma Aliyu. "Forced marriage." In Emotions in Muslim Hausa Women’s Fiction, 51–96. New York : Routledge, 2019. | Series: Global Africa; 13: Routledge, 2019. http://dx.doi.org/10.4324/9780429020797-3.

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Musa, Umma Aliyu. "Strategies for respect." In Emotions in Muslim Hausa Women’s Fiction, 97–144. New York : Routledge, 2019. | Series: Global Africa; 13: Routledge, 2019. http://dx.doi.org/10.4324/9780429020797-4.

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Musa, Umma Aliyu. "Body-related metaphors for anger in Hausa." In Emotions in Muslim Hausa Women’s Fiction, 145–62. New York : Routledge, 2019. | Series: Global Africa; 13: Routledge, 2019. http://dx.doi.org/10.4324/9780429020797-5.

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Musa, Umma Aliyu. "Love, Hausa narratives and modernity." In Emotions in Muslim Hausa Women’s Fiction, 163–75. New York : Routledge, 2019. | Series: Global Africa; 13: Routledge, 2019. http://dx.doi.org/10.4324/9780429020797-6.

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Musa, Umma Aliyu. "Conclusion." In Emotions in Muslim Hausa Women’s Fiction, 176–81. New York : Routledge, 2019. | Series: Global Africa; 13: Routledge, 2019. http://dx.doi.org/10.4324/9780429020797-7.

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Conference papers on the topic "Muslim fiction"

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Shirley, Donna, Leslie Howle, and Bunny Lester. "A New Science Fiction Museum - Exciting Young People About Science and Engineering." In Space 2004 Conference and Exhibit. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2004. http://dx.doi.org/10.2514/6.2004-5963.

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Candello, Heloisa, Mauro Pichiliani, Mairieli Wessel, Claudio Pinhanez, and Michael Muller. "Teaching Robots to Act and Converse in Physical Spaces: Participatory Design Fictions with Museum Guides." In HTTF 2019: Halfway to the Future. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3363384.3363399.

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Dunaeva, Tamara. "Section of rare and valuable publications of the library named after M. V. Lomonosov, branch of the municipal library “B. P. Hasdeu”." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.12.

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The rare book section appeared in the library named after M.V. Lomonosov 8 years ago. This fund is small - only a couple of hundred books. However, its value is measured not by size, but by uniqueness. The basis of the fund is made up of editions of the XIX–XX centuries. In terms of its content, the fund is universal. Most of it is fiction. In addition, there is popular science literature of past centuries, dictionaries, encyclopedias, newspapers. The collection of rare books includes: the collection “Poems and Prose Articles” by Mikhail Vasilyevich Lomonosov, published in 1886 and donated in 1984 by the poet Ion Odobescu; A. Glazunov, 1895 edition; I. Turgenev –1898; M. Gorky – 1901; Emilian Bukov – 1938; V. Zhukovsky – 1902; N. Leskov – 1903; P. Tchaikovsky – 1908; I. Brahms – 1873; M. Yu. Lermonotov – 1940; H. Wells – 1909 “Otechestvennye zapiski” – 1840; “Bulletin of Europe” – 1879; “Course of Geography of NonEuropean Countries” – 1905; “Niva” – 1899; K. Marx’s “Capital” – published in 1950 and much more. Our books are not museum pieces. They form part of the actively used collection of the library. Any interested reader can get acquainted with the collection of rare books on the website of the library M. V. Lomonosov in the “Rare Books” section.
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YANG, LING, and SHENG-DONG YUE. "AN ANALYSIS OF THE CHARACTERISTICS OF MUSIC CREATION IN MEFISTOFELE." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35726.

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Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and drama, and its role in promoting the plot. After its birth at the end of the 16th century and the beginning of the 17th century, western opera art quickly received widespread attention and affection. The reason for its success is mainly due to its fusion of the essence of classical music and drama literature. Because of this, there have always been debates about the importance of music and drama in the long history of opera art development. In the book Opera as Drama, Joseph Kerman, a well-known contemporary musicologist, firmly believes that "opera is first and foremost a drama to show conflicts, emotions and thoughts among people through actions and events. In this process, music assumes the most important performance responsibilities."[1] Objectively speaking, these two elements with very different external forms and internal structures play an indispensable role in opera art. A classic opera is inseparable from the organic integration of music and drama, otherwise it will be difficult to meet the aesthetic experience expected by the audience. On the stage, it is necessary to present wonderful audio-visual enjoyment, and at the same time to pursue thematic expressions with deep thoughts, but the expression of emotions in music creation must be reflected through its independent specific language rather than separated from its own consciousness. Only through the superb expression of music can conflicts, thoughts and emotions be fully reflected, or it may be reduced to empty preaching. Joseph Kerman once pointed out that "the true meaning of opera is to carry drama with music". He believes that opera expresses thoughts and emotions through many factors such as scenes, actions, characters, plots and so on. However, the carrier of these elements lies in music. Only under the guidance and support of music can the characters, thoughts and emotions of the drama be truly portrayed. Indeed, opera scripts fictional plots with words, and music presents abstract literary image specifically and recreationally, allowing more potentially complex emotions that are difficult to express in words to be perceived by the audience in the flow of notes, thereby resonate with people.[2] Mefistofele, which this article intends to explore, is such an opera that is extremely exemplary in the organic integration of music and drama.
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