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            "creators": [
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                    "creatorType": "author",
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            "abstractNote": "Il est possible de lire l'épître d'al-Ğāḥiẓ sur les esclaves chanteuses (Risāla fī al-qiyān) à la lumière des polémiques sur l'interprétation de la loi musulmane au début de la période abbasside. Dans cet article sont étudiés la relation d'al-Ğāḥiẓ avec des experts juridiques tels qu'al-Sâfi‘ī et le rôle joué par les débats juridiques et herméneutiques dans la structure de l'épître d'al-Ğāḥiẓ, en discutant les notions d'istiḥsān et de qiyās, et la dichotomie ‘amal/niyya. La mise en relief du discours sur la loi qui sous-tend la Risāla fī al-qiyān permet d'avancer une explication possible de sa relation avec le discours sur les passions. قد نقرأ رسالة الجاحظ في القيان في ضوء الجدل حول تفسير الشريعة في أوائل العصر العباﺳﻲ . ﻓﺴﻨﻘﻮﻡ بدراسة العلاقة بين الجاحظ وبين الشافعي وغيره من الفقهاء، وتبيين الدور الذي لعبته المجادلات الفقهية فى بنية رسالة الجاحظ من خلال مناقشة مفهومي الاستحسان والقياس والانقسام بين ﺍﻟﻌﻤﻞ ﻭﺍﻟﻨﻴﹼﺔ . ﻓﻴﻤﻜﻨﻨﺎ هذا التحليل من فهم الحدث عن الفقه الكامن في ﺍﻟﺮﺳﺎﻟﺔ ومن تفسير محتمل لعلاقته مع الحديث عن العشق . Al-Ğāḥiẓ's epistle on singing-girls (Risāla fī al-qiyān) can be read in the light of early Abbasid polemics concerning the interpretation of Islamic law. We will study the relation of al-Ğāḥiẓ with legal experts such as al-Šāfi‘ī, and the role played by legal and hermeneutical debates in the structure of al-Ğāḥiẓ's epistle, by discussing the notions of istiḥsān and qiyās, and the dichotomy between ‘amal and niyya. This analysis will allow us to outline the discourse on law that underlies the Risāla fī al-qiyān and to propose a possible explanation of its relation with the discourse on passions.",
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            "abstractNote": "Au Moyen Âge, les autorités religieuses juives et musulmanes considèrent généralement les pratiques musicales féminine comme immodestes et licencieuses. Parce que Musique ou poésie, deux arts du domaine des affects, de l’imitation et de l’imagination, sont susceptibles de susciter le désir, elles suscitent nombre d’interdits, notamment si elles sont pratiquées par des femmes. On craint qu’elles ne détournent de l’étude et de la prière, considérées comme des impératifs masculins. Masculins également, à quelque exception près, sont les arts des cours califales, dont la poésie de tradition arabe ; celle-ci dépeint parfois la femme comme sujet ou objet de désir, esclave ou danseuse, chanteuse, musicienne dans les banquets, versant le vin, jouant le luth. Dans les espaces et les temps de prière ou au diwan des poètes, la voix et la pratique musicale féminines s’inscrivent avec peu de nuances entre méfiance et désir idéalisés, voire exacerbés. Ce chapitre s’intéressera à la relation du féminin à la musique au regard des sources juives médiévales méditerranéennes, dont les auteurs sont exclusivement des hommes.",
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            "abstractNote": "Biographie de GRANMOUN LÉLÉ (1930-2004). Un des maîtres du maloya réunionnais. Le maloya, à la fois chant et danse, est une sorte de blues gai au rythme ternaire ; il serait issu d'une musique de tambours accompagnant un rituel funéraire malgache appelé service (« sevis malgas » ou « sevis kabars »). Musique des esclaves puis des exclus, symbole de la culture créole, le maloya est interdit de 1946 à 1962 par les autorités françaises. Granmoun (« grand-père ») Lélé (de son vrai nom Julien Philéas) a composé...",
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