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Since antiquity, poetry and music in the Near East have been interrelated and were believed to have extraordinary powers. Both the context in which oral poetry is set, and the musically induced state of enchantment or ecstasy it produces, are defined in Arabic by the word 'ṭarab'. This article aims to provide an exhaustive definition of this concept, as well as a brief introduction to the artistic domain that encompasses extemporary performance of songs/poems, from the pre-Islamic period up until our modern era. Drawing on literary excerpts, the article attempts to highlight how music, literary performance and aesthetic emotion are amalgamated through the holistic experience of 'ṭarab', which has maintained its basic features virtually unchanged from the days of Ǧāhiliyya until the golden age of Umm Kulthum.
When Gorki wrote his play "The Barbarians" (1906), he probably did not intend to raise such an intricate problem as the relationship between the barbarian, the savage and the civilized. Neither did he envisage talking about this triadic relation in reference to its political, historical and philosophical meaning. He proceeded as a writer and managed to construct a peculiar literary figure of the "barbarian" in its multiple aspects, and as related to other figures, such as the savage, in the first place. In this paper I argue that Gorki's intrinsically literary venture consisted in trying to make collide two categories that never normally enter in a dual relationship, but are always mediated by the category of the "civilized". The objective of this paper is to examine the consequences of this forced dualism, which without imposing any idea of civilization, however, ends up by setting it as a problem for further meditation and, without giving any solution, invites the reader to pursue his reflection.