ABSTRACT At the twilight of Arabic literary culture in thirteenth-century Sicily, poets writing in the vernacular Italian use the term “stanza,” meaning a “dwelling,” to refer to a lyric strophe. Since there is no precedent for this use of the term “stanza” to refer to poetry, I suggest that “stanza” presents as a calque for Arabic “bayt,” meaning “dwelling” and a “unit of verse.” To understand how the implied relation between poetry and architecture might frame new approaches to the scuola siciliana, I examine the imbrication of linguistic and built form in Arabic poetry. The qaṣīdah, the preeminent Arabic lyric, often begins with an evocation of an architectural ruin, the effaced “dār” or “bayt” of a departed beloved. I argue that her phantom form or “khayāl,” haunting and taking the place of her ruined dwelling, articulates the fluidity of all apparently enduring structures and the performative power of poetry to delineate the real. Turning to the epistemological continuities between Arabic and Italian poetry, I study the relation between architecture, phantasms, and the theory of form in the work of Giacomo da Lentini, a poet-scribe in the court of Frederick II, concluding that the kinship between the qaṣīdah and sonnet subverts “Western” narratives of self-invention and cultural authenticity.

中文翻译：

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从Bayt到Stanza：阿拉伯Khayāl和意大利白话诗的到来

摘要在十三世纪西西里的阿拉伯文学文化的暮色中，用白话意大利语写作的诗人使用“节”一词，意为“住所”，指的是抒情的转折。由于没有使用“节”一词来指代诗歌的先例，因此我建议“节”代表阿拉伯语“ bayt”的意思，意为“住所”和“诗歌单位”。为了理解诗歌与建筑之间的隐含关系如何为西库拉西库里亚教区（Scuola siciliana）建立新的方法，我研究了阿拉伯诗歌中语言和建筑形式的融合。“qadīdah”（阿拉伯语杰出的抒情诗）通常始于对建筑废墟的追忆，这是一个失散的亲人的消失的“dār”或“ bayt”。我认为她的幻影形式或“khayāl”，困扰着她并取代了她那破烂的住宅，阐明了所有看似持久的结构的流动性，以及诗歌描绘现实的力量。关于阿拉伯和意大利诗歌在认识论上的连续性，我研究了弗雷德里克二世宫廷的诗人贾科莫·达·伦蒂尼（Giacomo da Lentini）的作品中的建筑，幻象和形式理论之间的关系，并得出结论说，两者之间的亲属关系基地组织和十四行诗颠覆了自我发明和文化真实性的“西方”叙事。