This article moves the poetic ijāzah from the periphery, where modern scholars have generally placed it, to a central position in Arabic poetry and mass media. The ijāzah was well developed before its adoption in the western Mediterranean, but Cordoban, Sevillian, and expatriate Sicilian poets distinguished the competitive improvised poem from corollary works in the Middle East, where it had first been invented. I argue that it is precisely the Andalusi innovations to the ijāzah’s formal development that have allowed traditional criticism to minimize its importance, against a larger trend of popular audiences appreciating performed ijāzahs, on stage and in mass media. Modern Arabic theatre and television have found enthusiastic audiences for the Andalusi poetic dialogue, a phenomenon that frames my Classical research. Media outlets, including those working closely with government officials, stage the ijāzah in ways that maximize its ideological value. As they use it to promote secularism and putatively benevolent dictatorship, propelling Andalusi literature into current Middle Eastern politics, we critics should seek to understand the dialogic form in its contemporary, insistently political phase of development.

本文将诗意的ijāzah从现代学者普遍放置的外围移至阿拉伯诗歌和大众媒体的中心位置。该ijāzah其在地中海西部通过之前已经十分发达，但Cordoban，塞维利亚和外籍西西里诗人从中东，它首先被发明推论作品区分竞争即兴诗。我认为正是正是安达卢西亚对以扎扎的正式发展所做的创新，才使传统批评最大程度地降低了其批评的影响力，与此相反，越来越多的大众观众欣赏了以扎扎扎的表演在舞台上和大众媒体上。现代阿拉伯语戏剧和电视吸引了安达卢西诗歌对话的热情观众，这种现象构成了我的古典研究的框架。包括与政府官员紧密合作的媒体在内的媒体都以最大限度地提高其意识形态价值的方式来组织《圣战报》。当批评家们使用它来促进世俗主义和推崇仁慈的独裁统治，从而将安达卢西文学推向当​​前的中东政治之时，我们的批评家们应该设法理解其当代，坚持不懈的政治发展阶段的对话形式。