A Contextualisation of Shared Pilgrimage in Ephesus
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Muhammad Speaking of the Messiah: Jesus in the Hadīth Tradition
MUHAMMAD SPEAKING OF THE MESSIAH: JESUS IN THE HADĪTH TRADITION A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Fatih Harpci (May 2013) Examining Committee Members: Prof. Khalid Y. Blankinship, Advisory Chair, Department of Religion Prof. Vasiliki Limberis, Department of Religion Prof. Terry Rey, Department of Religion Prof. Zameer Hasan, External Member, TU Department of Physics © Copyright 2013 by Fatih Harpci All Rights Reserved ii ABSTRACT Much has been written about Qur’ānic references to Jesus (‘Īsā in Arabic), yet no work has been done on the structure or formal analysis of the numerous references to ‘Īsā in the Hadīth, that is, the collection of writings that report the sayings and actions of the Prophet Muhammad. In effect, non-Muslims and Muslim scholars neglect the full range of Prophet Muhammad’s statements about Jesus that are in the Hadīth. The dissertation’s main thesis is that an examination of the Hadīths’ reports of Muhammad’s words about and attitudes toward ‘Īsā will lead to fuller understandings about Jesus-‘Īsā among Muslims and propose to non-Muslims new insights into Christian tradition about Jesus. In the latter process, non-Muslims will be encouraged to re-examine past hostile views concerning Muhammad and his words about Jesus. A minor thesis is that Western readers in particular, whether or not they are Christians, will be aided to understand Islamic beliefs about ‘Īsā, prophethood, and eschatology more fully. In the course of the dissertation, Hadīth studies will be enhanced by a full presentation of Muhammad’s words about and attitudes toward Jesus-‘Īsā. -
ANGELS in ISLAM a Commentary with Selected Translations of Jalāl
ANGELS IN ISLAM A Commentary with Selected Translations of Jalāl al-Dīn al-Suyūṭī’s Al-Ḥabā’ik fī akhbār al- malā’ik (The Arrangement of the Traditions about Angels) S. R. Burge Doctor of Philosophy The University of Edinburgh 2009 A loose-leaf from a MS of al-Qazwīnī’s, cAjā’ib fī makhlūqāt (British Library) Source: Du Ry, Carel J., Art of Islam (New York: Abrams, 1971), p. 188 0.1 Abstract This thesis presents a commentary with selected translations of Jalāl al-Dīn cAbd al- Raḥmān al-Suyūṭī’s Al-Ḥabā’ik fī akhbār al-malā’ik (The Arrangement of the Traditions about Angels). The work is a collection of around 750 ḥadīth about angels, followed by a postscript (khātima) that discusses theological questions regarding their status in Islam. The first section of this thesis looks at the state of the study of angels in Islam, which has tended to focus on specific issues or narratives. However, there has been little study of the angels in Islamic tradition outside studies of angels in the Qur’an and eschatological literature. This thesis hopes to present some of this more general material about angels. The following two sections of the thesis present an analysis of the whole work. The first of these two sections looks at the origin of Muslim beliefs about angels, focusing on angelic nomenclature and angelic iconography. The second attempts to understand the message of al-Suyūṭī’s collection and the work’s purpose, through a consideration of the roles of angels in everyday life and ritual. -
Oxford Handbooks Online
The Late Bronze Age in the West and the Aegean Oxford Handbooks Online The Late Bronze Age in the West and the Aegean Trevor Bryce The Oxford Handbook of Ancient Anatolia: (10,000-323 BCE) Edited by Gregory McMahon and Sharon Steadman Print Publication Date: Sep 2011 Subject: Archaeology, Archaeology of the Near East Online Publication Date: Nov DOI: 10.1093/oxfordhb/9780195376142.013.0015 2012 Abstract and Keywords This article presents data on western Anatolia during the Late Bronze Age, wherein it was the homeland of a wide range of states and population groups. The most important and most powerful of these was a group of kingdoms that are attested in Hittite texts as the Arzawa Lands. Most scholars associate the development of these kingdoms with Luwian-speaking populations who had occupied large parts of Anatolia from (at least) the early second millennium BCE. The most enduring link between Anatolia's Late Bronze Age civilizations and their first- millennium-BCE successors is provided by the Lukka people, one of the Luwian-speaking population groups of southwestern Anatolia. They were almost certainly among the most important agents for the continuity and spread of Luwian culture in southern Anatolia throughout the first millennium BCE. Keywords: western Anatolia, Arzawa Lands, Lukka people, Luwian culture In this chapter, the phrase “western Anatolia” encompasses the regions extending along Anatolia’s western and southwestern coasts, from the Troad in the north to Lukka in the south, and inland to the regions stretching north and south of the (Classical) Hermus and Maeander Rivers. During the Late Bronze Age, these regions were occupied by an array of states and population groups known to us from numerous references to them in the tablet archives of the Hittite capital Ḫattuša. -
Oratie Prof. Dr. Arnoud-Jan Bijsterveld
Het maakbare verleden. Regionale geschiedenis en etnologie in Brabant op de drempel van de eenentwintigste eeuw 1 Op 1 maart 1796 mochten vertegenwoordigers van het toenmalige `Bataafsch Brabant', het voormalige Generaliteitsland, zitting nemen in de Staten-Generaal. 2 Dit feit werd in 1996 gevierd als `tweehonderd jaar Noord-Brabant'. In het kader daarvan verscheen op 13 juni 1996 een herdenkingspostzegel. Bij een eerste blik beantwoordt die postzegel aan het beeld dat veel Brabanders en ook mij vanaf mijn kinderjaren, doorgebracht in een dorp met twee actieve gilden, zeer vertrouwd is: we zien een jonge gildenbroeder met een trom en een ouder lid met het gildenvaandel, onderdeel van een in kleurige kleding optrekkend gilde. Maar in tweede instantie heb ik zo mijn bedenkingen bij deze postzegel. Is dit nu het beeld waarmee het moderne Noord-Brabant zich wenst te representeren ten overstaan van heel Nederland? En is een afbeelding van een gilde eigenlijk wel geschikt om het verleden van tweehonderd jaar Noord-Brabant in samen te ballen? Gaat het hier niet om het zoveelste clichébeeld waarmee we gezamenlijk een mythisch en achterhaald imago van Noord-Brabant instandhouden? Hiermee stel ik drie zaken ter discussie, namelijk de actualiteit van het zelfbeeld van de hedendaagse Brabanders, de deugdelijkheid van hun visie op het eigen verleden en ten slotte de geldigheid van de bestaande Brabantbeelden. Al deze zaken zijn relevant in het kader van de leerstoel `Cultuur in Brabant', ofwel voluit `Cultuur in Brabant in sociaal-wetenschappelijk en historisch perspectief, met inbegrip van de volkscultuur'. Deze leeropdracht omvat twee disciplines, enerzijds de lokale en regionale geschiedenis, en anderzijds de volkskunde of etnologie. -
Notes on the Formation of Hilya Design Calligraphy-Illumination Interaction and Numeral Symbolism
Kafkas Üniversitesi Sosyal Bilimler Enstitüsü Dergisi Kafkas University Journal of the Institute of Social Sciences Sonbahar Autumn 2019, Ek Sayı Additional Number 2, 155-176 DOI:10.9775/kausbed.2019.024 Gönderim Tarihi: 15.08.2019 Kabul Tarihi: 02.09.2019 NOTES ON THE FORMATION OF HILYA DESIGN: CALLIGRAPHY-ILLUMINATION INTERACTION AND NUMERAL SYMBOLISM Hilye Tasarımının Oluşumuna İlişkin Notlar: Hat-Tezhip Etkileşimi ve Sayı Sembolizmi Gülnihal KÜPELİ Dr. Öğr. Üyesi, Marmara Üniversitesi Güzel Sanatlar Fakültesi, [email protected] ORCID ID: 0000-0002-2055-0427 Çalışmanın Türü: Araştırma Abstract: In Ottoman tradition of thought the Prophet Muhammad represents the complete human being (al-insan al-kamil), who has reached the highest psychological, physical and spiritual stage of being. In this case the main purpose of the hilya as a work of calligraphy and illumination is to aesthetically evoke the physical appearance and moral character of the Prophet Muhammad. Moreover, the complex symbolism of the hilya as an expression of prophetic glory also reflects the cosmological thought of the Ottoman community. The subject of this article is to examine the classical hilya design attributed to the famous Ottoman calligrapher Hâfiz Osman in the context of calligraphy-illumination interaction and number symbolism. Examining classical examples of Turkish-Islamic arts of the book, we will try to observe that the conventional hilya design passed through various stages during the process of its formation. In this case the theoretical roots of Hâfiz Osman’s hilya form and the probability of his inspiration by the aesthetic designs of the previous periods will be examined through the decorative manuscripts in religious and non- religious topics. -
As William Makepeace Thackeray (1811–63) Would Have Said
CONCLUSIONS Everything has its end, so does this book. “Our play is played out,” as William Makepeace Thackeray (1811–63) would have said. Our peculiar journey in space and time to the sources of Indo-European cultures and languages is also over. It is left only to draw important conclusions. The world of Indo-European cultures and languages is really huge, diverse, and marvelous. The history of the ancient Indo-Europeans and the peoples with whom they communicated in prehistory in many aspects is still shrouded in mystery. We know for sure that the Indo-Europeans were not autochthones neither in Europe nor in India. Although the word Europe is originally a prominent concept of Greek civilisation, basically used in a large number of modern languages, its etymology (as well as that of Asia) is of unknown ultimate provenance, which also speaks in favour of the later appearance of the Indo-Europeans on this continent. We also know that other civilisations flourished before them, but the origins of these civilisations or the specific circumstances of the invasion of Indo-Europeans tribes there – all this is the subject of much speculation impossible to verify. According to the Kurgan hypothesis that seems the most likely, the tribes who spoke Proto-Indo-European dialects originally occupied the territory that stretched between the Pontic steppe (the region of modern southern Russia and eastern Ukraine) and the Ural Mountains, and between the upper reaches of the Volga and the foothills of the Caucasus. Approximately during the 5th and 4th millennia BC, they split into various parts and began their movements in three main directions: to the east into Central Asia and later farther, to the south through the Caucasus into Asia Minor, and to the west into Europe. -
Bulls, Swords, and the Acrobatic Body in the Ancient Near East
ABSTRACT WEBBERMAN, RACHEL JOHANNA. Performing Danger: Bulls, Swords, and the Acrobatic Body in the Ancient Near East. (Under the direction of Dr. Tate Paulette). The body functions as both the primary medium for human experience and a powerful semiotic instrument. These two dimensions of the human body intersect with particular clarity in the realm of acrobatic performance. In this thesis, I argue that acrobatic performance, which is explicitly devoted to exploring the limits of human physical ability in the presence of an audience, offers a distinctive vantage point from which to observe the role of the body in the ancient world. I argue that acrobatic performance provided a unique arena in which the kinesthetic experience and the semiotic potential of the body were particularly and inextricably intertwined. As a case study, I draw together a range of artistic and written evidence for two types of acrobatic performance, bull-leaping and sword-tumbling, in the Bronze Age Near East and Eastern Mediterranean. In Chapter 1 I articulate both a theoretical lens and a methodology for analyzing acrobatic performance in the ancient world. Grounded in both archaeological theory and modern circus studies, my theoretical approach seeks to integrate the experiential (e.g., kinetic and kinesthetic) and the semiotic dimensions of acrobatic performance. My analytical methodology highlights four key variables that are essential to characterizing any particular example of acrobatic performance: extreme movement, setting, audience, and performer. Chapter 2 introduces my Bronze Age case study and provides some key background context. Chapter 3 explores the evidence for bull-leaping in Crete, Mesopotamia, and Anatolia and demonstrates a radically different understanding and experience of bull-leaping across the three regions. -
Armenians of Tampa Bay : a Long Way Home
University Honors Program University of South Florida St. Petersburg, Florida Certificate of Approval Honors Thesis This is to certify that the honors thesis of AnnaNefedova Has been approved by the thesis committee On May 2, 2002 as satisfactory for the thesis requirement for the University Honors Program Thesis Cmmnittee: Thesis Advisor: Raymond Arsenault, Ph.D. Committee Member: Daanish Nlustafa, Ph.D. ARMENIANS OF TAMPA BAY: ALONG WAY HOME (THE HISTORY OF THE ARNIENIAN PEOPLE AND ITS INFLUENCE ON THE TAMP ABAY ARNIENIAN COMivfUNITY) By: Arma Nefedova A thesis submitted in partial fulfillment of the requirements of the University Honors Program University of South Florida May,2001 Thesis Advisor: Raymond Arsenault, Ph.D. Thesis Committee Member: Daanish Mustafa. L_.__ _ _ _ TABLE OF CONTENTS .... 1. [ntroduction ... .. .... ............ .) 2. Armenians: Who They Are Origins and Location ............................ .. ............... ... ....... 7 Armenian Language. .................... ......... ... ...................... 9 Transcaucastan. R eg10n. m. -?Oth C entury....... ... 11 Armenia Today ........................... ................. ... ............. 12 3. The Long Road to the Present Ancient History and its Influence on the Place of the Armenian Nation in the World Today ....... ........... ....... ... .. .... 14 First Conflicts Changing Times ....... .... ..... .. .......... .................. ..... 20 Christianity in Armenia and its Consequences.. .............. 21 Arabic Conquest of Asia . 23 Armenian History in 11-19 centuries -
The Offensive Depictions of Prophet Muhammad (SAW) in Western
Volume 4, Issue I Journal of Islamic Thought and Civilization Spring 2014 The Offensive Depictions of Prophet Muhammad ( SAW ) in Western Media and its Consequences Aijaz Ahmad Khan PhD Scholar Mewar University, Rajasthan, India Abstract The controversies and provocations generated by the West and its media over depictions of Prophet Muhammad (SAW) are not only related to recent caricatures or cartoons but are also about the display of historical artwork. Recently, many Western organisations, newspapers, magazines, social networks and even websites organised seminars and events like the cartoon "Everybody Draw Mohammed Day!" to hurt and provoke the Muslim world. Muslims believe that visual depictions of all the Prophets should be prohibited and are particularly averse to visual representations of Prophet Muhammad (SAW). The key concern is that the use of images can encourage idolatry. Islam does not allow the depictions of Prophet Muhammad (SAW); to do so goes against the faith of the Muslims and hurts their emotions. This article will focus on providing an analysis of the distorted images, fabricated views, and overgeneralizations which typically characterize Western representation of the Prophet (SAW) of Islam with reference to some particular incidents, chiefly the Charlie Hebdo controversy, Danish newspaper, controversial movie Innocence of Muslims, animated films and social networks. This analysis comprises of works by both Western and Muslim thinkers; it also includes biased and moderate/ fair views depicted in the Western media. Keywords: Portraits of Prophets ( AS ), Drawings, Calligraphy, Media, Image Building Introduction The negative representation of Muslims and Prophet Mohammed ( SAW ) in Western media is not a recent fabrication. -
Homer, Troy and the Turks
4 HERITAGE AND MEMORY STUDIES Uslu Homer, Troy and the Turks the and Troy Homer, Günay Uslu Homer, Troy and the Turks Heritage and Identity in the Late Ottoman Empire, 1870-1915 Homer, Troy and the Turks Heritage and Memory Studies This ground-breaking series examines the dynamics of heritage and memory from a transnational, interdisciplinary and integrated approach. Monographs or edited volumes critically interrogate the politics of heritage and dynamics of memory, as well as the theoretical implications of landscapes and mass violence, nationalism and ethnicity, heritage preservation and conservation, archaeology and (dark) tourism, diaspora and postcolonial memory, the power of aesthetics and the art of absence and forgetting, mourning and performative re-enactments in the present. Series Editors Rob van der Laarse and Ihab Saloul, University of Amsterdam, The Netherlands Editorial Board Patrizia Violi, University of Bologna, Italy Britt Baillie, Cambridge University, United Kingdom Michael Rothberg, University of Illinois, USA Marianne Hirsch, Columbia University, USA Frank van Vree, University of Amsterdam, The Netherlands Homer, Troy and the Turks Heritage and Identity in the Late Ottoman Empire, 1870-1915 Günay Uslu Amsterdam University Press This work is part of the Mosaic research programme financed by the Netherlands Organisa- tion for Scientific Research (NWO). Cover illustration: Frontispiece, Na’im Fraşeri, Ilyada: Eser-i Homer (Istanbul, 1303/1885-1886) Source: Kelder, Uslu and Șerifoğlu, Troy: City, Homer and Turkey Cover design: Coördesign, Leiden Typesetting: Crius Group, Hulshout Editor: Sam Herman Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 269 7 e-isbn 978 90 4853 273 5 (pdf) doi 10.5117/9789462982697 nur 685 © Günay Uslu / Amsterdam University Press B.V., Amsterdam 2017 All rights reserved. -
Naqshbandi Sufi, Persian Poet
ABD AL-RAHMAN JAMI: “NAQSHBANDI SUFI, PERSIAN POET A Dissertation Presented in Partial Fulfillment of the Requirement for The Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Farah Fatima Golparvaran Shadchehr, M.A. The Ohio State University 2008 Approved by Professor Stephen Dale, Advisor Professor Dick Davis Professor Joseph Zeidan ____________________ Advisor Graduate Program in History Copyright by Farah Shadchehr 2008 ABSTRACT The era of the Timurids, the dynasty that ruled Transoxiana, Iran, and Afghanistan from 1370 to 1506 had a profound cultural and artistic impact on the history of Central Asia, the Ottoman Empire, and Mughal India in the early modern era. While Timurid fine art such as miniature painting has been extensively studied, the literary production of the era has not been fully explored. Abd al-Rahman Jami (817/1414- 898/1492), the most renowned poet of the Timurids, is among those Timurid poets who have not been methodically studied in Iran and the West. Although, Jami was recognized by his contemporaries as a major authority in several disciplines, such as science, philosophy, astronomy, music, art, and most important of all poetry, he has yet not been entirely acknowledged in the post Timurid era. This dissertation highlights the significant contribution of Jami, the great poet and Sufi thinker of the fifteenth century, who is regarded as the last great classical poet of Persian literature. It discusses his influence on Persian literature, his central role in the Naqshbandi Order, and his input in clarifying Ibn Arabi's thought. Jami spent most of his life in Herat, the main center for artistic ability and aptitude in the fifteenth century; the city where Jami grew up, studied, flourished and produced a variety of prose and poetry. -
Muhammad at the Museum: Or, Why the Prophet Is Not Present
religions Article Muhammad at the Museum: Or, Why the Prophet Is Not Present Klas Grinell Department of Literature, History of Ideas, and Religion, University of Gothenburg, SE405 30 Göteborg, Sweden; [email protected] Received: 30 October 2019; Accepted: 5 December 2019; Published: 10 December 2019 Abstract: This article analyses museum responses to the contemporary tensions and violence in response to images of Muhammad, from The Satanic Verses to Charlie Hebdo. How does this socio-political frame effect the Metropolitan Museum of Art in NY, the V&A and British Museum in London, and the Louvre in Paris? Different genres of museums and histories of collections in part explain differences in approaches to representations of Muhammad. The theological groundings for a possible ban on prophetic depictions is charted, as well as the widespread Islamic practices of making visual representations of the Prophet. It is argued that museological framings of the religiosity of Muslims become skewed when the veneration of the Prophet is not represented. Keywords: museums; Islam; Muhammad; Islamicate cultural heritage; images; exhibitions; Islamic art; collection management 1. Introduction One seldom comes across the Prophet Muhammad in museum exhibitions of Islamicate heritage. The aim of this article is to analyze the framings of this absence, and to discuss how it affects the representations of Islam given in museums. Critical frame analysis will be used to analyze empirical material consisting of the displays in museums with major exhibits of Islamicate material culture in the US, Germany, France, the UK, Turkey and Iran in 2015–2018. The contemporary socio-political frame will be uncovered from media coverage of conflicts around non-Muslim representations of Muhammad from the Rushdie affair to the present.1 To understand different possible Islamic framings of representations of the Prophet, Islamic theological and devotional traditions will be consulted.