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From Gastarbeiter to Muslim: Cosmopolitan
FROM GASTARBEITER TO MUSLIM: COSMOPOLITAN LITERARY RESPONSES TO POST-9/11 ISLAMOPHOBIA A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2015 JOSEPH TWIST SCHOOL OF ARTS, LANGUAGES AND CULTURES Contents List of Abbreviations ............................................................................................................... 4 List of Figures ........................................................................................................................... 4 Abstract ..................................................................................................................................... 5 Declaration................................................................................................................................ 6 Copyright Statement ................................................................................................................ 6 Acknowledgements .................................................................................................................. 7 Introduction: Thinking ‘We’ in Contemporary German Literature Islamophobia and the German Literary Landscape ................................................................... 8 ‘Being-with’: Contemporary Cosmopolitan Theory and the Philosophy of Jean-Luc Nancy. 26 Beyond Monotheism: A Cosmopolitan Understanding of the Divine ..................................... 46 Sufism and Singularity: The Deconstruction of Islam ............................................................ -
A History of Ottoman Poetry
151 equal we must come down to modern times when the al- tered state of social matters renders it comparatively so much more easy for a Turkish woman to develop and express what intellectual gifts she may possess. The article on Fitnet Khanim in Fati'n Efendi's Tezkire is as usual of the slightest, and later writers such as Zihni Efendi the author of 'Famous Women', and Ahmed Mukh- tcir Efendi, who has compiled a little book entitled 'Our Poetesses,' have been able to add but little to his meagre details. This poetess, whose personal name was Zubeyde, belonged to a talented and distinguished family, her father, Mehemmed Es^ad Efendi, being Sheykh-ul-Islam under Mah- mud I, and her brother, Mehemmed Sherif Efendi, holding the same high office under '^Abd-ul-Hamid I. The father is said to have been skilled in music, an extraordinary accom- pHshmcnt in a member of the 'ulcma, while both he and his son were gifted, though in far less measure than his daughter, with poetic talent. Fitnet was unfortunate in her marriage, her husband, Dervish Efendi, who became a Qadi- ^Askcr of Rumelia under Seli'm III, being a man without ability and utterly unwortiiy of iiis brilliant wife. When it is added that I'itnct died in the year i 194 (1780), all that is known concerning her life-story has been told. 'I'lie unlucky union of the poetess with Dervish I'^feiuli lias formed a text for more than one subseijuent writer. 'I liiis '\v./.r\ Molla, who lloiiiisiud (liiiiiii; tlu' cailiri part of the niiu;t(:(:iith century, when upbraiding the 'Sphere' in hi'i Milinet-Kirslian for its ill-treat nicnl of poets as a race, marvels why this malicious powei should have niadi- 'an ass lil:i- i)(ivisli Fleiidi' the hiisbaml oj l-'itnet, aihhiij; how nilineet il \v,|-; thai she shnuld be the wile ol thai oldni.in. -
The Mughal Emperor As Solomon, Majnun, and Orpheus 277
the mughal emperor as solomon, majnun, and orpheus 277 EBBA KOCH THE MUGHAL EMPEROR AS SOLOMON, MAJNUN, AND ORPHEUS, OR THE ALBUM AS A THINK TANK FOR ALLEGORY By the early seventeenth century, symbolic repre- While the concept of Mughal symbolic representa- sentation and allegory had emerged as a new genre in tion and, to a certain extent, its composition and style imperial Mughal painting. The themes were guided are indebted to European works, its iconography and by imperial interest and the main agenda was to give iconology were fed by sources of an astonishing hetero- abstract concepts or performed gestures of ideal king- geneity. The Mughal emperors and their theorists ship a pictorial expression. Mughal symbolic represen- (mardum-i ā ib-i vuqūf, men of superior knowledge, tation was inspired by Europe, as we learn from Abu ’l as Jahangir [r. 1605–27] calls them in one of the rare Fazl (d. 1602), the chief historian of Emperor Akbar instances where their input is acknowledged2) had not (r. 1556–1605) and, as Richard Eaton has famously the slightest problem with selectively taking from Cen- termed him, his chief ideologue. In his Āʾīn-i Akbarī tral Asian, Indian, Persian, ancient Near Eastern, and (Institutes of Akbar), written in the 1590s, Abu ’l Fazl European ideas whatever served their purpose. On the presents us with an intriguing argument, in which he contrary, the Mughals drew inspiration from the diver- weighs the value of writing against that of painting. sity of their sources in order to develop a symbolic and He begins in almost postmodern philosophical terms, allegorical “multilingualism” as a means to address the anticipating Saussure’s notions of “sign,” “signifier,” widest possible audience in a cosmopolitan discourse and “signified,” and continues on a neo-Platonic, post- in its own terms and, as a consequence, to legitimate Tri dentine note when he states that painting may themselves in the widest possible context as ideal and become a means to recognize a higher truth, especially universal kings. -
Instructions for Kidney Recipients and Donors (In English for Medical Providers and in Arabic for Patients and Donors)
Published online: 2021-08-04 BRIEF REPORT Instructions for kidney recipients and donors (In English for medical providers and in Arabic for patients and donors) Ziad Arabi, Basmeh Ghalib, Ibrahim Asmari, Mohammed Gafar, Syed Alam, Mohamad Abdulgadir, Ala AlShareef, Awatif Rashidi, Mohammed Alruwaymi, Abdulrahman Altheaby Adult Transplant Nephrology, The Organ Transplant Center at King Abdulaziz Medical City, King Abdullah International Medical Research Center, King Saud Bin Abdulaziz University for Health Sciences, Riyadh, Kingdom of Saudi Arabia Access this article online Website: www.avicennajmed.com ABSTRACT DOI: 10.4103/ajm.ajm_120_19 Quick Response Code: Medical providers are often asked by their kidney recipients and donors about what to do or to avoid. Common questions include medications, diet, isolation, return to work or school, pregnancy, fasting Ramadan, or hajj and Omrah. However, there is only scant information about these in English language and none in Arabic. Here, we present evidence-based education materials for medical providers (in English language) and for patients and donors (in Arabic language). These educational materials are prepared to be easy to print or adopt by patients, providers, and centers. Key words: Arabic, education, instructions, kidney donors, kidney recipients, lifestyle, Muslim INSTRUCTIONS FOR KIDNEY GRAFT RECIPIENTS - These medications include valganciclovir (Valgan), (PROVIDERS’ INFORMATION) nystatin, and Bactrim.[1,2] 2. Medication side effects: 1. Medications: Tacrolimus (Prograf or FK) may cause diabetes, • Immunosuppression medications: hypertension, alopecia, tremor, and renal insufficiency. - These medications are to protect against rejection MMF (CellCept) may cause low white blood count. of the transplanted kidney. Prednisolone may cause high blood sugar.[1-3] - These medications include tacrolimus (Prograf or 3. -
Mirza Ghalib - Poems
Classic Poetry Series Mirza Ghalib - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Mirza Ghalib(27 December 1797 – 15 February 1869) Mirza Asadullah Baig Khan (Urdu/Persian: ???? ??? ???? ??? ???) was a classical Urdu and Persian poet from India during British colonial rule. His also known as 'Mirza Asadullah Khan Galib', 'Mirza Galib', 'Dabir-ul-Mulk' and 'Najm-ud-Daula'. His pen-names was Ghaliband Asad or Asad or Galib. During his lifetime the Mughals were eclipsed and displaced by the British and finally deposed following the defeat of the Indian rebellion of 1857, events that he wrote of. Most notably, he wrote several ghazals during his life, which have since been interpreted and sung in many different ways by different people. He is considered, in South Asia, to be one of the most popular and influential poets of the Urdu language. Ghalib today remains popular not only in India and Pakistan but also amongst diaspora communities around the world. <b> Family and Early Life </b> Mirza Ghalib was born in Agra into a family descended from Aibak Turks who moved to Samarkand after the downfall of the Seljuk kings. His paternal grandfather, Mirza Qoqan Baig Khan was a Saljuq Turk who had immigrated to India from Samarkand (now in Uzbekistan) during the reign of Ahmad Shah (1748–54). He worked at Lahore, Delhi and Jaipur, was awarded the subdistrict of Pahasu (Bulandshahr, UP) and finally settled in Agra, UP, India. He had 4 sons and 3 daughters. Mirza Abdullah Baig Khan and Mirza Nasrullah Baig Khan were two of his sons. -
Extracts from Nizami Ganjavi's Poetry 1. One Night Desperate Majnun
OUDCE Islamic Mystical Poetry 2 Extracts from Nizami Ganjavi’s poetry 1. One night desperate Majnun prayed tearfully, “Oh Lord of mine who has abandoned me. Why has Thou ‘Majnun’ called me? Why hast thou made a lover of Leila of me? Thou hast made me a pillow of wild thorns, Made me roam day and night without a home. What dost Thou want from my imprisonment? Oh Lord of mine, listen to my plea!” The Lord replied, “Oh lost man, With Leila’s love I have your heart filled; The beauty of Leila that you see Is just another reflection of Me”. (from ‘Layla and Majnun’ in Islamic Mystical Poetry, p. 65) 2. “This text requires a single name, not two,” He answered them. “Majnun alone will do. If someone delves within a lover’s heart, He’ll find the loved one in its deepest part.” “But why,” they asked him, “from among the two It’s Layla who’s been cut away, not you?” “It’s wrong,” he said, “for her to be the cover That hides within itself this ardent lover. I am the veil for what should be internal. I am the outer shell; she is the kernel.” (from ‘Layla and Majnun’ in Nizami Ganjavi and His Poetry, p. 23 ) 3. As the pen began its first movement It produced first word and speech. When they raised the curtain of non-existence, The first manifestation was word and speech. Until the word gave voice to the heart, The soul did not submit its free body to clay. -
A Close Looking Into Seventeenth-Century Mughal Painting, Zulaykha’S Guests Distracted by Yusuf’S Beauty
Hum هم and After the Cut / A Close Looking Into Seventeenth-century Mughal painting, Zulaykha’s Guests Distracted by Yusuf’s Beauty A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2020 Fatema S. Abdoolcarim School of Arts, Languages and Cultures CONTENTS LIST OF ILLUSTRATIONS 3 ABSTRACT 4 DECLARATION & COPYRIGHT STATEMENT 5 ACKNOWLEDGEMENTS 6 هم Hum 9 (هم) NOTES ON Hum CHAPTER ONE Rabia 10 CHAPTER TWO Hayam 55 CHAPTER THREE Yusuf 105 After the Cut: A Close Looking Into Seventeenth-century Mughal painting, Zulaykha’s Guests Distracted by Yusuf’s Beauty INTRODUCTION An Open(ing) Wound: Looking’s Pleasure 136 CHAPTER I White Spread: Kayd, Silence and Beauty, Nicked 162 CHAPTER II Blood-lined Oranges: Words, Images and Female Bodies, Touching 217 CONCLUSION Looking (Again): A Fresh Incision, Bleeding Gold 255 FIGURES 275 BIBLIOGRAPHY 286 Word Count: 75,482 2 LIST OF ILLUSTRATIONS All figures appear from page 275 to page 285. Figure 1 Zulaykha’s Guests Distracted by Yusuf’s Beauty, attributed to Muhammad Nadir al-Samarqandi, Kashmir, Mughal India, c. 1650, 24.6 x 14.5 cm, pigment and gold on paper, illuminated folio from a copy of Jami’s Yusuf and Zulaikha, Chester Beatty Library, Dublin. Figure 2 Picnic In a Tree House, Qazvin, Iran, 1550-1570, 28.5 x 19 cm (each leaf), pigment and gold on paper, illuminated double frontispiece from a copy of Jami’s Yusuf and Zulaikha, The David Collection, Copenhagen. Figure 3 Sufi’s in Ecstasy, attributed to Muhammad Nadir al-Samarqandi, Kashmir, Mughal India, c. -
SUFISM Emerald Hills of the Heart
Bölümler i Key Concepts in the Practice of SUFISM Emerald Hills of the Heart 3 ii Beware Satan! A Defense Strategy Bölümler iii Key Concepts in the Practice of SUFISM Emerald Hills of the Heart 3 M. Fethullah Gülen Translated by Ali Ünal New Jersey iv Beware Satan! A Defense Strategy Copyright © 2009 by Tughra Books 12 11 10 09 1 2 3 4 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system without permission in writing from the Publisher. Published by Tughra Books 26 Worlds Fair Dr. Unit C Somerset, New Jersey, 08873, USA www.tughrabooks.com Library of Congress Cataloging-in-Publication Data for the first volume Gulen, M. Fethullah [Kalbin zümrüt tepelerinde. English] Key concepts in the practice of Sufism / M. Fethullah Gulen. [Virginia] : Fountain, 2000. Includes index. ISBN 1-932099-23-9 1. Sufism - - Doctrines. I. Title. BP189.3 .G8413 2000 297.4 - - dc21 00-008011 ISBN-13 (paperback): 978-1-59784-204-4 ISBN-13 (hardcover): 978-1-59784-136-8 Printed by Çağlayan A.Ş., Izmir - Turkey Bölümler v TABLE OF CONTENTS The Emerald Hills of the Heart or Key Concepts in the Practice of Sufism ......vii Irshad and Murshid (Guidance and the Guide) ............................................. 1 Safar (Journeying) ........................................................................................9 Wasil (One who has Reached) ................................................................... 16 Samt ( Silence) ............................................................................................ 23 Halwat and Jalwat ( Privacy and Company) ................................................ 27 ‘Ilm Ladun (The Special Knowledge from God’s Presence) ........................ 32 Waliyy and Awliyaullah (God’s Friend [Saint] and God’s Friends [Saints]) .......37 Abrar (The Godly, Virtuous Ones) ...................................................... -
Master of Pliilosopiiy Islamic Studies
HISTORICAL DEVELOPMENT OF SUHRA WARDI ORDER IN KASHMIR Dissertation SUBMITTED FOR THE AWARD OF TliE DEGREE OF Master of Pliilosopiiy Pi t Of <f. ff Islamic Studies V V- 9i KS*^ '.' MOHAMMAD IRFAN SHAH UNDER THE SUPERVISION OF PROF. SAYYID AHSAN ,lK^^ot^ DEPARTMENT OF ISLAMIC STUDIES X^ ALIGARH MUSLIM UNIVERSITY ALIGARH, INDIA 2014 0^ ^ .J J v^^ 01 JAN 20;A-t,' 5 DS4401 Phones: Ext. 0571-2701131 Int. 1365, 1366 Fax : 0571-2700528 Email : [email protected] DEPARTMENT OF ISLAMIC STUDIES ALIGARH MUSLIM UNIVERSITY CHAIRMAN ALIGARH-202002, U.P., INDIA 03/11/2014 To WHOM IT MAY CONCERN This is to certify tiiat Dissertation entitled "Historical Development of Suhrawardi Order in Kashmir" is the own work of Mr. Mohd Irfan Shah working under my supervision. Further certified that the work is fit for submission to be evaluated for the award of the degree of M.Phil. (Islamic Studies). (Prof. Sayyid Ahsan) Chairman & Supervisor -J^rom tfie Core of My ^eart- ^ea^ca^^eafK^o^ My (Late) (grand Tarents & 'BeCovedTarents <Pa0e !Nb. Dedication A.cknowledgemeiits u-vi Transliteration Table Introdnction 01-23 Chapter 1: Emergence of Islam in Kashmir: Religions, Political and Cultural Perspective 24-64 Chapter 2: Origin of Suhmwardf Order and Its Development , ^ ,, ^ . „ - . 65-112 mKashnur Chapter 3: Makhdum Shaykh Hamzah: ' 113-170 Pioneer of Suhrawardt Order in Kashmir Conclusions ^_^ ^_, 171-174 BibUography ^^^_^^^ "AcknowiedgmBntS" Allah Almighty says, "And those who strive in Our (cause) We will certainly guide them to Our paths: for verily Allah is with those who do right" (Holy Qur'ah, Al- Ankabut, 29:69}. -
Revisiting the Canon Through the Ghazal in English
Revisiting the Canon through the Ghazal in English Chandrani Chatterjee Milind Malshe Abstract At the dawn of English education in India the popularity of certain genres led to the adaptation, transformation and assimilation of these forms in the Indian languages. However, in this East-West encounter, not only were the European forms appropriated by the Indian writers, one of the Eastern forms, viz. the ghazal, was taken up by writers in English. This paper traces the origin of the ghazal as a distinct form, its development in the poetry of Mir (c 1723-82) and Ghalib (1797-1869) before discussing how this genre was adapted and experimented with, by some writers in English. In this process we try to address some issues like translation, adaptation and transformation and also what factors affect the composition and institution of a canon. I Ghazal as a form is supposed to have originated in Arabia in the late seventh century. 1 It is said to have developed from the nasib , which itself was an amorous prelude to the qasida (an ode). Qasida was a panegyric to the emperor or his noblemen. It has been observed that because of its comparative brevity and concentration, its thematic variety and rich suggestiveness, the ghazal soon eclipsed the qasida and became the most popular form to be introduced in India from the Persian and Arabic literary traditions: “Ghazal means literally conversation, most often between lovers. It has a strict form Translation Today Vol. 3 Nos. 1 & 2, 2006 © CIIL 2006 Chandrani Chatterjee 184 Milind Malshe bound by rules, containing from a minimum of five to a maximum of seventeen couplets. -
Esoteric Keys of Mīrzā ʿabd Al-Qādir Bīdel
ESOTERIC KEYS OF MĪRZĀ ʿABD AL-QĀDIR BĪDEL by NASIM FEKRAT (Under the Direction of Kenneth Lee Honerkamp) ABSTRACT Bīdel is considered the most difficult poet in Persian poetry. This study explores the complexity of his language through three key words: incapacity, mirror, and bewilderment. I argue that these are umbrella terms, which cover a range of concepts, images, metaphors, and symbols, and through understanding them, we find the keys to unlock the mysteries of Bīdel’s thinking; not knowing them, the inner subtlety and significance of his works cannot be understood. The goal of this examination is to see how Bīdel’s own ontological exploration yields a description of human relationship with the Divine. INDEX WORDS: Mīrzā ʿAbd al-Qadir Bīdel, Sabk-i Hindi, Sufism, Persian Poetry, Incapacity, Mirror, Bewilderment, Imagination, Theosophy ESOTERIC KEYS OF MĪRZĀ ʿABD AL-QĀDIR BĪDEL by NASIM FEKRAT BA, Dickinson College, 2013 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2018 © 2018 Nasim Fekrat All Rights Reserved ESOTERIC KEYS OF MĪRZĀ ʿABD AL-QĀDIR BĪDEL by NASIM FEKRAT Major Professor: Kenneth Lee Honerkamp Committee: Alan Godlas Carolyn Jones Medine Electronic Version Approved: Suzanne Barbour Dean of the Graduate School The University of Georgia May 2018 DEDICATION To my mother, Hawa, who suffered throughout her life. iv ACKNOWLEDGEMENTS This thesis is the culmination and final product of people who gave me the tools and knowledge. Foremost, I would like to express my gratitude to my advisor Dr. -
Out of the Closet: Queer Love in Arabic Literature and Islamic Society
International Journal of Science and Research (IJSR) ISSN: 2319-7064 SJIF (2019): 7.583 Out of the Closet: Queer Love in Arabic Literature and Islamic Society Hadeel Safa Hadi Al-Bayati Istanbul Yeni Yüzyıl University, English Language and Literature Department Abstract: When same-sex desire is brought to literature it gives it a new shape. This kind of literature is crucial, urgent, and relevant to today’s world and it has a lasting impact on the human sexual experience. Nevertheless, this type of literature in itself is rarely the focus of research, thus it remains undefined and under-explained. Since there are no serious studies on homosexuality in Arabic literature, I find it necessary to address this scholarly gap by shedding light on such an argumentative subject especially in today’s world. Depending on this consideration, this study focuses on the interplay between homosexuality and Islamic culture. By so doing, it explores the manifestation of twin flame relationships in Arabic literature, in light of its epistemic closure in Arabic cultural societies. Accordingly, the study is equipped with specific references to famous Arabic poets, novelists, and short fiction writers, who are qualified to depict the constructions of queer desire and sexual customs of Arabic Muslims. Therefore, the study provides a vehicle for conveying multiple portrayals of homoeroticism in Arabic literature and Islamic society that values religion above all. Looking at the representations of queer social relations, we hope to find both echoes of the Arabic Muslims’ views on queer relationships and indications of the ways in which the conceptual state of bisexuality is evolving in both Arabic literature and its culture.