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Arabic Language
THE ARABIC LANGUAGE KEES VERSTEEGH 'u COLUMBIA UNIVERSITY PRESS New York 11 The Emergence of Modern Standard Arabic I I. I INTRODUCTION In 1798, Napoleon Bonaparte's brief expedition to Egypt brought this province of the Ottoman empire into direct contact with Western Europe. This marked the beginning of a period in which European culture, at first primarily from France, but later from England as well, began to infiltrate the Arab world. At first, the reception of new ideas was promoted by the government: Mul:t.ammad (All, who governed Egypt from 1805 until 1848, stimulated the translation of books and articles from French,' mostly on technical subjects, but political and cultural topics were also included. In this way, the concepts of the French Enlighten ment became part of the intellectual atmosphere of the country. The introduc tion of new political ideas stimulated the rise of Arab nationalism, which in the second half of the nineteenth century centred around the position of Arabic as the language of the Arab world. At the same time, the confrontation with West ern ideas led to a debate about the compatibility of these ideas with the tradition of Islam, and, on a linguistic level, about the capacity of the Arabic language to express the new notions. In this chapter, we shall deal with four topics: the position of Arabic in the nineteenth century; the adaptation of Arabic vocabu lary to the modem period; the reform of grammar; and the changes in the struc ture and phraseology of the language. I I .2 THE REBIRTH OF ARABIC When the French conquered Egypt, the Egyptian writer al-Gabartr (d. -
Information to Users
INFORMATION TO USERS This manuscript has been repmôuœd fFom the microfilm mas te^. UMI films the text directly from th orignal or copy suûunilted. Thus, senne ttresis anâ dissertation copies are in typewriter face, whik 0th~~may be from any type of cornputer printer. The quality of thk mpmâuctkrr b dmpmndont uporr the qrvlity of the copy submitted. Broken or ridisonct Mnt, cdomd or poor quibiti illustratiorrs and photographs, print Meedlhrough, substandard margins, and improper aiignment can adversely Mec2 reprpduction. in the unlikely evmt ihat lhe author di not tsrrd UMI a compkde muscript and there are missing pages, these will be noted. Also, if umuthorired capyright rnaterial had to be remoued, a nde will indikate the dektiori. Ovenize materials (e-g-. rnaps, drawings, ctiaits) are mpdwdby sectioning the original, beginning at the upper left-hand corner and continuing frwn left b right in equal sections with small overtaps. Photographs induded in the original mariuscript have ben reQroduœd xerographically in this copy. Higher quality 6. x W bkkand white phobtogmphic prints are availabk for any photognphs or illustmtbns appearing h îhîs copy for an additional charge. Coritaa UMI diredty to order- Bell & Hdllnformgtion and Lemming 300 Norlh Zseb Road, Ann Arbor. MI 48106-1346 USA AGSHAHRASTHAND THE sEÜ'~DOCTRINE OF 1-: AN ANALYSIS OF THE VIEWS EXPRESSED IN HIS . AL- WAAGA@ULAND ~-YATA~.QD&~?'EMAL-a. %y: Siti Syamsiyatun A Thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Isiamic Studies Institute of Islamic Studies McGill University Canada June 1998 National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. -
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“I put my trust in God” (“Tawakkaltu ‘ala ’illah”) Word 2012 —Arabic calligraphy in nasta’liq script on an ivy leaf 42976araD1R1.indd 1 11/1/11 11:37 PM Geometry of the Spirit WRITTEN BY DAVID JAMES alligraphy is without doubt the most original con- As well, there were regional varieties. From Kufic, Islamic few are the buildings that lack Hijazi tribution of Islam to the visual arts. For Muslim cal- Spain and North Africa developed andalusi and maghribi, calligraphy as ornament. Usu- Cligraphers, the act of writing—particularly the act of respectively. Iran and Ottoman Turkey both produced varie- ally these inscriptions were writing the Qur’an—is primarily a religious experience. Most ties of scripts, and these gained acceptance far beyond their first written on paper and then western non-Muslims, on the other hand, appreciate the line, places of origin. Perhaps the most important was nasta‘liq, transferred to ceramic tiles for Kufic form, flow and shape of the Arabic words. Many recognize which was developed in 15th-century Iran and reached a firing and glazing, or they were that what they see is more than a display of skill: Calligraphy zenith of perfection in the 16th century. Unlike all earlier copied onto stone and carved is a geometry of the spirit. hands, nasta‘liq was devised to write Persian, not Arabic. by masons. In Turkey and Per- The sacred nature of the Qur’an as the revealed word of In the 19th century, during the Qajar Dynasty, Iranian sia they were often signed by Maghribıi God gave initial impetus to the great creative outburst of cal- calligraphers developed from nasta‘liq the highly ornamental the master, but in most other ligraphy that began at the start of the Islamic era in the sev- shikastah, in which the script became incredibly complex, con- places we rarely know who enth century CE and has continued to the present. -
The Institute of Ismaili Studies
The Institute of Ismaili Studies Documents of History, Symbols of Authority: The Coinage of the Fatimids Alnoor Merchant Introduction The Fatimid caliphate was established in 297/909 in North Africa, and soon extended into Sicily, Egypt, Palestine and Syria, reaching the peak of its power during the long reign of the eighth Fatimid imam-caliph al-Mustansir bi’llah (d. 487/1094).1 This period of almost two centuries is often referred to as a ‘golden age’ in Ismaili history. The Fatimids placed a high value on intellectual activities and Cairo, as the capital city, became a flourishing centre of scholarship and learning. The Fatimid period was also noteworthy for its patronage of artistic activities (over 200 categories of artisans existed) and some of the finest works of art in the history of Muslim civilisation were produced during this period. The examples of carved woodwork, textiles, ceramics, stone and ivory, glass, metalwork and jewellery that have survived from this period provide a glimpse of the magnificence that once surrounded the Fatimid court. Fatimid art combined originality with the influences of various older artistic traditions and “was both the culmination of the past and the forerunner of future developments.”2 It is in recognition of these intellectual achievements and cultural contributions that the French Orientalist Louis Massignon designated the tenth century as the ‘Ismaili century’ of Islam. Not only did the Fatimid period mark a glorious age in Ismaili history, but also “one of the greatest eras in Egyptian and Islamic histories [and] a milestone in the development of Islamic civilization.”3 The Fatimids established a vast network of trade and commerce, with Egypt as the focal point of trading activities that extended as far as Spain in the west and India in the east (and beyond the Muslim regions as well). -
Abstracts Electronic Edition
Societas Iranologica Europaea Institute of Oriental Manuscripts of the State Hermitage Museum Russian Academy of Sciences Abstracts Electronic Edition Saint-Petersburg 2015 http://ecis8.orientalstudies.ru/ Eighth European Conference of Iranian Studies. Abstracts CONTENTS 1. Abstracts alphabeticized by author(s) 3 A 3 B 12 C 20 D 26 E 28 F 30 G 33 H 40 I 45 J 48 K 50 L 64 M 68 N 84 O 87 P 89 R 95 S 103 T 115 V 120 W 125 Y 126 Z 130 2. Descriptions of special panels 134 3. Grouping according to timeframe, field, geographical region and special panels 138 Old Iranian 138 Middle Iranian 139 Classical Middle Ages 141 Pre-modern and Modern Periods 144 Contemporary Studies 146 Special panels 147 4. List of participants of the conference 150 2 Eighth European Conference of Iranian Studies. Abstracts Javad Abbasi Saint-Petersburg from the Perspective of Iranian Itineraries in 19th century Iran and Russia had critical and challenging relations in 19th century, well known by war, occupation and interfere from Russian side. Meantime 19th century was the era of Iranian’s involvement in European modernism and their curiosity for exploring new world. Consequently many Iranians, as official agents or explorers, traveled to Europe and Russia, including San Petersburg. Writing their itineraries, these travelers left behind a wealthy literature about their observations and considerations. San Petersburg, as the capital city of Russian Empire and also as a desirable station for travelers, was one of the most important destination for these itinerary writers. The focus of present paper is on the descriptions of these travelers about the features of San Petersburg in a comparative perspective. -
Islamic Art Pp001-025 21/5/07 08:53 Page 2
Spirit &Life Spirit & Life The creation of a museum dedicated to the presentation of Muslim ‘I have been involved in the field of development for nearly four decades. arts and culture – in all their historic, cultural and geographical Masterpieces of Islamic Art This engagement has been grounded in my responsibilities as Imam of diversity – is a key project of the Aga Khan Trust for Culture, one the Shia Ismaili Community, and Islam’s message of the fundamental of whose aims is to contribute to education in the fields of arts and from the Aga Khan Museum Collection unity of “din and dunya”, of spirit and life.’ culture. The developing political crises of the last few years have collections museum khan theaga from art ofislamic masterpieces revealed – often dramatically – the considerable lack of knowledge of His Highness the Aga Khan the Muslim world in many Western societies. This ignorance spans at the Annual Meeting of the EBRD all aspects of Islam: its pluralism, the diversity of interpretations Tashkent, 5 May 2003 within the Qur’anic faith, the chronological and geographical extent of its history and culture, as well as the ethnic, linguistic and social Spirit and Life is the title of an exhibition of over 160 masterpieces diversity of its peoples. of Islamic art from the Aga Khan Museum which will open in Toronto, Canada in 2009. This catalogue illustrates all the miniature For this reason, the idea of creating a museum of Muslim arts and paintings, manuscripts, jewellery, ceramics, wood panels and culture in Toronto as an eminently educational institution, with beams, stone carvings, metal objects and other art works in the the aim of informing the North American public of the diversity and exhibition, which spans over a thousand years of history and gives significance of Muslim civilisations naturally arose. -
Mohammad N. Miraly Faculty of Religious Studies Mcgill University, Montreal April 2012
FAITH AND WORLD CONTEMPORARY ISMAILI SOCIAL AND POLITICAL THOUGHT Mohammad N. Miraly Faculty of Religious Studies McGill University, Montreal April 2012 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy in Religious Studies © 2012 Mohammad N. Miraly TO MY F ATHER AND M OTHER TABLE OF CONTENTS Abstract i Résumé iii Acknowledgements v An Historical Note on Ismailism vii 1 Opening 1 2 The Study 15 Part I: 3 Speaking About Ismailism 24 4 The Contemporary Ismaili Historical Narrative 59 5 Ismaili Approaches to the Qur’an 103 6 The AKDN in Afghanistan: Ethos and Praxis 114 Part II: 7 Democracy, Secularism, and Social Ethics 138 8 Pluralism and Civic Culture 159 9 Knowledge and Learning 185 10 Closing: The Transnational Ismaili in Canada 202 Postscript: Wither Neutrality? 213 Appendix A: Preamble to the Constitution of the Shi`a Imami Ismaili Muslims 216 Appendix B: AKDN Organisation Chart 218 Selected Bibliography 219 ABSTRACT Contemporary Ismaili thought views the Ismaili tradition as connected to a historical past deriving from Qur’anic principles and the teachings of the Prophet Muhammad and his heirs, the Shi`a Imams. Thus, contemporary Ismailism’s focus on liberal values like democracy, pluralism, and education are articulated as contemporary forms of eternal Qur’anic ethical principles. The current and 49th Ismaili Imam, Aga Khan IV – who claims descent from the Prophet through his daughter, Fatima, and son-in-law, `Ali – articulates the principles of liberal democratic pluralism as the best means to realize ethical Islamic living in the present day. -
Universidad De Granada Tesis Doctoral
UNIVERSIDAD DE GRANADA TESIS DOCTORAL READING, ANALYSING AND DECODING HIDDEN DISCOURSES IN LITERARY TEXTS: THE HETERONORMATIVITY AND SEXUALITY IN THE LITERATURE OF AL-ANDALUS Doctorando: Borjan Grozdanoski, MA Director: Dr. Raúl Ruiz Cecilia Programa de Doctorado en Ciencias de la Educación Granada, 2019 Editor: Universidad de Granada. Tesis Doctorales Autor: Borjan Grozdanoski ISBN: 978-84-1306-285-3 URI: http://hdl.handle.net/10481/56797 Acknowledgments I would like to express my special gratitude to JoinEU-SEE PENTA EU & South Eastern Europe: Participating, Exchanging and Networking in a Transnational Alliance for Internationalization in Higher Education - mobility programme ERASMUS MUNDUS Action 2 - Strand 1 - Lot 7, and the Coordinator for the Selection Committee of JoinEU-SEE PENTA for providing me a full doctoral scholarship without which, I would not be able to conduct my research at the University of Granada, Spain. Thereafter, this doctoral dissertation is a product of few years of investigation and research. I would also like to express my gratitude to the people who had been of a huge help in completion of this work. My special thanks go to my thesis director Dr. Raúl Ruiz Cecilia from the University of Granada, who was very comprehensive and understanding in the process of research and writing of my dissertation. He had provided me all the necessary help and materials needed during these years of investigation. I would also like to thank Dr. Juan Ramón Guijarro Ojeda, University of Granada for his assistance, support and providing me essential materials concerning certain parts of this thesis. In addition, I feel very grateful to Dr. -
ISLAMIC and INDIAN ART Tuesday 18 October 2016
ISLAMIC AND INDIAN ART Tuesday 18 October 2016 ISLAMIC AND INDIAN ART Tuesday 18 October 2016 at 11am 101 New Bond Street, London VIEWING Live online bidding is available CUSTOMER SERVICES ILLUSTRATIONS Sunday 16 October 11am to 3pm for this sale Monday to Friday Front cover: lot 11 (detail) Monday 17 October 9am to 4.30pm Please email [email protected] 8.30am to 6pm Back cover: lot 101 with ‘live bidding’ in the subject +44 (0) 20 7447 7447 Inside front cover: lot 302 (detail) Inside back cover: lot 128 (detail) SALE NUMBER line 48 hours before the auction 23437 to register for this service As a courtesy to intending bidders, Bonhams will provide a IMPORTANT INFORMATION CATALOGUE Please note: written Indication of the physical £30.00 Telephone bidding is available only condition of lots in this sale if a In February 2014 the United on lots where the lower end request is received up to 24 States Government estimate is at £1000 or above. hours before the auction starts. announced the intention to BIDS This written Indication is issued ban the import of any ivory +44 (0) 20 7447 7447 ENQUIRIES subject to Clause 3 of the Notice into the USA. Lots +44 (0) 20 7447 7401 fax Oliver White to Bidders. containing ivory are To bid via the internet please (Head of Department) indicated by the symbol Ф visit bonhams.com +44 207 468 8303 printed beside the Lot [email protected] number in this catalogue. Please note that bids should be submitted no later than 4pm on Matthew Thomas the day prior to the sale. -
Arabic Type Classification System
ARABIC TYPE CLASSIFICATION SYSTEM QUALITATIVE CLASSIFICATION OF HISTORIC ARABIC WRITING SCRIPTS IN THE CONTEMPORARY TYPOGRAPHIC CONTEXT BY DARIN ABU-SHAQRA | INCLUSIVE DESIGN | 2020 SUBMITTED TO OCAD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF DESIGN IN INCLUSIVE DESIGN TORONTO, ONTARIO, CANADA, 2020 i ACKNOWLEDGEMENTS I wish to express my sincere appreciation to both my primary advisor Richard Hunt, and secondary advisor Peter Coppin, your unlimited positivity, guidance and support was crucial to the comple- tion of this work. It was an absolute honour to have two geniuses in their fields as my advisors. Enriching my knowledge of typography and graphic design and looking through the lens of inclusive design and cognitive science of representation shaped a new respect for the cultural and experiential power of typography in me. My sincere gratitude goes to the talented calligraphers and graphic designers whom I have interviewed back in Jordan. Thank you, for your valuable time, and for allowing me to watch the world from different angles, and experiences. This project owes a lot to your motivation. My heartfelt thanks goes to my family - my late father Khalid, who, although is no longer with me, continues to inspire every step I have to take, my mother Nadia for being the symbol of strength and persistence, my siblings Yasmin, Omar, Ali and Abdullah for always believing in my dreams and doing whatever it takes to make them come true. A special thanks goes to the one who made those two years possible, Ra’ad thank you for being the definition of a life companion and a husband. -
Iranian Contribution to the Art of Islamic Calligraphy
Electronic Articles Collections Prof. Dr. Amir H. Zekrgoo ZEKRGOO.COM Zekrgoo, Amir H. (1991). “Iranian’s Contribution to the Art of Islamic Calligraphy”, Journal of the Indian Museums. New Delhi: Museum Association of India, pp. 62-71. Iranian Contribution to the Art of Islamic Calligraphy The art of Islamic Calligraphy is considered to be one of the highest forms of artistic expression in the entire Muslim world. In view of its widespread use even-to-day, only second to the Roman Alphabet, the Arabic script which is the mother of all Islamic scripts, was developed at a much later date. If we compare the kind of script used by the nomadic Arabs of Hijaz before the appearance of Islam with the great progress it made in the wake of Islam and the revelation of the Holy Quran we discern on it the tremendous influence of Islam—the discipline, beauty and elegance which it lent to this script. A comparison of the two inscriptions written in Nabataean script (The Pre-Islamic script of Arabs) fig. I & 2 first dated 250 A.D. and the second dated 568 A.D. will reveal how little change has taken place in course of about 300 years until the birth of Islam. Immediately after the advent of Islam we witness the invention of the Kufic script. Unlike the primitive Nabataean script, the Kufic, an early Islamic script has a strong geometrical structure (Fig. 3). It has based mainly on long horizontal and short vertical lines with very minor curves. The Kufic later developed into various decorative styles. -
Calligraphy Background • the Divine Revelations to Prophet Muhammad Are Compiled Into a Manuscript: the Quran
Arabic Calligraphy Background • The divine revelations to Prophet Muhammad are compiled into a manuscript: The Quran. Since it is Islam's holiest book, copying the text is considered an art of devotion. • Calligraphy appears on both religious and secular objects in almost every medium- architecture, paper, ceramics, carpets, glass, jewelry, woodcarving, and metalwork. • The need to transcribe the Quran resulted in formalization and embellishing of Arabic writing. • Before the invention of the printing press, everything had to be written by hand • Master calligraphers had a higher status than painters in Muslim lands. • What sort of artists/entertainers have the highest status in our world today? Turn & talk with a partner Materials and Process Training was a long and rigorous process. The calligrapher traditionally prepares their own special tools. Pens (Qalam) were fastened out of hollow reeds for their flexibility. Inks were prepared using natural materials such as soot, ox gall, gum arabic, or plant essences. Manuscripts were written on papyrus and parchment from animal skin before paper was introduced. Families • In medieval Persia, calligraphers were the most highly regarded artists. The art was often passed down within the same family. • What is something that has been passed down within your family? Turn and talk with a partner • The type of script used is Scripts determined by a number of factors such as the audience, content, and function. • The first script to gain prominence in Qurans and in architecture was kufic. It features angular letters, a horizontal format, and thick extended strokes. Proportions • From the 10th to the 13th century, a new system of proportional cursive scripts, that were codified, emerged.