دوفصلنامه علمی صلح پژوهی ادیان Academic-Specialized Journal of Peace Studies of Religions Winter 2019
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Islamic Geometric Patterns Jay Bonner
Islamic Geometric Patterns Jay Bonner Islamic Geometric Patterns Their Historical Development and Traditional Methods of Construction with a chapter on the use of computer algorithms to generate Islamic geometric patterns by Craig Kaplan Jay Bonner Bonner Design Consultancy Santa Fe, New Mexico, USA With contributions by Craig Kaplan University of Waterloo Waterloo, Ontario, Canada ISBN 978-1-4419-0216-0 ISBN 978-1-4419-0217-7 (eBook) DOI 10.1007/978-1-4419-0217-7 Library of Congress Control Number: 2017936979 # Jay Bonner 2017 Chapter 4 is published with kind permission of # Craig Kaplan 2017. All Rights Reserved. This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. -
An Imam Explains Why Muslims Hate Seeing Depictions of the Prophet
NEWS Search canada.com... An imam explains why Muslims hate seeing depictions of the contract in Ontario Bombardier Prophet Muhammad Transportation announced Tuesday that Ontario’s regional Sikander Hashmi of the Kanata Muslim transit agency, Association discusses the Charlie Hebdo Metrolinx, ha... massacre, freedom of speech, and how to fight extremist rhetoric Financial adviser suspended for Sections appropriating clients' money A former financial News adviser with a gambling habit has Entertainme had his permit nt suspended for 10 Life years by the... Business Change in mutual-fund taxation is in the Financial Post Biz Technology Sports Travel Sikander Hashmi, the imam at the Kanata Muslim Association, paying Driving his respects at the site of the Parliament Hill shooting in Ottawa in October. Househunti PHOTO: JULIE OLIVER / OTTAWA CITIZEN ng Obituaries Like 701 Tweet 11 Jobs 89 Ishmael N. Daro Published: January 9, 2015, 4:53 pm Updated: 2 years ago Latest News Video A A A This week’s horrific attack on the offices of the newspaper Charlie Hebdo in Paris has sparked an important discussion Trump Finally Endorses about the power of satire, the right to publish offensive or even House Speaker Paul Ryan 1:33 “blasphemous” materials in a free society, and where freedom of speech and respect for religion overlap and sometimes clash. This Week's Flyers At the heart of the debate is the Islamic prohibition on depictions of the Prophet Muhammad. While there is no specific verse in the Qu’ran that outlaws representations of the prophet, the Muslim holy book discourages idolatry; several hadith — a record of the sayings and actions of Muhammad — HOVER FOR FLYER HOVER FOR FLYER prohibit Muslims from creating images of human figures. -
Andrea Reed's Thesis
MUHAMMAD AS REPRESENTATIVE FORM: A VISUAL RHETORICAL ANALYSIS OF THE DANISH CARTOON CONTROVERSY By ANDREA REED A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of Communication May 2009 Winston-Salem, North Carolina Approved By: Alessandra Beasley Von Burg, Ph.D., Advisor _________________________________ Examinating Committee: Margaret D. Zulick, Ph.D. ___________________________________ Peter Furia, Ph.D. ___________________________________ ii ACKNOWLEDGEMENTS I would like to thank my advisor, Dr. Alessandra Beasley Von Burg for her indispensible guidance with this project. This thesis would not have been possible without her expertise in the area of rhetoric and on topics related to European affairs, not to mention her patience. I sincerely thank Dr. Margaret Zulick and Dr. Peter Furia for graciously agreeing to sit on my panel and reflect upon my thesis. I also must thank Dr. Allan Louden and Dr. Ananda Mitra who both served as Director of the graduate program during my time at Wake Forest. I would also like to thank my other professors who have been great teachers and inspirational thinkers, Dr. Michael Hyde, Dr. Steve Giles, and Dr. Peter Brunette and the rest of the Department of Communication. iii TABLE OF CONTENTS Page LIST OF FIGURES ……………..…………………………………………………... iv ABSTRACT …………………………………………………………………………. v INTRODUCTION ………………………………………………………………….... 1 CHAPTER 1 ………………………………………………………………………..... 4 Review of the Literature ……………………………………………………... 5 Visual Rhetoric as Ideographs: the Representative Form ………………….. 15 Rhetoric and Social Controversy ………………………………………….... 19 Methodology ………………………………………………………………... 23 CHAPTER 2 ………………………………………………………………………... 27 The Muhammad Cartoons as Visual Ideographs ………………………….... 29 The Re-Appropriation of the Prophet Muhammad………………………….. 42 CHAPTER 3 ……………………………………………………………………….. -
Chapter I Introduction
CHAPTER I INTRODUCTION This first chapter outlines the main background and problem identification as the introductory gate of the research in order to have a better a comprehension toward the research topic. I.1. Background In mass communication, the written culture has progressively been overshadowed by an audiovisual culture. Parsa (2004) explains that in the present day, what was previously pages worth of documentation could easily be told in a 2-hour movie or a 60-minute documentary. An emphasis on visual messages does not necessarily mean that words are less important. The most powerful and meaningful messages are combined with words and pictures. Considering the rapid developments in technology, we are gradually moving toward a visually mediated society. The world has been caught up in an ever-flowing process, which can only be explained through the unique rules of an ‘audio-visual language’ with the invention of photographs, cinemas and televisions, which are used to record both still and moving images, although the ‘written language’ is still remains fundamental to the construction of meaning and the meaning itself. To facilitate a better understanding toward the written narratives, supporting images can be found in cinemas, newspapers, magazines, books, posters, computer screens, television screens, clothes and even restaurant menus. (Parsa 2002, 844). Image has in fact a dual nature, being both concrete and capable of expressing larger meanings symbolically and metaphorically as it speaks within an experiential, assosiationistic, and holistic logic (Barry 1997, 122). Parsa (2004) tries to break down the strength of visual image that differs from written text, as quoted from Schneider & Raue: 1 Visual image is neither good nor bad information compared to texts. -
9 Charlie Hebdo Case Study
Putri, et.al., Charlie Hebdo Case Study: Public Order as a Limit… 9 CHARLIE HEBDO CASE STUDY: PUBLIC ORDER AS LIMIT TO FREEDOM OF EXPRESSION* Devita Kartika Putri** and Agam Subarkah*** Abstract Intisari The freedom of expression is not an Kebebasan berekspresi bukan merupakan absolute right. It comes with limited hak mutlak. Terdapat keterbatasan dari limitations set out in the ICCPR and ECHR— ICCPR dan ECHR— yang berlaku kepada applicable to France, taking into account Prancis, dengan mempertimbangkan public order, ensuring the rights of others, ketertiban umum, menjamin hak-hak orang and it needs to be prescribed by law. A lain, dan perlu ditentukan oleh hukum. state may give its full support to the Sebuah negara dapat memberikan dukungan freedom of expression, but when its penuh terhadap kebebasan berekspresi, exercise is no longer harmless, one must tetapi ketika implementasinya tidak lagi question the extent of such freedom; how it berbahaya, harus dipertanyakan sejauh must be compatible and in respect with mana kebebasan tersebut; bagaimana other rights that are as important as the kebebasannya kompatibel dan sehubungan freedom of expression. This article seeks to dengan hak-hak lain yang sama pentingnya see how the limitation to freedom of dengan kebebasan berekspresi. Naskah ini expression can be applied in relation to berusaha untuk melihat bagaimana post Charlie Hebdo event. pembatasan kebebasan berekspresi dapat diterapkan dalam kaitannya dengan kasus Charlie Hebdo. Keywords: Charlie Hebdo, freedom of expression, public order, respect for religion, responsibility to protect, human rights. Kata Kunci: Charlie Hebdo, kebebasan berekspresi, ketertiban umum, menghormati agama, tanggung jawab untuk melindungi, hak asasi manusia. -
Slamic Studies, Pp
ISL M20/REL M20 RE: Resubmission of GE Application for designation in “Foundations of Society and Culture Areas” To the GE Committee: I’m writing to resubmit my course materials for “ISL M20/REL M20-Introduction to Islam” for designation as a GE course which fulfills requirements for the following Foundations of Society and Culture areas: Historical Analysis and Social Analysis. I received the following feedback from the committee after their review of the course material for designation in these categories last year. (I would like to add here that due to some administrative turn over in different departments, the feedback was not conveyed to me until a few weeks ago. I am therefore taking this opportunity to resubmit the GE application with the clarification sought by the committee.): The committee was impressed by the course and sees it as a better fit into either Social or Historical Analysis than Literary Cultural or Philosophical Linguistic Analysis. However, the use of primary sources for Historical Analysis was unclear. The committee felt the course was missing a clear explanation of an introduction to historical or social methodologies. Clarification: The “Introduction to Islam” course is thematically organized such that I cover nine main topics over the course of the quarter. These include “Late Antiquity and Pre-Islamic Arabia,” “Prophet Muhammad and his Legacy,” “The Qur’an,” “Sufism,” and “Islamic legal interpretation,” among others. In reviewing each one of these topics, I follow the following schema: a) An overview which covers the history of the topic from understandings/trajectories in early Islam up to the modern period b) An exploration of contemporary approaches to the topic and how it figures in confessional and non-confessional discourses c) An analysis of one or more primary source(s) relevant to the selected topic and one or more academic research articles. -
Unit 5: the Post-Classical Period: the First Global Civilizations
Unit 5: The Post-Classical Period: The First Global Civilizations Name: ________________________________________ Teacher: _____________________________ IB/AP World History 9 Commack High School Please Note: You are responsible for all information in this packet, supplemental handouts provided in class as well as your homework, class webpage and class discussions. What do we know about Muhammad and early Muslims? How do we know what we know? How is our knowledge limited? Objective: Evaluate the primary sources that historians use to learn about early Muslims. Directions: Below, write down two things you know about Muhammad and how you know these things. What I know about Muhammad... How do I know this …. / Where did this information come from... Directions: Below, write down two things you know about Muslims and how you know these things. What I know about Muslims... How do I know this …. / Where did this information from from... ARAB EXPANSION AND THE ISLAMIC WORLD, A.D. 570-800 1. MAKING THE MAP 1. Locate and label: 4. Locate and label: a Mediterranean Sea a Arabian Peninsula b Atlantic Ocean b Egypt c Black Sea c Persia (Iran) d Arabian Sea d Anatolia e Caspian Sea e Afghanistan f Aral Sea f Baluchistan g Red Sea g Iraq h Persian Gulf. 2. Locate and label: h Syria a Indus River i Spain. b Danube River 5. Locate and label: c Tigris River a Crete b Sicily d Euphrates River c Cyprus e Nile River d Strait of Gibraltar f Loire River. e Bosphorus. 3. Locate and label: 6. Locate with a black dot and a Zagros Mountains label: b Atlas Mountains a Mecca c Pyrenees Mountains b Medina d Caucasus Mountains c Constantinople e Sahara Desert. -
World Religions in Greater Indianapolis Teaching Module
World Religions in Greater Indianapolis Teaching Module Teacher Name: Tanya A. Martin Humanities Discipline: Philosophy (Ethics) Date: May 12, 2016 World Religion: Islam Teaching Module Title: On what Basis Do Islamic Extremists react so violently against satires featuring illustrations of Mohammed? Teaching Module Goals: I agree with all right-thinking people that violence and senseless killing at the hands of terrorist groups of any faith is unacceptable for any reason. I also believe that many people know very little about Islam and only see it as a violent, hate mongering religion due to various terrorist attacks that have been perpetrated by fundamentalist extremists who happen to be Muslim. In this teaching module, I am particularly concerned with the carnage that extremists claim is vengeance that appears to stem from their notion of ridiculing Mohammed. In the interest of peace and religious tolerance, my primary goal is to discuss where this idea originates. A further goal is to open minds to the assertion that we are each responsible not only for what we actually do, but also accountable for what we cause and or allow to happen. Assigned Readings and Websites: http://www.archives.gov/exhibits/charters/bill_of_rights_transcript.html (SEE First Amendment to the US Constitution Bowker, John. World Religions: The great faiths explored and explained ISLAM pages 176-195 (SEE REVERENCE FOR THE PROPHET and A Perfect Example of Living) (SEE commentary under a featureless depiction of Muhammad) page 181 http://www.cnn.com/2015/01/07/living/islam-prophet-images/ -
Why the First Amendment Must Protect Provocative Portrayals of the Prophet Muhammad Daniel Ortner
Northwestern Journal of Law & Social Policy Volume 12 | Issue 1 Article 1 Winter 2016 The eT rrorist's Veto: Why the First Amendment Must Protect Provocative Portrayals of the Prophet Muhammad Daniel Ortner Recommended Citation Daniel Ortner, The Terrorist's Veto: Why the First Amendment Must Protect Provocative Portrayals of the Prophet Muhammad, 12 Nw. J. L. & Soc. Pol'y. 1 (2016). http://scholarlycommons.law.northwestern.edu/njlsp/vol12/iss1/1 This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Northwestern Journal of Law & Social Policy by an authorized editor of Northwestern University School of Law Scholarly Commons. Copyright 2016 by Northwestern University Pritzker School of Law Vol. 12, Issue 1 (2016) Northwestern Journal of Law and Social Policy The Terrorist’s Veto: Why the First Amendment Must Protect Provocative Portrayals of the Prophet Muhammad Daniel Ortner1 I. INTRODUCTION On Wednesday, January 7, 2015, armed gunmen entered the offices of French satirical magazine Charlie Hebdo and killed employees and editors of the magazine in probable retaliation for the publication of satirical cartoons depicting the Prophet Muhammad.2 The attack on Charlie Hebdo has contributed to the debate over whether publication of speech that is likely to provoke violent reactions from religious extremists should be permissible.3 Some have argued that such speech should be prohibited in order to prevent responsive violence and terrorism.4 Recently, a school of journalism dean argued in USA Today that the publication of cartoons that insult the Prophet Muhammad 1 Daniel Ortner, J.D. -
Lustre Across Time
Islamic Art and Material Culture Subject Specialist Network 1. An Introduction to Islamic Ceramics: Lustre across Time Ceramics with metallic glazes imitating precious metal, known as lustreware, was a Middle Eastern invention. The technology was adapted from the lustre decoration used on Egyptian and Syrian glass in the eighth century (Fig. 1). It was first used on pottery produced in Iraq during the Abbasid dynasty in the ninth century. The earliest was pottery or fired earthenware covered in a white tin-glaze. This was a lead glaze to which a small amount of tin (imported from South East Asia or Europe) was added. The tin opacified the glaze, turning it white during a second firing. The result was a vessel with a superficial resemblance to Chinese porcelain. To make lustreware, potters painted the white glazed surface with a clay-like mixture containing powdered metallic oxides from silver and copper. This was placed in a partially oxygen starved or reducing atmosphere - a third firing - executed at a much lower temperature (about 500-600°C). The heat leads to the formation of microscopic metal particles which remain imbedded on the surface, this is then burnished or rubbed to bring out the lustrous reflective painting. The knowledge of this costly technique used on elite ceramic ware was probably spread by the movement of potters throughout the Middle East; when one centre declined, another became more prosperous, attracting artisans looking for new patronage. From Iraq the technology spread to Egypt, in Fustat (old Cairo), where it was used to decorate fritware (also called stonepaste), an artificial ceramic body developed by Middle Eastern potters around the middle of the 11th century. -
Islamic Ceramics, Indelible Creations: Assessing and Preserving the Scripps Collection Josephine Ren
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2019 Islamic Ceramics, Indelible Creations: Assessing and Preserving the Scripps Collection Josephine Ren Recommended Citation Ren, Josephine, "Islamic Ceramics, Indelible Creations: Assessing and Preserving the Scripps Collection" (2019). Scripps Senior Theses. 1353. https://scholarship.claremont.edu/scripps_theses/1353 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Ren 1 TABLE OF CONTENTS Acknowledgements……………………………………………...………………………2 Introduction……………………………………………………………………………...3 Chapter 1. Surveying the Scripps Islamic Ceramics…………………………………….9 Condition Reports, Formal Analyses, and Contextual Backgrounds Appendix 1……………………………………………………………………………...39 Figures Chapter 2. Ethics, Problems, and Proposals for Future Collections Care……………...64 Preventive Conservation and Prioritization of Certain Wares Appendix 2……………………………………………………………………………...80 Figures Conclusion……………………………………………………………………………....87 Bibliography…………………………………………………………………………….90 Ren 2 ACKNOWLEDGEMENTS I wish to begin by thanking my readers for all their time, mental energy, and support in overseeing this project. These colleges are fortunate to have you and your expertise. Professor Blessing has been key -
Middle Byzantine Aesthetics and the Incomparability of Islamic
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2010 Middle Byzantine Aesthetics and the Incomparability of Islamic Art: The Architectural Ekphraseis of Nikolaos Mesarites Alicia Walker Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Custom Citation Alicia Walker, "Middle Byzantine Aesthetics and the Incomparability of Islamic Art: The Architectural Ekphraseis of Nikolaos Mesarites," Muqarnas 27 (2010): 79-101. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/57 For more information, please contact [email protected]. ALICIA WALKER MIDDLE BYZANTINE AESTHETICS OF POWER AND THE INCOMPARABILITY OF ISLAMIC ART: THE ARCHITECTURAL EKPHRASEIS OF NIKOLAOS MESARITES An early thirteenth-century historical treatise, The between churches and this building, or between sacred Palace Revolt of John Komnenos by Nikolaos Mesa and imperial icons and the images on the ceiling ofthe rites, an author of the middle Byzantine period (ca. Mouchroutas. Rather, these juxtapositions were con 843-1204), contains a passage that briefly describes an structed by Mesarites and indicate his reception of, not Islamic-style building, the Mouchroutas, which was part the original intentions behind, the Islamicizing work of of the imperial palace complex in Constantinople (see art. Appendix).l The author emphatically states that the Nikolaos Mesarites (d. ca. 1214) was a Byzantine structure was the work of "a Persian hand," that is to courtier from a prominent family.