This is an era when the Islamic World is making a range of attempts to redefine itself and to grapple with the challenges of modernity. Many schools of thought have emerged which seek to position modern Islam within the context of a rapidly changing contemporary world. Exploring and defining the relationship between religion and knowledge, Ismail Rafi Al-Faruqi, a distinguished 20th century Arab-American scholar of Islam, formulated ideas which have made substantial contributions to the Islam-and-modernity discourse. His review of the (...) interaction between Islam and knowledge examines the philosophy behind this relationship, and the ways in which Islam can relate to our understanding of science, the arts, architecture, technology and other knowledge-based fields of enquiry. This book includes contributions from Seyyed Hossein Nasr, John Esposito, Charles Fletcher and others, and will prove an essential reference point for scholars of Islam and students of philosophy and comparative religion. (shrink)

This is an era when the Islamic World is making a range of attempts to redefine itself and to grapple with the challenges of modernity. Many schools of thought have emerged which seek to position modern Islam within the context of a rapidly changing contemporary world. Exploring and defining the relationship between religion and knowledge, Ismail Rafi Al-Faruqi, a distinguished 20th century Arab-American scholar of Islam, formulated ideas which have made substantial contributions to the Islam-and-modernity discourse. His review of the (...) interaction between Islam and knowledge examines the philosophy behind this relationship, and the ways in which Islam can relate to our understanding of science, the arts, architecture, technology and other knowledge-based fields of enquiry. This book includes contributions from Seyyed Hossein Nasr, John Esposito, Charles Fletcher and others, and will prove an essential reference point for scholars of Islam and students of philosophy and comparative religion. (shrink)

This article explores how legal treatises (rasāʾil) were essential sites for the development and expansion of Islamic legal schools’ (madhāhib) positions. The rasāʾil, along with legal dicta (fatāwā)—besides legal commentaries (shurūḥ) and manuals (mutūn)—were among the prime loci where jurists contended with rapid social, political, and economic changes. Although these legal treatises were written to address specific sociolegal issues, I argue that the treatise—as a separate genre—provided a creative space for jurists to reaffirm, restate, or advance a new opinion in (...) the school. These legal treatises were carefully considered and extensively referenced in the authoritative works of the school for their updated legal positions, practical utility for judges in courts, and relevance for official policy purposes. To demonstrate this dynamic, I present a close reading of two legal treatises by Maḥmūd Efendī al-Ḥamzāwī (d. 1887), a key Ḥanafī authority and judge, and the muftī of Damascus (1867–1887). The first covers the issue of criminal law procedures in Islamic/Ottoman courts and the second addresses the topic of hunting with rifles. Both treatises expanded the legal positions of the Ḥanafī school by incorporating new justifications, qualifications, and information. They offer an essential perspective on the status of this genre of legal writing through an exposition of a range of emerging issues in the late nineteenth century. (shrink)

Rien, c’est ce qu’il faut: supporter l’insupportable rien. Maurice Blanchot Subjectivity is undoubtedly a central area of philosophical investigation. In 1984 Emmanuel Levinas (1906–95) described h...

Cet article traite de la variante moderne, notamment pragmatique, du problème kantien de la dépendance de l’ontologie de la raison et des schèmes. Il est suggéré que la distinction entre la dépendance et l’indépendance schématique dans la métaphysique transcendantale est elle-même contextuelle, pas absolue, et que cette contextualité est un « fait transcendantal » concernant nos activités constitutives du monde ancrées dans la pratique.

Rien, c’est ce qu’il faut: supporter l’insupportable rien. Maurice Blanchot Subjectivity is undoubtedly a central area of philosophical investigation. In 1984 Emmanuel Levinas (1906–95) described h...

Name der Zeitschrift: Der Islam Jahrgang: 91 Heft: 2 Seiten: 341-359.

Ṣūfī poetry or dīvān poetry, both of our poems have a universal appeal and a classical value just as the poetry of many nations’. Poets of both groups enhanced the consciousness level of every people one by one and created a virtuous society by taking power from the potential that existed in Turkish society already. If it is needed to mention a difference between those two poetries, it could be that dīvān poetry is a static one and sūfī poetry is (...) more dynamic than the dīvān poetry. While dīvān poetry has a unique World of poetry, sūfī poetry has a feeling of universe shaped by different meanings and concepts. Although dīvān poetry is based on intelligence and pleasure, there is intuitive inspiration and wāridāt in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme (mażmūn). Until today, since the first that comes to mind, when it is said poetic themes (mażmūn), is dīvān poetry, poetic themes of ṣūfī poetry were overshadowed. However, ṣūfī poetry is quite interesting and rich in terms of its poetic themes. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz). The aim of this article, which we can sample under three titles and with the couplets of our three ṣūfī poets, is to draw attention to the existence of a rich mażmūn staff independent of the dīvān poetry of Turkish ṣūfī poetry. The subject of mażmūns belonging to Turkish ṣūfī poetry should be considered important since it has not been mentioned much until today. Summary: The poet designs and presents it to his readers on behalf of his readers that he cannot even express what he has imagined but sometimes cannot imagine. Each poem has a specific interlocutor and addresses the emotions of its interlocutor. Each poem is adorned with thought and imagination; yet poems can be understood by annotation accompanied by rhetoric. Ṣūfī poetry and dīvān poetry, both poems have universal appeal and classical value like many poems of many nations. Ṣūfī poet and dīvān poet are the architects of an indestructible art existence that ruled for centuries and their works are masterpieces of their own fields. Both types of poetry, along with literary heritage, are a guide ship that leads the whole cultural heritage to the next generations, leading art branches. Both poets of both groups have strengthened from the potential that existed in Turkish society and raised the level of consciousness of each individual separately and created a virtuous society.Dīvān poetry is as beautiful as the aesthetics of genius; ṣūfī poetry is so beautiful with the sincere sincerity of heathat born to the heart. Without making use of the rich mażmūn staff of the lodge poetry, it would be an exclusivism and a status quo to make the mażmūn exclusive only to dīvān poetry or to search for the mażmūns of dīvān poetry in the lodge poetry and to interpret these mażmūns with the interpretation habits of dīvān poetry.The most obvious difference between ṣūfī poetry and dīvān poetry corresponds to the fact that the terms of Sufism are composed of similes (tashbīḥ), metaphors (majāz); sūfī poetry is a composition of poet’s personally experienced feelings or situations such as waḥdat, ḥalvet, manifest and observant concepts. While the depictions of the dīvān poet, spring and winter depictions, arouse enthusiasm for the reader for a while, the indifference of the ṣūfī poet to this world, the constant heartbeat of Jamāl and the heart beating with the excitement of vuslat (meeting) infiltrates the reader to the eternal world.If there is a difference between the two poems, it is that the poetry of the dīvān is static and the ṣūfī poetry is more dynamic than the poetry of the dīvān. As well as dīvān poetry has a unique world of poetry; ṣūfī poetry has a universe of emotions shaped by different meanings and notions. Even if the beauty they depict is materially and morally different, the poet of both groups wishes to go beyond the beauty that they mean and find themselves there. They do this sometimes with similes (tashbīḥ) and metaphors (majāz) and istiʿāre, succeed with various kinds of poetic themes. In dīvān poetry, there is pleasure and imagination based on intelligence, and inspiration and success based on intuition in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme. Dīvān poetry is an endless effort of abstract imagination, while ṣūfī poetry is an inexhaustible enthusiasm for concrete ecstasy. Although both have found what they are looking for outside of daily life, dīvān poet finds pleasure, yet sūfī poet finds inspire.When it comes to mażmūn, the first thing that comes to mind is Divan literature and it’s figure of beautiful woman’s length (cypress), hair (zulf), eye (daffodil), eyebrow (bow), eyelash (arrow) and skin (silver) and these mażmūns are stereotyped and widespread though each of them is known only to artisans. On the other hand, ṣūfī poetry has many other poetic themes such as Jamāl (grace), Jalāl (distress), ār and nāmūs (mālāmat), gūy (rıza), chevgān (ḳażā) and istignā (reluctant).To date, the first thing that comes to mind when it is said to be mażmūn is dīvān poetry, it has left behind the maẓmūns specific to ṣūfī poetry. However, ṣūfī poetry is also quite rich in terms of its mażmūns. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz).The fact that the dīvān poets used the mażmūn as a word and the use of the term started with the Tanzimat made it inevitable that different definitions of the mażmūn emerged in time. For this reason, many researchers now understand and define the term of mażmūn differently. However, all the academics who researched or wrote about the mażmūn brought to mind only the poem of the dīvān poem, and they selected the examples of the mażmūn from the couplets of the poem of the dīvān poem. In our opinion, the missing part of the subject of mażmūn is here. Nevertheless, our main aim in this article is not to discuss what is or is not a mażmūn, but to try to express that the ṣūfī poem is as rich as the dīvān poem. Whereas the mażmūn has no single generally accepted definition; if so, we can say that ṣūfī poetry may have its own unique mażmūn, we can exemplify it with couplets of ṣūfī poetry. (shrink)

In the medieval Islamic world, eloquent expression was an important skill for statesmen to acquire, such that many of the leading viziers were often prominent belletrists. Among the most well known of these literary figures was the Būyid vizier Ibn ʿAbbād. Drawing from a wide range of historical and literary sources, this article compiles and corroborates the many accounts relating to Ibn ʿAbbād’s political career, beginning with his family background and early education as a scribe, to his experiences in the (...) Būyid courts of Baghdad, Iṣfahān, and Rayy and his two decades as vizier to the Būyids Muʾayyid al-Dawla and Fakhr al-Dawla in western Iran. (shrink)

The quality of the narrations of 'Abdullah b. Salih al-Misrî (d. 223/838), one of al-Bukhârî's famous teachers, in al-Jâmi al-Sahîh has been a matter of debate among hadîth scholars. Abdullah b. Salih, whose narrations are narrated by Abu Dâwûd, al-Tirmidhî and Ibn Mâjah, is an important figure whom al-Bukhârî interviewed and also narrated from him in his works such as al-Adab al-mufred, al-Kirâʾa Khalfa al-imâm and al-Târîkh al-kabîr. However, whether he narrated directly from him in al-Jâmi al-Sahîh has been a (...) matter of debate among the scholars of Hadith. Ismâ'îlî (d. 371/982) and al-Hâkim (d. 405/1014) claim that al-Bukhârî did not narrate any hadîth from him in his Sahîh, while al-Zaḥebî (d. 748/1347) and al-'Aynî (d. 855/1451) argue that he did. It is possible to say that this disagreement is due to two reasons. The first is that there are differences between the copies of the Sahîh, and the second is that al-Bukhârî mentioned some of the narrators in an incomplete form. In this study, we will investigate various copies of the Sahîh and focus on whether the person whose identity is mentioned as "Abdullah b. Sâlih", "Abdullah" and "Abû Sâlih" in them is really Abdullah b. Sâlih al-Misrî. In addition, we will touch upon the evidences relied upon by the muhaddithis who express an opinion on this issue in terms of narration and dirāyah, and we will also draw attention to how the sîgas of tahammul and âdâ used in the narrations should be understood. Finally, we will try to determine whether al-Bukhârî has made any tahrīj from 'Abdullah b. Salih in his Sahīh, and if so, for what purpose, i.e., for ihtijâj or istishhâd. (shrink)

The Judith Butler Reader is a collection of writings that span her impressive career and trace her intellectual history. Judith Butler, author of influential books such as Gender Trouble, has built her international reputation as a theorist of power, gender, sexuality and identity Organized in active collaboration between Judith Butler and Sara Salih Collects together writings that span Butler’s impressive career as a critical philosopher, including selections from both well-known and lesser-known works Includes an introduction and editorial material to assist (...) students in their readings of theories that stand at the forefront of contemporary theoretical and political debates. (shrink)

Claude Lefort’s theory of democratic indeterminacy has been an influential source among democratic theorists to demonstrate that democratic times lack absolute and determinate grounds on which to b...

Tarımsal üretim pek çok ekonomide olduğu gibi Türkiye’de de önemli bir paya sahiptir. Özellikle fındık, çay ve yaş meyvelerin üretimi yakın tarihe kadar bilinçsizce gerçekleştirilse de günümüzde üretim imkânlarının gelişmesi sayesinde az maliyetle yüksek verim alınabilmektedir. Fakat başta miras yoluyla arazilerin bölünmesi, köyden şehre göç olmak üzere çeşitli nedenlerden dolayı ya tarım arazileri sahipleri tarafından terk edilmekte ya da yarıcılığa verilmek suretiyle işlenmeye devam edilmektedir. Halk arasında yarıcılık olarak bilinen bu ortaklıkların temeli, fıkıhtaki müzâraa ve müsâkāt ortaklıklarına dayanmaktadır. Bu çalışmanın (...) amacı halk arasında yarıcılık olarak bilinen ve uygulanan müsâkāt ortaklıklarının fındık bahçelerinde nasıl yapıldığını tespit etmek ve fıkhi problemlere neden olan uygulamadaki aksaklıkların giderilmesi için öneriler geliştirmektedir. Nitel araştırma yönteminin benimsendiği araştırmada, araştırma deseni olarak fenomenolojik yaklaşım kullanılmıştır. Araştırmamızın veri toplama yöntemi yarı yapılandırılmış görüşme ve doküman incelemesidir. Araştırmanın çalışma grubu kartopu örnekleme yöntemiyle seçilen ve daha önce müsâkāt akdi yapmış fındık bahçesi sahibi veya fındık bahçesinin mahsulüne ortak olmuş 8 kişiden oluşmaktadır. Çalışmanın, klasik fıkıhla irtibatının yanı sıra, halk arasında güncel bir uygulamanın nasıl yapıldığını ayrıntılarıyla ortaya koyması açısından sosyolojik, tarımsal üretimi konu edinmesi açısından ise tarım ekonomisini ilgilendiren boyutları bulunmaktadır. Agricultural production has an important role in the Turkish economy as in many countries. However, the hazelnuts, tea and fresh fruits have been produced through inefficient methods for a long time. With the development of technology and new techniques, farmers have started to produce more efficient agricultural production with low costs. The basis of these partnerships, known as sharecroppers among the farmers, is based on muzara’ah and musaqat partnerships in Islamic Law. However, today it is not known whether these partnerships are made in accordance with the conditions of muzara’ah and musaqat agreements. In this study, we investigate how musaqat partnerships are made over hazelnut production, and we also try to detect problems that appear during the partnership. In addition, we offer suggestions to eliminate the detected problems. When the literature on musaqat is examined, it is seen that this partnership agreement is not the subject of research separately, and that the issue is generally discussed in some fiqh issues that concern partnership agreements. During the literature review, it was seen that today there are no studies on how the partnership contract is fulfilled and what problems emerge in terms of Islamic law. The fact that this study directly focuses on the current practices of musaqat partnership and identifies the emerging fiqh problems will fill a gap in the literature. (shrink)

It is often assumed that adaptation — a temporary change in sensitivity to a perceptual dimension following exposure to that dimension — is a litmus test for what is and is not a “primary visual attribute”. Thus, papers purporting to find evidence of number adaptation motivate a claim of great philosophical significance: That number is something that can be seen in much the way that canonical visual features, like color, contrast, size, and speed, can. Fifteen years after its reported discovery, (...) number adaptation’s existence seems to be nearly undisputed, with dozens of papers documenting support for the phenomenon. The aim of this paper is to offer a counterweight — to critically assess the evidence for and against number adaptation. After surveying the many reasons for thinking that number adaptation exists, we introduce several lesser-known reasons to be skeptical. We then advance an alternative account — the old news hypothesis — which can accommodate previously published findings while explaining various (otherwise unexplained) anomalies in the existing literature. Next, we describe the results of eight pre-registered experiments which pit our novel old news hypothesis against the received number adaptation hypothesis. Collectively, the results of these experiments undermine the number adaptation hypothesis on several fronts, whilst consistently supporting the old news hypothesis. More broadly our work raises questions about the status of adaptation itself as a means of discerning what is and is not a visual attribute. (shrink)

Overlaps in form and meaning between morphologically related words have led to ambiguities in interpreting priming effects in studies of lexical organization. In Semitic languages like Arabic, however, linguistic analysis proposes that one of the three component morphemes of a surface word is the CV-Skeleton, an abstract prosodic unit coding the phonological shape of the surface word and its primary syntactic function, which has no surface phonetic content (McCarthy, J. J. (1981). A prosodic theory of non-concatenative morphology, Linguistic Inquiry, 12 (...) 373-418). The other two morphemes are proposed to be the vocalic melody, which conveys additional syntactic information, and the root, which defines meaning. In three experiments using masked, cross-modal, and auditory-auditory priming we examined the role of the vocalic melody and the CV-Skeleton as potential morphemic units in the processing and representation of Arabic words. Prime/target pairs sharing the vocalic melody but not the CV-Skeleton consistently failed to prime. In contrast, word pairs sharing only the CV-Skeleton primed reliably throughout, with the amount of priming being as large as that observed between word pattern pairs sharing both vocalic melody and CV-Skeleton. Priming between morphologically related words can be observed when there is no overlap either in meaning or in surface phonetic form. (shrink)