Los marabouts, o morabitos, son líderes religiosos de las cofradías musulmanas sufíes africanas. A ellos deben obediencia los talibes, discípulos, tanto en sus lugares de origen como en la diáspora migratoria, de gran intensidad y tradición en el muridismo. Los marabouts, con sus visitas recurrentes a los diversos lugares de migración, articulan la identidad colectiva a la par que recogen divisas para regresarlas a Senegal, redistribuyendo y también ejerciendo de �grandes hombres�, ricos, dadivosos y santos, moviéndose en el capitalismo financiero (...) contemporáneo con recursos y tradiciones propios. Sus roles se analizan de modo complejo por parte de los estudiosos, a veces como figuras de dominación e incluso de explotación laboral hacia los discípulos; otras veces, como líderes movilizadores de capital social, cultural y económico, cuyas obligaciones redistributivas y morales compensan sobradamente el esfuerzo de la comunidad. Aquí se pretende recoger precisamente la densidad de este debate, y dado que las funciones marabúticas caminan entre las prácticas culturales emancipatorias y dominantes aparentemente a la par. (shrink)

The first poems about the Prophet Muḥammad appeared while he was alive. These first examples, which are panegyrics (madīḥ, i‛tiẕār, fakhr and ris̱ā), largely reflect the characteristics of the pre-Islamic qaṣīda poetry. Due to the developments in the following centuries, the number of poems about the Prophet increased. And thus, a separate literary genre was formed under the name al-madīḥ al-nabawī. Especially the fact that sufi leaning poets contributed to the literary richness in this field. Another factor is the beginning (...) of the tradition of writing mawlid poems in memory of the birth of the Prophet Muḥammad. The thirteenth century was an important period for poems praising the Prophet Muḥammad. Two important poets emerged in this century. One of them is Egyptian poet al-Būṣīrī and the other is Baghdad's famous poet, Yaḥyā al-Ṣarṣarī. Even after his death, Ṣarṣarî’s works with high literary value were read and memorized in the circles of science, literature and Sufism. Due to his competence in the field, al-Ṣarṣarī was known as the poet of the Prophet and Ḥassān b. Thābit of his time. However, it is understood that his poems, which lost their importance in literary circles over time, were not studied as much as they deserved in the modern period. In this article, his life and works are introduced and basic language and stylistic features of his poems are examined. Also, the image of the Prophet in his poems was determined within the framework of the political conditions of the period.Summary: In the field of madīh nabawī, which first appeared in the ‘Asr al-Sa’āda and has continued to the present day, especially two names stand out in the 7th/13th century, when famous poets such as Macduddīn al-Vitrī (d. 662/1264), Ibn al-Muraḥḥal (d. 699/1300) and Ṣafiyyuddīn al-Ḥillī (d. 749/1348) were also raised. One of them is the Egyptian poet al-Būṣīrī (d. 695/1296), who left his mark on the field of madīh nabawī with his many poems, especially Qaṣīda Burda, and the other is the Iraqi poet Yahya al-Ṣarṣarī (d. 656/1258), who was named Shā‘iru Rasūlillāh (The poet of the Prophet) and Ḥassānu Vaḳtihī (Ḥassān of that period) because of the quality of his poems in this field.al-Ṣarṣarī, was born in the village of al-Ṣarṣar, near Baghdad, spent most of his life in the shadow of Baghdad’s political instability and the social collapse that developed in parallel. He was killed in 656/1258 by the Mongolian forces that invaded Baghdad. al-Ṣarṣarī was extremely knowledgeable in fiqh, hadith, language, and ‘ilm al-qirāa. Our poet adopted the views of the Hanbalī law school. In addition, he turned to Sufism and became a murīd (disciple) of Ali ibn Idrīs al-Ya‘kūbī, a student of Abdalqadīr al-Gīlanī who was accepted as the founder of Qādiriyya. He was closely attached to the Sunnah of the Prophet and was fond of reading the Quran. He was chaste and patient and was content with what he had himself. All his works are poetic and they all concern the madīh nabawī or fiqh.Since his poems, almost all of which are about the praise of the Prophet, have a high literary value, they were read, memorized and narrated for a long time in the circles of science, literature and Sufism. In terms of its structure, his poems are based on the traditional forms of Arab qasīda. In the introductory sections of his poems, he often expresses his longing for Madina. The main subject in poems is usually the Prophet and his superior features. In the last part, he usually says salāt for the Prophet and seeks help from him. It can be said that he used simple language in his poems. The vocabulary reflects the characteristics of the urban life in which he lived. The source of inspiration for his poems are the Qur’an and especially the hadith of the Prophet. He uses the potential of literary arts as much as possible while conveying his feelings. But he does not allow the correct information to be lost due to these arts on a serious subject such as depicting the Prophet. We can see a lot of badī‘ (creative) art in some of his poems. But we can immediately understand that these arts do not spoil the beauty of his expression. The poet provides rhythm and harmony in his poetry with the meter and rhyme in accordance with the classical Arabic qasida rules. In addition, he strengthens the musicality in poetry with puns (jinās) and repetition.The influence of the instability of the region where al-Ṣarṣarī lived on his poems is obvious. According to him, the main reason for the terrible situation that Muslims were in was that they were away from the way of the Prophet. He thought that it would be possible to go back to the old peaceful days by following the way of the Prophet. Perhaps as a result of this opinion, he allocated his qasīda to the narration of the Prophet and his Companions. In his poems, he describes the Prophet with his names, superior qualities, physical and moral characteristics. He says that the sentences describing the Prophet are the ornament of poems and believes that praising him is a mean of salvation in the next world. He also hoped that the poems he said in order to achieve spiritual ascension would protect himself against the troubled events of the period.In his poems, especially on the occasion of mawlīd, al-Ṣarṣarī mentions the Prophet’s physical characteristics and likens his smiling face to a bright full moon, his brows to the letter nûn, his teeth to pearls. He describes the Prophet as a man with black eyes, broad shoulders, born with kohl-lined eyes, and who emanates a beautiful scent as a requirement of his creation. The poet, who also touches on the Prophet’s powerful address, states that his speech is more effective than Luqman’s wise words by virtue of his jawami‘ al-kalim (comprehensive speech) and faṣl al-khiṭab (clear speech), and that his soft address, which states nothing other than the truth, is a blessing from Allah. He additionally describes the Prophet’s plain words, easy to understand by all, as more valuable than jewels. al-Ṣarṣarī, who praises the Prophet in terms of morality with basic human virtues such as bashfulness, justice, modesty, and courage, emphasizes that he is, a paragon of patience, perseverance, kindness, and compassion through analogies such as, “his clothes are peace and perseverance”, his “cover is kindness and forgiveness”. In his world of imagery, the Prophet’s benevolence is so abundant like the rain that the clouds cannot compete with him. Also, he does not shame anybody for what he gives. He bestows the most valuable possessions like gold and camels. Even the respectable personalities of the tribe benefit from his grace. He is so generous that he is giving even when the clouds are stingy about giving rain during times of drought. He welcomes with a smile those who approach him with requests. The donations he makes privately are entirely satisfying.The image of prophethood in al-Ṣarṣarī’s poems, is centralized around the thought of nūr Muhammadī (prophetic light) and the miracles of the Prophet. He reminds that the Prophet never gave up despite the calamities he encountered and that he was supported with extraordinary events in various stages of his life since he was born, and reflects the understanding that the prophet is spiritually supporting the community with his nūr, and in the case the community follow his sunnah, overcoming the Mongolian attacks, which seems like a miracle, is possible. The mention of Qattāl (warrior), Māḥī (eliminator of disbelief), Ẓāhir, Ẓāfir, Manṣūr and Muẓaffar (victorious) among the Prophet’s names, especially those that evoke the superiority he gained in his fight against the disbelievers, giving greater prominence to his courage and valor among his virtues are also related to the political and social conditions of the period. The couplets about the Companions of the Prophet following the couplets that describe the Prophet’s valor, the emphasis of their aid to the Prophet, and the particular mention of their fighter spirit may be considered in the same context. Perhaps, in this way, the poet aims to boost the courage of the Muslims who are exposed to Mongolian attacks with respect to protecting their spiritual and holy values against the enemy. (shrink)

In studies on the history of Sufism, the Qajar period is an important source, especially for researching the influence of Shiite thought on Sufism. Sufism, which was transformed into a different concept like gnosis, was defended by Sunni sects in this period, while it was the source of transformation and change activities of Shiite sects. The sects that endeavored to protect Sunni Sufism, especially the Qadiriyya and Naqshbandiyya sects, have gained the favor of the people in the limited regions where (...) they are located, even though their activities have been restricted. In the 19th century when modernization and independence movements took place. and XX. YY. Although the Qajars made short-term agreements, fearing the presence of Sunni sects on the border and the caliphate power of the Ottoman Empire, they continued their policy of intimidation and pressure. Qajars have a tolerant attitude towards Shiite sects; He wanted to gain power by getting the support of Safi Ali Shahiyya for the modernization of society. Sâfî Ali Şâh and his caliph Zahirüddevle Ali Hân Kaçar carried out various activities to integrate Sufism with modernism. In particular, Zahirüddevle's establishment of the Encümen-i Uhuvvet Cemiyeti, which introduced the Sufi approach based on the understanding of brotherhood and equality, and the fact that his disciples were urban intellectuals, facilitated the revolutions. Zahirüddevle; He handled Sufi concepts such as melamism-futuwwa, murshid-murid according to the needs of his age and tried to integrate tradition and modernism. This study aims to reveal the perception of Sufism in the Qajar period and to discuss the activities of the Shiite sect Safi Ali Shahiyya based on integrating Sufism with modernism. This study, which was carried out by specifically referring to Shiite sources, aims to present the panorama of the Sufi thought of an era. The importance of the article is that there is little work done in this field. (shrink)

Özİrâde, Kelâm’da, ilimden sonra üzerinde en çok tartışılan konulardan biridir. İrâdenin mâhiyeti hakkında, Mu‘tezilî bilgin Ebû’l-Kāsım el-Kâ‘bî el-Belhî’nin görüşleri dikkate şayandır. Kâ‘bî, oluşturduğu epistemolojik sistemde, irâdeye alışılagelenden farklı bir anlam alanı açmaya çalışmaktadır. Kâ‘bî’ye göre irâde, fiilî bir sıfattır. Ona göre Allah’ın irâdesi hâdistir. İrâde, Tanrı hakkında kullanıldığında, Tevhîd ve tenzih kaygısına; insan hakkında kullanıldığında ise özgürlük, imtihan ve sorumluluk kaygısına dayalı bir şekilde ele alınmaktadır. Kâ‘bî, bu iki kullanım arasında dikkatli ve kesin bir ayrım yaratmaya özen göstermektedir. O, irâde (...) hakkındaki görüşleriyle, Mu‘tezilî düşünce içinde de farklılaşmıştır. Kâ‘bî’nin Nazzâm’ın görüşleriyle uyum gösteren irâde anlayışı, insana otonomi sağlaması açısından önemlidir. Kâ‘bî’ye göre, Allah li-zâtihî mürîd olmadığı gibi O’nun irâdesi, hakîkî anlamda da kullanılmamaktadır. Ona göre irâde, Allah ve insan arasında ortak bir lafız olmasına rağmen, Allah mecazî anlamda mürîddir. Kâ’bî, Allah açısından İlâhî irâdeyi yaratma (tekvîn) insan açısından ise Allah’ın emretmesi olarak ele alır. Bu bağlamda onun epistemolojisinde irâde, Allah-âlem ilişkisine güçlü bir zemin oluşturmaktadır. Anahtar Kelimeler: Kelâm, Mu‘tezile, İlâhî İrâde, Ebû’l-Kāsım el-Belhî, el-Kâ‘bî, Nazzâm, Sıfatlar, Bağdat Mu‘tezilesiTHE WİLL ACCORDİNG TO ABŪ L-QĀSİM AL-KAʿBĪ AL-BALKHĪ AbstractAfter the problem of divine knowledge (‘ılm), divine will/volition (irāda) is one of the most debated issues in Kalām. In regard of divine will and volition Mu’tazilī scholar Abū al-Qāsim al-Ka’bī al-Balkhī’s opinions are of distinctive value. In his epistemology, al-Ka’bī tries to comprehend it in quite an unusual manner. For al-Ka’bī divine will (irāda) is one of the attributes of act. This means that divine will is an accident (hâdis). The term volition when used in relation to God it shall carry the apprehension of divine unity (tawhīd) and transcendence (tenzīh). Whereas in relation to man will implies freedom of action and responsibility of consequences thereby. al-Ka’bī put serious emphasis in differentiating meaning of volition in realm of man and of transcendence. Showing profound similarities with his prior Mu’tazilī al-Nazzam, al-Ka’bī undertakes the problem of divine volition in such a way that does not supersede both, realm of man and of transcendence. Showing similarities with the opinions of his prior Mu’tazilī al-Nazzām, his understanding on will is significant for attributing full authority to man. According to al-Ka’bī, transcendental being (Allah) does not have volition per se (لا هو مريد لذاته). His volition is not used in literal meaning of the word either. He believes that although volition is a common term between God and man, God wills (مرید) in truly metaphorical and figurative sense. al-Ka’bī states that the volition form God’s position is His creation (takwīn) whereas in regard of man, divine volition shall be understood as Allah’s orders. Within this context, term of volition in al-Ka’bī’s epistemology carries the ground for relational foundations of Allah and His creation.Keywords: Divine Will, Abū l-Qāsim al-Balkhī, al-Kaʿbī, God's Attributes, Mu‘tazila, Baghdādī School. (shrink)

Sheikh Halid Sufi, as a Sufi poet, addresses human being as the main subject of his sufist dicourse. He is an important figure of our recent history as he primarily adopted the goal of human perfection and revealed a doctrine of humanity in the school of knowledge. In advance of our current century, when human is seen just in physical respect, he lived as a man of heart who handled human being with an integrated approach within the aspects of matter (...) and spirituality, the world and the hereafter, individual and community, body and soul. In this communiqué, I will discuss Sheikh Halid Effendi’s ontology and his point of view on the place of human being in the realm of existence. He seeks human perfection and wishes people to free themselves of shabby desires and regain their disposition. He recommends people to achieve purity in order to reach the rank of being a mirror to God’s reflections. As a Sufi poet, he attaches importance to carrying out the education of divine journey, wrapping up in mystical ethics, having the identity of wisdom and gaining the aesthetics of love so as to reach the perfection. SUMMARY Sheikh Mehmed Halid was born in 1273/1856 in Sivas. He graduated from Ottoman Junior High School. He attended the 1893 War. In 1880, he started his professional career at a state office. Until 1899, he served in several positions, as assistant judge in Erbaa Lower Court, as Prosecuting Deputy Attorney in Sivas, as Prosecuting Judge assistant in Lower Court and head clerk in Darende, as head clerk in Lower Court in Tonus/Altınyayla, and as prosecuting judge in Kuruçay. He died in 1931 and was buried in Sivas Yukarı Tekke Graveyard. Sufism (tasawwuf) is an education for integrity towards maturity, in a way to prufiy the self from evils of nafs (self) and to reach the love of Allah. This spiritual educational journey is called ‘Seyr-u Suluk’. Sheikh Mehmed Halid completed his Seyr u Suluk as a dervish (student) of murshid (mentor) Kastamonulu Ganizade Mehmed Sadık Baba. Sheikh Mehmed Halid wrote three books called Hilafetnāme, Mektubāt, and Divan. He deals with issues of Sufism (mysticism) in these works. Primarily, his works dwells into the matters of morals, worship, good manners (adab), customary practices, ingenuity, existence, and love. Sheikh Mehmed Halid’s sole attempt is to explain the relationship among Allah, man and universe in an understandable way. According to Sheikh Mehmed Halid’s conception of Sufism, existence is unique and that existence is only Allah. The existence of Allah is absolute while the existence of assets is relative. Things do not exist on their own. Universe is like a mirror. What is reflected in the mirror of universe are the shadows of Allah the Omnipotent. The graces of The Divine are reflected in this mirror. All the things that exist in the universe proves the Self of Allah and his properties. Each of the things in the universe are the words of Allah. The existence of the universe is a result of Allah’s mercy. Man is the fruit of the tree of the Universe.Man is both the embodiment and the reflection of Allah. We want to discuss the position of man in between Allah and the universe with Sheikh Halid’s verses. Perceiving plurality in unity and unity in plurality, Sheikh Mehmed Halid attributes the variety of things and existence in the universe to the Divine beauties of Allah. For those who can comprehend, the plurality/ abundance in existing objects in the universe indicates singularity and uniqueness of Allah. According to Sheikh Halid, Allah is independent from and beyond all the entities that exist in the universe. However, Allah, manifests Himself in the things that he creates and the actions he takes through His divine names and properties. According to Sheikh Halid, each object is a reflection of Allah’s divine properties. Every entity in the universe glorifies Allah with all their existence. For Sheikh Halid, Seyr u Suluk is the journey from weakness to perfection, from substance to meaning, and from things to reality. Considering Seyr u Suluk education as distancing one’s self from other beings, reaching purity of heart, disposing of all signs explains these concepts with pilgrimage metaphor. As a response to those who asks him what he meant by seyr u suluk, he says seyr u suluk is servitude and submission to Allah. In order for Seyr u Suluk to be meaningful, a person should enter the way of a murshid-i kāmil (perfect religious mentor), and should have sincerity, purity (being deprived of all sins) and dhikr. According to Sheikh Halid, someone who is not in trouble is not given a remedy. So as to bother is necessary for remedy to be arisen. Nuisances of the universe are also ephemeral as the universe itself. Therefore, it is unnecessary to bother things that are ephemeral. Because remedy is not available without being mature. According to Sheikh Halid, the procedure of gaining advantage from being mature; getting rid of the ego, feeling the love, being pioneer of the mission, being modest, to attain soul pleasure, escaping from fame, leaving the claim, the glory of salvation, proceeding dhikr, reaching the conquests and escaping from friendship of worldly things. According to Sheikh Halid, being mature is not setting about affiliation ceremony. Asceticism cannot be a show and claim authority. Sincerity is needed on the basis of seyr u suluk education. Asceticism which is an effort of making the religion a specific of Allah is to make intimacy with Allah. Sheikh Halid wants his murids who take part in ṭarīqa (sufī path) to decide on the sincerity. Sincerity is said to be the unique factor that makes sense the membership. Seyr u suluk which begins with being membership of mature murshid, which makes sense with proceeding worship and respecting the sincerity arises by teaching manners to soul. Seyr u suluk is trying to reform the soul. Teaching manners to soul is a challenging and significant task. The most important factor that ensure teaching manners to the soul to be achieved is dhikr. Dhikr practice which makes successful the teaching manner to the soul of seyr u suluk training increases the prudence and foresight of dervish. The unique task that murshid expects from his murid during the membership process is to adjust his soul and parlance to the dhikr of Allah. Dhikr of Allah is a product of fondness. According to Sheikh Halid, one who wants to be remembered in heaven should himself learn to remember Allah. Sheikh Halid gives too much importance to disciplining the tariqa where sufi training takes place. A murid should qualify his murshid whom he intimated to. Followers should gain sufficient advantage from the spiritual atmosphere in the dergāh of their murshid. The murid must be at the service of the murshid who trains him and should obey tariqa manners. Salik who achieves seyr u suluk, who maturates the sufi ethics and who gains sincerity through dihkr of Allah tries to achieve the Gnosis. The intent of being a human is to know Allah. The biggest disaster for human is to come upon unawareness. Sheikh Halid who assumes the the Arifs as sultans of walayah makes a comparison between the Arifs and the Zahids and prefers the Arifs. He thinks that the Zahids pay attention to the appearance, cannot reach the basis and cannot go beyond Allahliness show. Sheikh Halid, who encourages the Zahids to avoid comparing themselves with the Arifs, warns the ones who combat with the Arifs and reminds that Allah proclaims warfare to those who has hostility towards those surrendering themselves to Allah. Sheikh Halid lines up the ways of being mature and having wisdom as godly grace, asceticism, love, the mind of leaving, battle with the self, humility, dikhr and being woeful. Salvation process which Marifetullah will guide is to achieve the love of Allah. Love is the way of achieving the reunion. The reality can just be gained through love. However, gaining the divine love requires to be loved. Because, the way of gaining the divine love is to remove everything except Allah from one’s heart. (shrink)

Novel, as a literary genre, is described as the expression of events and emotions by using unconventional methods and techniques; beyond this, novek is also a subject of sociology. For this reason, writers have used the art of the novel as a way of expressing the pain experienced by the individual and its social dimensions. One of these writers is Mourid Barghouti (d. 2021), who was born in Palestine in 1944 and studied English Language and Literature at Cairo University. Banned (...) from entering Palestine in 1967 when he graduated from the university, and exiled from Egypt for criticizing Anwar al-Sādāt's (d. 1981) visit to Israel, Barghouti lived in exile for 17 years in various Arab and European countries away from his wife and child. Barghouti, who returned to Palestine 30 years after his departure, wrote a novel called I Saw Ramallah. This novel was first published in 1997, and he expressed his homesickness and the experiences of the Palestinian people after the occupation. Divided into nine chapters, consisting of 220 pages and translated into many languages, the novel shows the drama of many Palestinians who entered the British mandate after World War I, whose lands were occupied with the establishment of Israel in 1948, and who was forced to leave their homeland. In this sense, the novel I Saw Ramallah reflects both the expatriation of Palestine and the author. In this study, the work named I Saw Ramallah was elaborated in terms of technique in order to determine to what extent the author used the rules of the art of the novel, and thematically which subjects were handled in the novel. It is understood that the name of the novel was chosen to reflect the content by making use of the symbolic value of the place. This novel is seen as an autobiographical novel type, due to the author’s narrator technique used and the author tells his own life. The author's entry into Palestine is used as the objective tense of the novel; the author, with recollections and connotations in objective time, conveyed his experiences by using the flashback method. Events that contain enough sadness have been tried to be conveyed as they happened by mentioning time, place and individuals in order to awake the reader's feelings. Although the events in the novel are listed non-chronologically, when the whole novel is examined, it is seen that the author writes his experiences within the framework of the days he spent in Ramallah and the memories that they remind him of, and in the order in which they come to mind. In almost all of the novel, classical Arabic is preferred. The novel has avoided as much forced expressions and literary expressions that enlarge or reduce events as possible. Although it is impossible to claim that he is completely impartial as a Palestinian, it is seen that the author describes the events with the simplicity of a Palestinian citizen, away from political conflicts as much as possible and in a natural language. It is possible to say that the dominant use of critical style in the novel as the experiences of a writer suffered living abroad throughout his life, shaped his perspective on life and its reflection on the novel. The main topic of the novel is the absence from home. In addition, those killed far away from their homeland, Jewish settlement, the effect of Jewish occupation on the social life, the Oslo Agreement and the role of the phone in the life of the expat are handled as sub-themes. Although the novel named I Saw Ramallah is mostly close to daily or commemorative works and does not fully fit in the definitions of novel art as it emerged in the West, it includes the style of novel art at a certain level. It is seen that the novel has an important place in terms of raising awareness on the Palestinian issue in the Arab and Islamic world. The novel I Saw Ramallah, which was awarded The Naguib Mahfouz Medal for Literature by the American University in Cairo in 1997, is likely to have received this award because of its thematic aspect rather than its stylistic aspect. Considering this award that the novel won against its peers and the considerations we mentioned during the technical and stylistic analysis we made about the novel, it is seen that the art of the novel in Arabic literature is still in the development stage. (shrink)

This article examines Shaikh Amadu Bamba Mbacké and his theology as a cogent response to White Supremacy as expressed in French Colonization of Africa. White Supremacy has as its primary goal, the recreation of the whole world in the image of Whiteness upon the premise that the possession of White skin makes one inherently superior. Theism counters this ontological assault with an unabashed turn to a believer's God. Shaikh Amadu Bamba Mbacké's insistence on Islam counters White Supremacy thereby providing an (...) ideological and metaphysical space for the non-whites of Senegal to exist without succumbing to the temptation to aspire to a Euro-centric ideal. (shrink)

Sudah sejak awal abad pertama Kristianisme memisahkan diri dari tradisi Yudaisme dan menjadi agama baru sama sekali, meskipun Yesus yang menjadi pokok iman mereka adalah seorang Yahudi. Agama Kristen diajarkan oleh Yesus dengan melepaskan diri dari tradisi Yahudi yang ortodoks, demikianlah anggapan umum hingga sekarang. Maka baik bagi orang Kristen maupun orang Yahudi, seluruh ajaran Kristiani tidak bisa dikembalikan pada akar tradisi Yahudi. Keduanya saling membedakan diri satu sama lain. Yesus mengajarkan “cinta kasih” dan para murid-Nya mempertentangkan ajaran ini dengan (...) ajaran Taurat yang sangat menekankan hukum. Sementara itu jemaat Yahudi menuduh orang Kristen (Yahudi) murtad dari tradisi mereka. Kesan mengenai pertentangan yang sangat keras antara Kristianisme dan Yudaisme di masa lalu ini antara lain juga yang menjadi sebab dari dan memicu—atau setidaknya diduga demikian—munculnya gerakan antisemitisme di Eropa hingga abad keduapuluh. Akan tetapi apakah Kristianisme dan Yudaisme patut dipertentangkan satu sama lain? Dalam buku kecil ini, Daniel Boyarin—seorang rabi Yahudi yang ortodoks serta Profesor Retorika dan Budaya Talmud, Universitas California, Berkeley—mengajukan pandangan bahwa Yesus adalah seorang yang setia pada tradisi Yahudi. Ini berarti ajaran-ajaran yang disampaikan-Nya, setidaknya yang asli, tidaklah menyimpang dari Taurat dan Kitab para Nabi. Jikalau dalam Kristianisme terdapat ajaran yang menyimpang dari sumber Yahudi, maka kiranya karena hal itu ditambahkan atau ditafsirkan secara lain oleh para murid Yesus di kemudian hari, tetapi bukan dari Yesus sendiri. Dari lain pihak, menurut Boyarin, apa yang diajarkan oleh Yesus dapat dilacak kembali dari sumber aslinya dalam Kitab Suci Yahudi. Ajaran Yesus sungguh merupakan bagian dari Yudaisme sendiri. Boyarin mencoba merunut ajaran Yesus yang asli dari sumber-sumber Yudaisme dan mempertemukan tradisi Kristen yang paling awal ini dengan tradisi asli Yahudi............ Dalam bab 4 Boyarin membicarakan penderitaan Kristus. Pokok ini sering dikaitkan dengan Yesaya 53 tentang hamba yang setia. Tetapi sekali lagi di sini, kontroversi yang terjadi adalah bahwa sebagian penafsir menempatkan bangsa Yahudi sebagai hamba itu, dan bukan individu, sebagaimana tafsir Kristiani yang menempatkan Yesus dalam posisi tersebut. Alasannya, menurut kebanyakan tafsir Yahudi, “Mesias” tidak menderita. Penderitaan dianggap sebagai aib. Mengutip Joseph Klausner (“The Jewish and Christian Messiah,” dalam The Messianic Idea in Israel, from Its Beginning to the Completion of the Mishnah, trans. W.F. Stinespring, New York: Macmillan, 1955) topik penderitaan Messias dalam Kristianisme diangkat setelah Yesus mengalaminya, jadi semacam apologi (hlm. 130). Kalau demikian, mengapa Allah membiarkan “hamba pilihan”-Nya menderita? Klausner menjawab, demi atau untuk penebusan manusia, sebagaimana diramalkan Yesaya 53. Di sini Klausner mengubah pan-dangan Yahudi, penderitaan itu bukan ramalan tentang pengejaran bangsa Yahudi, melainkan tentang penderitaan Yesus (hlm. 131-132). Menurut Boyarin, tampaknya Midrash dan tradisi ortodoks rabi Yahudi memberi ruang juga pada penderitaan Mesias, karena kedekatan teks Markus 8:38 (“… barangsiapa malu karena Aku dan perkataan-Ku…”), yang menggunakan gaya Middrash untuk mengembangkan gagasan itu untuk Yesus menyangkut penderitaan-Nya, sementara penderitaan dan kematian Mesias juga merupakan bagian dari ajaran umum ortodoksi rabinik (hlm. 134). Tidak semua tafsir Boyarin dapat diangkat dalam resensi pendek ini, tetapi secara umum jalan pikirannya mudah dipahami, juga oleh mereka yang tidak ahli dalam Kitab Suci. Secara ringkas, dalam buku ini Profesor Boyarin mendalami akar Yudaisme dalam Kristianisme awal dan menemukan bahwa ajaran Yesus sama sekali tidak menyimpang dari tradisi Yahudi dan bahwa konsep inkarnasi dan Trinitas pun sudah ada benihnya dalam sumber Yahudi. Maka sebenarnya, tidak ada pemutusan (break) antara ajaran Yesus yang awal dengan Yudaisme sebab kedatangan Messias yang diajarkan Yesus merupakan bagian utuh dari kepercayaan Yahudi, sebagaimana terdapat dalam sumber mereka. (A. Sudiarja, Fakultas Teologi, Universitas Sanata Dharma, Yogyakarta). (shrink)