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)

Criminal jurisdiction; international criminal courts.

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)

El manuscrito anónimo n.° XVIII de la colección Gayangos es una compilación que consiste en partes de dos obras: Futuh al-Sam de (ps.) al-Waqidi y una obra sin título de Abu `Umar al-Talamanki. Un análisis del texto revela que la "compilación" de Talamanki no es una obra original suya, sino una transmisión del controvertido texto de Abu Isma`il al-Azdi, también titulado Futuh al-Sam. La obra de al-Azdi fue considerada por muchos estudiosos como un fraude de la época de las Cruzadas. (...) La transmisión de al-Talamanki, que murió décadas antes de la Primera Cruzada, demuestra que la obra de al-Azdi es más temprana, dando de ese modo fin a la controversia. Otras citas de al-Azdi recién descubiertas también apoyan esta conclusión. También se investigan los isnads del manuscrito anónimo cuyos eslabones más antiguos coinciden con los de la obra de al-Azdi, algunos de los cuales, hasta ahora desconocidos, identificamos. El texto manuscrito es cotejado con las versiones publicadas de Futuh al-Sam de al-Azdi y las innumerables variantes prueban que esta obra se transmitió en varias versiones (riwaya). El análisis del manuscrito y el cotejo desvelan algunos de los procesos que intervienen el la construcción de los textos . (shrink)

El manuscrito anónimo n.° XVIII de la colección Gayangos es una compilación que consiste en partes de dos obras: Futūḥ al-Šām de al-Wāqidī y una obra sin título de Abū ‛Umar al-Talamankī. Un análisis del texto revela que la «compilación» de Talamankī no es una obra original suya, sino una transmisión del controvertido texto de Abū Ismā‛īl al-Azdī, también titulado Futūh al-Šām. La obra de al-Azdī fue considerada por muchos estudiosos como un fraude de la época de las Cruzadas. La (...) transmisión de al-Talamankî, que murió décadas antes de la Primera Cruzada, demuestra que la obra de al-Azdī es más temprana, dando de ese modo fin a la controversia. Otras citas de al-Azdī recién descubiertas también apoyan esta conclusión. También se investigan los isnāds del manuscrito anónimo cuyos eslabones más antiguos coinciden con los de la obra de al-Azdī, algunos de los cuales, hasta ahora desconocidos, identificamos. El texto manuscrito es cotejado con las versiones publicadas de Futüh al-Sàm de al-Azdī y las innumerables variantes prueban que esta obra se transmitió en varias versiones. El análisis del manuscrito y el cotejo desvelan algunos de los procesos que intervienen en la construcción de los textos. (shrink)

With the acceptance of Islam by the Turks, works on Islam have been copyrighted in Turkish literature. It has become a tradition to express the desire to attain the mercy of Allah and the intercession of Prophet Muḥammad, especially in the sections of tawhid, naat, munajat and hatime in these works. Over time, verse and prose detached works, which are about intercession and asking for intercession from people whom Allah has allowed to intercede, especially Prophet Muḥammad, have been compiled. These (...) works were separated from the religious-mystical genres and named as şefāʿat-nāme. In general, the şefāʿat-nāme texts are similar to the religious stories such as Ḥikāye-i Kesikbaş, Ḥikāye-i Deve, Ḥikāye-i Güvercin, Ḥikāye-i Geyik, Ḥikāye-i Ḳız, Ḥikāye-i ʿĪsā, Ḥikāye-i Ismāʿīl ve Ḥikāye-i Ibrāhīm, which was written in the old Anatolian Turkish period, in terms of narration and style. One of these stories, which was written in plain Turkish in order to teach the religion of Islam to the public, and in which the narration is at the forefront, is the Şefāʿat- nāme-i Yaḥyā, which we consider a type of intercession due to its content. This work, which is the subject of our study, is on pages 155a-160a of the manuscript, which is registered with the inventory number 4042 in the Manuscript Donations Department of the Süleymāniye Library and contains Süleymān Çelebī’s Wasīlat al-Najāt and many verse stories with religious content that were copyrighted in the Old Anatolian Turkish period. Şefāʿat-nāme-i Yaḥyā is written in the form of aruz prosody “fāʿilātün / fāʿilātün / fāʿilün” and in the form of mathnavī verse. In this work, which consists of 154 couplets, Prophet Muḥammad was sad and weeping for the sinful ummah, and asking Abū Bakr, ʿUmar, ʿOthmān, ʿAlī, ʿĀyşe and Fāṭima, who were in his conversation at that time, what they would do to intercede. In this article, first of all, information about intercession is given. Then, the language, form, expression and content features of Şefāʿat-nāme-i Yaḥyā are examined. Afterwards, Yaḥyā’s Şefāʿat-nāme ʿUmaroghlu’s Şefāʿat-nāme, Pir Muḥammad’s Şefāʿat-nāme and Şefāʿat-nāme, which is located between leaves 30a-34a of the manuscript registered in the Topkapı Palace Museum Library, Y. Y. 520/2, are compared. It has been tried to reveal how the same plot is expressed in the pen of different poets through a table. At the end of the article, the transcribed text of Şefāʿat-nāme-i Yaḥyā is prepared and presented to the researchers. (shrink)

Relationism; knowledge, sociology of; objectivism, philosophy.

International Institute of Islamic Thought; Islam; essence, genius, nature; history.