Learning Informally Through Story, Song, and Children’s Shadow Theater

Author(s):  
Theodore G. Zervas
Keyword(s):  
1970 ◽  
Author(s):  
James W. Morris

We are the bees of the invisible. Lovesick, we forage for the honey of the visible, to store it in the great golden hive of the Invisible.Rainer Maria Rilke For Ibn ‘Arabī, as for Plato and Dante (or Calderon), all of earthly life and existence is essentially a divine Dream:” a singular, ongoing, timelessly interpenetrating, profoundly meaningful and ultimately transformative cinematic drama that cosmic “Play” and universal shadow-theater whose personal meanings and mysteries each of us must gradually discover through all our hastily improvised roles as audience, author, reader, performer, and even critic.This essay, centering on key passages translated for the first time from the concluding volume of our Murcian master's immense book of Meccan Illuminations, highlights some of the key elements of the universal process of spiritual realization within which each human being gradually moves from the perception of this unfolding shadow-play in sharply limited worldly terms toward the deepening recognition of its aim and fulfillment as a shared, never-ending adventure of divine-human discovery. In order to provide a basic metaphysical framework for these more focused and practical insights, I have begun here with a few more familiar selections from Ibn ‘Arabī 's earlier foundational chapter (63) devoted to outlining our human relation to this entire Play of our earthly (and posthumous spiritual) existence conceived as a cosmic divine "Imagining” (ḫayāl) within which we and our familiar worlds are both the dreamed and yet also in so many shifting ways active dreamers.Given the larger film festival context of this conference, I had originally hoped to draw out more explicit connections at each stage between Ibn ‘Arabī's teachings and observations and particular cinematic illustrations fitting each of these short passages. However, given both the greater time that would require and the need to clearly explain each of the chosen examples we might take up, I must ask each of you instead, as we proceed, simply to notice the pertinent illustrations that will inevitably come to mind. 


1986 ◽  
Vol 30 (1) ◽  
pp. 182
Author(s):  
Martin Hatch ◽  
Roger Long
Keyword(s):  

Leonardo ◽  
2000 ◽  
Vol 33 (4) ◽  
pp. 264-265 ◽  
Author(s):  
Ugur Güdükbay ◽  
Fatih Erol ◽  
Nezih Erdogan

1994 ◽  
Vol 28 (1) ◽  
pp. 90-114
Author(s):  
Laurie J. Sears
Keyword(s):  

2017 ◽  
Vol 49 (2) ◽  
pp. 215-232
Author(s):  
David Selim Sayers

AbstractThe sociosexual world of the premodern Middle East has been studied through a variety of sources ranging from legal documents to shadow theater. Most such sources are either prescriptive or transgressive: they uphold or subvert a normative framework, telling us more about the framework itself than about how it was inhabited by subjects in everyday life. This study introduces the Tıfli stories as a descriptive source that transcends the prescriptive–transgressive dichotomy. An Ottoman-Turkish genre of prose fiction produced at least from the 18th to the 20th century, the Tıfli stories were a protorealist form of “pulp fiction.” Where most sources sought to stabilize specific sociosexual roles, the Tıfli stories explored the ambiguities inherent in these roles. This study employs the Tıfli stories to interrogate understandings of the Ottoman sociosexual world that rely strongly on normative sources and to stage an approximation of how norms were negotiated in practice.


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