scholarly journals The Four Books of Shiʿi Hadith: From Inception to Consolidation

2021 ◽  
pp. 1-55
Author(s):  
Amin Ehteshami
Keyword(s):  
Seventeenth Century ◽  
Fifteenth Century ◽  
Indelible Mark ◽  
Consolidation Process ◽  
Starting Point ◽  
Four Books

Abstract Since their compilations in the tenth and eleventh centuries ce, the four hadith books, al-Kāfī, al-Faqīh, al-Tahdhīb, and al-Istibṣār, have left an indelible mark on Shiʿi religiosity. The present study takes as its starting point the earliest instance in which these four compilations were collectively referred to as the Four Books (al-kutub al-arbaʿa). I investigate the major developments in the period between the inception of this phrase in the fifteenth century and its consolidation as the demarcator of a unique Imami hadith corpus in the seventeenth century. Following the introduction, each section of the article focuses on a figure whose ideas contributed to this consolidation process. In the conclusion I summarize the findings of the previous sections and reflect on the notion of hadith canonicity within the context of Imami jurisprudence during the period under study.

Dreams Give Birth to Reality”. Engraving Austroseraphicum Coelum as an Attempt to Create a New Reality by the Spanish Habsburgs Dynastic Propaganda / Sny rodzą rzeczywistość…”. Grafika Austroseraphicum Coelum jako próba kreowania nowej rzeczywistości za pomocą propagandy dynastycznej Habsburgów hiszpańskich

2014 ◽  
Vol 39 (1) ◽  
Author(s):  
Jan Kurowiak
Keyword(s):  
Seventeenth Century ◽  
The Netherlands ◽  
General Condition ◽  
Symbolic System ◽  
Political Situation ◽  
Mission Of God ◽  
Starting Point ◽  
The World ◽  
The Church

AbstractAs a work of propaganda, graphics Austroseraphicum Coelum Paulus Pontius should create a new reality, make appearances. The main impression while seeing the graphics is the admiration for the power of Habsburgs, which interacts with the power of the Mother of God. She, in turn, refers the viewer to God, as well as Franciscans placed on the graphic, they become a symbol of the Church. This is a starting point for further interpretation of the drawing. By the presence of certain characters, allegories, symbols, we can see references to a particular political situation in the Netherlands - the war with the northern provinces of Spain. The message of the graphic is: the Spanish Habsburgs, commissioned by the mission of God, they are able to fight all of the enemies, especially Protestants, with the help of Immaculate and the Franciscans. The main aim of the graphic is to convince the viewer that this will happen and to create in his mind a vision of the new reality. But Spain was in the seventeenth century nothing but a shadow of former itself (in the time of Philip IV the general condition of Spain get worse). That was the reason why they wanted to hold the belief that the empire continues unwavering. The form of this work (graphics), also allowed to export them around the world, and the ambiguity of the symbolic system, its contents relate to different contexts, and as a result, the Habsburgs, not only Spanish, they could promote their strength everywhere. Therefore it was used very well as a single work of propaganda, as well as a part of a broader campaign

Actes sexuels, horreur et sorcellerie au cinéma. La copulation avec le Diable : une perspective psychanalytique

2021 ◽  
Vol 66 (1) ◽  
pp. 109-133
Author(s):  
Ioan Pop-Curșeu
Keyword(s):  
Seventeenth Century ◽  
18Th Century ◽  
Common Features ◽  
Analytical Process ◽  
Starting Point ◽  
Roman Polanski ◽  
The Devil

"Sexual Acts, Horror and Witchcraft in Cinema. The Copulation with the Devil: a Psychoanalytical Perspective. This paper tries to approach, taking as a starting point a Romanian painting from the 18th century, a scene with a strong phantasmatic load: the sexual act of a woman, who is considered a witch, with the devil. Several films are analyzed: Häxan by Benjamin Christensen (1922), Rosemary’s Baby by Roman Polanski (1968), L’Anticristo by Alberto de Martino (1974), Angel above, Devil below by Dominic Bolla (1975). These films share some common features, important for the analytical process: the copulation with the devil, the presence of traumatized characters who are submitted to a psychological cure, the recycling of psychoanalytical vocabulary, especially “hysteria”, the problems with parental instances. In order to interpret these films, there is a coming back to Freud’s ideas on the Devil, as expressed in the letters to Wilhelm Fliess or in the study A Seventeenth-Century Demonological Neurosis (1923). The devil as an image of unconscious impulsions or as a substitute of the father are the main Freudian intuitions used here for an optimal interpretation of the chosen films. Keywords: sex, sexual act, horror, witchcraft, psychoanalysis, Freud, cinema. "

scholarly journals “Turkish” Textiles in South-Eastern and East-Central Europe in the Early Modern Period: The Evidence of Transylvanian Customs Accounts

2020 ◽  
Vol 24 (4-5) ◽  
pp. 363-382
Author(s):  
Mária Pakucs-Willcocks
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Early Modern ◽  
Fifteenth Century ◽  
Ottoman Empire ◽  
Early Modern Period ◽  
East Central Europe ◽  
East Central ◽  
Modern Period ◽  
Serial Data

Abstract This paper analyzes data from customs accounts in Transylvania from the middle of the sixteenth century to the end of the seventeenth on traffic in textiles and textile products from the Ottoman Empire. Cotton was known and commercialized in Transylvania from the fifteenth century; serial data will show that traffic in Ottoman cotton and silk textiles as well as in textile objects such as carpets grew considerably during the second half of the seventeenth century. Customs registers from that period also indicate that Poland and Hungary were destinations for Ottoman imports, but Transylvania was a consumer’s market for cotton textiles.

Bodies and Benefits

2016 ◽  
Author(s):  
Sherry D. Fowler
Keyword(s):  
Seventeenth Century ◽  
Fifteenth Century ◽  
Lotus Sutra

Painted and printed sets of Thirty-three Kannon transported from China in the fifteenth century inspired the shift to Thirty-three Kannon worship. This new theme in Japan is exemplified by the celebrated set from 1412 attributed to Minchō. Another area of transition between the Six and Thirty-three Kannon cults is in the fact that the main temple icons of the major Thirty-three Kannon pilgrimage routes all feature one of the Six Kannon rather than any of the thirty-three images described in the Lotus sūtra or those imported from China. Within the context of pilgrimage, one surprising area of transition between the cults is found in the imagery cast into large bronze bells used at Buddhist temples. Finally, beginning in the seventeenth century, boundaries of the distribution of multiple Kannon imagery were pushed even further as publications of the printed iconographic manual Butsuzō zui, which clearly organized illustrations of groups of Seven and Thirty-three Kannon, rapidly proliferated throughout Japan and then abroad, giving Kannon worldwide exposure.

Why This Time and Place?

Born to Write ◽  
2020 ◽  
pp. 10-19
Author(s):  
Neil Kenny
Keyword(s):  
Seventeenth Century ◽  
Fifteenth Century ◽  
Middle Ages ◽  
Social Position ◽  
Late Middle Ages ◽  
The Social ◽  
Late Fifteenth ◽  
The Revolution

From about the late fifteenth century onwards, literature and learning acquired increased importance for the social position of noble and elite-commoner families in France. One reason is the expansion and rise to prominence of the royal office-holder milieu, which had no exact equivalent in, say, England, where the aristocracy was much smaller than the French nobility and where there was no equivalent of the French system of venality of office. In France, family literature often helped extend across the generations a relationship between two families—that of the literary producer and that of the monarch. From the late Middle Ages, the conditions for family literature were made more favourable by broad social shifts. Although this study focuses mainly on the period from the late fifteenth to the mid-seventeenth century, it is likely that the production of works from within families of literary producers thrived especially up to the Revolution.

Book reviews: Spider-man at work

1993 ◽  
Vol 47 (1) ◽  
pp. 144-145 ◽  
Keyword(s):  
Seventeenth Century ◽  
Natural History ◽  
Vice President ◽  
Field Trips ◽  
German Translation ◽  
Charles I ◽  
Four Books ◽  
King Charles I

Martin Lister’s English Spiders 1678 . Translated by Malcolm Davies & Basil Harley. Edited by John Parker & Basil Harley. Colchester, Harley Books, 1992. Pp. xv + 208, £49.95. ISBN 0-946589-27-5 Martin Lister (1638/9-1712) was one of the outstanding zoologists of the later seventeenth century. Cambridge-educated, amply-propertied, well connected - a great-uncle had been Physician in Ordinary to King Charles I and his niece was Sarah Jennings, the wife of Marlborough - he practised medicine for some years in his native Yorkshire before moving to London in 1683. Long keenly interested in natural history and already an F. R. S. of twelve years’ standing, he thereupon became active in the Society’s affairs and was elected Vice-President in 1685. Three years later the Society did him the honour of publishing the first of what were to be his four books, the Historiae Animalium Angliae. This was divided into three parts, devoted respectively to land and freshwater mollusca, marine mollusca, and spiders (broadly conceived). The last of these, the Tractatus deAraneis, has never received its proper due, as a result of remaining till now untranslated into English (a German translation did appear, but even that was as long ago as 1778). Through the initiative of a leading present-day amateur arachnologist, John R. Parker, who has also provided an excellent introduction, this deficiency has at last been repaired. The resulting volume, produced to the fine standard we have come to expect of Harley Books, has received inputs from a scholarly team almost on the scale of that which went to work on the comparable 1972 translation of Thomas Johnson’s two seventeenth-century accounts of his botanical field trips out of London.

The Mahābhārata as Kṛṣṇacarita: Draupadī’s Prayer in Two Regional Retellings

2020 ◽  
Author(s):  
Sohini Sarah Pillai
Keyword(s):  
Seventeenth Century ◽  
Fifteenth Century

Abstract The scene in which Duḥśāsana tries to publicly strip Draupadī after Yudhiṣṭhira loses her in the disastrous dice game is one of most well-known and disturbing sequences in the Mahābhārata tradition. In several Mahābhāratas, Draupadī calls out to Kṛṣṇa who saves her by providing her with a never-ending garment. This article closely compares Draupadī’s prayer to Kṛṣṇa in two Mahābhāratas that identify themselves as kṛṣṇacaritas, that is, works reporting ‘the deeds of Kṛṣṇa’: Villiputtūr’s fifteenth--century Tamil Pāratam and Sabalsingh Cauhān’s seventeenth--century Bhasha (Old Hindi) Mahābhārat. Draupadī’s plea serves quite different purposes in these regional retellings: while Villi’s scene exemplifies the power of prapatti or ‘self-surrender’, Cauhān use Draupadī’s prayer as an opportunity to extol Kṛṣṇa in detail. What these two Mahābhāratas do share, however, is that they both transform the narrative of the entire dicing episode into a bhakti (devotional) story that emphasises Kṛṣṇa’s compassion for Draupadī and the Pāṇḍavas.

Prayers

1991 ◽  
Vol 1 ◽  
pp. 137-150 ◽  
Author(s):  
John Bossy
Keyword(s):  
Fifteenth Century ◽  
Middle Ages ◽  
Latin Text ◽  
Ritual Performance ◽  
Excellent Opportunity ◽  
Late Middle Ages ◽  
Corporate Worship ◽  
Starting Point ◽  
Long Time ◽  
Low Mass

In 1945, which is beginning to seem a long time ago, Dom Gregory Dix published The Shape of the Liturgy. In the last two chapters of the book he expressed a view about the devotional and liturgical practice of the late Middle Ages which will provide a convenient starting-point for my subject. He said that the trouble about the medieval Mass was its separation of the ‘corporate offering’ assumed to have occurred in the primitive liturgy from the ‘priesthood of the priest’; the notion of worship it expressed, like the doctrine of the eucharist it exemplified, was ‘inorganic’. The effect of this was to let in, especially during the fifteenth century, non-liturgical, individualist forms of devotion which were unparticipatory and obsessed with historical facts about the life of Christ, notably with the facts of his Passion. ‘The quiet of low mass afforded the devout an excellent opportunity for using mentally the vernacular prayers which they substituted for the Latin text of the liturgy as their personal worship … The old corporate worship of the Eucharist is declining into a mere focus for the subjective devotion of each separate worshipper in the isolation of his own mind.’ Liturgical doing had subsided into inactive seeing and hearing, on the way to being engulfed in a miasma of private thinking and feeling. The Protestant reform of the liturgy amounted to pickling this pre-Reformation devotional tradition while dropping the ritual performance to which it had been loosely attached.

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