The Methodology of Tafsīr al-mubṣir li-nūr al-Qurʾan: The Only Complete Exegesis Written by a Woman (Nāʾila Hāshim Ṣabrī)

2016 ◽  
Vol 14 (1) ◽  
pp. 30-50
Author(s):  
Afaf A. Hameed

The importance of this study stems from the lack of a complete Qurʾanic commentary written by a woman, whether in the past or in contemporary times, despite the many important contributions made by women in the fields of education and writing. Women have contributed widely since the first century a.h., and the first of these was our Mother ʿĀʾisha, may Allāh be pleased with her. Despite many contemporary female contributions to Qurʾanic studies, there has been no full exegesis of the Holy Qurʾan written by a woman, with the exception of al-Mubṣir li-nūr al-Qurʾān, by Nāʾila Hāshim Ṣabrī. This paper aims to explore her work by studying her work of exegesis, focussing particularly on its methodology and its academic and social value. This paper highlights that her Qurʾanic exegesis can be categorised as representing the daʿwa social reformist approach, characterised as easy and simple to follow, and focused on the rulings of Islamic jurisprudence and providing explanations for linguistic aspects and vocabulary. It contains no Judeo-Christian narrations (Isrāʾīlīyāt) nor any invented stories that have been wrongly ascribed to the Prophet, may Allāh exalt his name.

2021 ◽  
Vol 14 (3) ◽  
pp. 395-412
Author(s):  
Christy Tidwell

One of the many threats accompanying climate change is that of deadly viruses being revived or uncovered when the permafrost melts, as in the 2016 uncovering of anthrax in Siberia. Blood Glacier (Kren Austria 2013, originally Blutgletscher) addresses this in creature feature form, telling the story of something nasty emerging from the natural world (in this case, microorganisms emerging from a melting glacier) to threaten humans and human superiority. Blood Glacier reflects a larger twenty-first-century creature-feature trope of prehistoric creatures emerging from thawing ice as well as an expansion of ecohorror beyond familiar nature-strikes-back anxieties or fears of humans becoming food for animals. Instead, the microorganisms discovered within the glacier change people (and other animals), causing mutations and leading to the creation of new combinations of species. The film juxtaposes these environmental concerns with one character’s past abortion, which comes to represent another, more personal, challenge to Western values. As a result, the film asks questions not addressed by other similar creature features: Which life has value? What does the future look like, and who decides that? The film therefore addresses the ethics of bringing life into being, gesturing toward the responsibilities inherent both in bearing children and in choosing not to bear children. These questions are addressed in the end of the film, with the birth and then adoption of a mutant baby. By bringing these issues of reproduction and environmental futures together, the film asks us to consider how our past and current choices help shape the future - both personal and planetary. The conclusion of the film serves in part to reinforce heteronormativity and reproductive futurism, both of which stake the future on the replication of the past through traditional relationships and by reproducing ourselves and our values through our children. Simultaneously, however, it gestures toward new possibilities for queer, nonhuman, mutant kinship and care.


Author(s):  
Teresa Mangum

Abstract Can Victorian literature speak to non-academic publics of the twenty-first century as it did to “common readers” of the past? This essay discusses several experiments in which faculty members, graduate students, and undergraduates find creative means to engage local as well as university communities in the study of Victorian and Edwardian texts. In particular, the essay considers the power of public performance—in this case of Elizabeth Robins’s suffrage play, The Convert—to inspire collective “reading,” interpretation, and reflection on the future as well as the past.


Author(s):  
Benjamin F. Trump ◽  
Irene K. Berezesky ◽  
Raymond T. Jones

The role of electron microscopy and associated techniques is assured in diagnostic pathology. At the present time, most of the progress has been made on tissues examined by transmission electron microscopy (TEM) and correlated with light microscopy (LM) and by cytochemistry using both plastic and paraffin-embedded materials. As mentioned elsewhere in this symposium, this has revolutionized many fields of pathology including diagnostic, anatomic and clinical pathology. It began with the kidney; however, it has now been extended to most other organ systems and to tumor diagnosis in general. The results of the past few years tend to indicate the future directions and needs of this expanding field. Now, in addition to routine EM, pathologists have access to the many newly developed methods and instruments mentioned below which should aid considerably not only in diagnostic pathology but in investigative pathology as well.


2020 ◽  
Vol 5 (1) ◽  
pp. 6-11 ◽  
Author(s):  
Laurence B. Leonard

Purpose The current “specific language impairment” and “developmental language disorder” discussion might lead to important changes in how we refer to children with language disorders of unknown origin. The field has seen other changes in terminology. This article reviews many of these changes. Method A literature review of previous clinical labels was conducted, and possible reasons for the changes in labels were identified. Results References to children with significant yet unexplained deficits in language ability have been part of the scientific literature since, at least, the early 1800s. Terms have changed from those with a neurological emphasis to those that do not imply a cause for the language disorder. Diagnostic criteria have become more explicit but have become, at certain points, too narrow to represent the wider range of children with language disorders of unknown origin. Conclusions The field was not well served by the many changes in terminology that have transpired in the past. A new label at this point must be accompanied by strong efforts to recruit its adoption by clinical speech-language pathologists and the general public.


2020 ◽  
Vol 1 (2) ◽  
pp. 157-172
Author(s):  
Thomas Leitch

Building on Tzvetan Todorov's observation that the detective novel ‘contains not one but two stories: the story of the crime and the story of the investigation’, this essay argues that detective novels display a remarkably wide range of attitudes toward the several pasts they represent: the pasts of the crime, the community, the criminal, the detective, and public history. It traces a series of defining shifts in these attitudes through the evolution of five distinct subgenres of detective fiction: exploits of a Great Detective like Sherlock Holmes, Golden Age whodunits that pose as intellectual puzzles to be solved, hardboiled stories that invoke a distant past that the present both breaks with and echoes, police procedurals that unfold in an indefinitely extended present, and historical mysteries that nostalgically fetishize the past. It concludes with a brief consideration of genre readers’ own ambivalent phenomenological investment in the past, present, and future each detective story projects.


2018 ◽  
Vol 15 (4) ◽  
pp. 532-552 ◽  
Author(s):  
Ana Cristina Mendes

The process of screen adaptation is an act of ventriloquism insofar as it gives voice to contemporary anxieties and desires through its trans-temporal use of a source text. Screen adaptations that propose to negotiate meanings about the past, particularly a conflicted past, are acts of ‘trans-temporal ventriloquism’: they adapt and reinscribe pre-existing source texts to animate contemporary concerns and anxieties. I focus on the acts of trans-temporal ventriloquism in Ian Iqbal Rashid's Surviving Sabu (1998), a postcolonial, turn-of-the-twenty-first century short film that adapts Zoltan and Alexander Korda's film The Jungle Book (1942), itself an adaptation of Rudyard Kipling's collection of short stories by the same name. Surviving Sabu is about the survival and appropriation of orientalist films as a means of self-expression in a postcolonial present. Inherent in this is the idea of cinema as a potentially redemptive force that can help to balance global power inequalities. Surviving Sabu's return to The Jungle Book becomes a means both of tracing the genealogy of specific orientalist discourses and for ventriloquising contemporary concerns. This article demonstrates how trans-temporal ventriloquism becomes a strategy of political intervention that enables the film-maker to take ownership over existing media and narratives. My argument examines Surviving Sabu as an exemplar of cultural studies of the 1980s and 1990s: a postcolonial remediation built on fantasy and desire, used as a strategy of writing within rather than back to empire.


2020 ◽  
Vol 20 (2) ◽  
pp. 1-11
Author(s):  
Zachary Nowak ◽  
Bradley M. Jones ◽  
Elisa Ascione

This article begins with a parody, a fictitious set of regulations for the production of “traditional” Italian polenta. Through analysis of primary and secondary historical sources we then discuss the various meanings of which polenta has been the bearer through time and space in order to emphasize the mutability of the modes of preparation, ingredients, and the social value of traditional food products. Finally, we situate polenta within its broader cultural, political, and economic contexts, underlining the uses and abuses of rendering foods as traditional—a process always incomplete, often contested, never organic. In stirring up the past and present of polenta and placing it within both the projects of Italian identity creation and the broader scholarly literature on culinary tradition and taste, we emphasize that for so-called traditional foods to be saved, they must be continually reinvented.


Author(s):  
Josh Kun

Ever since the 1968 student movements and the events surrounding the Tlatelolco massacre, Mexico City rock bands have openly engaged with the intersection of music and memory. Their songs offer audiences a medium through which to come to terms with the events of the past as a means of praising a broken world, to borrow the poet Adam Zagajewski’s phrase. Contemporary songs such as Saúl Hernández’s “Fuerte” are a twenty-first-century voicing of the ceaseless revolutionary spirit that John Gibler has called “Mexico unconquered,” a current of rebellion and social hunger for justice that runs in the veins of Mexican history. They are the latest additions to what we might think about as “the Mexico unconquered songbook”: musical critiques of impunity and state violence that are rooted in the weaponry of memory, refusing to focus solely on the present and instead making connections with the political past. What Octavio Paz described as a “swash of blood” that swept across “the international subculture of the young” during the events in Tlatelolco Plaza on October 2, 1968, now becomes a refrain of musical memory and political consciousness that extends across eras and generations. That famous phrase of Paz’s is a reminder that these most recent Mexican musical interventions, these most recent formations of a Mexican subculture of the young, maintain a historically tested relationship to blood, death, loss, and violence.


2014 ◽  
Vol 5 (3) ◽  
pp. 368-392
Author(s):  
Matthew E. Gordley

This article examines Psalms of Solomon with an eye toward how these compositions may have functioned within the setting of a first-century B. C. E. Jewish community in Jerusalem. Several of these psalms should be understood as didactic hymns providing instruction to their audience through the medium of psalmody. Attention to the temporal register of Pss. Sol. 8, 9, and 17 shows how the poet’s use of historical review and historical allusion contributed to a vision of present reality and future hope, which the audience was invited to embrace. Issues relating to the place of these psalms in the tradition of Solomonic discourse are also addressed insofar as they contribute to the didactic function of this psalm collection.


Author(s):  
William R. Thompson ◽  
Leila Zakhirova

In this final chapter, we conclude by recapitulating our argument and evidence. One goal of this work has been to improve our understanding of the patterns underlying the evolution of world politics over the past one thousand years. How did we get to where we are now? Where and when did the “modern” world begin? How did we shift from a primarily agrarian economy to a primarily industrial one? How did these changes shape world politics? A related goal was to examine more closely the factors that led to the most serious attempts by states to break free of agrarian constraints. We developed an interactive model of the factors that we thought were most likely to be significant. Finally, a third goal was to examine the linkages between the systemic leadership that emerged from these historical processes and the global warming crisis of the twenty-first century. Climate change means that the traditional energy platforms for system leadership—coal, petroleum, and natural gas—have become counterproductive. The ultimate irony is that we thought that the harnessing of carbon fuels made us invulnerable to climate fluctuations, while the exact opposite turns out to be true. The more carbon fuels are consumed, the greater the damage done to the atmosphere. In many respects, the competition for systemic leadership generated this problem. Yet it is unclear whether systemic leadership will be up to the task of resolving it.


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