History and adab in the Kitāb al-Maʿārif of Ibn Qutayba

2021 ◽  
Vol 16 (1-2) ◽  
pp. 61-97
Author(s):  
Francesca Bellino

Abstract This article frames the Kitāb al-Maʿārif of Ibn Qutayba (d. 276/889) against the background of the evolution of the Abbasid historiography and the emergence of early forms of Islamic universal histories in particular. It also provides an analysis of the work in terms of its aim, recipients, structure, contents, sources, and style. It draws attention to the three main dimensions of chronology, genealogy and onomastics that so deeply characterize Ibn Qutayba’s general approach in his sketch of the outline of Islamic history. It shows that it is an adab work insofar as it offers a set of useful knowledge needed by the non specialist reader, namely the non-historian, whether he is a kātib, an adīb, or any other figure working in the Abbasid bureaucracy. The final part of the article looks at the inclusion of materials related to the centuries preceding the rise of the Prophet Muḥammad and Islam as they are presented in the chapter on the mulūk.

2018 ◽  
Vol 33 (6) ◽  
pp. 165-179
Author(s):  
Marcin Jaros

The article aims to present the possibilities of using the potential of social work in the activities of a probation officer. The probation officer widely regarded as a „control” institution in relation to persons subject to criminal sanctions implements measures to improve their quality of life. My goal was to show how effective and useful knowledge of social work can be in achieving the goals of a probation officer. In the final part, the article shows how graduates of social work can apply for a job as probation officers, along with showing the benefits and consequences of exercising this profession.


2019 ◽  
Vol 8 (2) ◽  
pp. 164-183
Author(s):  
Karen Moukheiber

Musical performance was a distinctive feature of urban culture in the formative period of Islamic history. At the court of the Abbasid caliphs, and in the residences of the ruling elite, men and women singers performed to predominantly male audiences. The success of a performer was linked to his or her ability to elicit ṭarab, namely a spectrum of emotions and affects, in their audiences. Ṭarab was criticized by religious scholars due, in part, to the controversial performances at court of slave women singers depicted as using music to induce passion in men, diverting them from normative ethical social conduct. This critique, in turn, shaped the ethical boundaries of musical performances and affective responses to them. Abū l-Faraj al-Iṣfahānī’s tenth-century Kitāb al-Aghānī (‘The Book of Songs’) compiles literary biographies of prominent male and female singers from the formative period of Islamic history. It offers rich descriptions of musical performances as well as ensuing manifestations of ṭarab in audiences, revealing at times the polemics with which they were associated. Investigating three biographical narratives from Kitāb al-Aghānī, this paper seeks to answer the following question: How did emotions, gender and status shape on the one hand the musical performances of women singers and on the other their audiences’ emotional responses, holistically referred to as ṭarab. Through this question, this paper seeks to nuance and complicate our understanding of the constraints and opportunities that shaped slave and free women's musical performances, as well as men's performances, at the Abbasid court.


Author(s):  
Lukmanul Hakim

This paper aims to analyze the thoughts of Hamka in Malay Islamic Nysties Historiography. The method used is historical method, especially historiography approach. Characteristic of Hamka's work; First, writing techniques; Not using footnotes, style of language; Simple, alive, and communicative. The sources used by Hamka can be grouped into three groups; Primary sources, historical books composed by Muslim authors themselves; Second, the second source of material is the Dutch and British writers' writings on Indonesia and the Malay Land; Third, the third source of material materials that allegedly most of the writers of Islamic history in Indonesia did not get it. While from the Method of Historical Criticism, according to Hamka there are two ways to write history among Muslims; First collecting all the facts wherever it comes from, no matter whether the facts make sense or not, what needs to be taken care of is where this history is received. Second, judging the facts and giving their own opinions, after the facts were collected, this is the system used by Ibn Khaldun.


1970 ◽  
Vol 13 (3) ◽  
pp. 453-473
Author(s):  
Musnur Hery

Islamic higher college not only limited to higher education that famous at Islamic history like madrasah (e.g. Nizamiyah), and al-Jami’ah (e.g. al-Azhar). Yet, Islamic higher college is the implementation of learning process that can be categorized in higher education stage, that being practiced in Moslem society, even still in non-formal or informal form before madrasah existence. Several epistemologies branch indeed take place at formal institution, while some epistemologies branch theoretically applied at formal institution, but it’s practiced at non-formal institutions. These non-formal institutions were still reflecting Islamic higher education level. 


2018 ◽  
Vol 2018 (1) ◽  
pp. 83-96
Author(s):  
Ramon Reichert

The history of the human face is the history of its social coding and the media- conditions of its appearance. The best way to explain the »selfie«-practices of today’s digital culture is to understand such practices as both participative and commercialized cultural techniques that allow their users to fashion their selves in ways they consider relevant for their identities as individuals. Whereas they may put their image of themselves front stage with their selfies, such images for being socially shared have to match determinate role-expectations, body-norms and ideals of beauty. Against this backdrop, collectively shared repertoires of images of normalized subjectivity have developed and leave their mark on the culture of digital communication. In the critical and reflexive discourses that surround the exigencies of auto-medial self-thematization we find reactions that are critical of self-representation as such, and we find strategies of de-subjectification with reflexive awareness of their media conditions. Both strands of critical reactions however remain ambivalent as reactions of protest. The final part of the present article focuses on inter-discourses, in particular discourses that construe the phenomenon of selfies thoroughly as an expression of juvenile narcissism. The author shows how this commonly accepted reading which has precedents in the history of pictorial art reproduces resentment against women and tends to stylize adolescent persons into a homogenous »generation« lost in self-love


Author(s):  
Daniel Martin Feige

Der Beitrag widmet sich der Frage historischer Folgeverhältnisse in der Kunst. Gegenüber dem Gedanken, dass es ein ursprüngliches Werk in der Reihe von Werken gibt, das späteren Werken seinen Sinn gibt, schlägt der Text vor, das Verhältnis umgekehrt zu denken: Im Lichte späterer Werke wird der Sinn früherer Werke neu ausgehandelt. Dazu geht der Text in drei Schritten vor. Im ersten Teil formuliert er unter der Überschrift ›Form‹ in kritischer Abgrenzung zu Danto und Eco mit Adorno den Gedanken, dass Kunstwerke eigensinnig konstituierte Gegenstände sind. Die im Gedanken der Neuverhandlung früherer Werke im Lichte späterer Werke vorausgesetzte Unbestimmtheit des Sinns von Kunstwerken wird im zweiten Teil unter dem Schlagwort ›Zeitlichkeit‹ anhand des Paradigmas der Improvisation erörtert. Der dritte und letzte Teil wendet diese improvisatorische Logik unter dem Label ›Neuaushandlung‹ dann dezidiert auf das Verhältnis von Vorbild und Nachbild an. The article proposes a new understanding of historical succession in the realm of art. In contrast to the idea that there is an original work in the series of works that gives meaning to the works that come later, the text proposes to think it exactly the other way round: in the light of later works, the meanings of earlier works are renegotiated. The text proceeds in three steps to develop this idea. Under the heading ›Form‹ it develops in the first part a critical reading of Danto’s and Eco’s notion of the constitution of the artworks and argues with Adorno that each powerful work develops its own language. In the second part, the vagueness of the meaning of works of art presupposed in the idea of renegotiating earlier works in the light of later works is discussed under the term ›Temporality‹ in terms of the logic of improvisation. The third and final part uses this improvisational logic under the label ›Renegotiation‹ to understand the relationship between model and afterimage in the realm of art.


1984 ◽  
Vol 1 (1) ◽  
pp. 83-99
Author(s):  
Assad N. Busool

Reform movements are important religious phenomena which haveoccurred throughout Islamic history. Medieval times saw theappearance of religious reformers, such as al-Ghazali, Ibn Taimiyah,Ibn Qayim al-Jawziyah and others; however, these reform activitiesdiffered significantly from the modern reform movement. The medievalreformers worked within Muslim society; it was not necessary to dealwith the external challenge presented by Europe as it was for themodern Muslim reformers after the world of Islam lost its independenceand fell under European rule. The powers of Europe believed that Islamwas the only force that impeded them in their quest for world dominanceand, relying on the strength of their physical presence in Muslimcountries, tried to convince the Muslim peoples tgat Islam was ahindrance to their progress and development.Another problem, no less serious than the first, faced by the modernMuslim reformers was the shocking ignorance of the Muslim peoples oftheir religion and their history. For more than four centuries,scholarship in all areas had been in an unabated state of decline. Thosereligious studies which were produced veered far from the spirit ofIslam, and they were so blurred and burdened with myths and legends,that they served only to confuse the masses.The ‘Ulama were worst of all: strictly rejecting change, they still hadthe mentality of their medieval forebearers against whom al-Ghazali,Ibn Taimiyah and others had fought. Hundreds of years behind thetimes, their central concern was tuqlid (the imitation of that which hadpreceeded them through the ages). For centuries, no one had dared toquestion this heritage or point out the religious innovations it impaired.In conjunction with their questioning of the tuqlid, the modernreformers strove to revive the concept of ijtihad (indmendentjudgement) in religious matters, an idea which had been disallowedsince the tenth century. The first to raiseanew the banner of $tihad inthe Arab Muslim world was Sayyid Jamal al-Din al-Afghani; after himSheikh Muhammad ‘Abduh in Egypt, and after him, his friend and ...


2004 ◽  
Vol 21 (4) ◽  
pp. 131-133
Author(s):  
Mohammed Rustom

An Introduction to Islam by David Waines consists of three parts:“Foundations,” “Islamic Teaching and Practice,” and “Islam in the ModernWorld.” The author begins by characteristically painting the picture of pre-Islamic pagan Arabia on the eve of Islam’s advent. He discusses the role andsignificance the pre-Islamic Arabs accorded their pantheon of deities, as wellas the (largely inherited) moral codes that governed their conduct in tribalsociety. Waines neatly ties this into what follows, where he discusses thebirth of Prophet Muhammad, the event of the Qur’an’s revelation, and theopposition he encountered from his fellow tribesmen in Makkah. This is followedby an analysis of the Qur’an’s significance, its conception of divinity,and the content and importance of the Hadith as a source of guidance forMuslims. The section is rounded off with examinations of such topics as the first period of civil strife (fitnah) after the Prophet’s death and the interestingbody of literature devoted to Muslim-Christian polemics in earlymedieval Islam.The transition from the first part of the book to the second part is ratherfluid, for the second part is essentially an elaboration of the themes discussedin the first. With remarkable ease and accuracy, the author elucidatesthe historical development and main features of Islamic law in both its theoryand practice. Returning to his earlier discussion on the Hadith, here hebriefly outlines how its corpus came to be collected. Readers unfamiliar withthe main theological controversies that confronted Islam in its formativeyears (e.g., the problem of free will and the status of the grave sinner) willfind the section devoted to Islamic theology fairly useful.Waines goes on to explain some of the principle Mu`tazilite andAsh`arite doctrines, and outlines some of the ideas of Neoplatonic Islamicphilosophy, albeit through the lenses of al-Ghazali’s famous refutation.Surprisingly, the author does not address any of the major developments inIslamic philosophy post-Ibn Rushd, such as the important work of theIshraqi (Illuminationist) school (incidentally, the founder of this school,Shihab al-Din Suhrawardi, was a contemporary of Ibn Rushd). The last twochapters are devoted to Sufism and Shi`ism, respectively. Although Wainesdoes misrepresent Ibn al-`Arabi’s metaphysics of Being by calling it a “system”(pp. 153 and 192), on the whole he presents the Islamic mystical traditionin a refreshing and informed manner. His section on Shi`ism is splendid.It is written with considerable care, and he effectively isolates the mainthemes characteristic of Twelver Shi`ite thought and practice.In the third and longest part of this work, Waines incorporates IbnBattutah’s travel accounts into the book’s narrative. This works very well, asit gives readers a sense of the diverse and rich cultural patterns that wereintricately woven into the fabric of fourteenth-century Islamic civilization.After reading through the section, this present reviewer could not help butmarvel at how the observations of a fourteenth-century traveler and legaljudge from Tangiers could so effectively contribute to a twenty-first centuryintroductory textbook on Islam. Additionally, Waines takes readers throughsome of the essential features of the three important “gunpowder” Muslimdynasties, devotes an interesting discussion to the role played by the mosquein a Muslim’s daily life, and outlines some of its different architectural andartistic expressions throughout Islamic history ...


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