scholarly journals Charity in Medieval Sufi Islam: Spiritual Dimensions

2021 ◽  
Vol 4 (5) ◽  
pp. 279-286
Author(s):  
Khurshid Khan
Keyword(s):  
South Asia ◽  
Fourteenth Century ◽  
Literary Genre ◽  
Religion And Spirituality ◽  
Literary Works ◽  
Religious Texts ◽  
Religious Lives ◽  
Ethical Vision

The Early Chishti Sufi Shaikhs from thirteenth and fourteenth century Delhi made critical interventions in the religious lives of the Muslims in South Asia. They cultivated in their adherents the much-needed ethical vision and sensitivity towards the socially marginalized. Yet hardly any attention is paid to the pedagogy of these Sufis on religion and spirituality. Their discourses on their community are documented in their literary works like malfūzāt. Of late, malfūzāt have been studied as a literary genre for the unique processes of their making. But their didactic contents on Islam and their instructions to Sufi initiates have barely been examined. This lacuna stems on account of the usage of these religious texts as fillers for information lacking in court chronicles. The essay studies the pedagogy of the Early Chishtī Shaikhs and as they related to charity in medieval South Asia. It also examines the mechanisms deployed by them to cultivate a philanthropic vision in Muslims in the praxis of faith.

Dieva īpašību atainojums latviešu tautasdziesmās teopoētikas kontekstā

2020 ◽  
pp. 390-404
Author(s):  
Eva Mārtuža
Keyword(s):  
Personal Experience ◽  
Folk Songs ◽  
Literary Genre ◽  
Divine Revelation ◽  
Specific Expression ◽  
Late 20Th Century ◽  
Intellectual Activity ◽  
Religious Texts ◽  
Cultural Phenomenon ◽  
Perceptions Of God

An innovative view to theological texts as a literary genre has been established in research of the modern religions and designated as theopoetics, because, irrespective of whether a theological text is written in the poetic genre, in the form of a story or the style of a more dense, theoretical prose, it is based on the poesis: innovative, intuitive and an imaginary composition of the authors where the central figure is God. Therefore, approximately ten thousand recorded and published folk songs, as well as other Latvian folklore texts about God, are equal to theopoetics as a genre of creative writing with its specific expression tools. Folk songs are a product of purposeful human spiritual/intellectual activity and imagination, a typical cultural phenomenon of the relevant society, which helps to study the public’s views about the perception of God. To approach adequately to analysis and interpretation of such texts, in the late 20th century, a new method of research on religious texts – theopoetics – was established. Theopoetics is a method of analysing religious texts that encourages us to look at the ancient metaphors of God from another angle. It explores the language possibilities of figuratively creating God’s patterns, unlike the previous “scientific” God’s theories as the systematic attempt of theology to find God through the living (“incarnated”) God. Theopoetics theorists accept reality as a source of divine revelation as well as personal experience and metaphor-influenced divine understanding in various religions. This method allows to establish the essence and possible interpretations of the basic metaphors used in every individual religion: 1) critically weigh up the previous explanations of God; 2) study the interaction of applied metaphors, models and concepts within religion; 3) offers the potential of transformative, revolutionary models, using the language and metaphor layer that is widely understandable and used by people in everyday life. Research of metaphors does not impose objective or general criteria for assessing understanding of God; therefore, the aim of theopoetical discourse is not to prevent competing interpretations but to multiply the number of perceptions of God, to extend the emotional feeling, and to reveal new opinions. Folk songs figuratively represent God in metaphors and comparisons, but the theopoetics method has not been applied in the previous studies of God either because it is a relatively new methodological system, or because God’s perception in the folk songs has not been the focus of researchers of contemporary religions.

Some Thoughts About Genre in Old Javanese Literature

2021 ◽  
Vol 12 (2) ◽  
Author(s):  
Peter John Worsley
Keyword(s):  
Fourteenth Century ◽  
Thirteenth Century ◽  
Poetic Form ◽  
Literary Works ◽  
Present Essay ◽  
Epic Poem ◽  
The World ◽  
History Of ◽  
Poetic Work

Robson in 1983 and 1988 in his reconsideration of the poetics of kakawin epics and Javanese philology drew readers’ attention to the importance of genre for the history of ancient Javanese literature. Aoyama in his study of the kakawin Sutasoma in 1992, making judicious use of Hans Jauss’s concept of “horizon of expectation”, offered the first systematic discussion of the genre of Old Javanese literary works. The present essay offers a commentary on the terms which mpu Monaguna and mpu Prapañca, authors of the thirteenth century epic kakawin Sumanasāntaka and the fourteenth century Deśawarṇana, themselves, employ to refer to the generic characteristics of their poems. Mpu Monaguna referred to his epic poem as a narrative work (kathā), written in a prakṛt, Old Javanese, and rendered in the poetic form of a kakawin and finally as a ritual act intended to enable the poet to achieve apotheosis with his tutelary deity and his poem to be the means of transforming the world, in particular to ensure the wellbeing of the readers, listeners, copyists and those who possessed copies of his poetic work. Mpu Prapañca described his Deśawarṇana differently. Also written in Old Javanese and in the poetic form of a kakawin—he refers to his work variously as a narrative work (kathā), a chronicle (śakakāla or śakābda), a praise poem (kastawan) and also as a ritual act designed to enable the author in an ecstatic state of rapture (alangö), and filled with the power and omniscience of his tutelary deity, to ensure the continued prosperity of the realm of Majapahit and to secure the rule of his king Rājasanagara. The essay considers each of these literary categories.

Surviving Desire: Reading Ḥāfiz̤ in Colonial India

2021 ◽  
pp. 1-37
Author(s):  
Ali Altaf Mian
Keyword(s):  
South Asia ◽  
Fourteenth Century ◽  
Social Reform ◽  
Literary Tradition ◽  
Divine Love ◽  
Colonial India ◽  
Colonial Modernity ◽  
The World ◽  
Mystical Theology

Abstract This article contributes to scholarship on Muslim humanities, Islam in modern South Asia, and the Urdu literary tradition in colonial India. It does so by contextualizing and closely reading Ashraf ʿAlī Thānavī’s (1863–1943) commentary on the Dīvān of the fourteenth-century Persian poet Ḥāfiz̤. Unlike his modernist contemporaries, Ashraf ʿAlī does not read Ḥāfiz̤ through the prisms of social reform or anti-colonial nationalist struggle. Rather, in his capacity as a Sufi master, he approaches Ḥāfiz̤’s Dīvān as a mystical text in order to generate insights through which he counsels his disciples. He uses the commentary genre to explore Sufi themes such as consolation, contraction, annihilation, subsistence, and the master-disciple relational dynamic. His engagement with Ḥāfiz̤’s ġhazals enables him to elaborate a practical mystical theology and to eroticize normative devotional rituals. Yet the affirmation of an analogical correspondence between sensual and divine love on the part of Ashraf ʿAlī also implies the survival of Ḥāfiz̤’s emphases on the disposability of the world and intoxicated longing for the beloved despite the demands of colonial modernity.

scholarly journals Nandhi Kalambagam’s Agam Songs and its Rhetoric

2021 ◽  
Vol 3 (1) ◽  
pp. 247-254
Author(s):  
Suja S
Keyword(s):  
Ninth Century ◽  
Number System ◽  
Literary Genre ◽  
Literary Works ◽  
Literary Style ◽  
College Curriculum ◽  
The Third ◽  
Literary Composition ◽  
System Operating

As a result of the proliferation of Short literary composition genres (Prabandas), various catalog texts (Paattiyal) arose as a continuation of the tradition of finding literature and giving grammar explanations therefor. Panniru Paatiyal, Venpaa Paatiyal, Chidambara Paatiyal, Navaneetha Paatiyal, Prabandha Deepika, Ilakkana vilakkam, Thonnuul vilakkam etc. and even some grammar books that deal with five grammar forms (Ainthilakkanam) are involved in this grammatical endeavor and have given grammar to different numbers of Short Literary Compositions. These numerical differences record the development of the literature as a result of the passage of time. This number extends from 54 to 360. This genre of 96 Short Literary Works can be attributed to the fact that the number system operating in the set tradition is also applied to Short Literary Works and to be a permanent one. The name of the literary genre, Kalambakam, is given in various ways by dividing its name. There are various reasons for the mix of 18 types of elements (15-21), the proliferation of many types of compositions, and the mixing of Agappaadalkal (Agam songs). This can be explained by the fact that the name is derived from a variety of hybrids rather than one character. Nandikkalambakam, the first and foremost of the Kalambaka literatures, was sung with the third Nandi Varman of the Pallava dynasty as the Leader of the song. 25 years Nandi ruled from (847-872) with Kanchi as his capital, the Pallava dynasty and the wars fought to expand the territory of many Nandikalambaka songs.  Although there are some differences in the view of Nandivarman's reign, it is accepted by scholars that he belonged to the ninth century and that Nandi Kalambakam, who led him to the song, and the ninth century. Even though this literature is in our school and college curriculum, its literary style beauty and glossary competency are unknown to the so called scholars too. So this article tries to explain the above said features of the Nandhi Kalambakam.

Zhang Shen’s Comprehensive Explanations on Calligraphy (Fashu Tongshi): A calligraphy companion of the early ming dynasty

2011 ◽  
Vol 16 (01) ◽  
pp. 61-93
Author(s):  
Pietro de Laurentis
Keyword(s):  
Present Article ◽  
Fourteenth Century ◽  
Ming Dynasty ◽  
Chinese Calligraphy ◽  
Literary Works ◽  
Confucian Scholar

This paper presents an early Ming companion on Chinese calligraphy, the Comprehensive Explanations on Calligraphy (Fashu tongshi 法書通釋) as well as the life of its author Zhang Shen 張紳 (fl. half of the fourteenth century). By analysing the content and the quotations included therein, the present article traces the history and outlines the structure of Zhang’s compendium, while providing also a preliminary translation of the introductory sections of the ten chapters which constitute the entire work. Also, at the same time, through the analysis of biographical materials about the author, Zhang’s life, his official career, personality, and literary works are elucidated. It is concluded that Zhang Shen, an expert classicist as well as a Confucian scholar, whose purpose in his Explanations is to expose and clarify a series of fundamental questions related to the study and practice of calligraphy, which are pertinent to the analysis and interpretation of classical treatises of calligraphy.

scholarly journals The Parish Clergy of the Thirteenth and Fourteenth Centuries: The Alexander Prize Essay, 1911–12

1912 ◽  
Vol 6 ◽  
pp. 89-128
Author(s):  
H. G. Richardson
Keyword(s):  
Middle Ages ◽  
Fourteenth Century ◽  
Thirteenth Century ◽  
Black Death ◽  
Literary Works ◽  
Economic Forces ◽  
Parish Clergy ◽  
Parish Priests ◽  
Prize Essay ◽  
The Middle Ages

Until the thirteenth century records touching the parish clergy are scanty, but thereafter they increase in bulk and, with the fourteenth century, there exist, side by side, a number of literary works which afford more than a passing glance at their lives and deeds. The parish priests and clerks of these centuries were not perhaps typical of the mediaeval period, since no century or centuries will afford a type of any class or institution which will be true for the whole of the Middle Ages; and it is possible that the tenthcentury parish and its people resembled the parish and people of the fourteenth century as little—or as much—as the Elizabethan parish resembled the parish of the present day. The changes that affected so profoundly the organisation of the manor during the course of the Middle Ages did not leave its counterpart, the parish, unaltered; and the same economic forces that helped to make the villein a copyholder and serfdom an anachronism, helped also to raise the chaplain's wages from five to eight marks within thirty years of the Black Death. But although the

Faith and Family

2020 ◽  
pp. 190-221
Author(s):  
Melinda Lundquist Denton ◽  
Richard Flory
Keyword(s):  
Young People ◽  
Emerging Adults ◽  
Family Formation ◽  
Institutional Setting ◽  
Religion And Spirituality ◽  
Religious Lives ◽  
Role Of Religion

This chapter focuses on family as a key institutional setting within which religion and spirituality are formed. The authors explore how marriage and parenthood are tied to religiousness among the young people in the study. The authors first investigate the role of religion in leading young people to six different family pathways: married with children, married without children, cohabiting with children, cohabiting without children, single with children, and single without children. They then examine how these different stages of family formation affect the religious lives of the young people in the study. Of particular interest is the question of whether marriage and parenthood contribute to higher rates of religious retention among emerging adults.

The Portable Madrasa: Print, publics, and the authority of the Deobandi `ulama

2013 ◽  
Vol 48 (4) ◽  
pp. 845-871 ◽  
Author(s):  
BRANNON D. INGRAM
Keyword(s):  
Twentieth Century ◽  
South Asia ◽  
Islamic Education ◽  
North India ◽  
Reading Process ◽  
Ritual Practice ◽  
Reading Public ◽  
Popular Piety ◽  
Religious Texts ◽  
Islamic Belief

AbstractIn the first decades of the twentieth century, classically trained Muslim scholars (`ulama) of the influential Deobandi school of North India issued a number of immensely popular, mass-printed ‘primers’ on Islamic belief and ritual practice. Now ubiquitous in the Islamic bookshops in South Asia and elsewhere, these primers sought to summarize the rudiments of an Islamic education for a nascent lay Muslim reading public. Focusing on three Deobandi`ulama—Ashraf `Ali Thanvi (d. 1943), Mufti Muhammad Kifayatullah (d. 1952), and Muhammad Manzur Nu`mani (d. 1997)—this paper explores how their primers advanced the Deobandi school's well-known critique of popular piety even as they claimed to address Muslims generally, and how their authors negotiated the subtle dynamics of print. Understanding the potentially subversive power of print to open a space for readers to form their own interpretations of minute doctrinal matters and the threat of mass-printed religious texts to their own authority, these`ulamaimplored readers to refrain from forming their own opinions of the primers’ content and to consult the`ulamathroughout the reading process. Thus, even as they took advantage of print's possibilities, they remained deeply suspect of its ramifications.

Some Amharic sources for modern Ethiopian history, 1889–1935

1978 ◽  
Vol 41 (2) ◽  
pp. 283-296 ◽  
Author(s):  
Peter P. Garretson
Keyword(s):  
Fourteenth Century ◽  
Addis Ababa ◽  
Literary Tradition ◽  
Written Language ◽  
Literary Works ◽  
New Era ◽  
Imperial Court ◽  
History Of ◽  
Set Up ◽  
Printing Presses

Emperor Menelik's reign (1889–1913) opens a new era in the kind of sources that the historian has at his disposal for the analysis of modern Ethiopian history. During his reign printing presses were set up in the country and spurred a gradual growth in the more widespread use of Amharic, not just as the spoken but also the written language of the imperial court. This is not to say that the Gә'әz literary tradition in Ethiopia disappeared altogether, for some chronicles in Gә'әz continued to be written after 1935, often very similar in form and content to those which have survived for the Gondarine and earlier periods of Ethiopian history. However, Menelik's reign, and the official chronicle of it by Gäbrä Sәllase, mark a significant departure, not least because the chronicle was written in Amharic and not in Gә'әz. There are a few earlier published literary works in Amharic, the songs of the kings of the fourteenth century being the most significant, but it should be emphasized that the Gә'әz tradition continued parallel to the Amharic in the form of tarikä nägäst, i.e the history of kings. Some of these are now preserved at the Institute of Ethiopian Studies at Addis Ababa, like the Gondarine tarikä nägäst which belonged to Nәgus Wäldä Giyorgis, the valuable biography of the grandson of Emperor Tewodros (1855–68), Mäšäša, and a published biography of Ras Makonnen.

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