scholarly journals The Shi’is and the Qur’an: Between Apocalypse, Civil Wars, and Empire

Religions ◽  
2021 ◽  
Vol 13 (1) ◽  
pp. 1
Author(s):  
Mohammad Ali Amir-Moezzi
Keyword(s):  
Collective Memory ◽  
Civil Wars ◽  
Complex Relationship ◽  
Sacred Text ◽  
The World ◽  
The Creation ◽  
End Of The World ◽  
End Times

The study is dedicated to the complex relationship between the Alides (supporters of ‘Alī ibn Abī Ṭālib and their descendants, later called the Shi’is) and the Qur’an, especially in the early times of Islam. Several points are examined in order to put these relations into perspective. First of all, it is important to remember that the Quranic corpus was elaborated in the atmosphere of the civil wars that marked the birth and the first developments of Islam. These wars seem to have played a major role in the elaboration of the official version of the Quran, which the Alides would have considered a falsified and hardly understandable version of the Revelation. The problem of falsification (taḥrīf) as well as the belief in the existence of a hidden meaning of the Quran led to the Shi’i doctrine on the necessity for interpretation (tafsīr, ta’wīl) in order to make the Sacred Text intelligible. It is also important to question the reasons for the civil wars between the faithful of Muḥammad. According to the Quran and the Hadith, Muḥammad came to announce the end of the world. He therefore also announced the coming of the Messiah, the Saviour of the end times. Now, according to some sources, ‘Alī is this Saviour. The problem is that after the death of Muḥammad, according to Shi’is, the opponents of ‘Alī took power. With the conquests and the birth of the Arab empire, the rewriting of history and the creation of a new collective memory seem to have become necessary in order to marginalise ‘Alī, among other reasons, and consolidate the caliphal power.

The Book of Tribulations: The Syrian Muslim Apocalyptic Tradition'

2017 ◽  
Author(s):  
David Cook ◽  
Nu'aym b. Hammad al-Marwazi
Keyword(s):  
Civil Wars ◽  
The World ◽  
End Of The World ◽  
To Come

“The Book of Tribulations by Nu`aym b. Hammad al-Marwazi (d. 844) is the earliest Muslim apocalyptic work to come down to us. Its contents focus upon the cataclysmic events to happen before the end of the world, the wars against the Byzantines, and the Turks, and the Muslim civil wars. There is extensive material about the Mahdi (messianic figure), the Muslim Antichrist and the return of Jesus, as well as descriptions of Gog and Magog. Much of the material in Nu`aym today is utilized by Salafi-jihadi groups fighting in Syria and Iraq.

scholarly journals Perang Armagedon

2018 ◽  
Vol 2 (1) ◽  
pp. 34-44
Author(s):  
Lanny Laras
Keyword(s):  
The Bible ◽  
The World ◽  
End Of The World ◽  
End Times ◽  
False Prophet ◽  
The Devil ◽  
Generic Sense

The Armageddon will be the site of gathering of armies for a battle during end times, variously interpreted as either or symbolic location. The term is also used a generic sense to refer to end of the world scenario. According to the Bible, Jesus will return to earth and defeat the Antichrist, the False prophet and Satan the Devil in the Battle of Armageddon. Then Satan will be put into the “bottomless pit” or abyss for 1,000 years, knows as the Millennium.

The Beginning of the End of the World

2019 ◽  
pp. 10-39
Author(s):  
Owen Stanwood
Keyword(s):  
Close Reading ◽  
Global Expansion ◽  
Protestant Church ◽  
Political Implications ◽  
The World ◽  
Eventual Return ◽  
The Creation ◽  
End Of The World ◽  
Cosmic History

This chapter focuses on Europe itself, in order to chronicle the creation of the Huguenot diaspora. Starting with the example of the theologian Pierre Jurieu, it shows how the coming of persecution led Huguenots to define themselves as a godly remnant of the once great French Protestant church. Thousands of refugees scattered around Europe, where they sought aid from Protestant rulers even as they promoted themselves as people with a particular role in cosmic history. Jurieu was the leading promoter of this specialness, which he took from a close reading of Revelation, but which had political implications. Jurieu and other Huguenot leaders especially sought to create “colonies,” self-contained Huguenot communities around Europe that could preserve the refugees’ faith for an eventual return to France. Over the course of the 1680s and 1690s these colonies appeared around Europe, from Germany to Ireland, and set the stage for the Huguenots’ global expansion.

scholarly journals Blogging about the End Times: Dealing with the Fringes of Archaeology

2017 ◽  
Vol 5 ◽  
pp. 67
Author(s):  
Johan Normark
Keyword(s):  
Ancient Maya ◽  
Specific Time ◽  
Time Space ◽  
The World ◽  
End Of The World ◽  
Transformation Of Consciousness ◽  
End Times ◽  
The Way

The 2012-phenomenon is based on the idea that something important was expected to occur on December 21, 2012, a date associated with the ancient Maya Long Count calendar. Even though the date has passed, the overall phenomenon is unlikely to disappear because the dominant themes of the end of the world and/or a transformation of consciousness can be found in other ‘alternative’ histories. These non-academic histories are ultimately apocalyptic in nature. The 2012-phenomenon is also an example of an ‘incorporeal hyperobject’, i.e. an object widely distributed and repeated. It is not anchored in a specific time-space unit but it is manifested in many different corporeal objects. The 2012-phenomenon is different from the academic Mayanist incorporeal hyperobject because each of them uses different distinctions of what exists or not. These different objects cannot communicate directly in different media ecologies since different distinctions have formed each one. Hence, there can never be a sincere understanding of each camp. Only by perturbing another object can information be translated into meaning. The blog is such a medium that can affect incorporeal hyperobjects. This article discusses the way one blog has interacted with the 2012-phenomenon.

scholarly journals Man‐Machine and Machine‐Man in Art: Meeting in Digital

2021 ◽  
pp. 112-127
Author(s):  
G.L. Tulchinskii ◽  
◽  
Keyword(s):  
Collective Memory ◽  
Digital Technologies ◽  
Digital Code ◽  
Original Source ◽  
Artistic Creation ◽  
Artificial Environment ◽  
The World ◽  
The Creation ◽  
The Relationship ◽  
Wide Horizon

Digitalization has given rise to a substantially new civilizational and existential situation. The mankind development was associated with the creation of collective memory in the form of culture as a system for generating, storing and transmitting social experience, including the creation of an artificial environment. For the main part of history, man likened the world to himself, which made the world understandable. However, over time, the tools and means became less and less anthropomorphic. The world has increasingly become like complex mechanisms. Since the beginning of the 20th century, the relationship between man and machine has become one of the main themes in art. They gave rise to a wide horizon of aesthetic comprehension of this topic: from the pathos of transforming reality (including the person himself) to alarm and horror. However, modern digitalization creates an artificial environment that involves not only the natural environment, but also the biological nature of man. The person himself turns into an artifact. Moreover, under the conditions of digitalization, culture turns into a kind of machine, when reality appears as the realization of a “transcendental” digital code, which acts as an original source for any number of artifacts as its copies. This situation cannot but affect art and aestheticization, which are reduced to the flow of processing digitized data. It is not about new digital technologies in art. It is about changing the format of the entire process of artistic creation and aesthetic reception. A person is transformed from a user of consumption and creativity options into one of the options for a digital mega-machine.

In the Beginning was Chronology: An Early Eighteenth-Century Attempt to Model the Eschaton on the Creation

1994 ◽  
Vol 10 ◽  
pp. 151-166
Author(s):  
Johanna Roelevink
Keyword(s):  
Eighteenth Century ◽  
Jesus Christ ◽  
World History ◽  
The Bible ◽  
The World ◽  
Early Eighteenth Century ◽  
The Creation ◽  
End Of The World ◽  
In The Beginning

When T. S. Eliot contemplated the void and the darkness after the Creation, he assumed that there must have been a predetermined moment through which time was made: for without the meaning there is no time, and that moment of time gave the meaning.We are about to meet an early eighteenth-century scholar who tackled the very same problem, the relation between the lapse of’historical’ time and the ultimate meaning of history. But to him, like so many others, time just started with the movement of the stars, which mercifully also provided adequate means for measuring it. In the beginning was chronology. And in its inexorable progress the lapse of time would also in due course spell the end of the world. But when precisely? The answer of our particular scholar to this question sounds deceptively simple. The Bible teaches that God created the world in six days and rested on the seventh. Again, Holy Scripture reveals that to him one day is as a thousand years and a thousand years as one day. So here, by way of analogy, we have the outline of world history. Once having computed the date of the Creation, we can easily deduce that Our Lord Jesus Christ will return on 11 November 1740 to inaugurate his glorious reign.

scholarly journals De trop – l’infini. À l’écoute de Raphaël Cendo avec Jean-Luc Nancy

2014 ◽  
Vol 11 (2) ◽  
pp. 9-19
Author(s):  
Cosmin Toma
Keyword(s):  
The World ◽  
The Creation ◽  
End Of The World ◽  
Creation Du Monde

Qu’est-ce qu’une musique de fin de monde ? Avec son Introduction aux ténèbres (2009), le compositeur français Raphaël Cendo nous donne à entendre l’excès infini de la fin des fins, en travaillant à la fois ce qu’il appelle la « saturation » et l’« infrasaturation » du son à travers une partition où l’inachèvement est redéfini comme ce qui, dans l’art musical, est de trop, c’est-à-dire ce qui passe outre la création du monde. Une telle conception de la musique rappelle certains textes-clé du philosophe Jean-Luc Nancy (dont À l’écoute, TROP et « De l’œuvre et des œuvres »), où l’art des sons est repensé comme « ressentir » exemplaire, c’est-à-dire comme la structure même de la réflexion ou vibration d’un sens à la limite d’un monde finissant, jusqu’à l’excès d’une sorte de résurrection d’où le nom de Dieu a été évacué au nom de la musique des ténèbres. ABSTRACT What does music sound like at world’s end? With his Introduction aux ténèbres (Introduction to Darkness, 2009), French composer Raphaël Cendo scores the infinite excess of the end-all, simultaneously foregrounding what he calls the “saturation” and “infrasaturation” of sound. Indeed, his work redefines unfinishedness as that which lies in excess, overriding the creation of the world. This conception of music recalls some of French philosopher Jean-Luc Nancy’s key writings on the matter (most notably Listening, TROP and “De l’œuvre et des œuvres”), which rethink the art of sound as a particularly significant and intense kind of “feeling” or “sense”. More specifically, what is at stake here is the very structure that reflects meaning or sense when it reaches its end—the end of the world—sounding and resounding its way towards a kind of nameless, “godless” resurrection, where the music of darkness is all that’s left.

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