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This is an era when the Islamic World is making a range of attempts to redefine itself and to grapple with the challenges of modernity. Many schools of thought have emerged which seek to position modern Islam within the context of a rapidly changing contemporary world. Exploring and defining the relationship between religion and knowledge, Ismail Rafi Al-Faruqi, a distinguished 20th century Arab-American scholar of Islam, formulated ideas which have made substantial contributions to the Islam-and-modernity discourse. His review of (...) the interaction between Islam and knowledge examines the philosophy behind this relationship, and the ways in which Islam can relate to our understanding of science, the arts, architecture, technology and other knowledge-based fields of enquiry. This book includes contributions from Seyyed Hossein Nasr, John Esposito, Charles Fletcher and others, and will prove an essential reference point for scholars of Islam and students of philosophy and comparative religion. (shrink)

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This is an era when the Islamic World is making a range of attempts to redefine itself and to grapple with the challenges of modernity. Many schools of thought have emerged which seek to position modern Islam within the context of a rapidly changing contemporary world. Exploring and defining the relationship between religion and knowledge, Ismail Rafi Al-Faruqi, a distinguished 20th century Arab-American scholar of Islam, formulated ideas which have made substantial contributions to the Islam-and-modernity discourse. His review of (...) the interaction between Islam and knowledge examines the philosophy behind this relationship, and the ways in which Islam can relate to our understanding of science, the arts, architecture, technology and other knowledge-based fields of enquiry. This book includes contributions from Seyyed Hossein Nasr, John Esposito, Charles Fletcher and others, and will prove an essential reference point for scholars of Islam and students of philosophy and comparative religion. (shrink)

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On theory of knowledge from Islamic perspective related to Ismaʼil R. Al-Faruqi, a Palestinian American philosopher.

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Name der Zeitschrift: Der Islam Jahrgang: 91 Heft: 2 Seiten: 341-359.

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In the medieval Islamic world, eloquent expression was an important skill for statesmen to acquire, such that many of the leading viziers were often prominent belletrists. Among the most well known of these literary figures was the Būyid vizier Ibn ʿAbbād. Drawing from a wide range of historical and literary sources, this article compiles and corroborates the many accounts relating to Ibn ʿAbbād’s political career, beginning with his family background and early education as a scribe, to his experiences in the (...) Būyid courts of Baghdad, Iṣfahān, and Rayy and his two decades as vizier to the Būyids Muʾayyid al-Dawla and Fakhr al-Dawla in western Iran. (shrink)

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The past two decades has witnessed the mushrooming of Islamic schools in Europe, the United States and South Africa. Initially these schools were concerned essentially with providing an Islamic ethos for learners. More recently, however, they have begun to focus on the process of Islamization. The Islamization project was initiated in the United States by Muslim academics including Isma’il al‐Faruqi, Syed Husain Nasr and Fazlur Rahman as a response to the secularisation of Muslim society, including its educational insitutions. In (...) essence Islamization means including Islamic disciplines in the curriculum, providing an Islamic perspective on issues in the syllabi and locating, where possible, secularized disciplines within the Islamic weltanschauung. Six international conferences have been held to date at different locations in the Muslim World. The first five generated conceptual papers on the Islamic approach to knowledge and education and inspired academics to write research papers on their disciplines from an Islamic perspective. Most of these have been published in the American Journal of Islamic Social Sciences. The three universities which were established to drive the process have had varying degrees of success. The sixth conference which was held in South Africa took the form of workshops where South African teachers and international academics were brought together to generate Islamised syllabi for the major school disciplines. This article attempts to explain the rationale for Islamic schools and their attempts at Islamization of disciplines. In my view, this is an important development in the context of demands for the revival of indigenous knowledge systems. (shrink)

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Il saggio espone le tesi di Giovanni Canestrini.

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Ṣūfī poetry or dīvān poetry, both of our poems have a universal appeal and a classical value just as the poetry of many nations’. Poets of both groups enhanced the consciousness level of every people one by one and created a virtuous society by taking power from the potential that existed in Turkish society already. If it is needed to mention a difference between those two poetries, it could be that dīvān poetry is a static one and sūfī poetry is (...) more dynamic than the dīvān poetry. While dīvān poetry has a unique World of poetry, sūfī poetry has a feeling of universe shaped by different meanings and concepts. Although dīvān poetry is based on intelligence and pleasure, there is intuitive inspiration and wāridāt in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme (mażmūn). Until today, since the first that comes to mind, when it is said poetic themes (mażmūn), is dīvān poetry, poetic themes of ṣūfī poetry were overshadowed. However, ṣūfī poetry is quite interesting and rich in terms of its poetic themes. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz). The aim of this article, which we can sample under three titles and with the couplets of our three ṣūfī poets, is to draw attention to the existence of a rich mażmūn staff independent of the dīvān poetry of Turkish ṣūfī poetry. The subject of mażmūns belonging to Turkish ṣūfī poetry should be considered important since it has not been mentioned much until today. Summary: The poet designs and presents it to his readers on behalf of his readers that he cannot even express what he has imagined but sometimes cannot imagine. Each poem has a specific interlocutor and addresses the emotions of its interlocutor. Each poem is adorned with thought and imagination; yet poems can be understood by annotation accompanied by rhetoric. Ṣūfī poetry and dīvān poetry, both poems have universal appeal and classical value like many poems of many nations. Ṣūfī poet and dīvān poet are the architects of an indestructible art existence that ruled for centuries and their works are masterpieces of their own fields. Both types of poetry, along with literary heritage, are a guide ship that leads the whole cultural heritage to the next generations, leading art branches. Both poets of both groups have strengthened from the potential that existed in Turkish society and raised the level of consciousness of each individual separately and created a virtuous society.Dīvān poetry is as beautiful as the aesthetics of genius; ṣūfī poetry is so beautiful with the sincere sincerity of heathat born to the heart. Without making use of the rich mażmūn staff of the lodge poetry, it would be an exclusivism and a status quo to make the mażmūn exclusive only to dīvān poetry or to search for the mażmūns of dīvān poetry in the lodge poetry and to interpret these mażmūns with the interpretation habits of dīvān poetry.The most obvious difference between ṣūfī poetry and dīvān poetry corresponds to the fact that the terms of Sufism are composed of similes (tashbīḥ), metaphors (majāz); sūfī poetry is a composition of poet’s personally experienced feelings or situations such as waḥdat, ḥalvet, manifest and observant concepts. While the depictions of the dīvān poet, spring and winter depictions, arouse enthusiasm for the reader for a while, the indifference of the ṣūfī poet to this world, the constant heartbeat of Jamāl and the heart beating with the excitement of vuslat (meeting) infiltrates the reader to the eternal world.If there is a difference between the two poems, it is that the poetry of the dīvān is static and the ṣūfī poetry is more dynamic than the poetry of the dīvān. As well as dīvān poetry has a unique world of poetry; ṣūfī poetry has a universe of emotions shaped by different meanings and notions. Even if the beauty they depict is materially and morally different, the poet of both groups wishes to go beyond the beauty that they mean and find themselves there. They do this sometimes with similes (tashbīḥ) and metaphors (majāz) and istiʿāre, succeed with various kinds of poetic themes. In dīvān poetry, there is pleasure and imagination based on intelligence, and inspiration and success based on intuition in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme. Dīvān poetry is an endless effort of abstract imagination, while ṣūfī poetry is an inexhaustible enthusiasm for concrete ecstasy. Although both have found what they are looking for outside of daily life, dīvān poet finds pleasure, yet sūfī poet finds inspire.When it comes to mażmūn, the first thing that comes to mind is Divan literature and it’s figure of beautiful woman’s length (cypress), hair (zulf), eye (daffodil), eyebrow (bow), eyelash (arrow) and skin (silver) and these mażmūns are stereotyped and widespread though each of them is known only to artisans. On the other hand, ṣūfī poetry has many other poetic themes such as Jamāl (grace), Jalāl (distress), ār and nāmūs (mālāmat), gūy (rıza), chevgān (ḳażā) and istignā (reluctant).To date, the first thing that comes to mind when it is said to be mażmūn is dīvān poetry, it has left behind the maẓmūns specific to ṣūfī poetry. However, ṣūfī poetry is also quite rich in terms of its mażmūns. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz).The fact that the dīvān poets used the mażmūn as a word and the use of the term started with the Tanzimat made it inevitable that different definitions of the mażmūn emerged in time. For this reason, many researchers now understand and define the term of mażmūn differently. However, all the academics who researched or wrote about the mażmūn brought to mind only the poem of the dīvān poem, and they selected the examples of the mażmūn from the couplets of the poem of the dīvān poem. In our opinion, the missing part of the subject of mażmūn is here. Nevertheless, our main aim in this article is not to discuss what is or is not a mażmūn, but to try to express that the ṣūfī poem is as rich as the dīvān poem. Whereas the mażmūn has no single generally accepted definition; if so, we can say that ṣūfī poetry may have its own unique mażmūn, we can exemplify it with couplets of ṣūfī poetry. (shrink)

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La percezione musicale ha avuto un ruolo significativo nella storia della psicologia della Gestalt. Muovendo dalle critiche di Mach ed Ehrenfels alla dottrina elaborata da Helmholtz e dall’elaborazione teorica di Stumpf, destinata a fungere da ponte concettuale, il lavoro analizza la riflessione svoltasi in seno alla psicologia della Gestalt. Sorprendentemente, Köhler non si concentra sulle Gestalten musicali complesse, ma sulle qualità tonali più elementari, mostrandone la totale irriducibilità a fattori fisico-fisiologici. Sulla stessa linea è anche Hornbostel, il quale amplia tuttavia (...) il discorso mediante il richiamo al complesso antropologico dei vissuti umani, musicali ed extramusicali, che rimandano a un determinato contesto culturale, saldando così il nesso tra psicologia della Gestalt e ricerca nel campo etnomusicologico. (shrink)

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On the controversial questions between al-Rāzī and al-Ṭūsī, Islamic philosophy; Islamic history to 1800; dissertation.

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This article examines Pseudo-Aristotle’s Risālat al-Tuffāḥa or Kitāb al-Tuffāḥa (Lat. Liber de Pomo, Eng. The Book of the Apple) in terms of its history, possible authorship, and manuscripts, presents an overview of its contents and includes a critical edition of its complete Arabic version, which has never been critically edited before. The edition is based on the manuscript closest to the original Arabic version of the treatise, and a comparison with a second complete manuscript was made. The present article argues (...) that Risālat al-Tuffāḥa was first compiled in Arabic within al-Kindī’s circle, then appropriated by Bāṭinī-Ismāʿīlī and Hermetic traditions, and circulated in the literature of gnomologia and the books of ṭabaqāt. However, it was not an acceptable treatise according to Mashshāʾī philosophers due to their emphasis on scientificity and awareness of its pseudepigraphy. Moreover, the Hebrew-Latin tradition’s interest in the treatise is notable, as it was part of their broader effort to appropriate all of Aristotle’s works, thereby facilitating the acceptance of philosophy in Jewish and Christian societies. Consequently, Pseudo-Aristotle’s Risālat al-Tuffāḥa is a religious-philosophical work that facilitated the reconciliation of philosophy and religion and was circulated in the Islamic, Jewish, and Christian worlds for this very reason. (shrink)

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Il saggio è dedicato ad illustrare la figura di Riccardo Rufo di Cornovaglia del quale si conosce assai poco, soprattutto dal punto di vista biografico. Nella prima parte dello studio l'A., dopo aver tracciato brevemente un profilo della vita e delle opere dell'autore, passa a confutare tre posizioni storiografiche in base alle quali si afferma che 1) Rufo non era ancora maestro quando entrò nell'Ordine dei Minori 2) non avrebbe composto alcun commento alla Metafisica o ad alcuno dei libri naturales (...) di Aristotele 3) le sue lezioni su Aristotele non sarebbero state presentate a Parigi. È al secondo punto che l'A. ha dedicato più attenzione: Rufo infatti non solo sarebbe autore di un commento alla Metafisica che esercitò una notevole influenza su alcuni autori tra cui Ruggero Bacone, Roberto Grossatesta e Bonaventura da Bagnoregio. All'interno del dibattito de aeternitate Rufo fu fortemente influenzato dal Filopono: egli infatti fu il primo ad utilizzare gli argomenti contra basati sulla nozione di infinito, notoriamente ascritti a Bonaventura. Il suo intervento fu molto importante anche per quanto riguarda la dottrina dell'impetus e la discussione sui corpi celesti. (shrink)

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Il panorama editoriale odierno mostra ormai con chiarezza i segni di una rinascita e al tempo stesso di una profonda trasformazione della filosofia della musica. Il momento appare quindi particolarmente favorevole per una riconsiderazione della storia più recente di un problema che fin dall’antichità non ha mai smesso di offrire materia di riflessione al pensiero filosofico ai più alti livelli.

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Europa, cristianità, istruzione, educazione, società secolare, tempi moderni. Questi e molti altri ancora i temi che Rémi Brague affronta tin questo volume. Il continuo processo di individualizzazione, caratterizzato dal razionalismo, ha comportato un totale indebolimento dei legami societari e ha posto al centro le libertà e i diritti dei singoli. Si assiste così all’evoluzione di una società secolarizzata che giunta al suo capolinea non riesce più a bastare a se stessa. Il pensiero moderno non sembra essere in grado di giustificare (...) il fatto che esistono degli uomini sulla terra, cercando di costruire unicamente sul proprio terreno senza considerare ciò che trascende l’umano, Natura o Dio. “Il progetto dei Tempi moderni è fallito. L’ateismo è incapace di rispondere alla questione della legittimità dell’uomo”. Brague insiste nel mettere in rilievo il carattere missionario del cristianesimo: questo – scrive – non è riservato esclusivamente agli europei. Si chiede quindi Brague se la nostra società abbia ancora il desiderio di vivere e di agire e auspica che tale desiderio sia destato, attingendo alla sorgente della vita. Contro il cristianismo e l’umanismo si presenta come una originale riflessione sulla società di oggi, attenta a non nascondere l’aspirazione propria di ciascun individuo, per cui è legittimo parlare di ciò che veramente è ‘umano’ e di una dimensione spirituale che caratterizza ciascuna cultura. (shrink)

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jild-i 1. Ittiṣāf al-māhīyah bil-wujūd, al-tashkhkhus, Sarayān al-wujūd ajūbah al-masāʼil li-baʻḍ al-khallān, Shawāhid al-rubūbīyah, al-Mizāj -- jild-i 2. Ḥashar al-ashyāʼ, al-Ḥasharīyah, Khalq al-aʻmāl, al-Qaḍāʼ wa-al-qadar, al-Maʻād al-jismānī -- jild-i 3. Iksīr al-ʻārifīn fī maʻrifah ṭarīq al-ḥaqq wa-al-yaqīn al-wāridāt al-qalbīyah fī maʻrifah al-rubūbīyah -- jild-i 4. al-Ḥikmah al-ʻarshīyah, al-Masāʼil al-qudsīyah, al-Mashāʻir, Mathnawī --.

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