Name der Zeitschrift: Cultura. International Journal of Philosophy of Culture and Axiology Jahrgang: 8 Heft: 2 Seiten: 189-208.

“Being is an ocean in perpetual agitation,Of this ocean people perceive but the waves.On the apparent surface of the ocean, hidden in them,Look at the surging waves arising from secret depths!”One of the leitmotifs of the literature of Iranian Sufism is the “quest for the Orient” (istishraq). It is an Orient that is neither localized nor localizable in the realm of positive geography. It escapes our normal perception; it is the mystic Orient, point of Origin and of Return, (...) located at the “heavenly pole” of the cosmic North. It figures in that geographia imaginalis that is perceived only by the power of the imagination. It is located, then, beyond the devastated lands of this sensible world, lands that incarnate troubled and dispersed hearts for Iranian Sufism. (shrink)

Sufism and Psychoanalysis have the potential to create a synergy of Eastern spiritual traditions and Western psychological frameworks. This paper examines the similarities and differences between Sufism and psychoanalytic self-psychology, particularly of Heinz Kohut, and emphasizes the mutual appreciation of psychoanalytical self-psychology approaches and patients’ religious beliefs, demonstrating that they are not in opposition and can work in harmony. The data was collected through literature reviews and documentation study. The results reveal that Sufi practices such as dhikr (...) (remembrance of God) and spiritual guidance from a sheik are equally self-psychological concepts, equipped with empathy and self-object transference, capable of producing a more complete and culturally sensitive therapeutic encounter. It was also revealed that such a mental health environment can be created in which the spiritual and cultural dimensions of diverse patient populations can be recognized. A blend of Sufi and psychoanalytical values can lead to innovative, culturally sensitive, and effective mental health interventions to enhance the understanding of the spiritual heritage of Islam and address individuals' psychological and spiritual needs. This study’s implications lie in the fact that it encourages concerns of cross-cultural psychoanalysis by providing a blending platform to understand Islamic spirituality as well as western psychological theories and practices. Future studies may further explore the role of such a cross-cultural psychoanalysis to understand various healthcare practices across inter-disciplinary faiths and communities. (shrink)

The Principles of Sufism. By ʿĀʾishah al-Bāʿūniyyah. Edited and translated by Th. Emil Homerin. Library of Arabic Literature. New York: New York University Press, 2014. Pp. xx + 197. $30.

Mullah Jazarī’s Sufi and mystic poetry blends the Kurdish and the Arabic languages under the influence of the Persian and Turkish tradition of poetry. This is manifested as a cross-cultural element in his poetry. This study examines this cross-cultural manifest Aron in Mullah Jazarī’s poetry through his poetical expressions on religion and Sufism. The main strength of his poetry is the blend of religion and Sufism in a symbolic and allegorical portrayal of the concepts of love and beauty (...) of the Divine. There is a dearth of studies on the Divine aspect of Beauty in Mullah Jazarī’s Sufi poetry. This study adopted a historical and descriptive research design to collect and investigate evidence of the cross-cultural manifestation in Mullah Jazarī’s poetry. Both primary and secondary data were used from available sources to fill the literature gap. The study found out that love and beauty are two most fundamental themes of Mullah Jazarī’s poetry, manifested through a symbols and analogies. Due to its mystic approach, the readers are enchanted by the manner in which the poet unites the love and beauty of a woman with the divine mystical experiences. (shrink)

The purpose of this essay is to examine the relationship between belief in predestination and trust in God in terms of the disciplines of kalām and mysticism. Tawakkul is regarded in Islamic ethics as one of the positive characteristics of faith. Considering that humans cannot be all-powerful, they need to depend on and trusting another. As to religion, the being described is God. Notably, in Sūfism, tawakkul is a significant indicator of worshipping with reference to the human-God relationship. Moreover, the (...) content of the concept is closely associated with the tenet of predestination in kalām. There is a fine line between being responsible and fulfilling the tasks given and the belief in destiny. In the Sūfī understanding of tawakkul, relinquishing the will described as the final state of the worshipping and the state of submission to and trust in God, which is a positive attitude, when combined with the kalām belief that everything happens by a divine decree, can turn into a problematic phenomenon. The impact of the problem in question on the underdevelopment of the Islamic societies in the last two centuries. However, it should be kept in mind that a sound interpretation of the traditional perception of the belief in destiny in both Sūfism and Sunnī kalām literature may lead to a tawakkul understanding encouraging and strengthening the human and the society. In the present study, the concept of tawakkul has been discussed with regard to the doctrines of will, power (qudrah), preordination-destiny (qāzā-qadar) within kalām discipline, and the positive relation of tawakkul with the belief in destiny has been investigated. (shrink)

Islamic philosophy and Sufism evolved as distinct yet interpenetrating strands of Islamic thought and practice. Despite differences, they have shared a concern with the perfection of the soul through the development of character. In The Polished Mirror, Cyrus Ali Zargar studies the ways in which, through teaching and storytelling, pre-modern Muslims lived, negotiated, and cultivated virtues. Examining the writings of philosophers, ascetics, poets, and saints, he locates virtue ethics within a dynamic moral tradition."--Amazon.com.

This study describes Raden Panji Natarata's thoughts as a humanist, poet and religious scholar who thinks that the concepts of Javanese Sufism and Islamic Sufism are two contradictory ideas. Raden Panji Natarata describes his ideas through the medium of têmbang macapat (Javanese song) in a classic Javanese literature entitled Sêrat Bayanullah. Sêrat Bayanullah, which is used as a source of data for this research, is a collection of the Pura Mangkunegaran library, Surakarta, with catalogue number A-393. The (...) scope of this study focuses on Raden Panji Natarata's thoughts on the nature of life, which include the concepts of human creation, human death, and the after-death union of the servant with God. To obtain objective and comprehensive research results, the researchers used a qualitative descriptive research paradigm by applying hermeneutic theory. The results showed that Raden Panji Natarata's thoughts about the nature of life did not go beyond the limits of monotheism, while other poets tended to acculturate Javanese Sufism thoughts, which sometimes were not in line with the teachings of monotheism. CONTRIBUTION: As an academic contribution, this research is expected to enrich and preserve the repertoire of local research literature with Sufism nuances and their relationship with the thoughts of Sufi experts. Differences in perspective is natural, and the most important thing is mutual respect for differing opinions for the sake of creating harmony in life. (shrink)

Originally published in 1950. Thinkers such as Ghazali and Ibn `Arabi, poets such as Ibn al-Farid, Rumi, Hafiz and Jami were greatly inspired by the lives and sayings of the early Sufis. This book was the first short history of Sufism to be published in any language, illustrating the development of its doctrines with numerous quotations from literature.

Sufism - spiritual practice, intellectual discipline, literary tradition, and social institutionhas played an integral role in the moral formation of Muslim society. Its aspiration toward a universal kindness to all creatures beyond the requirements of Islamic law has added a distinctly hypernomian dimension to the moral vision of Islam, as evidenced in a wide range of Sufi literature. The universal perspective of Sufism, fully rooted in Islamic revelation, yields a lived (and not just studied) ethics with the (...) potential to view and embrace all creatures through a single ethical vision, regardless of religious or other affiliation. This side of Islam, both acknowledging and surpassing the outlook of the legal heritage, offers important insight into understanding the nature of Muslim society as both Islamic and metaIslamic in religious orientation. Sufism, still significant in today's Islamic world, thus offers important material for locating Islam as part of an international order with principles and standards that resonate deeply with the moral vision of Islam itself. (shrink)

Divine revelation (waḥy), as a Qur'anic and religious concept in exegetical sources, isusually mentioned together with the institution of Prophethood (nubuwwa). Revelation came to itsend with the end of Prophethood. Therefore, although some have evaluated inspiration (ilhām) andtrue dream (ruʾyā sādiqa) within the this context of revelation, according to most of Islamic scholars,it is not permissible to refer to the recevings of the divinely saints as revelation. Revelation, for whichthe holy Qur'an designates three pattern of descension, is discussed also in (...) three categoriesthroughout the history of Islamic intellectual thought. Scholars of tafsir and theologians,philosophers, and mystics, all hold and bolster different views on the nature of revelation. Claims inSufi literature that inspiration can descend to divinely saints -beyond immediate delivery to theheart- through direct or indirect divine communication from behind a veil and through angles can beevaluated as an effort to create a conception of revelation that corresponds to the three modes ofrevelation, adressed in Qur’an, peculiar to prophets. With regard to the issue of continuity of divine revelation, a thorough examination of the Sufiliterature leads to the conclusion that revelation continues to decsend in its verbal form asinspiration but also, according to some Sufi authorities, in its noun forms unaniously considered aspeculiar to the prophets. Therefore, especially since the period of Sufism’s intermingling withphilosophy, the issues of accommdating sainthood (walāya) within the framework of generalprophethood (nubuwwa ʿāmme), the distinction between revelation and inspiration and itscontinuity appear as a very complex, unframed and unlimited field. This can be observed in theinstances addressed in this study. (shrink)

In researches carried out by transpersonal psychologists in the twenty-first century, there has been a rise in the use of sufi texts in the West. The research emphasizes the potential of sufism in addressing contemporary issues. The therapeutic benefits of integrating sufi values and practices into psychology are examined. A conceptual framework for interdisciplinary research is presented, contributing to the development of a common terminology within the literature. On the other hand, within the framework of studies conducted in (...) the West, the points where sufism can be integrated in psychology have been shown. The study, in which the literature review methodology is used, is restricted to English-language publications by Western psychologists in the twenty-first century, focusing on the psychological aspects of sufism. Among the main topics handled are rebirth, the processes involved in the duration of self-transformation, and the moral values acquired as a result. Divine love is what the Sufi needs as motivation through transformation. The behavioral steps, or levels of self that are conquered in this process, start with consciousness. In this framework, the study is important in terms of identifying the researches in which just a few psychologists trying to answer the question "What is a human being?" by using Sufi classics. (shrink)

The aim of this article is to analyse a local expression of the transnational Ahbash Sufi movement in light of recent scholarship on the relationship between Salafism and Sufism as well as Islamic neo-traditionalism. Some researchers have reacted against a dichotomous relationship between fundamentalism and Sufism, instead suggesting a continuum and a mutual interdependence. We aim to contribute to a developed understanding of the process whereby some Sufi actors go on the attack against their Islamic foes by publicly (...) and loudly claiming to represent ‘true Islam’ as found in the ‘fundamentals’ of Islam – but with a different understanding of what those fundamentals are. We analyse a series of interviews with a local representative of the transnational Ahbash Sufi movement in Malmö, Sweden; the Ahbash movement has its central leadership in Lebanon. Through discussing the representative’s understanding of ‘good’ and ‘bad’ bidʿa, in particular concerning the celebration of the prophet Muhammad’s birthday, we note a combined emphasis on authoritative textual sources – including the Qurʾan and hadith literature – and the allegedly unbroken traditional knowledge transmission which secures a correct understanding of Islam. This shows an ambiguous space of Islamic thought and practice, an arguably Salafi-affected neo-traditionalist defense of Sufism, which transgresses commonly employed dichotomies between Salafism and Sufism. (shrink)

The first poems about the Prophet Muḥammad appeared while he was alive. These first examples, which are panegyrics (madīḥ, i‛tiẕār, fakhr and ris̱ā), largely reflect the characteristics of the pre-Islamic qaṣīda poetry. Due to the developments in the following centuries, the number of poems about the Prophet increased. And thus, a separate literary genre was formed under the name al-madīḥ al-nabawī. Especially the fact that sufi leaning poets contributed to the literary richness in this field. Another factor is the beginning (...) of the tradition of writing mawlid poems in memory of the birth of the Prophet Muḥammad. The thirteenth century was an important period for poems praising the Prophet Muḥammad. Two important poets emerged in this century. One of them is Egyptian poet al-Būṣīrī and the other is Baghdad's famous poet, Yaḥyā al-Ṣarṣarī. Even after his death, Ṣarṣarî’s works with high literary value were read and memorized in the circles of science, literature and Sufism. Due to his competence in the field, al-Ṣarṣarī was known as the poet of the Prophet and Ḥassān b. Thābit of his time. However, it is understood that his poems, which lost their importance in literary circles over time, were not studied as much as they deserved in the modern period. In this article, his life and works are introduced and basic language and stylistic features of his poems are examined. Also, the image of the Prophet in his poems was determined within the framework of the political conditions of the period.Summary: In the field of madīh nabawī, which first appeared in the ‘Asr al-Sa’āda and has continued to the present day, especially two names stand out in the 7th/13th century, when famous poets such as Macduddīn al-Vitrī (d. 662/1264), Ibn al-Muraḥḥal (d. 699/1300) and Ṣafiyyuddīn al-Ḥillī (d. 749/1348) were also raised. One of them is the Egyptian poet al-Būṣīrī (d. 695/1296), who left his mark on the field of madīh nabawī with his many poems, especially Qaṣīda Burda, and the other is the Iraqi poet Yahya al-Ṣarṣarī (d. 656/1258), who was named Shā‘iru Rasūlillāh (The poet of the Prophet) and Ḥassānu Vaḳtihī (Ḥassān of that period) because of the quality of his poems in this field.al-Ṣarṣarī, was born in the village of al-Ṣarṣar, near Baghdad, spent most of his life in the shadow of Baghdad’s political instability and the social collapse that developed in parallel. He was killed in 656/1258 by the Mongolian forces that invaded Baghdad. al-Ṣarṣarī was extremely knowledgeable in fiqh, hadith, language, and ‘ilm al-qirāa. Our poet adopted the views of the Hanbalī law school. In addition, he turned to Sufism and became a murīd (disciple) of Ali ibn Idrīs al-Ya‘kūbī, a student of Abdalqadīr al-Gīlanī who was accepted as the founder of Qādiriyya. He was closely attached to the Sunnah of the Prophet and was fond of reading the Quran. He was chaste and patient and was content with what he had himself. All his works are poetic and they all concern the madīh nabawī or fiqh.Since his poems, almost all of which are about the praise of the Prophet, have a high literary value, they were read, memorized and narrated for a long time in the circles of science, literature and Sufism. In terms of its structure, his poems are based on the traditional forms of Arab qasīda. In the introductory sections of his poems, he often expresses his longing for Madina. The main subject in poems is usually the Prophet and his superior features. In the last part, he usually says salāt for the Prophet and seeks help from him. It can be said that he used simple language in his poems. The vocabulary reflects the characteristics of the urban life in which he lived. The source of inspiration for his poems are the Qur’an and especially the hadith of the Prophet. He uses the potential of literary arts as much as possible while conveying his feelings. But he does not allow the correct information to be lost due to these arts on a serious subject such as depicting the Prophet. We can see a lot of badī‘ (creative) art in some of his poems. But we can immediately understand that these arts do not spoil the beauty of his expression. The poet provides rhythm and harmony in his poetry with the meter and rhyme in accordance with the classical Arabic qasida rules. In addition, he strengthens the musicality in poetry with puns (jinās) and repetition.The influence of the instability of the region where al-Ṣarṣarī lived on his poems is obvious. According to him, the main reason for the terrible situation that Muslims were in was that they were away from the way of the Prophet. He thought that it would be possible to go back to the old peaceful days by following the way of the Prophet. Perhaps as a result of this opinion, he allocated his qasīda to the narration of the Prophet and his Companions. In his poems, he describes the Prophet with his names, superior qualities, physical and moral characteristics. He says that the sentences describing the Prophet are the ornament of poems and believes that praising him is a mean of salvation in the next world. He also hoped that the poems he said in order to achieve spiritual ascension would protect himself against the troubled events of the period.In his poems, especially on the occasion of mawlīd, al-Ṣarṣarī mentions the Prophet’s physical characteristics and likens his smiling face to a bright full moon, his brows to the letter nûn, his teeth to pearls. He describes the Prophet as a man with black eyes, broad shoulders, born with kohl-lined eyes, and who emanates a beautiful scent as a requirement of his creation. The poet, who also touches on the Prophet’s powerful address, states that his speech is more effective than Luqman’s wise words by virtue of his jawami‘ al-kalim (comprehensive speech) and faṣl al-khiṭab (clear speech), and that his soft address, which states nothing other than the truth, is a blessing from Allah. He additionally describes the Prophet’s plain words, easy to understand by all, as more valuable than jewels. al-Ṣarṣarī, who praises the Prophet in terms of morality with basic human virtues such as bashfulness, justice, modesty, and courage, emphasizes that he is, a paragon of patience, perseverance, kindness, and compassion through analogies such as, “his clothes are peace and perseverance”, his “cover is kindness and forgiveness”. In his world of imagery, the Prophet’s benevolence is so abundant like the rain that the clouds cannot compete with him. Also, he does not shame anybody for what he gives. He bestows the most valuable possessions like gold and camels. Even the respectable personalities of the tribe benefit from his grace. He is so generous that he is giving even when the clouds are stingy about giving rain during times of drought. He welcomes with a smile those who approach him with requests. The donations he makes privately are entirely satisfying.The image of prophethood in al-Ṣarṣarī’s poems, is centralized around the thought of nūr Muhammadī (prophetic light) and the miracles of the Prophet. He reminds that the Prophet never gave up despite the calamities he encountered and that he was supported with extraordinary events in various stages of his life since he was born, and reflects the understanding that the prophet is spiritually supporting the community with his nūr, and in the case the community follow his sunnah, overcoming the Mongolian attacks, which seems like a miracle, is possible. The mention of Qattāl (warrior), Māḥī (eliminator of disbelief), Ẓāhir, Ẓāfir, Manṣūr and Muẓaffar (victorious) among the Prophet’s names, especially those that evoke the superiority he gained in his fight against the disbelievers, giving greater prominence to his courage and valor among his virtues are also related to the political and social conditions of the period. The couplets about the Companions of the Prophet following the couplets that describe the Prophet’s valor, the emphasis of their aid to the Prophet, and the particular mention of their fighter spirit may be considered in the same context. Perhaps, in this way, the poet aims to boost the courage of the Muslims who are exposed to Mongolian attacks with respect to protecting their spiritual and holy values against the enemy. (shrink)

_Sufi Castigator_ investigates the writings of Ahmad Kasravi, one of the foremost intellectuals in Iran. It studies his work within the context of Sufism in modern Iran and mystical Persian literature and includes translations of Kasravi’s writings. Kasravi provides a fascinating topic for those with interests in Sufism and Iranian studies as he attempted to produce a form of Iranian identity that he believed was compatible with the modern age and Iranian nationalism. His stress on reason and (...) the de-mystification of religion caused him to repudiate Sufism and much of the Sufi literary heritage as backwards and believed it a reason for the weakness of modern Iran. Kasravi’s historical observations were weak, and his writings indicate that he was working towards pre-determined conclusions. However, his works are of significance because they contributed to a major discussion in the 1930s to 1940s about the ideal image and identity that Iranians should adopt. Despite the academic weaknesses of Kasravi’s works he had a profound effect on the next generation of thinkers. _Sufi Castigator_ is stimulating and meticulously researched book and includes two lengthy translations of Kasravi’s works, _Sufism_ and _What does Hafez Say?_ and will appeal to scholars of middle eastern studies. (shrink)

There are various explanations for the relationship between God, man and the world within belief systems and traditions. One of the striking points of this connection is the idea of hulūl and ittihād. This idea has appeared in various ways throughout history, manifested itself in society by the fact that faith influences the traditions of thought. In addition to being in non-Islamic systems such as beliefs of Indian, Jewish or Christian origin, it has also been observed in systems that have (...) stayed in the Islamic circle or established contacts over time. The evaluation of those who adopt this idea under the heading of extreme groups reveals the view of Islamic thought on the subject. However, while the issue is this clear from the Islamic point of view, the relationship of sufism, which is a part of the thought tradition, to hulūl and ittihād requires that the issue be subject to a more sensitive examination. At this point, it is important to follow the literature that has been formed on the related subject since the formation of Sufism. Following the discourse of Sufi thought on this topic will support the solution of critical points that have occurred from the past to the present. The determination of the issue during the formation period of Sufism, Gazzālī's explanation of the issue and the influence of the thought that developed after Ibn al-Arabī are among the obvious points of the process. Since the publication of this article, the issue of hulūl and ittihād, which has not fallen off the agenda of Islamic thought, has been discussed in the 19th century. When it comes to the century, it will be seen how it can be handled in an identity based on the interpretation of Muhammad Nūr al-Arabī, one of the prominent names of the period. In this way, on the one hand, the representation of an author sufi in the tradition of Sufi thought in the context of the subject, and on the other hand, in the near future, their clear statements in accordance with Islamic thought on such a critical issue will be examined. (shrink)

This article discusses the role of myth in Persian literature and poetry, and how it has affected Sufism and the evolution of its mysticism. Sufism developed in the seventh (3 AH) century solely within the confines of Islamic orthodoxy. The Sufi path began as a protest movement against Islam and the Caliphs, and progressively enriched its many dimensions until the tenth century, when the majority of artists, calligraphers and poets were Sufi. The article will investigate Sufism (...) as an activism movement related to politics, religion and social circumstances, and its collaboration with new media in finding a new, contemporary method of protest in today’s Iran. (shrink)

As one of the foremost contemporary public intellectuals and scholars of our time, Hamid Dabashi's interests and writings span subjects ranging from Islamic philosophy and political ideology to Iranian art and Persian literature; from Sufism and Orientalism to Iranian and world cinema and contemporary Arab and Muslim visual arts; and from postcolonial theory and globalization to imperialism and public affairs. There is a direct connection between his theoretical innovations and the angle of his public interventions on the urgent (...) global issues of the day. This book brings together some of his most important writings, especially those that offer new ways of understanding Islam, Iran, Islamist ideology, global art, and the condition of global modernity. The book shows the underlying conceptual themes that unify Dabashi's wide-ranging and brilliantly insightful corpus. Book jacket. (shrink)

Suyolcu-zāde Nahrī Aḥmad (d.1182/1768-1769) was an important sûfî poet being a member of Ismā‘īl Rūmī branch, the sect of Qādiriyya. He carried out the duty of spiritual and ethical guidance at Qādiriyya Lodge in Tekirdağ. Besides his sûfî character, he was a poet having an extensive knowledge about the theoretical and aesthetical bases of Dīwān literature. The only original copy of Nahrī’s Dīwānçe including his poems registered in the Vatican Library, Turkish Manuscripts, nr. 235. There are forty-five Turkish, twelve (...) Arabic and three Persian poems by Nahrī in this copy. The goal of this article is to present the formal and contextual features of Nahrī’s poems in Dīwānçe in the light of the analysis on some poems that we chose. Any study was not found about the poet’s life and poems in the literature review we made. In this study, poems are classified according to the verse form and the language, and the number of couplets, type of prosody, form, style and content of the chosen poems are evaluated accordingly. This study has importance in terms of providing insight about the Religious-Sûfîstic belief in the region and period of Nahrī Aḥmad who was a sûfî poet and a member of Qādiriyya sect. In addition, the study gives information about many important influencers of the period, particularly Niyāzī-i Miṣrī and inform the readers about these influencers’ and sûfîs’ effects on Nahrī’s poems and ideas. The study also makes contribution to determining literary-sûfistic terminology of 18th century.Summary: Suyolcu-zâde Nahrī Aḥmad (d.1182/1768-1769) was a member of Qādiriyya Dervish Convent in Tekirdag where he was born. He became the head sheikh of this convent following his father Sheikh Muḥammad Efendi and worked for the convent in several ways. Nahrī Aḥmad moved back to his hometown in 1182/1768-1769 after completing his Hajj duty and died soon after that. Nahrī had two works according to Osmanlı Müellifleri (Ottoman Authors) and it is stated that the first one of these two works is about “unity of existence”. It should be mentioned that we haven’t found a copy of this work yet. The other work of Nahrī is his Dīwānçe, which includes his poems. The only copy of this significant work is registered in Vatican Library, Turkish Manuscripts, nr. 235. In this study, we had the chance to determine a third work of Nahrī which has never been mentioned in the related literature. This third work that we determined is based on the information in an Arabic poem on the page 21a of the poet’s Dīwānçe. This book that we determined is an interpretation book completed in 1166/1752-53 but Nahrī Aḥmad didn’t mention the name of the work. Nahrī Aḥmad was a spiritual guide and sufi, and he was assigned to the duty of showing the true path in dervish lodge following his madrassa education, learning Qādiriyya lodge’s morals and methods and completing his “spiritual journey”. Besides these, he was a significant poet who could write poems in Arabic, Persian and Turkish languages and he was literary competent who knew the theoretical and aesthetic rules of Dīwān literature and used these features professionally in his works. When Nahrī’s poems are analyzed, it can be seen that he adopted the understanding of existence, knowledge and belief based on Islamic Sufism. Besides, it can be seen that he internalized the significant Religious-Sufi Turkish literature figures including especially Yūnus Emre.In the copy of his Dīwānçe, registered in Vatican Library, there are forty-five Turkish, twelve Arabic and three Persian poems. There are two other poems that weren’t written by Nahrī in the same work. These poems were written by a poet with penname of ‘Ᾱrif in the period when Nahrī’s son Muḥammad Muṣlih al-Dīn was the head sheikh in the same Dervish convent. These historical poems are significant as they describe the re-building of ruined Tekirdag Qādiriyya convent after Nahrī’s period. The goal of this article is to present the formal and contextual features of poems in Nahrī’s Dīwānçe on the basis of chosen poems. As far as we could determine, there is no other study on Nahrī’s works. Nahrī’s Dīwānçe wasn’t a kind of rearranged work of collected poems. Therefore, we classified the poems in terms of the form and language and evaluated the number of couplets, aruz prosody, shape, type and content. Poems of Nahrī in Dīwānçe in terms of verse style are: Four Turkish, three Arabic, one Persian ode, one Turkish compounded stanza, seventeen Turkish, nine Arabic and one Persian major stanza, three Turkish five-line stanzas, two Turkish pentastichs, eighteen Turkish and one Persian lyric.Nahrī Aḥmad wrote five-line stanzas for three of Niyāzī-i Miṣrī’s lyrics and one of Bāqī’s lyrics. He wrote parallel poems about one pentastich, one lyric and one other poem written in a specific style of blank verse of Niyāzī-i Miṣrī. Besides, there is also an original poem that is quite unique in the work. Nahrī wrote five couplets before each verse in Niyāzī-i Miṣrī’s ode which resulted in the creation of a common ode. Poems in Dīwānçe are contextually religious-Sufi based. ‘Abd al-Qādir al-Jīlānī, Ismā‘īl Rūmī who was the founder of the order of Rūmiyya branch and other sheikhs of Qādiriyya dervish order are the main names mentioned in the poems. One other significant point in Nahrī’s poems is that he had a deep love and respect for Niyāzī-i Miṣrī. There are praises, quintets and parallel poems about Miṣrī in Dīwānçe which shows Niyāzī-i Miṣrī’s effect on his work. This effect is so great that it covered not only the content but also there are the signs of the effect in terms of metaphoric language, words and verses. It can be said that ‘Abd al-Qādir al-Jīlānī and Niyāzī-i Miṣrī, a member of Khalwatī order, were two significant names that surrounded the mental world of Nahrī, located in the texture of his poems and gave characteristic features to his works. There is a great number of historical poems in Nahrī’s Dīwānçe. He wrote twenty-six historical verses about various historical issues such as birth and death, construction of mosque, dervish monastery, zawiya, pavilion, repairing of mansion, renovation of dervish convent, enthronement of Sultan and appointment of Grand Vizier. Also, there are some other important parts in Nahrī’s Dīwānçe such as invocation, praise and self-adulation.Although there are not many poems in the previously mentioned copy in Vatican Library, there are various names mentioned in these poems. When these poems are analyzed, it can be seen that there are the names of some prophets, some companions of Prophet Muḥammad such as ‘Alī, Ja‘far al-Sādiq, some Persian legendary characters such as Afrāsiyāb, Rustem and Anūshirwān, some Sufi names such as Manṣūr al-Hallaj, Jalāl al-Dīn Rūmī, Shams al-Dīn of Tabrīz, Ḥācī Bektash Velī, Ibn al-‘Arabī and Bāyazīd al-Bisṭāmī, philosopher Galen and famous love heroes Laylā and Majnūn. That is to say, the poet has a rich world of references. On the other hand, there are the names of some works mentioned in Dīwānçe. Epistle of Niyāzī-i Miṣrī named Devre-i ‘Arshiyya, and Ibn al-‘Arabī’s al-Futūhāt al-Makkiyya are the other names mentioned in the work. Name of the places included in Nahrī’s poems are: Aden, Aqmescit, Baghdad, Baghcesaray, Baṭḥā, Balkh, Dimashq, Ḥijāz, Iraq, Iran, Cairo, Ken‘ān, Karbalā, Qılburun, Crimea, Kirmān, Egypt, Nemce, Rūm, Sanaa, Shām, Yemen. This study has importance in terms of providing insight about the religious-sûfî belief in the region and period of Nahrī Aḥmad who was a sûfî poet and a member of Qādiriyya sect. In addition, the study gives information about many important influencers of the period, particularly Niyāzī-i Miṣrī. Moreover, it informs the readers about these influencers’ and sûfîs’ effects on Nahrī’s poems and ideas. The study also makes contribution to determining literary-sûfistic terminology of 18th century. (shrink)

From the Greeks to the Arabs and Beyond written by Hans Daiber, is a six volume collection of Daiber’s scattered writings, journal articles, essays and encyclopaedia entries on Greek-Syriac-Arabic translations, Islamic theology and Sufism, the history of science, Islam in Europe, manuscripts and the history of oriental studies. The collection contains published (since 1967) and unpublished works in English, German, Arabic, Persian and Turkish, including editions of Arabic and Syriac texts. The publication mirrors the intercultural character of Islamic thought (...) and sheds new light on many aspects ranging from the Greek pre-Socratics to the Malaysian philosopher Naquib al-Attas. A main concern is the interpretation of texts in print or in manuscripts, culminating in two catalogues (Vol. V and VI), which contain descriptions of newly discovered, mainly Arabic, manuscripts in all fields. Vol. I: Graeco-Syriaca and Arabica. Vol. II: Islamic Philosophy. Vol. III: From God’s Wisdom to Science: A. Islamic Theology and Sufism; B. History of Science. Vol. IV: Islam, Europe and Beyond: A. Islam and Middle Ages; B. Manuscripts – a Basis of Knowledge and Science; C. History of the Discipline; D. Obituaries; E. Indexes. Vol. V: Unknown Arabic Manuscripts from Eight Centuries – Including one Hebrew and Two Ethiopian Manuscripts: Daiber Collection III. Vol. VI: Arabic, Syriac, Persian and Latin Manuscripts on Philosophy, Theology, Science and Literature. Films and Offprints: Daiber Collection IV. (shrink)

From the Greeks to the Arabs and Beyond written by Hans Daiber, is a six volume collection of Daiber's scattered writings, journal articles, essays and encyclopaedia entries on Greek-Syriac-Arabic translations, Islamic theology and Sufism, the history of science, Islam in Europe, manuscripts and the history of oriental studies. The collection contains published (since 1967) and unpublished works in English, German, Arabic, Persian and Turkish, including editions of Arabic and Syriac texts. The publication mirrors the intercultural character of Islamic thought (...) and sheds new light on many aspects ranging from the Greek pre-Socratics to the Malaysian philosopher Naquib al-Attas. A main concern is the interpretation of texts in print or in manuscripts, culminating in two catalogues (Vol. 5 and 6), which contain descriptions of newly discovered, mainly Arabic, manuscripts in all fields. Vol. 1: Graeco-Syriaca and Arabica. Vol. 2: Islamic Philosophy. Vol. 3: From God's Wisdom to Science: A. Islamic Theology and Sufism; B. History of Science. Vol. 4: Islam, Europe and Beyond: A. Islam and Middle Ages; B. Manuscripts - a Basis of Knowledge and Science; C. History of the Discipline; D. Obituaries; E. Indexes. Vol. 5: Unknown Arabic Manuscripts from Eight Centuries - Including one Hebrew and Two Ethiopian Manuscripts: Daiber Collection III. Vol. 6: Arabic, Syriac, Persian and Latin Manuscripts on Philosophy, Theology, Science and Literature. Films and Offprints: Daiber Collection IV. (shrink)

The Naqshbandiyya is one of the most widespread and influential Sufi orders in the Muslim world. Having its origins in the Great Masters tradition of Central Asia almost a millennium ago, it played a significant role in the pre-modern history of the Indian subcontinent and the Ottoman Empire, and is still spreading today. This volume seeks to present a broad picture of the evolution of the ideas and organizational forms of the Naqshbandi order throughout its history. It combines a synthesis (...) of the vast literature on the order with original research, and shall be an important contribution for those interested in Sufism, Islamic history and Muslim-Christian relations. (shrink)

This essay considers the meaning and relatedness of sobriety and drunkenness with reference to Levinas, Taoism, Sufism, the Bible, and the Beatles.

Ahmed Mâhir, who was born in Kastamonu in 1860-70, is one of the last period Ottoman scholars and is known by the penname "Ballıkızâde". He lived in the 19th century, during the Constitutional Monarchy period when the West progressed in many directions and the Ottoman Empire began to lose land alongside its reforms. After taking lessons from the scholar Ahmed Hicâbî, he also gave lectures and educated many students, and taught tafsir and theology for thirteen years at Daru'l-Fünûn Faculty of (...) Theology and Medresetü'l-Vâizîn. In addition to this, the scholar, who has served as a member of the Supreme Court, a judge, and a deputy, also appears as a political personality. Mâhir, who has four published works, is one of the important personalities that Kastamonu raised in religious, political, and literary fields. In this study, the Constitutional Era and the position of the science of tafsir in this period are discussed. Secondly, after transferring information about Ahmed Mâhir's life, his exegesis method on the works of "Mu'cizât-ı Kur'âniyye" and "al-Fâtiha fî Tefsîri'l-Fâtiha" was examined. The qualitative research method and document analysis technique wasused for this study. In addition, the data were analyzed with the help of description, sampling and association techniques. The fact that Ahmed Mâhir has both a political and religious personality and that we have four works about him today makes it important to research him. In this context, the study aims to reveal Ahmed Mâhir's exegesis based on his works. A doctoral thesis on him, in which his mystical aspect was emphasized, and an article by the same person, again, two master's theses were made about the work he wrote in the field of Sufism. Some sources provide concise information about his life and works, and brief information given in some biographical or literature studies. But his works named "Mu'cizât-ı Kur'âniyye" and "al-Fâtiha fî Tefsîri'l-Fâtiha" have not been studied academically. This situation made this study important. In addition, the existence of various interpretations on whether the author's interpretation of Surah Fâtiha is original or not has caused us to consider this issue as a problem. As a result of our analysis, Ahmed Mâhir has conveyed the negative political or religious situations of his period, especially in his work "Mu'cizât-ı Kur'âniyye". Based on the idea that the Qur'an is perfect and contains everything, he used the verses to correct these situations. His work "el-Fâtiha fî Tefsîri'l-Fâtiha" shows us both the traces of the Ottoman tafsir accumulation of that period and that this scholar has a scientific tradition on tafsir, hadith, and literature. (shrink)

The tradition of Lughz and muʿammā in Arab poetry has an important place. Ibn al-Fāriḍ (d. 632/1235) is a divine love poet that lived in the Ayyubids period. He is an important point in the process of change and transformation of Arabic poetry language. This research aims to carry out a theoretical and anecdotal examination of the Lughzes in Ibn al-Fāriḍ’s Dīwān. The work explains, firstly, the concept of Lughz in terms of conceptual content and theoretical structure and summarizes its (...) own method to be applied in solving and evaluating Lughzes in ten articles. The paper indicates whether the Lughzes in Dīwānhave a theoretical structure or not. In this context, it distinguishes the Lughzes from the number of layers, simple and compound structure maintenance. It examines the theoretical and functional contributions of the tahsīl, takmīl, tashīland tazyīlmethods, the stages of the establishment and the solution of the Lughzes.Abstract: Abū Hafs Sharafuddīn Omar b. Ali al-Hamavī al-Mısrī (d. 632/1235) known as the king of lovers, and called Ibn al-Fārid, is a divine love poet that lived in Egypt during the Ayyubids period (1171-1462). He is an important figure in the process of change and transformation of poetry language in Arabic literature. The lughz and muʿammā (enigma, enigmetic speech, allusion, inversion riddle, poetry puzzle, synecdoche and metaphoric language) means a word pointing to a name or something by symbol and sign. Numerous books have been written about lughzes. These include Arabic poetry, Persian poetry, Classical Turkish poetry, Arabic grammar, Islamic law, hadith, mathematics and inheritance law. The lughz and muʿammā have some linguistic features related to phonetics, statistical linguistics, morphology, lexicology, grammar, syntax, semantics and prosody. This tradition has an important place in Arabic poetry. The research aims to carry out a theoretical and anecdotal examination of the lughzes and muʿammās in Ibn al-Fārız’s Dīwān. The paper explains, firstly, the concept of lughz in terms of conceptual content and theoretical structure. The article summarizes its own method to be applied in analyzing and evaluating lughzes within ten items. The research examines the series of lughzes in Dīwānand divides them into parts according to the original question in the riddles. This work examines the secondary lughzes given in the details of poems in solution parts. The paper indicates whether the lughzes in Dīwānhave a theoretical structure or not. In this context, the research examines lughzes in terms of language and structure, especially in terms of the processes of establishment and solution. This paper categorizes the lughzes according to the number of layers and to whether they have a simple or compound structure. This paper examines the theoretical and functional contributions of the amal al-tahsīlī, amal al-takmīlī, amal al-tashīlī and amal al-tazyīlī methods in the stages of the establishment and the solution of the lughzes. The work applies the theoretical perspectives of these methods to each lughz. The research also examines the contribution of these four methods to the lughzes.There are many lughzes in Ibn al-Fārid’s poems. In Ibn al-Fārid’s Dīwān, in general, fifty-four things are asked. Fifty-one of them are words. Three of them are verbs. One of the verbs is in the order structure and two in the past tense. His lughzes have a theoretical and methodical structure. In terms of organizational structure, lughzes are generally multi-layered, intricate, compound and integrated. Composite lughzes are multi-layered, simple poems are single-layered. Approximately twenty words are asked in the lughzes. These words are always in the first layer of lughz, whether simple or compound. Thirty-seven words in the lughz are secondary lughz with an auxiliary and complementary nature. They are located between the second and sixth layers. Seventeen of the lughzes asked in the auxiliary nature are located in the second layer, thirteen in the third layer, five in the fourth layer, one in the fifth layer and one in the sixth layer. One of the lughzes is six-layered, one of them are five-layered, four of them are four-layered, eight are three-layered, four are double-layered and three are single-layered. According to this, the majority of lughzes in Ibn al-Fārid’s poems are in the unified form and multilayered.The lughzes are formed in terms of word, composition, phrase, grammar and meaning levels. The lughzes have both lexical and semantic characteristics. Ibn al-Fārid uses the configuration (amal al-tahsīlī), completion (amal al-takmīlī), facilitation (amal al-tashīlī) and addition (amal al-tazyīlī) methods to design the lughzes. The structure in the lughzes is shaped by these methods. The words in his lughzes constitute eleven categories, consisting of names, acts and noun verbs. The answers of the questions asked in the poems consist in general of prophet names, surah names, tribal names, administrator’s surnames, letters, cities, animals, food and drink names, attributes and actions. Verbs are in the past time or order form. Some of the lughzes in Ibn al-Fārid’s poems are built in an extraordinary style beyond being interesting. Not all the sentences used in couplets are part of the lughzes. These elements are mentioned in order to complete the lughzes in terms of rhythm and meaning. To be able to solve the lughzes of Ibn al-Fārid, one must be knowledgeable about the language and narrative features of Arabic and Islamic culture, as well as subjects such as the Quran, Sufism, abjad calculation, mathematics, geometry, geography, biology, botany and zoology. His poems contributes to the development and transformation of Arabic poetry. (shrink)

This paper examines the following three questions: (1) In The Rose Garden of Mystery (Golshan-e Rāz), how does the prominent 7-8th-century Iranian Sufi, Maḥmūd Shabistarī, distinguish the mystical “contemplation” and “rational reflection” in pursuing divine knowledge? (2) Was Shabistarī an anti-rationalist (strict fideist)? (3) How does Shabistarī’s position fit into the ancient Greek, Neoplatonist, and medieval Islamic and Christian metaphysics? This paper examines Golshan-e Rāz in the context of Shabistarī’s other works, commentaries, secondary sources, and Islamic thought—Sufism and philosophy. (...) Existing literature on Golshan-e Rāz primarily focuses on its literary aspects, neglecting its philosophical and mystical concepts. However, a thorough understanding requires examining these concepts in a broad context, which will inspire further research. The rationale behind this research is rooted in the religious obligation for believers to know God, with “thinking” as the means to acquire such knowledge. This is why the first question Herawī poses to Shabistarī pertains to the nature of thought—justifying this paper’s focus. Contemporary opposition to religion often stems from its perceived incongruity with the rational frameworks offered by positivism, materialism, or scientific inquiry. By differentiating between mystical and rational modes of thought that Shabistarī presents, this study shows the contemporary person that intellectual inquiry extends beyond rationalism and encompasses mysticism. Consequently, rational and mystical perspectives should be pursued in the quest for the divine. Furthermore, this study contends that Shabistarī should not be regarded as a strict fideist; instead, his criticism is directed toward the constraints inherent in rational thinking. (shrink)

While the problem of nihilism is derived from a particular historical and intellectual context in Western philosophy, i.e., the pantheism controversy in modern German philosophy and the ideas of Nietzsche, non-Western thinkers also engaged with it and developed responses to it. In this article, I am interested in analyzing Muhammad Iqbal’s (1877–1938), a leading Muslim thinker (a Sufi) from India, engagement with the problem of nihilism and his response to it from a Sufi perspective. Arguing that the existing literature (...) on Iqbal fails to understand the deeper impact of Nietzsche’s ideas on Iqbal’s philosophy and the dramatic role “the problem of nihilism” played in causing changes in Iqbal’s philosophy, or on Iqbal’s intellectual development, in this article, I analyze how Iqbal’s encounter with the ideas of Nietzsche during his study period in Europe between 1905 and 1908 has introduced him to the problem of nihilism in its Nietzschean form, how this led Iqbal to a nihilistic mood/crisis from 1909 to 1913, and then how he later developed a response to nihilism by reconstructing the Sufi cosmology and by revaluating the Sufi values of the pantheistic/Persian type of Sufism – the outcome of which is found in his philosophical poemAsrar-i-Khudî(1915). (shrink)

While the problem of nihilism is derived from a particular historical and intellectual context in Western philosophy, i.e., the pantheism controversy in modern German philosophy and the ideas of Nietzsche, non-Western thinkers also engaged with it and developed responses to it. In this article, I am interested in analyzing Muhammad Iqbal’s (1877–1938), a leading Muslim thinker (a Sufi) from India, engagement with the problem of nihilism and his response to it from a Sufi perspective. Arguing that the existing literature (...) on Iqbal fails to understand the deeper impact of Nietzsche’s ideas on Iqbal’s philosophy and the dramatic role “the problem of nihilism” played in causing changes in Iqbal’s philosophy, or on Iqbal’s intellectual development, in this article, I analyze how Iqbal’s encounter with the ideas of Nietzsche during his study period in Europe between 1905 and 1908 has introduced him to the problem of nihilism in its Nietzschean form, how this led Iqbal to a nihilistic mood/crisis from 1909 to 1913, and then how he later developed a response to nihilism by reconstructing the Sufi cosmology and by revaluating the Sufi values of the pantheistic/persian type of Sufism – the outcome of which is found in his philosophical poem Asrar-i-Khudî (1915). (shrink)

[Holbrook's] is one of the keenest and deepest critical minds in the field of Islamic literature. She provides for the reader (scholar and lay persona alike) fascinating insights into the genre, poetic functions, mystical allegory, narrative technique, audience response, etc. Many of her analyses are scintillating.... The Holbrook volume is a landmark in Ottoman literary scholarship. --MESA Bulletin... a major contribution to Ottoman and Turkish literary study--I frankly am at a loss to describe how major.... Dr. Holbrook's book will (...) make its own category and subsequent publication in the field will be judged in relation to it. --Walter G. Andrews, professor of Near Eastern Languages and Civilization, University of Washington When the Ottoman Turkish Empire was divided into modern states after World War I, in Turkey a change of alphabet and radical linguistic reform aimed to free modern Turkish literature from intellectual ties to the East. Holbrook recuperates Ottoman debates on the existential status of language and social value of art with a poetics of Beauty and Love, the philosophical fairy tale in verse by Seyh Galib. Where does language come from? How does a poet conceive imagery? What rights to interpretive authority does Muslim law accord the individual when God's word is law? Holbrook's lively analysis ranges an intertext of genres in Arabic and Persian as well as Turkish. The romance of separated lovers is a paradigm of journeys that lead beyond discourse. A poet's quest for originality reveals an archaeology of modernism. Holbrook traces the revolutionary polemic and Orientalist philology that de-aestheticized Ottoman poetry, bringing the critique of Orientalismto bear upon the Ottoman center Orientalism suppressed. (shrink)

Nasir Raza Khan examined the function of Sufis in spreading Islam throughout medieval South Asia in his book Sufism in India, and Central Asia. He believed that the spread of Islam in South Asia would happen gradually. In South Asia since the Middle Ages, several Sufi organizations have propagated Islam. Many Islamic academics were particularly interested in the Chishtī order among these Sufi organizations. Another highly regarded book is Sufi Martyrs of Love: Chishti Sufism in South Asia and (...) Beyond, written by Carl W. Ernst and Bruce B. Lawrence. Ernst and Lawrence expounded on the inception, progression, customs, and tenets of the Chishtī order, while Khan described the diverse practices of the order and the part played by Chishtī saints in the diverse socio-political aspects of the Delhi Sultanate. Ernst and Lawrence, in contrast to Milad Milani (2021), carried on chronicling the history of the Chishtī order until the year 21. With the use of primary and secondary sources, this review essay aims to compare and evaluate these two books. (shrink)

There are some radical practices of asceticism, such as wearing ṣūf (wool clothes), traveling without provisions, choosing to be single, and avoiding earning a living by working, which were generally seen in the 2nd century A.H. and were subject to criticism with the formation of classical Ṣūfism. Criticisms of these practices have started to appear in the literature since the 3rd century A.H. Early Ṣūfī writers such as Al-Ḥakīm al-Tirmidhī, Muḥāsibī, Abū Saʿīd al-Kharrāz, al-Sarrāj focused on this issue and (...) criticized these practices. How are these practices of ascetics viewed in the sects that were formed and spread in the 6th and 7th centuries? Our research seeks the answer to this question, but limits it to the example of Abū l-Ḥasan al-Shādhilī, the founder of Shādhiliyya. This question is important in two respects: First of all, it is investigated whether the determination of some researchers that al-Shādhilī taught comfort in the face of worldly blessings is also correct. Because, among contemporary researchers, there are those who believe that al-Shādhilī wears ostentatious clothes, rides horses, encourages economic competitiveness, and is therefore open to benefiting from worldly blessings to the fullest. Secondly, it includes an investigation of the validity of the belief that these practices belong to an early period in the history of Sûfism and have been completely abandoned over time. Although al-Shādhilī seems to have completed his spiritual education in Morocco with his sheikh, he later went to Tunisia with the latent command of his master. We see that in his first years in Tunisia, he went into seclusion in a cave and was completely isolated from the society and engaged in worship in a way that reminds us of the practices of the early ascetics. But in the second phase of his life in Tunisia, he went to the city on a spiritual sign, socialized, started to give sermons to people, and started to behave more flexible about eating and drinking. al-Shādhilī specifically states that he did not prefer socialization at this stage, but with a spiritual sign. Later, he went to Egypt again with a spiritual sign and got married there, started to deal with agriculture, and continued to socialize by establishing relations with the rulers. Therefore, it can be said that this new social period is a break both from the radical practices of the early ascetics and from the early period in Tunisia itself. It is also seen that in this new period of al-Shādhilī, he did not wear the clothes of ascetics like sūf (wool clothes) and did not want his followers to wear them. He also encouraged to have a profession and was generally against traveling without provisions. But there are two points to be noted here: First, these milder and more comfortable practices should not lead to a search for comfort and luxury. He continued to keep his distance from worldly blessings and to advise asceticism. Secondly, he had some of his distinguished disciples make some practices of the ascetics. The reason for the existence of these seemingly contradictory practices is that while he recommends moderate and sustainable practices to the general public and his followers, he can make the specialized sūfis more strict and difficult practices. While he was encouraging work and earning in general, not ignoring experience, including avoiding work; not ignoring seclusion while leading to sociality in general; while generally suggesting to resort to occasions, he also follows a path of implementing and enforcing radical practices such as traveling without food. Thus, al-Shādhilī is able to encompass all the seemingly incompatible practices of the previous sūfi accumulation with a point of view of spiritual rank and hierarchy. (shrink)

Haji Mustafa Efendi, also known as Şeyh-i Şirani, is a Sufi and scholarly figure. He was born in 1254/1838 in Sarıca village of Şiran district of Gümüşhane province. His father's name was Ömer Efendi and his mother was Havva Hatun. After receiving madrasah education in his hometown for about fifteen years, he continued his education in Trabzon, Tokat and Uşak. While advancing on the path of knowledge, he was inclined towards Sufism and went to Mecca, where he became affiliated (...) with Yahya Dagestani (d. 1319/1899), one of the sheikhs of the Naqshbandi sect. He served his sheikh for seven years and received Sufi training from him. Then, with the sign and permission of his sheikh, he returned to Anatolia and carried out guidance activities first in Niksar and then in Çorum. In Çorum, where he came in the 1870s, he built a lodge, trained dozens of khalifas and sent these students to various parts of Anatolia on a mission of guidance. Sultan II. Abdulhamit wanted to give him a gift, but since he did not accept this offer, he was exiled from Çorum to Afyon. Haji Mustafa Efendi from Şiran, who died in Medina in 1317/1899 as a result of his sixth pilgrimage, was buried in the Cennetü’l-Baki cemetery. In addition to his qualities as a scholar, murshid and guardian, Haji Mustafa Efendi was also interested in literature. There are ghazals, rubai and some couplets attributed to him. However, there is a lineage belonging to the Naqshbandi sect. Silsile, whose dictionary meaning is "succession, continuation of each other, genealogy", is a concept in Sufism that refers to the list of sheikhs of an order who continue by taking the icazet from each other. The document in which the nâmes that make up the lineage are recorded is called silsile-nâme. The tradition of writing silsile-nâme first appeared in Arab culture, and then passed on to Turkish culture. The first known example of this type in the history of Sufism is the silsila linking Ja'far al-Huldī (d. 348/959) to the Prophet (pbuh). In our culture, verse and prose series of orders belonging to various sects have been written. One of these is the verse series listing the genealogy of the Nakşibendî sect belonging to Haji Mustafa Efendi from Şiran. In the paper, after giving information about the life of Haji Mustafa Efendi from Şiran and his spiritual activities in Çorum, his lineage will be examined in terms of form and content. (shrink)

This paper employs textual analysis and comparative literary methods to examine the mystical and spiritual dimensions of D. H. Lawrence's Women in Love through the lens of sufi mysticism. It posits that Lawrence's engagement with sufi philosophy and literature significantly informed his portrayal of love as a transformative spiritual journey. By scrutinizing Lawrence's use of symbolism, imagery, and character development, particularly in the character of Birkin, the study aims to demonstrate how the novel reflects a profound resonance with sufi (...) concepts, such as the unity of the universe and the mystical path for knowledge. This comparative approach seeks to illuminate how Women in Love can be interpreted as a modernist exploration of spiritual fulfillment within a context of societal disintegration, thereby establishing its place within Lawrence's broader “New Man” fiction. Through Birkin, Lawrence explores the complexities of the human psyche and the potential for transcendence through a passionate, yet spiritually grounded love. The paper’s comparative approach seeks to illuminate how the novel contributes to Lawrence's broader “New Man” fiction, a visionary archetype striving for a harmonious integration of body, mind, and spirit. Lawrence’s “New Man” embodies a radical departure from traditional masculinity that collapsed after the war. The new archetype Lawrence envisions in the light of a sufi reading is not the product of societal expectations but an individual attempt at authenticity. (shrink)

A collection of the author's most influential essays and short works includes her critique of existentialism, her two dialogues on art and religion, key texts on the continuing importance of the sublime, the concept of love, and more.

In this deeply learned work, Toshihiko Izutsu compares the metaphysical and mystical thought-systems of Sufism and Taoism and discovers that, although historically unrelated, the two share features and patterns which prove fruitful for a transhistorical dialogue. His original and suggestive approach opens new doors in the study of comparative philosophy and mysticism. Izutsu begins with Ibn 'Arabi, analyzing and isolating the major ontological concepts of this most challenging of Islamic thinkers. Then, in the second part of the book, Izutsu (...) turns his attention to an analysis of parallel concepts of two great Taoist thinkers, Lao-tzu and Chuang-tzu. Only after laying bare the fundamental structure of each world view does Izutsu embark, in the final section of the book, upon a comparative analysis. Only thus, he argues, can he be sure to avoid easy and superficial comparisons. Izutsu maintains that both the Sufi and Taoist world views are based on two pivots--the Absolute Man and the Perfect Man--with a whole system of oncological thought being developed between these two pivots. Izutsu discusses similarities in these ontological systems and advances the hypothesis that certain patterns of mystical and metaphysical thought may be shared even by systems with no apparent historical connection. This second edition of Sufism and Taoism is the first published in the United States. The original edition, published in English and in Japan, was prized by the few English-speaking scholars who knew of it as a model in the field of comparative philosophy. Making available in English much new material on both sides of its comparison, Sufism and Taoism richly fulfills Izutsu's motivating desire "to open a new vista in the domain of comparative philosophy.". (shrink)

This book examines a series of common metaphors in the works of Derrida and the Sufism of Muhyddin Ibn 'Arabi, considered to be of the most influential figures in Islamic thought. The author addresses the significant absence of attention on the relationship between Islam and Derrida and also provides a deconstructive perspective on Ibn 'Arabi.

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)

Sufism and Early Islamic Piety: Personal and Communal Dynamics. By Arin Shawkat Salamah-Qudsi. Cambridge: camBridge universiTy Press, 2019. Pp. xvii + 315. $99.99, £75 ; $80.

Dervish lodges and cults were among the important elements of the Ottoman social life and in those times, they had spread to nearly all city centers, towns and villages. Dervish lodges served as non-formal educational institutions for people from all ages and all segments of the society. In addition to education, these structures also played important roles in political, economic, social and military life of the Ottoman Empire. In general, wise people and scholars contributed to the development and dissemination of (...) Islamic sciences in general, and specifically, mystic thought. As a matter of fact, it was determined that there were a great number of Dervish lodges that were founded or supported by shaykh al-Islam (the chief justice), kādī (judge), scholars and mudarrisīn (teachers) in the history of sufism. One of them was Mullah Çelebi Dervish Lodge, which was founded in the 16th Century by Mehmed Vusuli Efendi, who belonged to the Ilmiya class (d. 998/1590). Until today no detailed studies have been conducted on lodges, which continued their existence until 1925. For this reason, this article will be the first study that deals with the dervish lodges in the light of archive sources. In this article, which was written to shed light on the course of our sufi cultural history, the prominent names, shaykhs and physical status of the Dervish lodges, especially Mehmed Vusuli Efendi, who was the founder of these lodges, will be dealt with.Summary: Our country, which hosts scientific moral centers like dervish lodges, school, madrasa and masjids, has a rich historical cultural treasure. As it is already known, the above-mentioned institutions had an important place in the life of Ottoman social life. Dervish lodges and madrassas were considered as science and wisdom centers because there is no distinction between zāhir (exterior) and bātin (interior) in our tradition. Under then-present conditions, the institutions that were needed most were supported. In this sense, the sultans and scholars cared about the dervish lodges, which were the places where sciences were studied contributing to the construction of these structures. One of these was Mullah Çelebi Dervish Lodge, which was founded in the center of Eyupsultan by the Ottoman man of letter, poet and scholar, Mehmed Vusuli Efendi (d. 998/1590).Mullah Çelebi Dervish Lodge is located in the Debbaghane/Tabakhane (Tannery) district in the center of Eyupsultan. As Suleyman Çelebi stated, “the valiant ones worked in the Tannery”. For this reason, it is possible to say that there were tanners among the disciples and followers of Mullah Çelebi Dervish Lodge.Mullah Çelebi Dervish Lodge was built by Mehmed Vusuli Efendi, who belonged to the scholar class in the Ottoman Empire. Mehmed Vusuli Efendi, who served as a professor in various madrasahs, served as a kādī in cities like Konya, Kutahya and Istanbul. Mehmed Vusuli Efendi was called “Mullah” because of his madrasah origin and “Çelebi” because of being a member of the scholar class. For this reason, dervish lodge in question was known as Mullah Çelebi Dervish Lodge in his honor. Sources mention the religious, knowledgeable and modest personality of Mehmed Vusuli Efendi. In this sense, the establishment of a dervish lodge by someone from the scholar class is important in terms of being a sign of the togetherness of dervish lodges and madrasahs in the Ottoman Empire. In addition to his scientific personality, Mehmed Vusuli Efendi was also an important figure who wrote works both as prose and as poetry, and made some translations into Turkish. In addition to the Dervish Lodges mentioned here, Mehmed Vusuli Efendi also established mosques and public baths in various places in Istanbul and was interested in charity works. Cemaleddin Server Revnakoglu stated that he was given the nickname “FındıklıÇelebi” because he had established a mosque in Fındıklı District.Mehmed Vusuli Efendi was the son-in-law of Aise Hubbi Hatun (d. 997/1589), who was one of the lady poets of the 16th century divan literature. Aise Hubbi Hatun was the granddaughter of Kanuni Sultan Suleyman’s foster brother Yahya Efendi from Beşiktaş. Aise Hubbi Hatun was also the wife of Semsi Çelebi, who was one of the grandchildren of Aksemseddin. In this sense, Aise Hubbi Hatun was a person who served in the palace during the reign of Selim II. According to the sources, Mullah Çelebi was appointed to a post that was as high as being the kādī of Istanbul with the help of Aise Hubbi Hatun, who was one of the prominent figures of the palace. For this reason, Mehmed Vusuli Efendi was also known as “Hubba/Hubbi Mullah”.In the present study of ours on Mullah Çelebi Dervish Lodge, one of the most prominent lady poets was Serife Zubeyde Fitnat Hanım (d. 1194/1780). In the sources, some authors discussed whether Fitnat Hanım’s tomb was in Mullah Çelebi Dervish Lodge. Since there is no inscription on it, the tomb of Mehmed Vusuli Efendi was assumed to belong to Fitnat Hanım. Actually, in the past, Istanbul Tombs and Museums Directorate hung a plate saying that the tomb in question belonged to Fitnat Hanim. However, Bilgin Turnalı revealed that the tomb of Fitnat Hanım was not in the Mullah Çelebi Dervish Lodge in his article with the title “The Tomb of the Poet Fitnat Hanım”.The archive sources, which we can examine on Mullah Çelebi Dervish Lodge, generally belong to the 18th century and onwards. For this reason, the information on the establishment years of the Dervish Lodge was not determined fully. However, some of the archive sources reported some revenues of Mullah Çelebi Dervish Lodge. For example, it was recorded in the archives that payments were made to this Dervish Lodge in Muharramiya activities. As it is known, ceremonies were held in the Ottoman Palace in the month of Muharram, which was the initial month of the Hijri calendar, and a number of people and institutions in Istanbul and its surroundings were paid by the Sultan under the name of “Muharramiyya”.In Mullah Çelebi Dervish Lodge, there were some prominent shaykhs like Mahmud Efendi and Nureddin Efendi. For example, since Mahmud Efendi had a lot of influence on the lodge, it was named after him for a period of time. Another prominent shaykh in the above-mentioned dervish lodge was Nureddin Efendi. As a matter of fact, he was closely interested in the maintenance and repair works of the dervish lodge and the activities related to the cults, and applied to Evkāf-i Humāyūn many times for repair works. Mehmed Esref Sabri Efendi, who was the shaykh before the last one in this dervish lodge, contributed to the training of many people of cult, especially Saadeddin Ceylan, who was the shaykh of Haki Baba Lodge. The last shaykh of Mullah Çelebi Dervish Lodge was Hafiz Hussein Kamil Efendi, who was the son-in-law of Mehmed Esref Sabri Efendi.When the physical condition of Mullah Çelebi Dervish Lodge is examined, it is understood that it was ruined in some periods in the history due to erosion; and for this reason, it had renovations. It was determined that Mullah Çelebi Dervish Lodge, which belonged to the Kadiriyye cult, remained until the last period of the Ottoman Empire; however, after the closure of the dervish lodges in 1925, it disappeared rapidly. In our present day, two tombs that belong to Mehmed Vusuli Efendi and Aise Hubbi Hatun and a graveyard where the members of the lodge were buried are left behind from this Dervish Lodge. As it is known, Dervish Lodges had an important place in the religious, scientific, political and economic life of the Ottoman society. In this article, which was planned to examine the Ottoman sufi culture, the historical course of Mullah Çelebi Dervish Lodge, its founder, shaykhs, physical location, etc. were discussed in the light of the archive sources. (shrink)

Sufism : various dimensions -- Spiritual traditions in India -- Rabindranath Tagore and spiritualism -- Music, poetry, and spiritual traditions -- Educational perspectives -- Epitomes of Indian culture.

Anatolia is a very colorful geography in terms of history and culture, which has hosted many civilizations. He also has a very rich accumulation in terms of religion and Sufism. With the spread of Islam in Anatolia, the dervish lodges, which added a different color to social life besides mosques and madrasas, left permanent traces in the fields of art and literatüre as well as morality and spirituality with the efforts of mytics. Diwans, especially written in the field of (...) Sufi literatüre, are the most obvious fruits of this effort. Turkish and Kurdish Diwans were added to the Sufi Divans, which were generally written in Persian and Arabic. In the first quarter of the twentieth century, Sheikh Mustafa al-Abrî, who was a sheikh in the Sayyid Ayn al-Malak Lodge in Abri willage of Bulanık district of Muş, is one of the mystics who wrote Diwan in Kurdish. Sayyid Mustafa al-Abrî, who is the Qadirî sheikh, included important social and political events of his time and some influential personalities in his Diwan, besides mystical themes. In this article, his life and his Kurdish Diwan, will be examined. (shrink)

Today, Islamic scholars are faced with a very interesting situation: while in traditional Islamic societies, Sufism has lost some of its significance compared to the nineteenth and the first third of the twentieth century. and in republican turkey, we are also witnessing a kind of expansion of the sufism of the pas west, especially to the countries of europe, usa, canada and australia. Interestingly, in European countries, traditionally professed by Islam, Sufi tirades are quite widespread. This applies in (...) particular to Albania as well as to Bosnia and Herzegovina, Macedonia and the like. (shrink)

This article aims to discuss a Sufi-inspired traditional art and performance popular in Cirebon, the so-called “Brai”. The Brai is a traditional Islamic Sufism music popular among the Cirebonese. This traditional music combines sounds, lyrics, and dance that invite the practitioners and audiences to exercise the spiritual stages through music. The Brai performance follows the hierarchy of Sufi-state of minds and spiritual stages. Thus, as this article argues, the Brai is a par excellence model for the entanglement between Islam (...) and local culture. The Brai is indeed a way of the Cirebonese both to introduce Sufi-form of Islam and provides a performance where the profane arts and spiritual-Islamic Sufims are mutually entangled. (shrink)

In a lifelog, data from various sources are combined to form a record from which one can retrieve information about oneself and the environment in which one is situated. It could be considered similar to an automated biography. Lifelog technology is still at an early stage of development. However, the history of lifelogs so far shows a clear academic, corporate and governmental interest. Therefore, a thorough inquiry into the ethical aspects of lifelogs could prove beneficial to the responsible development of (...) this field. This article maps the main ethically relevant challenges and opportunities associated with the further development of lifelog technologies as discussed in the scholarly literature. By identifying challenges and opportunities in the current debate, we were able to identify other challenges and opportunities left unmentioned. Some of these challenges are partly explained by a blind spot in the current debate. Whilst the current debate focuses mainly on lifelogs held by individuals, lifelogs held by governmental institutions and corporations pose idiosyncratic ethical concerns as well. We have provided a brief taxonomy of lifelog technology to show the variety in uses for lifelogs. In addition, we provided a general approach to alleviate the ethical challenges identified in the critical analysis. (shrink)

Language and imagination play a prominent role in Merleau-Ponty’s early reflections on literature. The “literary use of language” is opposed to usual or ordinary language, and it is also assigned the task of rejuvenating the latter. Merleau-Ponty is here openly inspired by Saussure and more secretly by Bergson. Poetic language is said to effect a coherent deformation of a linguistic code and to liberate signifiers from their subordination under a subjective meaning that directly refers to external objects. Literature (...) also illustrates, in exemplary fashion, the creative power of imagination and the effective force of fictions. This is where the discussion with Sartre comes into the picture. The article explores, in particular, what personal identity and the meaning of real facts owe not only to language but also to the imagination of possibilities. It further investigates the different notions of truth that apply to literary works of art. Literature is also shown to undermine the conception of the relation between fact and meaning, actuality and possibility, reality and fiction, truth and semblance in terms of dual oppositions. Most importantly, literary fictions and narratives can make a real change in the life of writers and readers by unfolding their unrealized personal potentialities, by refining their emotional sensibility, and by distancing them from themselves. In all this, an imaginative mode of ‘projection’ plays a central role. Le langage et l’imagination jouent un rôle de premier plan dans les réflexions de Merleau-Ponty sur la littérature. « L’usage littéraire du langage » est opposé au langage usuel ou ordinaire, et la tâche lui est également dévolue de rajeunir ce dernier. Merleau-Ponty s’inspire ouvertement de Saussure et plus secrètement de Bergson. Le langage poétique est dit effectuer une déformation cohérente du code linguistique et libérer les signifiants de leur subordination à une signification subjective qui réfère directement aux objets externes. La littérature illustre également, de manière exemplaire, la puissance créatrice de l’imagination et la force effective de la fiction. Ici la discussion avec Sartre entre en jeu. Mon article explore en particulier ce que l’identité personnelle et la signification des faits réels doit non seulement au langage, mais également à l’imagination des possibilités. Il discute également les différentes notions de vérité qui s’appliquent aux oeuvres d’art littéraires. Je montre aussi que la littérature empêche de concevoir comme des oppositions duelles les relations entre fait et signification, actualité et possibilité, réalité et fiction, vérité et vraisemblance. Par dessus tout, les fictions et narrations littéraires peuvent provoquer de réels changements dans la vie des écrivains et des lecteurs en déployant leurs potentialités personnelles non réalisées, en affinant leur sensibilité émotionnelle et en se distanciant d’eux-mêmes. Dans tout cela, le mode imaginatif de la projection joue un rôle central.Linguaggio e immaginazione rivestono un ruolo centrale nelle prime riflessioni di Merleau-Ponty sulla letteratura. L’“uso letterario del linguaggio” viene opposto al linguaggio ordinario o quotidiano e al primo viene inoltre assegnato l’incarico di rinnovare il secondo; in questo, Merleau-Ponty si ispira apertamente a Saussure e, in modo meno manifesto, a Bergson. Il linguaggio poetico è ritenuto in grado di imprimere una deformazione coerente a un determinato codice linguistico e di liberare i significanti dalla loro subordinazione a un significato soggettivo che si riferisce direttamente a oggetti esterni. La letteratura, inoltre, illustra in modo esemplare il potere creativo dell’immaginazione e la forza effettiva della finzione letteraria. È qui che entra in gioco la discussione con Sartre. Questo articolo esplora, in particolare, ciò che l’identità personale e il significato dei fatti reali debba non solamente al linguaggio, ma anche all’immaginazione delle possibilità; indaga inoltre le diverse nozioni di verità che possono essere applicate all’opera d’arte letteraria. L’articolo mostra poi come la letteratura possa mettere in discussione il carattere di opposizione binaria della relazione tra fatto e significato, attualità e possibilità, realtà e finzione, verità e verisimiglianza. In maniera significativa, le finzioni e le narrazioni letterarie possono cambiare la vita di scrittori e lettori svelando le loro potenzialità personali irrealizzate, raffinando la loro sensibilità emotiva e ponendoli a distanza da se stessi. In tutto questo, una modalità immaginativa di “proiezione” svolge un ruolo di primaria importanza. (shrink)

Recent philosophical discussion about the relation between fiction and reality pays little attention to our moral involvement with literature. Frank Palmer's purpose is to investigate how our appreciation of literary works calls upon and develops our capacity for moral understanding. He explores a wide range of philosophical questions about the relation of art to morality, and challenges theories that he regards as incompatible with a humane view of literary art. Palmer considers, in particular, the extent to which the values (...) and moral concepts involved in our understanding of human beings can be said to enter into our understanding of, and response to, fictional characters. The scope of his discussion encompasses literary aesthetics, ethics, and epistemology, and he makes extensive reference to literary examples. (shrink)