This book presents a powerful new film-philosophy through the cinema of Iranian director Abbas Kiarostami. Mathew Abbott argues that Kiarostami's films carry out cinematic thinking: they do not just illustrate pre-existing philosophical ideas, but do real philosophical work. Crossing the divide between analytic and continental philosophy, he draws on Ludwig Wittgenstein, Stanley Cavell, John McDowell, Alice Crary, Noël Carroll, Giorgio Agamben and Martin Heidegger, bringing out the thinking at work in Kiarostami's later films: Taste of Cherry, The Wind Will (...) Carry Us, ABC Africa, Ten, Five, Shirin, Certified Copy, and Like Someone in Love"--Back cover. (shrink)

O presente artigo devota-se a descrever e analisar o endereçamento à infância em algumas obras cinematográficas de Abbas Kiarostami. Para tanto, a argumentação volta-se inicialmente à contextualização da Revolução Iraniana de 1979, responsável pelo fim do regime monárquico do Xá Reza Pahlavi, que tinha a laicidade e a modernidade como motes, e pelo o início da República Islâmica do Irã, centrada na figura do Aiatolá Khomeini e apoiada na tradição islâmica. Nesse cenário, destaca-se o papel do Instituto para o (...) Desenvolvimento Cultural da Criança e do Adolescente, referido como Kanun. Fundado com o propósito de criar obras de cunho educativo durante o regime do Xá, o Kanun foi de fundamental importância para a produção artístico-cultural do país, tanto antes quanto depois da Revolução. Especialmente, seu departamento de cinema, no qual vários cineastas iniciaram suas carreiras (entre eles, Kiarostami, o primeiro diretor do departamento), é considerado o berço do movimento reconhecido como o Novo Cinema Iraniano. Assim, o presente trabalho debruça-se sobre as narrativas acerca da infância presentes em tais filmes, considerando a ambiência pós-revolucionária e, presumidamente, a tarefa de construção de um novo sujeito histórico a partir de um marco outro para a infância. Mais especificamente, o trabalho oferece uma análise articulada de seis obras cinematográficas de Kiarostami produzidas no período de 1970 a 1989. Em todas elas é possível testemunhar uma interrogação sobre a posição das crianças naquele contexto societário. Após uma discussão sobre o uso de filmes como fonte investigativa, apresentam-se três movimentos argumentativos identificados em tais obras, intitulados respectivamente: a criança à margem da sociedade; a criança no centro da sociedade; e a criança da revolução. Ao final das discussões, propõe-se que o cinema de Kiarostami consistiu em um ponto de inflexão das modalidades de veridicção-subjetivação ali correntes. Tratava-se, assim, em um tipo peculiar de exercício ético-político, por meio de uma experimentação narrativa que se valia do universo infantil como ocasião de prospecção dos ideais do processo revolucionário. (shrink)

Ludwig Wittgenstein's notion of aspect-seeing, and Stanley Cavell's notion of aspect-blindness, allow us to situate Abbas Kiarostami's quasi-documentary Close-Up as a radical revision of the genre that fundamentally challenges our assumptions about truth and representation in documentary film. Considering the film through the lens of Wittgenstein's and Cavell's philosophies of seeing puts pressure on the ethical dimension of the process of seeing as it is both enacted by and represented in the film. Kiarostami brings to the foreground the intransigent (...) aspects of documented reality and unsettles certain aspects of the documentary process. In doing so, he reveals our blind spots about what we think documentary film does, or ought to do. Close-Up blends layers of the real: part documented present and part re-enacted past, the film recreates the story of a real group of people who become actors playing themselves, re-enacting the story for Kiarostami's camera, repeating all of their “lines” exactly (or... (shrink)

First published in 2008. Routledge is an imprint of Taylor & Francis, an informa company.

Este artigo tem como meta discutir duas questões: em que medida se pode entender que Ibn ‘Arabī e suas concepções influenciaram ou estão presentes na obra fílmica “Bābā ʻAzīz, o príncipe que contemplou sua alma”? Por outro lado, também se almeja ler algumas cenas desta produção cinematográfica a partir do pensamento do _Šay__ḫ al-akbar_. Neste sentido, em um primeiro momento, discute-se a concepção de “Cinema Espiritual” e “Cinema Místico”. Em seguida, apresenta-se as raízes da produção cinematográfica e artística de Nacer (...) Khemir, para, por fim, discutir a presença de Ibn ‘Arabī neste filme, bem como estabelecer leituras akbarianas acerca do mesmo a partir de 4 tópicos: 1. a perspectiva akbari acerca dos diversos caminhos que levam a Deus; 2. o olhar místico/contemplativo que propicia “ver” o Real (_Ḥaqq_) com os olhos do próprio Real, acessando seu segredo (_sirr_); 3. O desvelamento do Real mediado por uma mulher; 4. a concepção acerca do conhecimento por desvelamento, diferenciando-se do conhecimento racional. A metodologia utilizada foi de pesquisa bibliográfica e de análise da imagem e do som. Concluímos que há influência akbariana em Bābā ʻAzīz, assim como compreendemos que estabelecer um tipo de leitura akbariana propicia enriquecedoras chaves de leitura a esta obra. (shrink)

A post-photographic cinema. The myth of "the myth of total cinema" -- The matrix: "a prison for your mind" -- The new realness -- Quid est veritas: the reality ofunspeakable suffering -- Social network -- Postscript: total cinema redux -- A chronicle of theBush years. 2001: after September 11 -- 2002: the war on terror begins -- 2003: invading Iraq-- 2004: Bush's victory -- 2005: looking for the Muslim world -- 2006: September 11, theanniversary -- 2007: what was Iraq and (...) where? -- 2008: the election -- Notes toward a syllabus.In praise of love (Jean-Luc Godard, 2001) -- Avalon (Mamoru Oshii, 2001) -- Avant-garde goesdigital: Corpus callosum, Cotton Candy, and Razzle Dazzle -- Russian ark (AlexanderSokurov,2002) -- Ten (Abbas Kiarostami, 2002) -- Goodbye Dragon Inn (Tsai Ming-Liang,2002) -- Dogville (Lars Von Trier, 2003) -- The world (Jia Zhangke, 2004) -- Battle in heaven(Carlos Reygadas, 2005) -- The death of Mr. Lazarescu (Cristi Puiu, 2005) -- Day night daynight (Julia Loktev, 2006) -- Southland tales (Richard Kelly, 2006) -- Inland empire (DavidLynch, 2006) -- Between darkness and light (after William Blake) (Douglas Gordon, 1997/2006)-- Lol (Joe Swanberg, 2006) -- Flight of the red balloon (Hou Hsiao-Hsien, 2007) -- Hunger(Steve McQueen, 2008) -- Opening ceremonies, Beijing Olympics (August 8, 2008) -- Carlos(Olivier Assayas, 2010) -- The strange case of Angelica (Manoel de Oliveira, 2010) -- Onceupon a time in Anatolia (Nuri Bilge Ceylan, 2011). (shrink)

The specific type of torture to which Abu Ghraib prisoners were submitted was predicated on the assumption that hejab, or the islamic system of modest, makes Muslims especially vulnerable to shame. This paper investigates this supposed link between hejab and the affect of shame through an analysis of the philosophical and psychoanalytic literature on shame and the films of the iranian filmmaker, Abbas Kiarostami. Beginning with a discussion of the massive impact of hejab regulations on Iranian cinema, the author (...) shows how Kiarostami’s critique of these regulations becomes a powerful argument for shame as against the modesty system. (shrink)

1. Ḥāshīyat al-Ṣabbān ʻalá al-Sharḥ al-Ṣaghīr lil-Mullawī ʻalá al-Sullam al-murawnaq -- 2. Taqrīrāt Ḥasan ibn Riḍwān al-Ḥusaynī.

Este artículo explora la relación entre la filosofía del límite de Eugenio Trías y el sufismo de Ibn ʿArabī. En primer lugar, pretende explicar la función de la filosofía de la religión en el sistema triasiano y por qué el maestro andalusí ocupa un lugar privilegiado en ella. Segundo, se ocupa de algunos aspectos esenciales de la doctrina akbarí que la filosofía del límite obtura, como la declaración de la unidad del Ser (tawḥīd), la conjugación de lo exotérico y lo (...) esotérico, la superación de la propia creencia, el camino de la servidumbre (ʿubūdiyya), el tránsito de la pasión súbita de amor (hawā) al amor espiritual (ḥubb), la caballería espiritual (futuwwa) y la morada de la no-morada (maqām lā maqām), los cuales comparten un nexo común: el trascendimiento de lo egoico y el interés en el otro en tanto otro. Finalmente, se defenderá que la obturación triasiana se debe tanto al influjo de Henry Corbin, como sobre todo, a las propias limitaciones de su proyecto filosófico, para el que el Ibn ʿArabī ausente constituye una suerte de sombra. (shrink)

This paper reveals the concept of ma'rifa developed by Ibn al-'Arabi (d.1260), , especially in his magnum opus, Fuṣūṣ al-Ḥikam, the late work considered to the synthesis of his doctrine of metaphysics represented through the wisdom of each prophet; their uniqueness of divinely inspired and their epitome of spiritual perception, concerning the knowledge of God. It shows the transformative role of the prophet’s messages involving in the deeper creative process of divine-human dialogue, calling and response, that is repeatedly mentioned in (...) the Qur’an. Ibn ‘Arabi emphasized the importance of perceiving the direct relationship between all of creation and the divine Names and Attributes (al-asmā’ wa-l-sifāt al-ilāhiyyah), between creation as outward manifestation and as inward spiritual awareness (rūh). Everything that exists and is experienced in reality is the manifestation (tajallī) of different divine Names. (shrink)

The night journey (isrā’) and ascension (mi‘rāj) represent arguably the most significant and unique events in the life of Prophet Muḥammad. However, the influential Sufi thinker Muḥyī al-Dīn ibn ‘Arabī (d. 638/1240) argues that the Prophet had thirty-four night journeys of which only one was physical. This physical night journey, and the ascension that took place with it, was the one in which he was given the five daily prayers. Ibn ‘Arabī thus employs the secondary night journeys and ascensions of (...) Prophet Muḥammad to delineate a point of emulation between the Prophet’s spiritual experience and those of his nation. Muslims can also have their own ascensions, but their journeys cannot be physical, and, analogously, cannot have autonomous legislative authority. They can, nevertheless, cause a change in their perception that allows them to see the world as it truly is: a manifestation of the divine Names. (shrink)

Muḥyī al-Dīn ibn ‘Arabī (d. 638/1240) is arguably the most influential philosophical mystic in Islam. He is also a presentist. This paper responds to the arguments of contemporary philosophers, Norman Kretzmann, William Lane Craig, Garrett DeWeese, and Alan Padgett, who argue that divine atemporality and temporal presentism are incompatible, through the temporal ontology of Ibn ‘Arabī. Ibn ‘Arabī asserts that all entities in the universe are loci of manifestation of God’s most beautiful Names. These divine Names constitute sensible reality. The (...) principal response of Ibn ‘Arabī to the arguments of contemporary scholars is that the divine Names as they are manifested in the cosmos cannot be conflated with the divine Names as they are in themselves, which, in turn, cannot be conflated with God in His numinous essence. This allows him to simultaneously maintain the atemporality of God and temporal presentism. (shrink)

Followers of Ibn ʿArabī are considered to constitute an “Akbari” school of thought. The use of the term ‘school’ assumes some sort of cohesion, but the nature of this has been little studied. I argue that adherents found a substitute for the in-person study sessions (sing. majlis) that were common among Sufis, by identifying Fuṣūṣ al-ḥikam with Ibn ʿArabī. Thus they were able to establish a direct connection with their preferred master by reading and commenting on this book. By placing (...) their own commentary among other commentar­ies on the Fuṣūṣ, they created a bookish majlis; a dialogue with their master and other students similar to an in-person majlis. Whether conscious or subconscious, this idea became prevalent: no real organization such as a Sufi order came to be, but instead we have dozens and dozens of direct commen­taries. Making Fuṣūṣ al-ḥikam an icon for Ibn ʿArabī became, at times, so strong as to turn the book into an idol or effigy. (shrink)

Kitāb al-Mabādiʼ wa-al-ghāyāt fi-̄mā tataḍammanah ḥurūf al-muʻjam min al-ʻajāʼib al-āyāt -- Kitāb Mīm wa-al-wāw wa-al-nūn -- Kitāb al-Alif, wa-huwa kitāb al-aḥadīyah -- Kitāb al-bāʼ, wa-huwa Kitāb al-ḥaqāʼiq al-ilahīyah -- Risālat al-ḥarf wa-al-maʻná, wa-huwa tafhīm maʻānī al-ḥurūf -- Kitāb al-yāʼ, wa-huwa Kitāb al-hūw -- Risālat al-kalām fi ̄ḥurūf al-muʻjam wa-maʻānīhā -- Risālat al-ʻiqd al-manẓūm fī khawāṣṣ al-ḥurūf.

_Is psychoanalysis possible in the Islamic Republic of Iran?_ This is the question that Gohar Homayounpour poses to herself, and to us, at the beginning of this memoir of displacement, nostalgia, love, and pain. Twenty years after leaving her country, Homayounpour, an Iranian, Western-trained psychoanalyst, returns to Tehran to establish a psychoanalytic practice. When an American colleague exclaims, "I do not think that Iranians can free-associate!" Homayounpour responds that in her opinion Iranians do nothing but. Iranian culture, she says, revolves (...) around stories. Why wouldn't Freud's methods work, given Iranians' need to talk? Thus begins a fascinating narrative of interlocking stories that resembles--more than a little--a psychoanalytic session. Homayounpour recounts the pleasure and pain of returning to her motherland, her passion for the work of Milan Kundera, her complex relationship with Kundera's Iranian translator, and her own and other Iranians' anxieties of influence and disobedience. Woven throughout the narrative are glimpses of her sometimes frustrating, always candid, sessions with patients. Ms. N, a famous artist, dreams of abandonment and sits in the analyst's chair rather than on the analysand's couch; a young chador-clad woman expresses shame because she has lost her virginity; an eloquently suicidal young man cannot kill himself. As a psychoanalyst, Homayounpour knows that behind every story told is another story that remains untold. _Doing Psychoanalysis in Tehran_ connects the stories, spoken and unspoken, that ordinary Iranians tell about their lives before their hour is up. (shrink)

The influence of Ibn 'Arabi, the 12th century Andalusian mystic philosopher extended beyond the Muslim world from Spain, to China, to Indonesia. Interest in Ibn 'Arabi in the west has grown over the last century. Ibn Arabi and the Contemporary West examines 'Arabi's teachings through the work of the Beshara Trust and the Muhyiddin Ibn 'Arabi Society. The study investigates how the Beshara School has used Ibn 'Arabi's teachings in assisting a range of students from around the world towards personal, (...) spiritual development and how the Muhyiddin Ibn 'Arabi Society has evolved into an international organisation with increasing influence in both the West and the Muslim world. (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)

El murciano Ibn ‘Arabí es, sin duda, uno de los autores, pensadores, visionarios y contemplativos de mayor altura —y, probablemente, de más proyección universal— que ha alumbrado este país, por más que su ingente e importante obra haya sido prácticamente ignorada. Este trabajo es una invitación a navegar por el «océano sin orillas» que constituye la vida y obra del más grande de los maestros, procurando que sea su propia voz la que vaya relatando algunos de los hitos externos e (...) internos de su vida y describiendo los rasgos más importantes de su pensamiento. (shrink)

Ibn Arabi y Swedenborg son dos pensadores ideales del movimiento que llamamos ''filosofía figurativa'', es decir. un pensamiento que se caracteriza por una sistematización de la realidad utilizando figuras, imágenes e ilustraciones, en lugar de utilizar conceptos. Eso significa implícitamente una experiencia del mundo y de Dios determinada por las observaciones personales y el pluralismo ontológico. Por lo tanto, Ibn Arabi y Swedenborg son vistos como representantes de una espiritualidad alejada del principio de incertidumbre y del absoluto único.

Este artículo presente y analiza el legado de Abū Madyan cuyas bases van a quedar ilustrado perfectamente en el posterior desarrollo del sufismo andalusi-magrebi de origen šāḏilī y la doctrina de ibn ‘Arabī: traduccion española y estudio critico de las evidencias y cotejos textuales, ensenanzas y practicas espirituales y funcionalidad social.

The present essay seeks to analyze the reflections on cinematographic art proposed by Jean-Luc Nancy, referring in particular to his L’Évidence du film. Abbas Kiarostami (2001) as well as to other studies where the author reconsiders the concepts of image and gaze. The specifity of films lies in “evidence”, which is a way to affirm the finite character of existence-presence. Cinema addresses the world without any form of realism. It is reality itself to open out to the image. What (...) results is a possible gaze which is no longer on representation and nor can it be a representative gaze. This gaze does not look at any object; the very act of seeing can be seen through it. (shrink)

al-juzʼ al-awwal. rubʻ al-ʻibādāt wa-rubʻ al-ʻādāt wa-yashtamil ʻalá al-manhaj, al-ʻaqāʼid, al-ʻibādāt, al-muʻāmālāt, al-ādāb-- al-juzʼ al-thānī.

This essay begins by offering a reading of Iranian filmmaker Abbas Kiarostami's Certified Copy, in which we are unable to decide whether or not the couple we see there is married. But rather than coming down ourselves on one side or another, we ask why it is that their love for each other might be expressed only through their game-playing. And we follow this confusion between the real and the artificial throughout Kiarostami's career – from the “lie” that structures (...) social reality in Where is the Friend's House? through the character Sabzian's “confession” in Close-Up and beyond. We argue that it is in its putting together of the real and the fictional that Kiarostami's cinema at once continues and marks a break with Italian Neo-Realism and with usual conceptions of the “spiritual.” In Kiarostami's cinema, the spiritual is not to be opposed to the real or the represented, but is only to be seen through them. That other world is here, just as the afterlife is now. (shrink)

Muḥyī al-Dīn Ibn ‘Arabī (d. 638/1240) is regarded as one of the foremost mystical thinkers in Islam. This paper explores the ways in which he and his followers distinguish between the reality of Muḥammad (al-ḥaqīqa al-Muḥammadiyya) or the light of Muḥammad (al-nūr al-Muḥammadī), as the metaphysical reality of Muḥammad, and his metahistorical manifestation as Muḥammad Ibn ‘Abd Allāh. In his metaphysical reality, Muḥammad is the manifestation of the qur’ān, which ‘brings together’ the divine and His creation. Muḥammad’s metaphysical reality, as (...) the primary recipient of the divine outpouring, enables further differentiations of the divine to emerge in the form of the universe, and establishes his connection to the divine. Yet the Qur’an is also temporal in terms of being an historical act of revelation. Likewise, Muḥammad Ibn ‘Abd Allāh, in terms of his physical reality, was temporally circumscribed. It is in these ways, argues Ibn ‘Arabī and his acolytes, that Muḥammad, as reality and personality, brings together the divine and the temporal, in the same manner as the qur’ān/Qur’an respectively. (shrink)

El presente artículo es un estudio sobre las diferenciaciones (aqsām) del amor, uno de los puntos más importantes del principal escrito que Ibn ʿArabī dedicó a la cuestión amorosa, el capítulo 178 de Las Iluminaciones de La Meca (al-Futūḥāt al-Makkiyya). A través de un juego de oscilación y equilibrio entre perspectivas ontológicas y epistemológicas aparentemente enfrentadas –incomparabilidad/similaridad, oculto/manifiesto, unidad/multiplicidad, espíritu/cuerpo– y un recurrente manejo del lenguaje de las alusiones (išāra), el maestro andalusí distingue entre amor divino (ilāhī), espiritual (rūḥānī), natural (...) (ṭabī‘ī) y elemental (ʿunṣurī). Se ofrece un análisis y comentario del texto akbarí que pretende aclarar la especificidad de cada una de estas nociones, así como su íntima relación con el discurso amoroso del autor. (shrink)

"Henry Corbin's works are the best guide to the visionary tradition.... Corbin, like Scholem and Jonas, is remembered as a scholar of genius. He was uniquely equipped not only to recover Iranian Sufism for the West, but also to defend the principal Western traditions of esoteric spirituality."--From the introduction by Harold Bloom Ibn 'Arabi (1165-1240) was one of the great mystics of all time. Through the richness of his personal experience and the constructive power of his intellect, he made a (...) unique contribution to Shi'ite Sufism. In this book, which features a powerful new preface by Harold Bloom, Henry Corbin brings us to the very core of this movement with a penetrating analysis of Ibn 'Arabi's life and doctrines. Corbin begins with a kind of spiritual topography of the twelfth century, emphasizing the differences between exoteric and esoteric forms of Islam. He also relates Islamic mysticism to mystical thought in the West. The remainder of the book is devoted to two complementary essays: on "Sympathy and Theosophy" and "Creative Imagination and Creative Prayer." A section of notes and appendices includes original translations of numerous Su fi treatises. Harold Bloom's preface links Sufi mysticism with Shakespeare's visionary dramas and high tragedies, such as The Tempest and Hamlet . These works, he writes, intermix the empirical world with a transcendent element. Bloom shows us that this Shakespearean cosmos is analogous to Corbin's "Imaginal Realm" of the Sufis, the place of soul or souls. (shrink)

In _Knowing God_, Ismail Lala investigates the nature of God and whether we can truly know Him according to the influential mystic, Muḥyī al-Dīn ibn ʿArabī, and his disciple, ʿAbd al-Razzāq al-Qāshānī.

In this volume Henry Corbin emphasizes the differences between the exoteric and esoteric forms of Islam. He also reveals that whereas in the West philosophy and religion were at odds, they were inseparably linked, at least during this period, in the Islamic world. A valuable section of notes and appendices includes original translation of numerous Sufi treatises.

En su gran texto dedicado al amor — el capítulo 178 de _Las Iluminaciones de La Meca_—, Ibn ʿArabī comenta siete cualidades (_ṣ__ifāt_) que, según el Corán, suscitan el amor de Dios hacia los seres humanos. A lo largo de nuestro trabajo analizaremos el comentario akbarí y mostraremos cómo la clave para actualizar dichas cualidades consiste en_ hacer del propio ser un regalo de __amor_. O lo que es lo mismo: realizar un movimiento análogo al de Dios en cuanto que (...) El Omni-Compasivo (_al-Ra__ḥ__mān_), Quien a cada instante, de modo incondicional y sin esperar nada a cambio, asiste amorosamente a todas y cada una de Sus criaturas. (shrink)

This article explores the relationship between the philosophy of the limit of Eugenio Trías and the sufism of Ibn ʿArabī. Firstly, it explains the function of the philosophy of religion in the triasian system and why the andalusian master has a privileged position. Secondly, it presents some essential aspects of the akbarian doctrine obtured by the philosophy of limit, as the declaration of the unity of Being, the path of servanthood, the transit from the sudden passion of love to the (...) spiritual love, the spiritual knighthood and the station of no-station. All of them share a common element: the trascendence of the egoic and the interest on the other as other. Finally, the article defends that Trias obturates the andalusian master doctrine due to the influence of Henry Corbin and mainly to the own limitations of its own philosophical project. The absent Ibn ʿArabī will be its shadow. (shrink)

The thirteenth century mystic Ibn ʻArabi was the foremost Sufi theorist of the premodern era. For more than a century, Western scholars and esotericists have heralded his universalism, arguing that he saw all contemporaneous religions as equally valid. In Rethinking Ibn ʻArabi, Gregory Lipton calls this image into question and throws into relief how Ibn ʻArabi's discourse is inseparably intertwined with the absolutist vision of his own religious milieu-- that is, the triumphant claim that Islam fulfilled, superseded, and therefore abrogated (...) all previous revealed religions. Lipton juxtaposes Ibn ʻArabi's absolutist conception with the later reception of his ideas, exploring how they have been read, appropriated, and universalized within the reigning interpretive field of Perennial Philosophy in the study of Sufism. The contours that surface through this comparative analysis trace the discursive practices that inform Ibn ʻArabi's Western reception back to the eighteenth and nineteenth century study of 'authentic' religion, where European ethno-racial superiority was wielded against the Semitic Other - both Jewish and Muslim. Lipton argues that supersessionist models of exclusivism are buried under contemporary Western constructions of religious authenticity in ways that ironically mirror Ibn ʻArabi's medieval absolutism. (shrink)