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Abstract
The veneration of the relics of the prophet Muḥammad constitutes one of the main forms of devotion to his person throughout the centuries. Approaching the Prophet’s relics, touching them directly or touching objects that have been in contact with them, as well as drinking liquids that carry the blessing of those relics, means for the believer to enter into the very presence of the Prophet. As in other religious and political contexts, the Prophet’s relics have also played a role in legitimising political power in Islamic societies, as some rulers have used them to strengthen their connection to the source of authority in Islam, the Prophet himself. They also transferred these relics to peripheral areas of the Islamic world, using them as foundational elements of religious and civil buildings and thereby conferring them a central role in the development of Islamic societies.
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Abstract
More than thirty years after the first celebrated attempt to portray the Prophet Muhammad on the big screen (The Message, 1976), we have witnessed, from the new millennium onwards, a new wave of movies and tv series that focus on Islamic religious topics, in particular on the life of the Prophet. In this battle for hegemony in the visual representation of Islamic themes, the most active players are the Muslim Brotherhood Society, operating from their well-funded new base in Qatar, and Iranian Shi‘ism. Between movies and tv series designed and realized on the life of the Prophet, and the series created for the month of Ramadan on the life of prophets and prominent religious authorities of the past, the list is enriched every year with new titles. These are now able to find global diffusion and exert a global influence through various pay and free access streaming platforms. Some of these productions seem to match the needs of political propaganda of certain Islamic denominations, in some cases even winking at the action of certain radical movements.
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Abstract
During the past decade, the Islamic world has been the theater for destroying several holy places. At first glance, the destruction would lead us to link them to an iconoclastic nature considered inherent to Islam, but what is the actual nature of the destruction? This article argues that the destruction cannot be associated with iconoclastic acts occurring during the very first phase of Islam—often used as motivation by the groups undertaking these actions. The destruction hides other theological and political motivations originating from Islamic Reform thoughts. Indeed, the primary reason seems to be the attempt formulated by some reformist movements, in the context of Islamic societies, to impose themselves not only from the point of view of the hegemony of the religious discourse but also to impress their principles as far as possible into religious landscapes of Islamic countries where they succeeded in assuming political control. Lastly, this attempt presents famous antecedents in the contemporary history of the Islamic world.
"Origins", Transmissions, and Metamorphoses of Adab literature
The notion of adab is at the very heart of the Islamicate cultures. Born in the crucible of the Arabic and Persian civilisations of the Late Antiquity period, nourished by Greek, Syriac and Indian influences, this polysemic notion could cover a variegated range of meanings, ranging from good behaviour, good manners, etiquette, proper knowledge of the rules, to belles-lettres, and finally, literature. This volume addresses the notion of adab through four perspectives, which correspond to the four parts into which it is divided: “Origins”; “Transmissions”; “Metamorphosis” of the “Origins” and finally “Origins” through the lens of modernity.
"Origins", Transmissions, and Metamorphoses of Adab literature
The notion of adab is at the very heart of the Islamicate cultures. Born in the crucible of the Arabic and Persian civilisations of the Late Antiquity period, nourished by Greek, Syriac and Indian influences, this polysemic notion could cover a variegated range of meanings, ranging from good behaviour, good manners, etiquette, proper knowledge of the rules, to belles-lettres, and finally, literature. This volume addresses the notion of adab through four perspectives, which correspond to the four parts into which it is divided: “Origins”; “Transmissions”; “Metamorphosis” of the “Origins” and finally “Origins” through the lens of modernity.
Page:12