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Iman Lechkar

the actions propagated by hawza s and Shia Islamic scholars, it also includes a repertoire of emotions. In particular, during events such as the Salat al-Janaza (Islamic funeral prayer), and the white march against violence that took place on 18 March 2012 in Brussels, Belgian-Moroccan Shi

Eleazar Gutwirth

disputations (including Castro’s Disputa ), the asymmetry between the apparent request for information and the actual, real speech. These indirect speech acts concern emotions that translate into exclamation, complaints, doubt and desire. Without duplicating the whole work, one notes amongst her selection of

Julia Bray

* This paper follows on from a contribution to a Roundtable on Abbasid slavery moderated by Matthew Gordon (Bray, Toward an Abbasid History of Emotions); a paper on “The New Psychology of Ninth-Century Baghdad: Self-Concepts vs. Social Codes,” given on the kind invitation of Professor Beatrice

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Edited by Kishwar Rizvi

Affect, Emotion and Subjectivity in Early Modern Muslim Empires presents new approaches to Ottoman Safavid and Mughal art and culture. Taking artistic agency as a starting point, the authors consider the rise in status of architects, the self-fashioning of artists, the development of public spaces, as well as new literary genres that focus on the individual subject and his or her place in the world. They consider the issue of affect as performative and responsive to certain emotions and actions, thus allowing insights into the motivations behind the making and, in some cases, the destruction of works of art. The interconnected histories of Iran,Turkey and India thus highlight the urban and intellectual changes that defined the early modern period.

Contributors are: Sussan Babaie, Chanchal Dadlani, Jamal Elias, Emine Fetvaci, Christiane Gruber, Sylvia Hougteling, Kishwar Rizvi, Sunil Sharma, and Marianna Shreve Simpson.

K. Dalgleish

SOME ASPECTS OF THE TREATMENT OF EMOTION IN THE D � W � N OF AL-ACSH � The precise connection between poetry and emotion does not provide a problem that can be analysed to give a single "correct" solution. Generalisations of the "emotion recollected in tranquillity" type may be accepted within

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Kishwar Rizvi

to say, one may consider affect to be a physical or mental response to artistic and cultural productions that are themselves manifestations of personal, social, and communal experiences. The essays in this volume consider the issue of affect as performative as well as responsive to certain emotions

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Jamal J. Elias

the status of Sufis relative to other members of society, each other, as well as societal notions of what being a Sufi implies. My intention here is to focus on the representation of emotion in biographical and other works dealing with the Mevlevi Sufi order. The material analyzed here is of a variety

Gürcan Koçan and Ahmet Öncü

protestors wishing to express their emotions did not refer to specific political ideologies or the discourses of formal political parties. Nevertheless, the Gezi Revolt played a significant role in the diffusion of ideas and values. What is more, the merging of a multitude of individuals with varied and

Pernilla Myrne

emotion not bound by gender. According to Lisān al-ʿArab, ghayra designates disdain and anger ( anafa and ḥamiyya ) and seems to be caused not by love but by possessiveness and a sense of justice. 1 It is an emotion as well as a code of conduct for men, in the sense of “a man’s dislike of another

Nermin Allam

the uprising has changed them, and that “things cannot go back to the old days,” 1 notwithstanding their disappointment over the turn of events. The study is situated within the literature on emotions and contentious politics. Scholars within this tradition analyse the affect dimension of the