Relevant bibliographies by topics / Arabic Sufi poetry

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Arabic Sufi poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Arabic Sufi poetry"

1

Ogunnaike, Oludamini. "The Presence of Poetry, the Poetry of Presence." Journal of Sufi Studies 5, no. 1 (May 23, 2016): 58–97. http://dx.doi.org/10.1163/22105956-12341283.

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The composition and performance of Arabic Sufi poetry is the most characteristic artistic tradition of West African Sufi communities, and yet this tradition has yet to receive the scholarly attention it deserves. In this article, I sketch an outline of a theory of Sufi poetics, and then apply this theory to interpret a performance of a popular Arabic poem of the Senegalese Shaykh Ibrahim Niasse (d. 1975), founder of the most popular branch of the Tijāniyya in West Africa.
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Brigaglia, Andrea. "Sufi Poetry in Twentieth-Century Nigeria." Journal of Sufi Studies 6, no. 2 (January 30, 2017): 190–232. http://dx.doi.org/10.1163/22105956-12341302.

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Abstract This article presents the translation and analysis of two poems (the first in Arabic, the second in Hausa) authored by one of the most famous twentieth-century Islamic scholars and Tijānī Sufis of Kano (Nigeria), Abū Bakr al-ʿAtīq b. Khiḍr (1909–74). As examples of two genres of Sufi poetry that are rather unusual in West Africa (the khamriyya or wine ode and the ghazal or love ode), these poems are important literary and religious documents. From the literary point of view, they are vivid testimonies of the vibrancy of the Sufi qaṣīda tradition in West Africa, and of the capacity of local authors to move across its various genres. From the religious point of view, they show the degree to which the West African Sufis mastered the Sufi tradition, both as a set of spiritual practices and techniques and as a set of linguistic tools to speak of the inner.
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3

Orwin, Martin. "Arabic influence on metre in Somali Sufi religious poetry." Brill’s Journal of Afroasiatic Languages and Linguistics 11, no. 2 (December 5, 2019): 340–74. http://dx.doi.org/10.1163/18776930-01102007.

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Abstract It has generally been assumed that there has not been any direct influence on Somali poetic metre from the metrical forms of Arabic. For the most part, this certainly seems to hold, but this article presents a poem which is of a type on which, it is argued, Arabic influence can be seen. The poem, ‘Taaj Awliyo’ by Sheekh Caaqib Cabdullaahi Jaamac (ca. 1922-?) is presented in detail and, although it has been described as being in the jiifto metre, it is demonstrated that this description of the metre is incorrect. It actually follows a previously undocumented metrical pattern which is the equivalent of four maqalaay warlaay lines. The article also shows how the metrical pattern can be seen as a Somalized analogue of the Arabic kāmil metre in its majzūʾ or dimetric form. Evidence is given both from comparison of the line structure itself and from brief comments on reports of what the poet himself had said. The poem considered in detail is part of the Qaadiriya Sufi tradition in which poetry composed in Arabic plays an important role including poems in the kāmil metre.
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Homerin, Th Emil. "Arabic takhalluṣ, Persian Style in Muḥammad al-Ṣūfī’s Poems to Muḥammad the Prophet." Journal of Arabic Literature 51, no. 3-4 (August 20, 2020): 325–50. http://dx.doi.org/10.1163/1570064x-12341409.

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Abstract Though a signature verse (takhalluṣ) is often found in medieval Persian and Ottoman Turkish poetry, this is less frequently the case in Arabic poetry at this time. However, Muḥammad Ibn al-Shihābī al-Ṣūfī included such a signature verse in 38 Arabic poems, many inspired by recitations of Ibn al-Fāriḍ’s poetry. This article offers a critical Arabic edition and English translation of two of these poems, followed by an extensive discussion of linguistic and stylistic aspects of Ibn al-Shihābī’s Arabic and poetic style. Both poems also highlight trends in Arabic poetry at the end of the 9th/15th century, including the incorporation of elements from regional varieties of Arabic, and Ibn al-Shihābī’s innovative use of the signature verse, which may reflect the influence of Sufi chanting practices.
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Ali, As’adi. "Ulama Perintis Syair Melayu." JURNAL ISLAM NUSANTARA 1, no. 1 (January 7, 2018): 53. http://dx.doi.org/10.33852/jurnalin.v1i1.12.

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Poetry is an old Malay literary work that rhymes after pantun, seloka, and gurindam. Appeared at the end of the 17th century AD. Pioneered by an Indonesian Sufi cleric. He is from Barus City (present: Singkil, Aceh), living in the late 17th and early 18th centuries. In his lifetime he is a mufti Kesuthanan Islam Aceh Darussalam. The most important element that distinguishes poetry with other old Malay literature is the final sound of his poetry. If the pantun uses the A-B-A-B, and the A-A-B-B cultivation, the verse is A-A-A-A. Another thing that distinguishes it from its predecessor on the content format. Where, pantun or gurindam on the first and second lines in a stanza contains a sentence (introductory) sentence, and the third and fourth lines are the content or message content. While the verse, the four lines in one stanza are all contents, or the content of the message the poet wishes to convey. In addition, in poetry, in a single line can be composed of three words, while in pantun never got a model like this. The inspired verse of the Arabic literary form, syi'ir, the structure and style can not be separated from the influence of the Arab syi'ir. Some of the direct influences of Arabic syi'ir include the ending sounds of poetry, containing the da'wah and teachings of Islam, writing at the beginning of its emergence using Arabic letters in Malay, many using Arabic terms and quotations, and decorated by natural symbolic words which is often used by Arabic Sufi poets.
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Al-Dabbagh, Abdulla. "The Oriental Sources of Courtly Love." International Journal of Arabic-English Studies 3, no. 1 (January 1, 2002): 21–32. http://dx.doi.org/10.33806/ijaes2000.3.1.2.

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This paper singles out three key theoretical, oriental perspectives on love that have been, to a greater or lesser degree, recognized by scholars as sources for western courtly love notions: Ibn Hazm's Tawq al-Hamama (The Dove's Neck Ring), Ibn Sina's Risala fi 'I- 'lshq (Treatise on Love), and the general Sufi outlook, particularly in the works of Ibn Al-Arabi and Rumi. While chivalry, the forms and features of Arabic music and Arabic poetry, Arabic poetic themes and specifically the expressions and concepts of love in poetry have long been studied as the. main Arab/Islamic contributions to courtly love, no detailed study of this relationship at the theoretical level has so far been done. Such a study, particularly of the ideas of thinkers like Ibn Sina , Ibn Al-Arabi, and Rumi will serve to illuminate not only western works explicitly devoted to the topic, but also a key trend in the western conception of love generally, as well as the whole genre of tragic romance in modern western literature. .
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7

Elhariry, Yasser. "Abdelwahab Meddeb, Sufi Poets, and the New Francophone Lyric." Publications of the Modern Language Association of America 131, no. 2 (March 2016): 255–68. http://dx.doi.org/10.1632/pmla.2016.131.2.255.

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This is the first work of criticism to read Abdelwahab Meddeb as a poet. Selfconsciously indeterminate from philosophical and poetic perspectives, Meddeb's poetry is indebted to European, especially French, high poetic modernism; to the French literary turn to the United States; and to the author's desire to be read in the lineage of the major Sufi poets of classical Arabic literature. Turning his back on the hegemony of postcolonial literary prose with the 1987 chapbook Tombeau d'Ibn Arabi, Meddeb generates a new francophone lyric infused with the Sufi traditions of al-Andalus, North Africa, and the Near and Middle Easts. His new lyric rewrites itself as a Sufi consciousness in search of what lies beyond its knowledge of its current state, and his tonguing of the new francophone lyric leads us to a long overdue analytical paradigm.
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8

Hafeez, Muhammad, and Dr Muhammad Rizwan Yunus. "An Analytical Study of Qualities of Sufism; In Light of Si Harfi of Peer Naik Alam Shah." Al Khadim Research journal of Islamic culture and Civilization 3, no. 1 (March 31, 2022): 94–109. http://dx.doi.org/10.53575/arjicc.v3.01(22)u8.94-109.

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Sufism has put great impact on human nature. By educating the masses and deepening the spiritual concerns of the Muslims, Sufism has played an important role in the formation of Muslim society. Sufism shares some important spirit and has a great impact of its internal spirit on human. Peer Naik Alam Shah is one of the greatest Sufi poets of Azad Jammu and Kashmir. He lived a life of saint and served humanity through his teachings and poetry. In his poetry, Peer Naik Alam Shah discussed different qualities of Sufism. He discussed different terms related to love of Allah, love of Holy Prophet, Devotion, Respect and other similar terms. He discussed all these in light of Sharia. His book “Si Harfi” ( in light of 30 letters of alphabets of Arabic Language) is replete with sufi related terms.
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Sarabyev, Aleksei V. "Extract from the “Diwan” of Al-Makzoun Al-Sinjari (Beginning of the 13th Century)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 6 (2021): 262. http://dx.doi.org/10.31857/s086919080017591-7.

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The presenting appeal to the poetic heritage of the medieval mystic poet, emir, sheikh al- Makzoun al-Sinjari (c. 1188–1240) is undertaken for the first time in Russian oriental studies. The proposed translation from the Arabic fragment of his poetic work “Divan” is supplied with an introductory article giving an idea of the degree of study in world science of the literary and theological work of this Nusayri figure. Based on the analysis of the specific terms, a conclusion is made about the deep Sufi roots of the poetry of Makzoun. In the poem, the central concept is loving intimacy to God - a connection or coupling (wasl, wisal) with a clear erotic connotation. This meaning approach it to the biblical book “Song of Songs”, where the deep love relationship of the human soul and God is also clothed in an erotic form rich in metaphors. Makzoun relied in his poetry on samples of Arabic love lyrics transferring them to the realm of God-seeking. As a representative of Sufism, Makzoun uses words in special meanings, for example, the designation of the “parts” of the heart or soul – qalb, fu’ad. Some concepts (sabr, hizn, wajd, qabd, bast), in addition to the basic meanings, can denote “stations” (makamat) on the spiritual path of a Sufi. The religious meaning of the love qasida is revealed for one practicing in a mystical Muslim way, acquiring a special religious content. Fragments from Makzoun 's “Divan” may have been performed at Sufi musical festive gatherings or may have been part of a Nusayri religious practice.
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Anikeeva, T. A. "The Sali Bauatdinov's manuscript sub-collection within the manuscript collection from the Karakalpak institute of humanities of the Academy of sciences of the Republic of Uzbekistan / Nukus." Orientalistica 6, no. 2 (September 6, 2023): 239–48. http://dx.doi.org/10.31696/2618-7043-2023-6-2-239-248.

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This article is a continuation within a research series, which deals with hand written and early printed books, which constitute a Manuscript Collection housed at the Karakalpak Institute of Humanities of the Karakalpak Branch of the Academy of Sciences of Uzbekistan (City of Nukus, Karakalpakstan). The Collection contains several hundred manuscripts, early printed books and lithographs in Arabic, Turkic and Persian languages from 18th to the middle of the 20th cent. This diverse Collection itself is a clear evidence of the development of the book culture in Karalpakistan. An important part of the whole Collection is a recently acquired subcollection of ca 150 items (handwritten, early printed and lithograph books) mostly from the 19th–20th cent., which did belong to Sali Bauatdinov. The sub-collection comprises tafsirs, works on fiqh, Turkic Sufi literature (Sufi Allah Yar) and Persian poetry, Arabic fiction of the 20th century, etc.Work in progress on this collection, which includes description and attribution of various items was started last year.
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Dissertations / Theses on the topic "Arabic Sufi poetry"

1

Kchouk, Ayachi Khedija. "L'héritage du soufisme dans la poétique arabe contemporaine." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC018/document.

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Dans son premier chapitre, cette étude présente la poétique chez les penseurs, poètes et critiques confondus, dans le patrimoine arabe traditionnel jusqu’au XIVe siècle en en faisant la synthèse. Son deuxième chapitre expose le soufisme dans ses grandes lignes et dans ce qui le distingue en tant qu’approche existentielle de l’ensemble de la vision islamique. Ces mêmes caractéristiques se reflètent dans le troisième chapitre à travers la production poétique de trois de ses plus célèbres représentants à savoir Râbia Al- Adawiyya (m. 725), Umar Ibn Al-Fâridh (m.1235) et Mohyî Al-Dîn Ibn Arabî (m.1240). L’analyse de leurs œuvres respectives démontre que Râbia dans sa quête de purification, Ibn Al-Fâridh dans sa recherche à propager sa foi soufie à travers sa Tâiyya Al-Kubrâ (La Grande Tâiyya), et Ibn Arabî avec son dessein de réfuter tout écrit stable et rigide dans son recueil Turjumân Al-Achwâq (l’Interprète des désirs), ont eu trois approches différentes de la création poétique. Râbia l’utilise comme catharsis. Ibn Al-Fâridh, en s’adressant essentiellement à son lecteur, essaye de l’imprégner de sa propre foi soufie, alors qu’Ibn Arabî cherche à instaurer « un Texte » idéal. Aussi conclut‑on que ces poètes soufis ont eu trois approches différentes de la création poétique. L’analyse de leurs œuvres respectives démontre qu’« émetteur », « récepteur » et « message » sont les trois pôles d’intérêts de ces poètes. Dans le quatrième chapitre de cette étude, trois œuvres poétiques de trois poètes contemporains sont analysées afin de déceler les filigranes soufis de leurs poèmes. Il s’agit de « Al-Tûfân Al-Aswad » (Le déluge noir) de Muhammad Miftâh Al-Faytûrî (1936-…), d’Al-Kibrît wa Al-Asâbi (l’Allumette et les doigts) de Nizâr Qabbânî (1923-1998), et de Qaṣîdat Al-Takwîn (le poème de la genèse) d’Adonis (1930-…). Ainsi cette analyse prouve-t-elle l’influence du soufisme dans la pratique de la création poétique arabe. Quant au cinquième chapitre, il démontre cet héritage soufi dans les théories poétiques arabes contemporaines et son influence dans l’instauration de trois approches poétiques différentes constituant ce que l’on appellerait « l’école purificatrice », « l’école imprégnatrice » et « l’école de la réfutation» ; ces théories ne tenant nullement compte du corpus littéraire exposé dans le premier chapitre. Outre la traduction de Claudine Chonez de « la Grande Tâiyya », les poèmes analysés sont cités en annexe à la fin de cette étude avec une traduction personnelle, qui bien qu’elle ne prétende nullement refléter la profondeur et la beauté des poèmes arabes, ne désespère pas pour autant de la laisser entrevoir
The first chapter in this study presents the poetic thinkers, poets and critics alike, in the traditional Arabic heritage until the fourteenth century by making a synthesis. The second chapter presents Sufism in outline and in what distinguishes it as an existential approach throughout the Islamic view. These same characteristics are reflected in the third chapter through the poetic production of three of its most famous representatives namely Rabia Al-Adawiyya (d. 725), Umar Ibn Al-Fâridh (d. 1235) and Mohyî Al -Dîn Ibn Arabi (d. 1240). The analysis shows that in their respective works, they also had three different approaches to poetic creation. Rabia with her quest for purification uses it as a catharsis, Ibn Al-Fâridh, with his quest to spread his Sufi faith through his Al-Tâiyya Kubrâ (The Great Tâiyya),tries to impregnate his own Sufi liver faith, and Ibn Arabi, with his plan to refute any writing stable and rigid trough his collection of poems Turjumân Al-Achwaq (the interpreter of desires), seeks to establish an ideal "Text ".Thus we can conclude that these Sufi poets had three different approaches to poetic creation. The analysis of their respective writings demonstrates that "issuer", "receiver" and "message" are the three core interests of these three Sufi poets. In the fourth chapter of this study, three poetic works of three contemporary poets are analyzed to detect the Sufi watermarks of these poems. It is Al-Tufan Al-Aswad (The Black Flood) of Muhammad Miftâh Al-Faytûrî (1936 - ...), Al-Kibrît wa Al-Asâbi (The Match and the Fingers) of Nizar Qabbâni (1923-1998), and Qasîdat Al-Takwîn The Poem of the Genesis of Adonis (1930 - ...). Their analysis proves the influence of Sufism in the practice of the creation of Arabic poetry. The fifth chapter demonstrates this Sufi legacy in poetic theories in contemporary Arab thought and its influence in the establishment of three different poetic approaches constituting the so-called " the Purifying School," " the Impregnator School" and "the Refutation School", these theories take no account of the literary corpus described in the first chapter. Besides the translation of Claudine Chonez of "Great Tâiyya," the poems are cited in Appendix at the end of the study with a personal translation, which, although it does not claim to reflect in any way the depth and beauty of Arabic poems, she does not despair for the many suggest
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2

Saidi, Mustapha. "Ibn Arabi's Sufi and poetic experiences (through his collection of mystical poems Tarjuman al-Ashwaq)." Thesis, University of the Western Cape, 2005. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_2270_1183723387.

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This study is a theoretical research concerning Ibn Arabi's Sufi experience and his philosophy of the "
unity of being"
(also his poetical talent). I therefore adopted the historical and analytical methodologies to analyse and reply on the questions and suggestions I have raised in this paper. Both of the methodologies reveal the actual status of the Sufism of Ibn Arabi who came with a challenging sufi doctrine. Also, in the theoretical methodology I attempt to define Sufism by giving a panoramic history of it. I have also researched Ibn Arabi's status amongst his contemporaries for example, Al-Hallaj and Ibn Al Farid, and how they influenced him as a Sufi thinker during this time.


In the analytical study I explore the poems "
Tarjuman al Ashwaq"
of Ibn Arabi, of which I have selected some poems to study analytically. Through this I discovered Ibn Arabi's Sufi inclinations and the criticisms of various literary scholars, theologians, philosophers and also sufi thinkers, both from the East and the West. In this analysis I have also focused on the artistic value of the poetry which he utilized to promote his own doctrine "
the unity of being."

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Books on the topic "Arabic Sufi poetry"

1

Awdah, Durayd. Simfuniyat al-lahab: Shir sufi. Bayrut: Dar al-Farabi, 2022.

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Madanī, Sulaymān. al- Ḥallāj bayna al-zandaqah wa-al-taṣawwuf. Bayrūt: al-Manārah, 2001.

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al-Jīlānī, ʻAbd al-Qādir. Dīwān ʻAbd al-Qādir al-Jīlānī: Al-qaṣāʾid al-Ṣūfīyah, al-maqālāt al-ramzīyah. [Cairo]: Akhbār al-Yawm, 1990.

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al-ʻAzāʾim, Muḥammad Māḍī Abū. al- Wijdānīyāt: Maʻa al-Imām al-Sayyid Muḥammad Māḍī Abū al-ʻAzāʾim fī taʾammulātihi al-ṣūfīyah. al-Qāhirah: K. Abū al-ʻAzāʾim, 1989.

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al-ʻArabī, Ibn. Tuḥfat al-adwār. al-Ḥalabūnī, Dimashq: al-Ḥikmah, 1996.

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Muḥammad, Muḥammad al-Bashīr Ibn. Muḥammad al-Bashīr ibn Muḥammad, 1204-1289: Nuṣūṣ adabīyah. Ṭarābulus, al-Jamāhīrīyah al-ʻArabīyah al-Lībīyah al-Shaʻbīyah al-Ishtirākīyah al-ʻUẓmā: Markaz Dirāsat Jihād al-Lībīyīn Ḍidda al-Ghazw al-ʾIṭālī, 1988.

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Zaydān, Yūsuf. Shuʻarāʾ al-Ṣūfīyah al-majhūlūn. [Cairo]: Muʾassasat Akhbār al-Yawm, 1991.

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Zaydān, Yūsuf. Shuʻarāʾ al-Ṣūfīyah al-majhūlūn. 2nd ed. Bayrūt: Dār al-Jīl, 1996.

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Ṣarṣarī, Yaḥyá ibn Yūsuf. Dīwān al-Imām al-Ṣarṣarī: Shiʻr al-Imām Yaḥyá ibn Yūsuf al-Ṣarṣarī, al-mutawaffá sanat 656 H. [Cairo?]: [publisher not identified], 2015.

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al-Qādir, Naṣṣār Muḥammad ʻAbd, ed. al-Laṭīfah al-marḍīyah bi-sharḥ duʻāʼ al-Shādhilīyah. al-Qāhirah: Dārat al-Karz lil-Nashr wa-al-Tawzīʻ, 2011.

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Book chapters on the topic "Arabic Sufi poetry"

1

Elhariry, Yasser. "Sufis in Mecca." In Pacifist Invasions. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940407.003.0006.

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This chapter directly picks up where Stétié ends, with a textual analysis of a poetic cycle of chapbooks by Meddeb. I argue that a renouveau in the Francophone lyric is made possible through his translations of classical Arabic and Sufi poetry. In his chapbooks, Meddeb attempts to refashion himself, after his two successful and widely acclaimed first novels Talismano (1979) and Phantasia (1986), as a mystical, wandering Sufi poet. With Tombeau d’Ibn Arabi (1987), Les 99 stations de Yale (1995), and Aya dans les villes (1999) in particular, Meddeb manically focuses on an adaptational, modern rewriting in French verse of the history of Sufi saints, poets and poetry. Meddeb simultaneously draws on the formal and structural poetics of the pre-Islamic odes (as we will have seen with Tengour and Jabès), but he recasts them in light of the life of the Sufi saints and mystics rather than the pagan poets. Meddeb’s major innovation lies not only in the poetic combination of sacred and profane poetic registers, but also in an original combination of French and Arabic poetic registers with the world of modern American poetics. A central literary case whom I revisit in the conclusion to Pacifist Invasions, a critical re-evaluation of Meddeb reveals him to be indispensable for the successful poetic reconstruction of Francophone studies. I demonstrate how, much like the Sufi poet, and in keeping with ‘Ā’ishah al-Bā‘ūniyyah’s Principles of Sufism, Meddeb’s new Francophone lyric self-inflects as consciousness in search of what lies beyond its knowledge of its current state: situated in relation to itself, its paradoxical internal genealogy, its contemplative meditational mode. The poetic import of Meddeb’s lyric consists of the masterful blending of the figure of the Sufi poet and the Arabic tongue with contemporaneous intonations in French poetry. Meddeb’s writing transverses concurrent and widely divergent poetic trends, and connects them to one another in an original French-language arabesque. Beneath the surface of his first poetic experiments, Meddeb had couched a hidden, propagative poetics of the trace, barely perceptible, held together by thematic and generic modulations, a double lyric voice, and the infralinguistic.
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Pickett, James. "Conclusion." In Polymaths of Islam, 243–47. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501750243.003.0009.

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This concluding chapter explains that for all of their eclecticism, and for all their seeming paradoxes, the polymaths of Islam were united by a common madrasa education, mastery of a canon of texts, and shared regional networks. Their curriculum went far beyond the grammar and logic emphasized in the madrasa. Even mastering substantive Islamic law from medieval Arabic texts was necessary, but not sufficient, to distinguish a high Persianate intellectual from his many, many competitors. Most of the ulama — especially those who rose to the top — studied a plethora of collateral disciplines: poetry, mysticism, astronomy, calligraphy, medicine, trade, and more. Secondary scholarship often pairs these forms of knowledge with discrete communities, differentiating scholars, poets, sufis, and physicians into distinct social groups, with the sufi-ulama dichotomy especially pronounced. However, these were not separate groups with separate corporate identities. Rather, they were discrete social roles performed by a single social group. Their integrated knowledge base allowed them to mix and match social functions with impunity.
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"The Experience of the Divine in the Poetry of the Egyptian Sufi Poet cUmar Ibn Al-Fâriḍ (576/1181𡀓632/1235)." In Representations of the Divine in Arabic Poetry, 85–118. BRILL, 2001. http://dx.doi.org/10.1163/9789004485181_007.

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Elhariry, Yasser. "Wine Song." In Pacifist Invasions. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940407.003.0005.

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Chapter 3 takes as its focal text a beautiful colour art book by Stétié, Le vin mystique précédé de Al-Khamriya d’Omar Ibn al-Farîdh (1998). Realized in collaboration with the Iraqi calligrapher Ghani Alani, Stétié’s bilingual edition and translation of Ibn al-Fāriḍ’s most celebrated mystical wine poem presents an original reading of a sacred ode to wine and god, which itself forms part of an idiosyncratic genealogy of wine in classical Arabic verse. I analyze the comparative, translational poetics and politics of Stétié’s French translation, which he appends with a long essay composed in French on the fraught relationship between alcohol and Islam, and between Islamic and Western views and representations of wine. Through his polyvalent idiomatic French translations of the key Sufi term for the ritual of rememberance, dhikr (defined by ʿĀʾishah al-Bāʿūniyyah in The Principles of Sufism), Stétié opens the translingual Franco-Arabic text to the poetics of the breath through the practice of rememoration. I show how his texts offer remarkable sites of the transference of one language and tradition into another, to the point where the translations permanently transform and transfigure the French of subsequent readings of such canonical authors as Baudelaire. I follow with a reading of Baudelaire that reveals a preoccupation with the poetics of the human breath, and an identical mystical Sufi idiom in all of his wine poetry and writings on wine and hashish. Stétié thus enacts and realizes the very ‘pacifist invasion’ that he announces elsewhere in his critical œuvre (Le français, l’autre langue, 2001). With Stétié, we hear whispers of the translational genesis-in-progress of a new Francophone lyric. I close this chapter with one illustrative example of the new Francophone lyric, through a consideration of how Franco-Arabic poetic modulations of the breath assume a performative aspect for Stétié in the context of the live ritual of his poetry readings.
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Blake, Corinne. "Incorporating Information Technology into Courses on Islamic Civilization." In Teaching Islam, 181–90. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195152241.003.0011.

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Abstract Students in most colleges and universities in the United States have access to the Internet and other information technology, either through campus computer labs or their own personal computers. While sitting at a desk, students can “travel” to a wide variety of Internet sites to access vast amount of information about Islam, Islamic civilizations and societies, and contemporary issues in the Muslim world. Students can click to an Internet site in Britain to read the Quran in Arabic or English, jump to Japan to read translations of Persian poetry and literature, and go back to the United Kingdom to go to hear different Quran recitations. They can check out the latest news from the Iranian news agency, read hadith in translation at the University of Southern California, view pictures of mosques and historical buildings in Isfahan, read perspectives on the veil [hijab] written by Muslims in different countries, jump to Turkey to read Sufi poetry in translation, then return to the United States to view pictures of Islamic miniatures, calligraphy, and carpets.
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Yaraman, Sevin Huriye. "In the Beginning There Was Sound." In Arvo Pärt, 232–42. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289752.003.0014.

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This paper approaches Arvo Pärt’s tintinnabuli concept as a point of entry into the unity of two seemingly oppositional states that ground human existence and underline the theology of Sufism: separation from God in longing and union with God in joy. Drawing on wide range of primary sources by classical theologians and Islamic mystics such as Ibn al-Arabi, Abu Hamid Al-Ghazali, and Abu Talib al Makki, this paper seeks to locate the theory of longing, the significance of hearing, and, ultimately, the meaning of music in Islamic mysticism. Finally, this chapter identifies a fundamental convergence between the expression of longing in Sufi poetry exemplified by Yunus Emre’s works and Arvo Pärt’s tintinnabuli technique, illuminating a closeness between the theological traditions of Orthodox Christianity and Islam.
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Conference papers on the topic "Arabic Sufi poetry"

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Sarikose, Mehmet. "PERSONAGES IN THE DIVAN OF BABUR." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/hryx7126.

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Classical Turkish literature is a literary tradition of approximately six centuries, within the general development of Turkish literature, whose theoretical and aesthetic principles were formed within the circle of Islamic civilization and shaped especially by the influence of Arabic and Persian literature. Classical Turkish literature, which is based on religious, historical, mythological and folklore foundations, also serves as a historical source with the "human" element it contains. Its’ statesmen, scholars, philosophers, poets, religious and sufi elders, legendary heroes and similar figures who left their mark on the culture and history of the society in which they lived are the most important sources of Classical Turkish Literature. Starting from this point, in this study, the names of the individuals mentioned in the Divan of Babur, one of the most important works of Chagatai Turkish, were examined and it was aimed at revealing the influence of the individuals within Babur's poetry world.
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