Relevant bibliographies by topics / Iban Songs

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

Academic literature on the topic 'Iban Songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Iban Songs"

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Clea Moreno-Szypowska, Jadwiga. "Żydowska metoda hermeneutyczna na podstawie egzegezy Pieśni nad Pieśniami Abrahama Ibn Ezra i brata Luisa de León." Filozofia Chrześcijańska 17 (July 30, 2021): 115–33. http://dx.doi.org/10.14746/fc.2020.17.6.

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The aim of these article is to present the more important rules of Jewish exegesis developed mainly by Hillel on the example of a commentary on the Song of the Songsof Abraham Ibn Ezra and Luis de León. The text tries to show how traditional Jewishhermeneutics is used in the innovative commentaries of a scholar from Tudela from the XIth century and a theologian from Belmonte from the XVIth century and how the first infl uenced the second. Interpretative methods developed in the most important centers of Judaic thought of the beginning of our era have been used for centuries to explain biblical texts, especially such as Song of Songs, which is recognized by both Old Testament and New Testament commentators as one of the most diffi cult and most mystical Scriptures.
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Sabuk, Bethrace Sylvester, and Azlina Abdul Aziz. "Writing Lyrics in English to An Indigenous Iban Song-Towards The Efficacy of Culturally Responsive Pedagogy." Malaysian Journal of Social Sciences and Humanities (MJSSH) 6, no. 3 (March 8, 2021): 377–95. http://dx.doi.org/10.47405/mjssh.v6i3.709.

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The main purpose of this study was to examine the use of Indigenous Iban song in enhancing the level 2 pupils’ writing skills. Culturally responsive pedagogy is a progressive approach that shapes the future learning process This research was conducted in a rural school of the Limbang district in Sarawak. The participants of this research comprised of 20 pupils from Year 4 until Year 6. Year 6 pupils were included as they were not sitting for UPSR due to Pandemic. Action Research with the model Kemmis & McTaggart employed in this study. The findings from the questionnaires indicated a high level of agreement from the participants on implementation of writing lyrics in English to an indigenous Iban song.
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Wolfson, Elliot R. "By Way of Truth: Aspects of Naḥmanides' Kabbalistic Hermeneutic." AJS Review 14, no. 2 (1989): 103–78. http://dx.doi.org/10.1017/s0364009400002592.

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Perhaps no one figure is more responsible for the legitimization of kabbalah as an authentic esoteric tradition of Judaism than Moses ben Nahman (1194–1270). Although from the beginnings of its literary history kabbalah was associated with men of rabbinic standing, such as R. Abraham ben David of Posquieres, no one before Nahmanides had attained a reputation for excellence in halakhic and mystical matters and had written extensively in both domains. Nahmanides' involvement with kabbalah, especially in the context of a commentary on the Torah written for the layman, as the author plainly states in his introduction, surely lent a stamp of approval to the whole enterprise. R. Shem Tov ibn Gaon in hisBaddei ha-'Aron u-Migdal Hananelgave the following characterization of Nahmanides' kabbalistic literary activity:The great rabbi, Moses ben Naḥman, may his memory be for a blessing, wrote his book [i.e., the commentary on the Torah] and a book [on] Job. He alluded to hidden matters in every place () to arouse [people's awareness] as is appropriate and according to what he received. However, he concealed his words to a high degree, for it is written, “Honey and milk are under your tongue” (Song of Songs 4: 11).
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Song, Shang, Charles Blaha, Willieford Moses, Jaehyun Park, Nathan Wright, Joey Groszek, William Fissell, Shant Vartanian, Andrew M. Posselt, and Shuvo Roy. "Correction: An intravascular bioartificial pancreas device (iBAP) with silicon nanopore membranes (SNM) for islet encapsulation under convective mass transport." Lab on a Chip 17, no. 13 (2017): 2334. http://dx.doi.org/10.1039/c7lc90058a.

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Correction for ‘An intravascular bioartificial pancreas device (iBAP) with silicon nanopore membranes (SNM) for islet encapsulation under convective mass transport’ by Shang Song et al., Lab Chip, 2017, 17, 1778–1792.
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Homerin, Th Emil. "Close Encounters of the Sufi Kind." Journal of Sufi Studies 6, no. 1 (July 6, 2017): 117–32. http://dx.doi.org/10.1163/22105956-12341297.

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In a well-known story, ʿUmar Ibn al-Fāriḍ appears to ʿUmar al-Suhrawardī in Mecca during the Hajj with good news from the Unseen world. The two Sufi masters later meet again, and al-Suhrawardī invests Ibn al-Fāriḍ’s sons and others with the khirqah, or Sufi robe. Despite the wondrous elements in this account, new evidence suggests that much of this story is true. The proof texts are two poems by Muḥammad Ibn al-Khiyamī, and they underscore the value of poetry, particularly the ikhwāniyyāt, or verse exchanged between friends and colleagues, as a vital source for the social history of Islamic mysticism at that time.
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STEWART, DEVIN J. "Ibn al-Nadīm's Ismāʿīlī Contacts." Journal of the Royal Asiatic Society of Great Britain & Ireland 19, no. 1 (January 2009): 21–40. http://dx.doi.org/10.1017/s1356186308009048.

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Iraq in the tenth and eleventh centuries witnessed a flowering of Shiite cultural production with lasting effects on the Islamic sciences such as law, hadith, theology, and Qur'anic commentary. The works of al-Shaykh al-Mufīd (d. 413/1022), al-Sharīf al-Murtaḍā (d. 436/1044), and al-Shaykh al-Ṭūsī (d. 460/1067) not only broke significant new ground in Shiite intellectual history and defended Shiite doctrinal positions against opponents, but also set parameters for production in these fields that would remain in effect, grosso modo, until modern times. During the same period, Shiite authors made substantial contributions to fields not directly related to Shiite religious doctrine, playing a crucial role in elaborating and preserving Islamic heritage in general. Al-Masʿūdī's (d. 345/956) famous history Murūj al-dhahab and Abū al-Faraj al-Iṣfahānī's (d. 356/967) collection of songs, poetry, and associated lore, Kitāb al-Aghānī, are prominent examples of Shiite authors' contributions to general Arabo-Islamic cultural production. Arguably yet more important is the Fihrist, composed in Baghdad in 377-378 ah/987-988 ce by Ibn al-Nadīm, an Imāmī Shiite bookseller. This work, a comprehensive catalogue of Arabic book titles, is widely recognised as one of the most important sources for the history of all learned disciplines recorded in Arabic in the course of the first four Islamic centuries. As a consequence, the present understanding of entire swaths of Islamic intellectual history, including the rise and development of Muʿtazilī theology and the translation of the Greek sciences into Arabic, is heavily indebted to a Shiite author.
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Lewisohn, Leonard. "Palāsī's Memoir of Shaykh Kujujī, a Persian Sufi Saint of the Thirteenth Century." Journal of the Royal Asiatic Society 6, no. 3 (November 1996): 345–66. http://dx.doi.org/10.1017/s135618630000777x.

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Khwāja Muhammad ibn Sadīq ibn Muhammad Kujujī or “Kujūjānī” (d. Dhū-hijja 677/April, 1279), as Hamdu'llāh Mustawfī Qazwīnī called him, was a Sufi master whose sons later occupied the post of Shaykh al-Islām in Tabriz under the early Jalā'irids, the Tīmūrids and early Safavids. Born in 614/1217–18, Kujujī's life coincides with the commencement of Mongol rule in northern Persia under Chingiz Khān in 1219, the conquest of Tabrīz in 1220 by the Mongols, the later subjugation of all of Persia under Hülegü (1256–65) and the reign of his successor Abaqa Khān (1265–82).
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Пиковский, Ириней. "Interpretation of the Inscription ‘Song of Ascents’ (Psalms 120-134) in the Jewish Tradition." Theological Herald, no. 1(36) (March 15, 2020): 17–41. http://dx.doi.org/10.31802/2500-1450-2020-36-1-17-41.

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«Песни восхождения» (Пс. 119-133) представляют собой сборник из пятнадцати псалмов Псалтири. Популярное толкование данного заголовка во многих «Толковых Псалтирях» связывает происхождение этой группы священных текстов с возвращением евреев из Вавилонского плена и последующим паломничеством в Иерусалимский храм на религиозные праздники. Автор настоящего исследования ставит цель проверить обоснованность данной точки в наиболее авторитетных источниках иудейской религиозной традиции II-XIII вв.: Мишна, Тосефта, Иерусалимская и Вавилонская Гемара, Таргум на Псалмы, некоторые мидраши, сочинения Саадии Гаона, Раши, Авраама ибн Эзры и Давида Кимхи. Для достижения поставленной цели был проанализирован контекст употребления словосочетания תולעמה ריש («песнь восхождений») в упомянутых источниках. Как показало исследование выражение «песнь восхождений» не имело одинаковой интерпретации в источниках одно и того же периода. Поздние источники показывают зависимость от более ранних, но на основании их невозможно сделать вывод, что в еврейской традиции было единодушие в отношении происхождения заголовка данный группы псалмов Книги Хвалений. Отсюда можно сделать вывод, что сведения об исторических причинах появления данного заголовка были утрачены до начала письменной фиксации иудейских преданий. Следовательно, последующие ассоциации надписания исследуемой группы псалмов с возвращением из плена или паломничеством в Иерусалим рождались интуитивно и были более связаны с литургическими целями употребления псалмов в ту или иную эпоху после разрушения Второго храма, чем с проникновением в реальные первоосновы происхождения заголовка. «Songs of Ascents» (Psalm 120-134) is a collection of fifteen Psalms. An interpretation of this title in popular Psalter commentaries relates the origin of this group of Psalms to the return from Exile and the subsequent pilgrimage to the Temple for major religious feasts. The author of the article aims to verify the validity of this popular interpretation in such authoritative sources of Jewish religious tradition as Mishnah, Tosefta, Jerusalem and Babylonian Gemara, Targum on the Psalms, Midrashim, works of Saadiya Gaon, Rashi, Abraham ibn Ezra and David Kimchi. To achieve the goal of the research, the context of the phrase תולעמה ריש («song of ascents») in the mentioned sources was analyzed. The study showed the expression «song of ascents» did not have the same interpretation in the sources of the same period. Later sources show dependence on earlier ones, but it is impossible to conclude that there was unanimity in Jewish tradition regarding the origin of this superscription. So, it’s possible to conclude that the historical causes for this superscription were forgotten before the written fixation of Jewish exegetical tradition had begun. Consequently, the subsequent associations of the inscription «song of ascents» with the return from captivity or pilgrimage to Jerusalem were born intuitively and were more connected with the liturgical goals of using the psalms after the destruction of the Second Temple, than with the penetration into the real historical origin of the title.
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Hussein, Ali Ahmad. "Elegy and Nasīb in the Ancient Arabic QAṢīda: The Unique Structure of an Elegy by Ibn Muqbil." Journal of Semitic Studies 64, no. 2 (August 23, 2019): 507–33. http://dx.doi.org/10.1093/jss/fgz012.

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Abstract This article analyses the functions of the uniquely non-traditional structure of an elegy composed by the mukha.ram poet, Ibn Muqbil, following the assassination of the third Muslim caliph, ‘Uthmān b. ‘Affān. The poem begins with the elegiac verses, then ends with a description of several, to some degree, erotic love affairs. Classical Arab scholars condemned this structure, in which the song of love follows the weeping over a killed religious authority. In the present article, the poem is analysed then two interpretations of the function of this structure are given: firstly, it provides the poem with an allegorical expression for Ibn Muqbils yearning for the lost pre-Islamic life which was destroyed after the birth of Islam; secondly, it is a means of catharsis directed to a specific audience which was less passionate about the death of the caliph.
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Thurin, Romain. "China and the Two Romes. The 1081 and 1091 “Fulin” Embassies to the Song Empire." Journal of the Economic and Social History of the Orient 64, no. 1-2 (March 16, 2021): 55–92. http://dx.doi.org/10.1163/15685209-12341530.

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Abstract In the late 11th century, two mysterious “Roman” embassies visited China and offered tribute to the Song Dynasty. This paper seeks to reopen the argument surrounding the identity of the Roman embassies. The question enjoyed intense discussions in the late 19th and early 20th centuries, before interest waned thereafter. Relying on a broad range of underused sources, this paper re-assesses the two most widely acknowledged theories that associate the embassies with the aims of the Byzantine pretender Nikephoros Melissenos and of the Seljuk prince in exile Sulaymān ibn Qutlumush.
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Dissertations / Theses on the topic "Iban Songs"

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Glover, Michelle Georgette. "Critical edition of the Middle French version of Achmet Ibn Sirin's Oneiromancy : found in MS, Français 1317, folios 51R-106V, Paris, Bibliothèque Nationale, entitled (Cy commence la table des) exposicions et significacions des songes par Daniel et autres exposez." Thesis, Birkbeck (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.569797.

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The subject of this thesis is a critical edition of the Middle French Exposicions et significacions des songes contained in MS Paris, Bib1iotheque Nationa1e, fonds francais, 1317, which is a translation from the Latin of the Greek dream-book commonly known as Achmet. I have established that the Latin model is the late twelfth-century version by the Pisan Leo Tuscus. The French translation is anonYTI10US but it has been suggested that its author was the fourteenth-century Carmelite Jean Golein. Notes are provided to establish the relationship of our text with Tuscus's version, and with the Greek original whenever the latter differs widely from the former. To fill the gaps in the text, I have quoted a different vernacular rendering of Tuscus's Achmet preserved in two fourteenth-century copies, Anglo-Norman and Continental French, contained respectively in MS Berlin, Deutsche Staatsbibliothek, Lat. quo 70 and MS Paris, BN, f. fro 24432. These probably derive from a much earlier French archetype, which means that the translator of our basic text was not the first in the field. His translation shows elegance and an interest in the material, but it is not entirely reliable. Errors result mainly from obvious misreadings of the script of the model. The great number of these misreadings and also the ingenuity with which the translator preserves the coherence of his French version reach an idiosyncratic level. His use of language is typical of lIe de France Middle French. I have attempted a brief ordered revision of the critical work hitherto done on the possible sources of the Greek treatise and on conjectures regarding the identity of its author. This is accompanied by a tentative study of the method of interpretation of the dreams and by an examination of the Christian elements in the book.
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Books on the topic "Iban Songs"

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Mowe, Golda. Iban journey. Singapore: Monsoon, 2015.

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Muḥammad ibn Fāris: Ashhar man ghanná "al-ṣawt" fī al-Khalīj al-ʻArabī. [Bahrain: s.n.], 1991.

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Book chapters on the topic "Iban Songs"

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Diamond, James A. "Rabbi Naftali Tsevi Yehudah Berlin: The Love of Israel versus the Love of the Mind." In Reinventing Maimonides in Contemporary Jewish Thought, 9–38. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781906764951.003.0002.

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This chapter focuses on Netsiv's engagement with Maimonides in his commentary on the Song of Songs as the quintessential biblical book of love. It talks about Netsiv's theological positions and offers a convenient compendium of his thought. It also analyses how the Song of Songs presents an exegetical opportunity to present God and Israel as the protagonists in a romantic ode to love. The chapter mentions Netsiv's explicit approval of Abraham Ibn Ezra's disparagement of that trend among the critical scholars of his era, who treated the Song of Songs as an allegory of attachment between the supernal soul and the body. It examines tenor of Netsiv's commentary that mirrors the empathetic character of his life.
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"CHAPTER ELEVEN. Moses ibn Tibbon and Gersonides on Song of Songs." In Torah in the Observatory, 255–82. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618110183-014.

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"Aḥmad ibn Idrīs." In Saints and Sons, 9–26. BRILL, 2005. http://dx.doi.org/10.1163/9789047406075_006.

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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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"Khalid ibn Barmak and His Sons." In Meadows Of Gold, 101. Routledge, 2013. http://dx.doi.org/10.4324/9780203037997-52.

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Goldstein, David. "Joseph Ibn Abithur." In Hebrew Poems from Spain, 19–26. Liverpool University Press, 2007. http://dx.doi.org/10.3828/liverpool/9781904113669.003.0003.

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This chapter examines the poetry of Joseph Ibn Abithur. Joseph was born in the middle of the tenth century in Merida and lived in Cordoba, which was the centre of Muslim and Jewish civilisation in Spain at this time. There is a tradition, preserved by Abraham ibn Daoud, that he gave an Arabic explanation of the Talmud to the Caliph al-Hakim II. Joseph was surrounded by controversy. He was forced to leave Spain after making an unsuccessful bid for the intellectual leadership of the Jewish community, and he spent the latter part of his life journeying in the lands of the Middle East. He is known as a poet mainly for his liturgical work, much of which was adopted into the prayer-books of the Provencal, Catalonian, and North African Jews. Ultimately, his poetry is more akin to that of the piyyutim of Eastern Mediterranean Jewry than to the ‘new’ poetry beginning to flourish in Spain. The chapter then looks at three of his poems: Sanctification, A Song for the New Year, and Lament on the Devastation of the Land of Israel (1012).
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Goldstein, David. "Dunash Ha-Levi Ben Labrat." In Hebrew Poems from Spain, 13–18. Liverpool University Press, 2007. http://dx.doi.org/10.3828/liverpool/9781904113669.003.0002.

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This chapter discusses the poetry of Dunash ha-Levi ben Labrat. Dunash came from a distinguished Jewish family of the Eastern Caliphate, and was, according to Moses ibn Ezra, born in Fez, in Morocco, in the first half of the tenth century. He studied under the great Jewish grammarian and philosopher, Sa’adia Gaon, in Baghdad, returned to Fez after Sa’adia’s death (942), and later attached himself to the family of Hasdai ibn Shaprut in Cordoba. It was Dunash who first demonstrated both in theory and in practice how Hebrew could be adapted to the writing of poetry in imitation of Arabic usage. His fame as a grammarian, and as a poet, quickly spread throughout the Jewish communities of Spain. However, only a few of his poems have survived. The chapter then presents two of his poems: Reply to an Invitation to a Feast and A Song for the Sabbath.
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Sadek, Adel F. "Anba Ruways and the Cathedral of St. Mark." In Christianity and Monasticism in Northern Egypt. American University in Cairo Press, 2017. http://dx.doi.org/10.5743/cairo/9789774167775.003.0010.

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This chapter discusses St. Anba Ruways and the history related to the foundation of the St. Mark Cathedral in Cairo over the site of his monastery. The shrine of the saint lies under the church altar, and to the right of the shrine, on the south, four patriarchs are buried: Pope Mattaeus I (eighty-seventh), who was a contemporary of the saint; Pope Yuhanna XI (eighty-ninth); Pope Mattaeus II (ninetieth); and Pope Ghobrial VI (ninety-first). Downstairs lie the relics of the disciple of Anba Ruways named Sulayman, and the relics of St. Abali ibn Yostos (1 Misra) in a closed chamber. Many of the Coptic elites who served under Muhammad Ali and his sons were buried in this monastery.
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"The First to Notate Songs [fols. 19a–19b; ZY 25–6]." In Ḥāwī l-Funūn wa-Salwat al-Maḥzūn, Encompasser of the Arts and Consoler of the Grief-Stricken by Ibn al-Ṭaḥḥān, 49. BRILL, 2021. http://dx.doi.org/10.1163/9789004465497_021.

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"Mention of the One Hundred Chosen Songs [fols. 61b–63a; ZY 70–4]." In Ḥāwī l-Funūn wa-Salwat al-Maḥzūn, Encompasser of the Arts and Consoler of the Grief-Stricken by Ibn al-Ṭaḥḥān, 159–66. BRILL, 2021. http://dx.doi.org/10.1163/9789004465497_070.

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