Relevant bibliographies by topics / Mutare Museum

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Academic literature on the topic 'Mutare Museum'

Author: Grafiati
Published: 26 July 2024
Last updated: 27 July 2024

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Journal articles on the topic "Mutare Museum"

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Chipangura, Njabulo. "Working with Contested Ethnographic Collections to Change “Old Museum” Perspectives: Mutare Museum, Eastern Zimbabwe, 2015-2017." Martor. The Museum of the Romanian Peasant Anthropology Review 23 (November 15, 2018): 59–69. http://dx.doi.org/10.57225/martor.2018.23.04.

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In this article, I will examine the history of collecting ethnographic objects at Mutare Museum, moving between the colonial and postcolonial periods in order to show how these time scales structured the ways in which exhibitions are presented. I argue that by removing ethnographic objects from their cultural setting and inserting them into the visual system of the museum, their dynamic web of physical and social meanings was broken. Whilst I acknowledge that Mutare Museum’s system of displaying its ethnographic collection was shaped by colonialism in a way that resulted in the marginalisation of certain communities, I will show how collections in one of the galleries—the Beit Gallery—were transformed to convey new postcolonial meanings. In part, the paper also looks at how the concept of object biography and ethnomuseology assisted in redesigning and changing old exhibitions in the Beit Gallery. This case in point will be illustrated by gleaning through the multi-layered histories of collecting at this museum. Next, I will argue that the particular, ‘old’ manner in which ethnographic objects were displayed conforms to the traditional practice of presenting exclusively for visual observation. Objects would be displayed on the floor in an almost derogatory way—presented as if they were strange and exotic and devoid of any social and historical significance. Yet, this type of scenography did not do justice to the social biography of the collection, which could not be understood in terms of a single unchanging identity, but rather by tracing the succession of meanings attached to the objects as they move through space and time. As a result, communities living around this museum used to periodically contest narratives that were appended on ethnographic collections on display in the Beit Gallery. Therefore, in this article, I will show how we reorganised this exhibition through a collaborative partnership with the source communities where the objects had originated from. The discussion in this paper is premised on the data derived from my involvement in redesigning displays in the Beit Gallery as a curator at Mutare Museum. Later on, I will also address public perceptions of the new installations and gauge whether the exhibition attained the desired effects.
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Chipangura, Njabulo, and Chidochashe Mandizvo. "Static Collections and Experiential Connections at Mutare Museum." Museum International 65, no. 1-4 (January 2013): 106–12. http://dx.doi.org/10.1111/muse.12037.

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Wells, Julia. "Review: Museums as Agents for Social Change: Collaborative Programmes at the Mutare Museum, by Njabulo Chipangura and Jesmael Matago." Public Historian 44, no. 1 (February 1, 2022): 116–18. http://dx.doi.org/10.1525/tph.2022.44.1.116.

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Chipangura, Njabulo. "Co‐curation and New Museology in Reorganizing the Beit Gallery at the Mutare Museum, Eastern Zimbabwe." Curator: The Museum Journal 63, no. 3 (July 2020): 431–46. http://dx.doi.org/10.1111/cura.12375.

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Nedel, Letícia Borges. "Breviário de um museu mutante." Horizontes Antropológicos 11, no. 23 (June 2005): 87–112. http://dx.doi.org/10.1590/s0104-71832005000100006.

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O artigo aborda a implantação de um aparato burocrático de gestão da cultura no Rio Grande do Sul, privilegiando a trajetória do Museu Julio de Castilhos, primeiro museu criado na capital, em 1903. A análise recai sobre os fatores que condicionaram o afastamento da referência naturalista inicial, inspirada no modelo de funcionamento dos museus etnográficos do início do século passado, em direção à adoção de uma perspectiva regionalista de reconstrução do passado, assumida oficialmente no regimento de 1954. Entre 1952 e 1958, sob a direção do historiador e folclorista Dante de Laytano, o museu torna-se trincheira de sócios dissidentes do Instituto Histórico e Geográfico do Rio Grande do Sul (IHGRS) e núcleo de arregimentação da Comissão Gaúcha de Folclore, representante oficial da Campanha de Defesa do Folclore Brasileiro no estado. Nesse momento ele passa a concorrer na partilha institucional do governo com os tradicionalistas, agrupados em torno do Instituto de Tradições e Folclore, criado em 1954.
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Bailey, Andrew Remington. "The Museum and the Killing Jar." Animal Crossing Special Issue 13, no. 22 (February 16, 2021): 7–22. http://dx.doi.org/10.7202/1075260ar.

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Within the Animal Crossing series, players have always had the ability to collect insects and then donate them to a museum where they can then be permanently exhibited. This paper makes the argument that this collecting and exhibiting of game objects works to reflect many of the ways that videogames have begun to take up an increasingly prominent place within real world institutional exhibitions, archives, and collections. Through a conjoined lens that is equally informed by games preservation, etymology, and art history this essay works to unpack the intricacies of how the museum and collecting function with the Animal Crossing series. This examination of Animal Crossing will then be applied more broadly to two museums (the MoMA and the V&A) exhibition case studies, making the comparative argument that overtly taxonomic methods of display and archiving can work to deaden videogames’ inherently mutable vitality. By speculatively thinking of videogames as things akin to the bugs of Animal Crossing, to be kept alive throughout the archival process rather than dead objects to be preserved, a new, more productive lens of videogame curation can be gleaned.
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Thiel, Tamiko. "Gardens of the Anthropocene // Jardines del Antropoceno." Ecozon@: European Journal of Literature, Culture and Environment 8, no. 2 (October 31, 2017): 193–97. http://dx.doi.org/10.37536/ecozona.2017.8.2.1890.

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Augmented Reality Installation in public space by Tamiko Thiel, 2016 – 2017: http://tamikothiel.com/gota/. Originally commissioned for the Seattle Art Museum Olympic Sculpture Park in summer 2016. The augmented reality (AR) installation Gardens of the Anthropocene posits a science fiction future in which native aquatic and terrestrial plants have mutated to cope with the increasing unpredictable and erratic climate swings. The plants in the installation are all derived from actual native plants in and around the Olympic Sculpture Park that are tolerant respectively to drought on land or to warming sea waters, and are therefore expected to adapt to the increasing temperatures to come. Beyond this actual scientific basis, however, the artwork takes artistic license to imagine a surreal, dystopian scenario in which plants are "mutating" to breach natural boundaries: from photosynthesis of visible light to feeding off of mobile devices' electromagnetic radiation, from extracting nutrients from soil to feeding off man-made structures, and to transgressing boundaries between underwater and dry land, between reactive flora and active fauna. Gardens of the Anthropocene has been eradicated in Seattle, but as the plants are native also to the San Francisco Bay Area, they have relocated to the Stanford University campus, between Memorial Auditorium and Hoover Tower, around the Hoover Fountain. Also, installations of red algae have been discovered on the East Coast of the USA, in Brooklyn, NY and Salem, MA. Resumen Instalación de Realidad Aumentada en espacio público por Tamiko Thiel, 2016 – 2017: http://tamikothiel.com/gota/. Encargado originalmente para el Parque de Escultura Olímpica del Museo de Arte de Seattle en el verano de 2016. La instalación de realidad aumentada (RA) Jardines del Antropoceno plantea un futuro de ciencia ficción en el que las plantas acuáticas y terrestres nativas han mutado para lidia con los cambios climáticos cada vez más impredecibles. Todas las plantas de la instalación provienen de plantas nativas reales del Parque de Escultura Olímpica y sus alrededores, que son tolerantes a la sequía en tierra o a las aguas marinas cada vez más cálidas, y que por lo tanto se espera que se adapten a las temperaturas en aumento que están por venir. Sin embargo, más allá de esta base científica real, la obra artística se toma la licencia de imaginar un escenario surrealista y distópico en el que las plantas “mutan” para romper barreras naturales: desde la fotosíntesis de la luz visible hasta nutrirse de la radiación electromagnética de dispositivos móviles, desde extraer nutrientes del suelo hasta alimentar estructuras hechas por el hombre, y hasta transgredir fronteras entre el agua y la tierra seca, entre flora radiactiva y fauna activa. Jardines del Antropoceno ha desaparecido de Seattle, pero como las plantas también son nativas de la zona de la bahía de San Francisco, han sido recolocadas en el campus de la Universidad de Stanford, entre el Memorial Auditorium y la Torre Hoover, alrededor de la Fuente Hoover. Además, se han descubierto instalaciones de algas rojas en la Costa Este de EEUU, en Brooklyn, NY y Salem, MA.
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Chipangura, Njabulo. "Ngoda : l’exposition « The Wealth Beneath our Feet »." Canadian Journal for the Study of Adult Education 31, no. 2 (November 20, 2019). http://dx.doi.org/10.56105/cjsae.v31i2.5482.

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Contemporary exhibitions in museums are increasingly becoming popular platforms to engage with stories of social struggles that surrounding communities will be facing. This paper will look at how Mutare Museumused an exhibition on illegal diamond mining—the research, the design, and the production—to create a public forum, encourage dialogue, and in the process, reframe the museum and effect social change. Illegal diamond mining in Eastern Zimbabwe was a topical issue and we took it up into our exhibitory halls thereby allowing the public to engage on issues surrounding diamond mining in an open forum. In the paper, I will look at the conceptualisation of a polysemic exhibition on diamond mining that involved bringing together multiple stories by communities affected in the aftermath of relocations which paved way for the establishment of formal mining operations. Chiadzwa diamond fields are located approximately 80 miles south west of the city of Mutare, Manicaland.
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Lusaka, Mwayi. "Museums as agents for social change: collaborative programmes at the Mutare museum." Museum Management and Curatorship, July 11, 2022, 1–5. http://dx.doi.org/10.1080/09647775.2022.2093572.

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Green, Andrew. "Moving world, moving voices: A discussion with Daljit Nagra." Journal of Commonwealth Literature, May 16, 2020, 002198942091183. http://dx.doi.org/10.1177/0021989420911836.

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This interview explores a range of both emergent and persistent areas of interest in the work of Daljit Nagra. Nagra’s two latest books — Ramayana (2013) and British Museum (2017) — represent explorations of his interests in both “rootedness” — what it means to be connected or grounded in a cultural environment — and “route-edness” — what it means for cultures to travel and the impact of cultural journeying (Clifford, 1997). In both books he considers how cultures — both as individual and intertwined entities — in complex ways solidify and mutate; how they remain static and move. In this interview he explores his own shifting, layered, and sometimes uncomfortable relationship with diverse cultures, considering the extent to which and the means by which cultures “translate”. Underlining the inevitable clashes and dislocation such processes necessitate, via pluralism he identifies an essential desire for the meaningful connection of diverse cultures. Like the British Museum of the title of his most recent work, he sees the importance of his poetry as a project in human connectivity, asserting creative achievement, resilience, and value. In exploring these ideas, Nagra discusses the ways in which his work connects both to Indian culture in transition and translation and to canonical English Literature. This interview was conducted in Uxbridge, West London on 6 December 2018.
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Books on the topic "Mutare Museum"

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Museum, Mutare. The Mutare Museum: 50 : a golden moment. Causeway, Harare, Zimbabwe: National Museums and Monuments of Zimbabwe, 2014.

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Mutter-Beethoven-Haus and Mittelrhein-Museum Koblenz, eds. Das Museum Mutter-Beethoven-Haus in Koblenz-Ehrenbreitstein. Petersberg: Michael Imhof Verlag, 2020.

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Antonelli, Paola. Mutant materials in contemporary design: The Museum of Modern Art, New York. New York: MOMA, 1995.

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Gribetz, Arthur. Strange bedfellows: Mutʻat al-nisāʼ and mutʻat al-ḥajj : a study based on Sunnī and Shīʻī sources of tafsīr, ḥadīth and fiqh. Berlin: K. Schwarz, 1994.

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Danticat, Edwidge. Breath, eyes, memory. New York: Vintage Books, 1995.

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Danticat, Edwidge. Breath, eyes, memory. 2nd ed. New York: Vintage Books, 1998.

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Danticat, Edwidge. Atem, Augen, Erinnerungen: Roman. München: Econ-und-List-Taschenbuch-Verl., 1999.

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Danticat, Edwidge. Breath, eyes, memory. 2nd ed. New York: Vintage Books, 1998.

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Chipangura, Njabulo, and Jesmael Mataga. Museums As Agents for Social Change: Collaborative Programmes at the Mutare Museum. Taylor & Francis Group, 2021.

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Museums As Agents for Social Change: Collaborative Programmes at the Mutare Museum. Taylor & Francis Group, 2021.

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Book chapters on the topic "Mutare Museum"

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Ciammaichella, Massimiliano, and Gabriella Liva. "Mutant Bodies. Statue Digitization and Exhibition at the National Archaeological Museum of Venice." In Digital Modernism Heritage Lexicon, 425–43. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76239-1_19.

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Chipangura, Njabulo, and Pauline Chiripanhura. "Reconfiguring the African Jindwi Traditional Drums in a Post-colonial Mutare Museum Setting, Zimbabwe." In Decolonisation of Materialities or Materialisation of (Re-)Colonisation, 219–40. Langaa RPCIG, 2017. http://dx.doi.org/10.2307/j.ctvh9vtwg.11.

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"Observed decay: telling stories with mutable things: Caitlin DeSilvey." In Museum Objects, 273–87. Routledge, 2012. http://dx.doi.org/10.4324/9780203720905-39.

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Bradley, Laura. "Model or Museum Exhibit? Die Mutter at the Berliner Ensemble, 1951– 71." In Brecht and Political Theatre: The Mother on Stage, 58–92. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199286584.003.0003.

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Abstract The 1951 production of Die Mutterreveals Brecht’s willingness to re-invent his work in the early GDR, even at the cost of sacrificing some of his principles. He made significant textual and aesthetic changes in order to transform his agitational play into a deceptively innocuous piece of family history. In the short term, these strategic concessions, both to official cultural policy and to the audience, helped Brecht to propagate his anti-war argument successfully. In the longer term, however, they had major consequences for the East German reception of Die Mutter. This was because Brecht encouraged subsequent directors to study and copy the 1951 production, even though he had tailored it to a unique and delicate situation. In 1951, Brecht was strongly committed to the overall political goals of the Socialist project but was under pressure to conform to the cultural policy of the SED (Socialist Unity Party). During his years in exile, the conservatives had gained the ascendancy in the long-running debate on left-wing aesthetics, and after the War the new East German authorities had endorsed Socialist Realism as the orthodox aesthetic. Art was required to adhere to nineteenth-century standards of realism and to project a positive view of society’s progress towards Socialism.
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Moosa, Ebrahim, and SherAli Tareen. "Revival and Reform." In Islamic Political Thought. Princeton University Press, 2015. http://dx.doi.org/10.23943/princeton/9780691164823.003.0013.

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This chapter analyzes the terms, revival and reform, which are widely disseminated across a range of genres in Muslim literature. They are found in commentaries of prophetic traditions, political discourses, debates about shari'a, and the integrity of learning and scholarship. Often these key words are rhetorically invoked in exhortations of moral awakening in order to advance a Muslim social and political gospel. Over time, these terms have been used together to represent a concept that links newness and creativity (renewal/revival) to wholeness and integrity (iṣlaṭ, reform). Whether the “renewal and reform” is aimed at the collective or the individual or both, the discourse of revival and reform addresses stability and change, the mutable and immutable in Muslim thought. In this larger semantic framework, two things loom large: political theology and the integrity of the learned tradition.
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Watson, Nicola J. "Enchanted ground." In The Author's Effects, 185–211. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198847571.003.0009.

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Chapter 8 explores the ways that nineteenth-century writers constructed houses as ‘enchanted ground’ to display their own mythos as national writers. It argues that these houses initiate and model the very concept of the writer’s house as museum, modelling how the writer’s physical and imaginative life work in mysterious symbiosis and amalgamation. It argues further that such houses—and their ‘enchanted grounds’—dramatized the way the writer’s imagination has saved and reanimated the hitherto mute detritus of the nation’s past. It focuses on Walter Scott’s self-dramatization at Abbotsford and the transatlantic portability of that model in Washington Irving’s Sunnyside, and concludes by looking at a modern reiteration of some of these ideas in the redevelopment of Shakespeare’s New Place for the 400th anniversary of his death in 2016.
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Abulafia, David. "Diasporas in Despair, 1560–1700." In The Great Sea. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195323344.003.0038.

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Ottoman sultans and Spanish kings, along with their tax officials, took a strong interest in the religious identity of those who crossed the areas of the Mediterranean under their control. Sometimes, in an era marked by the clash of Christian and Muslim empires, the Mediterranean seems to be sharply divided between the two faiths. Yet the Ottomans had long accepted the existence of Christian majorities in many of the lands they ruled, while other groups navigated (metaphorically) between religious identities. The Sephardic Jews have already been encountered, with their astonishing ability to mutate into notionally Christian ‘Portuguese’ when they entered the ports of Mediterranean Spain. This existence suspended between worlds set off its own tensions in the seventeenth century, when many Sephardim acclaimed a deluded Jew of Smyrna as the Messiah. Similar tensions could also be found among the remnants of the Muslim population of Spain. The tragic history of the Moriscos was played out largely away from the Mediterranean Sea between the conversion of the last openly practising Muslims, in 1525, and the final act of their expulsion in 1609; it was their very isolation from the Islamic world that gave these people their distinctive identity, once again suspended between religions. The world inhabited by these Moriscos differed in important respects from that inhabited by the other group of conversos, those of Jewish descent. Although some Moriscos were hauled before the Inquisition, the Spanish authorities at first turned a blind eye to the continued practice of Islam; it was sometimes possible to pay the Crown a ‘service’ that bought exemption from interference by the Inquisition, which was mortified to discover that it could not boost its income by seizing the property of exempt suspects. Many Morisco communities lacked a Christian priest, so the continued practice of the old religion is no great surprise; even in areas where christianization took place, what sometimes emerged was an islamized Christianity, evinced in the remarkable lead tablets of Sacromonte, outside Granada, with their prophecies that ‘the Arabs will be those who aid religion in the last days’ and their mysterious references to a Christian caliph, or successor (to Jesus, not Muhammad).
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Anam, Nasia. "Bengal from Both Sides." In The Oxford Handbook of Modern Indian Literatures, C34P1—C34N11. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197647912.013.34.

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Abstract This chapter contrasts literary depictions of partitioned Bengal from opposing perspectives: of East Bengali Hindus migrating to Indian West Bengal in Amitav Ghosh’s celebrated novel The Shadow Lines (1988) and of West Bengali Muslims migrating to Pakistani East Bengal in Mahmudul Haque’s Kalo Borof (1977, translated as Black Ice). Both novels portray the complex, mutable parameters of religious, linguistic, national, and regional allegiances for those who lost and gained new homelands by migrating from East to West Bengal and vice versa across the Bengal border, itself thrice drawn during the 20th century. The Shadow Lines centers on an uprooted, upper-caste family’s negotiations of belonging and identity after Partition, complicated further by a seemingly inexplicable and mortal act of aggression between West Bengali Hindus and East Bengali Muslims. Ghosh emphasizes the “mysterious” nature of sectarian violence in the novel by rendering his Muslim characters irrational and illegible. By contrast, Haque shows how large-scale aggression between Bengali Hindus and Muslims have been perpetuated by small acts of violence accrued over hundreds of years of colonial divide-and-rule policies. By granting his characters rich interiority, Haque troubles prominent 20th-century portrayals of East Bengali Muslims as voiceless and inscrutable in canonical West Bengali writing, from Rabindranath Tagore to Ghosh. Placing these texts in conversation highlights how emphasizing Indian Bengali representations of 1947 in culture and scholarship effectively erases the experience of East Bengalis/East Pakistanis/Bangladeshis from the archive of Partition’s manifold legacies—an indispensable perspective without which understandings of postcolonial South Asia remain profoundly incomplete.
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Thompson, Gilbert R. "Familial hypercholesterolaemia." In Oxford Textbook of Endocrinology and Diabetes, 1667–73. Oxford University Press, 2011. http://dx.doi.org/10.1093/med/9780199235292.003.1240.

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Familial hypercholesterolaemia (OMIM 143890) is characterized by hypercholesterolaemia from birth, with the subsequent development of cutaneous and tendon xanthomas and premature onset of atherosclerosis, as first described by Müller over 70 years ago (1). Myant (2) noted that the monogenically determined increase in plasma cholesterol was largely confined to low-density lipoprotein (LDL) cholesterol and Goldstein and Brown (3) showed that the increase in LDL was due to mutations of the gene encoding the formation of LDL receptors, leading to defective catabolism of LDL. Over 1000 variations in the LDL receptor gene have now been described, most of which can cause familial hypercholesterolaemia (4). Usually only one mutant gene is inherited, which gives rise to the heterozygous form of the disease. Rarely, inheritance of two identical mutant alleles occurs, giving rise to homozygous familial hypercholesterolaemia. Inheritance of two mutations results in compound heterozygosity, which is clinically indistinguishable from genetically homozygous familial hypercholesterolaemia. The frequency of familial hypercholesterolaemia in the populations of Europe and North America averages 0.2%, but in some parts of the world it is much higher. Regions with an increased prevalence of familial hypercholesterolaemia include Lebanon, South Africa, and the Canadian province of Quebec. In each instance this is attributable to an unusually high frequency of one or two mutations within the population, such as the Lebanese allele, the Afrikaner 1 and 2 mutations, and the French Canadian allele. In South Africa and Canada the increased prevalence of familial hypercholesterolaemia represents a founder gene effect traceable to immigrant settlers from Europe, whereas in Muslim communities it reflects the frequency of first-cousin marriages. In notable contrast is the multiplicity of mutations found among familial hypercholesterolaemia patients in the UK, as shown in Fig. 12.2.2.1. An identical clinical syndrome to familial hypercholesterolaemia can occur as a result of inheritance of a mutation at the apoB locus, which results in a functionally defective form of LDL (5). This disorder, familial defective apoB-100 or FDB (OMIM 144010), has a frequency of 0.1% in people of European descent but has never been described in Japan. Rarely, familial hypercholesterolaemia is caused by dominantly inherited gain of function mutations of a gene encoding proprotein convertase subtilisin/kexin type 9 (PCSK9) (OMIM 603776), which results in increased degradation of LDL receptors and an unusually severe clinical phenotype (6). It can also be caused by recessively inherited loss of function mutations of a gene encoding a protein involved in the clathrin-mediated internalization of the LDL receptor (6), which results in a milder phenotype than dominantly inherited forms of the condition and is known as autosomal recessive hypercholesterolaemia (OMIM 603813). A recent survey detected mutations of the LDL receptor, apoB, and PCSK9 genes in only 62% of patients with clinically definite familial hypercholesterolaemia (7), raising the likelihood that mutations of genes encoding other proteins involved in LDL metabolism remain to be discovered.
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Conference papers on the topic "Mutare Museum"

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Al-Hashim, Aliya, and Naima Bankari. "Application of Digital Documentation in Vernacular Architecture Studies: Case of the Omani French Museum in Mutrah." In 2024 2nd International Conference on Unmanned Vehicle Systems-Oman (UVS). IEEE, 2024. http://dx.doi.org/10.1109/uvs59630.2024.10467164.

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MEHMETALI, Bekir. "THE ARAB-TURKISH BROTHERHOOD IN MODERN ARABIC POETRY." In VI. International Congress of Humanities and Educational Research. Rimar Academy, 2023. http://dx.doi.org/10.47832/ijhercongress6-3.

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Since ancient times, Arabic poetry has been a depiction of everything that is happening in the Arab environment that surrounds the poet wherever he is, and his igniting flame has not been extinguished in their souls, despite the subjugation of the Arab world to the rule of non-Arabs after Islam. It is known that the Arab Muslims set out from the Arabian Peninsula as conquerors and heralds of the serious Islamic religion, and as a result of this the entry of nonArabs into Islam that enlightened the darkness of their hearts, so the Persians, Romans, Copts, Abyssinians, Turks, and others will be enlightened by his guidance... Muslim rulers will succeed in ruling the Islamic state Arabs and non-Arabs, such as Persians, Turks, Kurds, and others. And when the Turkish Ottoman state was established on an Islamic religious basis, the Turkish Muslims carried the banner of Islam, so they defended it, relying on Muslims of all nations, from the Turks, the Laz, the Arabs, and others, so the Islamic Ottoman rule extended over common areas that included almost the entire Arab lands, and they did not differentiate between Muslim and another in view of his race, color or geography. However, this matter did not satisfy the lurking enemies who wanted sedition and division between the Arabs and the Turks, so they stirred up the winds of nationalism that some Arab poets sought in the modern era, such as Ibrahim al-Yaziji and Khalil Mutran. Herein lies the importance of the research, its objective, and its value. The research uses the descriptive and analytical approaches in order to highlight the manifestations of this brotherhood, which received sufficient attention from Arab poets in the modern era.
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Ghazi ASSI, Ahmed. "Interpretation of the verses of judgments Verse (45) of Surat Al-Ma’idah In the Holy Quran." In V. International Congress of Humanities and Educational Research. Rimar Academy, 2022. http://dx.doi.org/10.47832/ijhercongress5-3.

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Praise be to God, a praise worthy of His majesty and beauty, and eternal prayer and peace accompanying those who have reached darkness. His perfection, and all his weaning improved, on his family and all his companions, and after: - The science of tafsir is one of the best and most honorable sciences, since with it the expressions that are the purpose of the creation of the Creator are correct. The Almighty said: ((I did not create the jinn and men except to worship Me)) (Al-Dhariyat (56). The present criminal law, wide and integrated fields, and the Islamic Sharia has come with an integrated system with clear goals that achieve the lofty purposes of reforming society and upholding the emergence of virtue and compassion for people, fulfilling the right to the pleasure of God Almighty. It is self-evident that everything has a beginning that must have an end, and this end must have a summary and the conclusion of this simple research is: - 1- A clarification of the general rulings that came in this noble verse about the reason for its revelation, its appropriateness, the readings contained in it, and the general meaning of it. 2- Explanation of the rulings of jurisprudence that God has legislated in this verse that benefit humanity. 3- From the explanation of retribution and its types by deducing jurisprudential issues from the verse from the killing of a man to a woman, the killing of a father by his son, the killing of a Muslim by an infidel. The ruling on the one-eyed if he puts out a valid eye, the blood money for the eye of the one-eyed, the ruling on cutting the ear, the blood money for the eye of the one-eyed, the ruling on cutting the ear, the ruling on cutting the tongue of the mute, the blood money for the tooth if it is black and plucked.
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