Academic literature on the topic 'Sufi poets'
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Journal articles on the topic "Sufi poets"
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Wachid B.S., Abdul. "Lukisan Peleburan Cinta yang Erotik: Puisi Sufi di antara Estetika dan Etika Cinta Ilahiyah." Al-Jami'ah: Journal of Islamic Studies 43, no. 2 (2005): 475. http://dx.doi.org/10.14421/ajis.2005.432.475-499.
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The ecstatic experience of a Sufi often drives him or her to producing such unusual sayings ordinarily called as shathiyya, which are sometimes problematic for common people. This is due to the fact that the expressions are not in common language; they are articulated in “the language of heart”, which is figurative and symbolic, since they state conative experiences. In this regard, love poems with their erotic expressions are chosen as a media for a Sufi’s reflection. In addition, the writer discusses the rationale of Sufis in connection with their erotic-love poetic illustrations. Some poems of Sufi Poets, such as those of Sana’i, Rabi‘a al-Adawiyya, Sa‘di, Jami‘,and Amir Hamzah, are elaborated for a further appreciation of the Sufis’ shathiyya.
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Khalid Saifullah. "Discourse Analysis." Linguistics and Literature Review 2, no. 1 (2016): 29–38. http://dx.doi.org/10.32350/llr.v2i1.245.
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The present study aims at analyzing the discourse of Sufi poetry, a prominent genre of Sufi Literature. Sufi poets have been publicizing Sufism and their philosophy through poetry. Text and language is central to Sufi literature therefore Sufi poets use poetic language to mesmerize the hearts of people. In this study thematic discourse analysis of Sufi poetry is conducted in qualitative research paradigm whereas Post-structuralism is used as theoretical framework epistemologically. Textual data in form of poetry verses is collected purposively from online resources. The study concludes that poetry of two Sufi poets, Bulleh Shah and Rumi holds common themes of universal love, purification of soul and humility.
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Hajriansyah, Hajriansyah. "PENGALAMAN BERAGAMA SUFI JALALUDDIN RUMI DALAM PERSPEKTIF PSIKOLOGI." Jurnal Ilmiah Ilmu Ushuluddin 14, no. 1 (2016): 49. http://dx.doi.org/10.18592/jiu.v14i1.684.
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Sufis poetry or the poetry of Islamic Mysticism is part of the cultural heritage of Islam. If the mention of the manynames of Sufi poets, the most commonly known and easily referred to is the name of Maulana Jalaluddin Rumi orRumi. This writing wants to frame the religious experience of Rumi, through his poetries that reflects the attitude ofSufis doctrine, in the perspective of Sufi psychologhy. The conclusion was obtained that Rumi was from the type ofprophetic religion, so that his attitude of the religion did not leave Syariat aspects which part of Islamic doctrine,although he put a lot of mystical attitude in his eccentric poems since his meeting with Syams Tabriz.
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Drozdov, V., and A. Šela. "Problem of the Authorship of the ‘Ishq-name (“The Book of Love”) Poem Attributed to Sana’i from the Regard of Academic Oriental Studies and Modern Computer Technologies." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 27, no. 2 (2021): 53–62. http://dx.doi.org/10.31250/1238-5018-2021-27-2-53-62.
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One of the greatest Persian Sufi poets of the 12th century Sana’i (d. 535/1140 or 545/1150) is founder of the Sufi didactical mathnawi poem in Iran. His works exerted enormous influence upon many posterior authors in the Persian Sufi and secular poetry. But the problem of the authorship of Sana’i in regard to the short poems has been debated among the scientists during 20th century and right up to the nowadays. The paper covers the history of studying of the short poems attributed to Sana’i , special attention is devoted to ‘Ishq name (“The Book of Love”), one of the main Sufi writing in the Persian literature on the subject of Mystical Love. For the definition of the authorship of this poem the paper proposes the using of the latest computational methods in particular digital stylometry. The paper tries to answer the question, who is the author of ‘Ishq name poem: Sana’i or the Sufi shaykh and author of the 14th century ‘Izz al Din Mahmud Kashani (d. 735/1334–35).
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Al zhery, Dr Nahy Abid Ibrahem. "Symbols of Sufism and Gratitude (Al-Irfan)in the poetry of Igbal Al-Lahouri." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 225, no. 1 (2018): 247–82. http://dx.doi.org/10.36473/ujhss.v225i1.121.
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The Indiana poet Mohammad Iqbal Al-Lahouri is one of the great poets who shined Like as star in the Indian subcontinent in the past 100 years. He became a distinguished literary phenomenon in today's world. Many literary works and were written about him. One of the important aspects of Iqbal's poetry is the reflection of mystical concepts and knowledge in his poems as was the case of Sufi scholars one of which is the great persian Sufi poet (JalaluddinAl-Roumi). That is why the current research came under this title.
 (symbols of Sufism and Gratitude (Al-Irfan)in the poetry of Igbal Al-Lahouri).
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Sabir qızı Abdullayeva, Gülər. "Fuzuli and Galib poetry in similar genres." SCIENTIFIC WORK 80, no. 7 (2022): 62–66. http://dx.doi.org/10.36719/2663-4619/80/62-66.
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XVIII əsr Türk sufi şairi Şeyx Qalib Fizuli ənənələri davam və inkişaf etdirən şairlərdən biri olmuşdur. Bu iki sənətkarı birləşdirən ortaq xüsusiyyət onların eyni mövzu və janrlarda şeirlər yazmasıdır. Qalibin qəzəl janrında yazdığı şeirlər Füzulinin qəzəllərini xatırladır. Şeyx Qalib divanında Füzuliyə həsr olunmuş şeirlər arasında təxmislərlər xüsusi yer tutur. Bu onu göstərir ki, hər iki şairin əsərlərində forma və məzmun baxımından ortaq xüsusiyyətlər vardır. Mövzu baxımından hər iki şairin yaradıcılığında məhəbbət mövzusu öndə gedən yerlərdən birini tutur. İlahi eşqi sonsuz məhəbbətlə tərənnüm edən bu şairlər dünya eşqinin əzabını yaşamış və tale yüklü bir ömür yaşayaraq ilahi eşq yaşantılarını şeirə çevirə bilmişlər. Məqalədə hər iki şairin qəzəl janrında yazdığı şeirlər müqayisəli şəkildə təhlil olunur. Açar sözlər:Məhəmməd Füzuli,Türk ədəbiyyatı, Şeyx Qalib, qəzəl, ilahi eşq Gular Sabir Abdullayeva Fuzuli and Galib poetry in similar genres Abstract The eighteenth-century Turkish Sufi poet Sheikh Galib Fuzuli is one of the poets who continued and developed the traditions. The common denominator that unites these two artists is their theme in terms of both theme and genre. His poems in the ghazal genre are reminiscent of Fuzuli's ghazals. Among the poems dedicated to Fizuli in Sheikh Galib's divan, takhmis have a special place. This shows that both poets have common features in their work in terms of form and content. From the point of view of the theme, the theme of love occupies a leading place in the works of both poets. These poets, who sang of divine love with infinite love, experienced the sufferings of worldly love and were able to turn their emotional turmoil into poetry by living a life full of destiny. The article describes in detail the subject matter of the ghazals of both poets. Key words: Turkish literature, Sheikh Galib, Muhammad Fuzuli, divine love, ghazal
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Aitken, Molly Emma, and Allison Busch. "The Transcultural Eros of the Manchester Cāndāyana." Comparative Studies of South Asia, Africa and the Middle East 42, no. 2 (2022): 293–308. http://dx.doi.org/10.1215/1089201x-9987749.
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Abstract This essay explores a single illustrated manuscript of Maulana Daud's Sufi narrative the Cāndāyana from the Rylands Library, Manchester, to help make sense of how Sufi poets and the sultanate-period painters who illustrated their verses realized the indigenous aesthetics of eros and the nāyikā.
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Hamed Ezzeldin, Hend. "A Flight Within: Keat’s Nightingale In Light of the Sufis." Advances in Language and Literary Studies 9, no. 3 (2018): 121. http://dx.doi.org/10.7575/aiac.alls.v.9n.3p.121.
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Sufism is the mode of religious life in Islam in which emphasis is placed on the activities of the inner self than external rituals and performances. The essence of Sufism lies in its internal transcendental experience. The aim of Sufis is to delve into the human soul and see through its darkness in order to reach the ultimate truth. Sufi poetry is abundant with images that present the human soul as a mystery that could be decrypted via contemplation, meditation, and inner vision. The target of Sufis is to reunite with the Universal Self that is the ‘truer’ self of every human (i.e. God). Likewise, Romanticism is founded on the doctrine that all creation began in harmonious unity. Romantic poets share Sufis’ quest for truth and an illuminating path towards reaching the essence of the Divine. A renowned Romantic poet, John Keats, contrary to his fellow Romantics, never alluded to sharing any interest with the orient or the spirituality it incarnates. However, by attempting a Sufi reading of his poem ‘Ode to a Nightingale’, this research paper will attempt to highlight the underlying philosophy and uncover the spiritual implications hidden within Keats’ ode and propound a solid connection between Sufi and Romantic ideologies.
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Elhariry, Yasser. "Abdelwahab Meddeb, Sufi Poets, and the New Francophone Lyric." Publications of the Modern Language Association of America 131, no. 2 (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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Fatma, Zaitoon, and Saadia Imtiaz. "The Great Poet of Today’s Kafi: Afzal Hussain Gilani." Negotiations 1, no. 2 (2021): 35–40. http://dx.doi.org/10.54064/negotiations.v1i2.20.
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اجوکی کافی دا وَڈا شاعر:افضال حسین گیلانی
 Kafi is a genre of Poetry that is found in the poetry of Sufis. It contains accessories such as Naat, Manqabat, and Qasida where the state of distance and the pleasure of connection are maintained. Kafi began with Shah Hussain and many Sufi poets experimented with it. One of them is Syed Afzal Hussain Gilani who has described Kafi as a classical tradition as well as a contemporary one. This article discusses Syed Afzal Hussain Gilani's Kafies.
Dissertations / Theses on the topic "Sufi poets"
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wa, Mutiso Kineene. "Al-Busiri and Muhammad Mshela: two great Sufi poets." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91016.
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In this paper I give biographical sketches of a thirteen century Egyptian poet, best known as al- Busiri, the original composer of Kasidatul Burdah in Arabic and the Swahili translator of the said epic best known as Sheikh Muhammad Mshela, from Shela in Lamu, Kenya. Kasidatul Burdah (The Mantle Ode) or Kasida ya Burudai, in Swahili, is the most famous qasida in the Muslim world. I transcribed this qasida from Arabic to Roman script and analysed it (wa Mutiso 1996). My intention is to show how these poets share the same world view concerning Sufism and Islamic culture in particular
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wa, Mutiso Kineene. "Al-Busiri and Muhammad Mshela: two great Sufi poets." Swahili Forum 11 (2004) S. 83-90, 2004. https://ul.qucosa.de/id/qucosa%3A11491.
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In this paper I give biographical sketches of a thirteen century Egyptian poet, best known as al- Busiri, the original composer of Kasidatul Burdah in Arabic and the Swahili translator of the said epic best known as Sheikh Muhammad Mshela, from Shela in Lamu, Kenya. Kasidatul Burdah (The Mantle Ode) or Kasida ya Burudai, in Swahili, is the most famous qasida in the Muslim world. I transcribed this qasida from Arabic to Roman script and analysed it (wa Mutiso 1996). My intention is to show how these poets share the same world view concerning Sufism and Islamic culture in particular
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Mir, Anita. "The object of love : A literary and theological analysis of the work of two mystical poets : the Flemish Beguine, Hadewijch (fl. 1240) and the Punjabi Sufi, Bulleh Shah (d. 1758)." Thesis, University of Exeter, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425294.
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Shadchehr, Farah Fatima Golparvaran. "'Abd al-Rahman Jami: Naqshbandi Sufi, Persian Poet." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1217869380.
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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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<p>This study is a theoretical research concerning Ibn Arabi's Sufi experience and his philosophy of the "<br>unity of being"<br>(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.</p>
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In the analytical study I explore the poems "<br>Tarjuman al Ashwaq"<br>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 "<br>the unity of being."<br></p>
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Koerbin, Paul V. "I am Pir Sultan Abdal : a hermeneutical study of the self-naming tradition (mahlas) in Turkish Alevi lyric song (deyiş)." Thesis, 2011. http://handle.uws.edu.au:8081/1959.7/507150.
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The lyric songs of Turkish oral tradition broadly understood by the term deyiş provide one of the richest perspectives on the historical construction, communal perceptions and creative impetus of Turkish Alevi culture. One of the most evident defining characteristics of the deyiş is the convention in which the poetic persona to which the lyric is attributed, known as the mahlas, is incorporated in the final verse. While this convention is ubiquitous in this lyric form it has received little scholarly attention particularly in regards to is role in expressive culture. This study approaches Alevi expressive culture by means of focusing on the interpretive force of the mahlas.
The theoretical basis for this study is the tripartite model proposed for ethnomusicological study by Timothy Rice in 1987, by which musical experience may be understood as being historically constructed, socially maintained and individually applied. In applying this model my study pursues an interpretive approach both in terms of identifying interpretive practice and in suggesting interpretive perspectives. This approach follows Paul Ricoeur's hermeneutical perspective as an encounter that seeks not to understand the inner experience of people of another culture, but rather to understand the world that is suggested by music sounds, performance and contexts. The structure of this study follows this hermeneutical epistemology in terms of pre-understanding (encounters in text), explications (the analysis of the form and structure of the text and music) and experiences (interpretive encounters with expressive culture that suggest new understandings). Methods employed for this study include a broad reading and familiarity with Alevi related and initiated publications and scholarship (in Turkish and English); observation of Alevi (and more broadly Turkish) public expressive culture through audio and visual recordings and attending festivals and other events; and participation in Alevi expressive culture and critical reflection through learning the bağlama (Turkish lute) and performing Alevi deyiş informally and in public.
This study begins by considering ‗pre-understandings‘ through the way the persona of the most influential of the Alevi poets, Pir Sultan Abdal, is presented in the pursuit of a historical identity as the lyrics or oral tradition attributed to him have become the basis of canonical textual collections. This chapter suggests the limitation of this approach to understanding while revealing the centrality of the mahlas as the object of study. The second part of the study focuses on explicating the deyiş lyric form and the mahlas as a defining characteristic of that form. These explications suggests the mahlas is more than merely a convention used to identify the author of the lyric but is, rather, a subtle and adaptable traditional textual integer that, while inherently meaningful, is not fixed in its meaning or purpose; and with its immanent associations provides interpretive and creative potential. The third part of the study considers the interpretive and creative potential of the Alevi deyiş and the immanent qualities of the mahlas in performance. Firstly, a context to Alevi public expressive culture is provided by examining a series of commercial recordings produced in the 1980s by Arif Sağ, a formative period when Alevis began to be more open and assertive in the articulation of Alevi culture. This is followed by an examination of the interpretive potential of performance through the description and analysis of a performance by Tolga Sağ at the 2002 Pir Sultan Abdal festival in the village of Banaz in central Turkey. The study further considers the application of the interpretive potential provided by the immanent and associative qualities of the mahlas through a critical reflective analysis of my performances of Alevi deyiş. Finally, this study includes the largest collection of lyrics by the major Alevi poet Pir Sultan Abdal yet to appear in English translations. These translations are included to demonstrate and reveal the hermeneutical challenge presented by this material as well as providing broader scholarly access to a substantial representative sample of the lyrics associated with this major Alevi figure.
This study concludes that the mahlas is a richly meaningful textual integer that conveys, with communicative economy, immanent aspects of authority, lineage, communal identity and inclusion. As such, rather than being a simple convention to identify authorship, it is an adaptive yet critical element in the creative and interpretive expression of Alevi culture. This study aims to contribute to the understanding of a rich oral lyric tradition and creative expressive culture that has received relatively little scholarly attention, especially in the English language scholarship, and to reveal the mahlas in the context of oral and expressive culture as a subject deserving of further scholarly study.
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Ching, Sze-ling, and 莊絲菱. "A study of the five-character poems evolved to regulated verse from Southern Qi Liang Chen to the Sui Dynasty." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/50150384470469680522.
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碩士<br>國立中山大學<br>中國文學系研究所<br>100<br>Five-character poetry is an important poems form in Chinese Literature, which have five-character-four-sentences, six-sentences, eight-sentences, ten-sentences,twelve-sentences or even longer. Although the regulated verse form got into matured in Tang Dynasty,but it was brewing in the Southern Qi Liang.Start from Southern Song Dynasty,five-character poetry was gradually appeared into a large number,especially of the five-character-eight-sentences poetry.However, among the academia only focus on researching poetry rhythm and the antithesis,did not put efford into research the structure of five-character poem.This thesis focuses on this phenomenon,based on the number of five-character poems and the poems structure,try to research the process of five-character poems evolve into regulated verse.
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Chuang, chai-wei, and 莊家維. "The morphological Transformation of Tam-sui Town in modan Age- from the Opening of the Treaty Ports to Japanese Colonial Period." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/80870634090436635116.
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碩士<br>國立成功大學<br>建築學系碩博士班<br>93<br>In modern history of Taiwan, Tamshui was a place with early development. It was part of the village systems of Taipei Basin and was in the same period with port villages such as Man-ka, Hsin-chuang, His-kuo and Da-Dao-Cheng. Since Tamshui was an outport of Taipei Basin, it was not only the window for the Han immigrants but also the domestic and external transportation channel of Taipei Basin. In early times, there were aboriginal activities in Tamshui. The occupation of the Spanish and Dutchmen resulted in the start of the village development. After the middle period of Ching Dynasty, Tamshui once became international port due to the establishment and trading of the port. At the beginning of the period of Japanese occupation, Tamshui River was under severe deposition. Keelung Harbor thus emerged and the development of Tamshui was declining. In recent years, the construction of MRT system drove new industry of tourism, and Tamshui become the recreational resort of urban area in Taipei. From the perspective of urban space theory, this research attempted to analyze the causes of space construction and change of different periods and expected to generate a clear skeleton of development of village.
The research explored the space construction of Tamshui village from the establishment and trading of Tamshui port in 1860 to the Japanese occupation over Taiwan in 1895. After Tamshui became the international port, the streets which were originally for the activities of the Hans involved in works of foreigners. With the emergence of the functions of foreign business, religion, medical treatment and education, the village space revealed new look. How the transformation and the original development of Han streets affected each other and merged with each other turned into one of the critical issues of the research. This article will analyze the space development through transportation system, street network, land utilization model, position and distribution of the facilities and establish the space construction of Tamshui village at the end of Ching Dynasty.
The period of Japanese occupation was an important stage of the change of space of Tamshui village. The new look of space development of the village turned into the basis of the prospective development of the city. The colonial government actively established various economic constructions such as transportation system, adjustment of the village and sanitary sewers. Apart from the original establishment of Ching Dynasty, the colonial government further increased the functions of administration, transportation, finance, sanitation and recreation so that the functions of the village would be more complete. With the integration of sea transportation, river transportation and land transportation, Tamshui gradually became the district hub of transportation. The process of space transformation resulted in modernization of the functions of the village which was indeed the period of the most change of the village. This article will establish the construction of village space of the period of Japanese occupation through space scale, transportation system, street network, land utilization model and the location and distribution of various facilities of the village.
Finally, the research proceeded with a synthetic comparison between the space construction of the end of Ching Dynasty and the period of Japanese occupation and analyzed the causes of change of contemporary space development and relation and characteristics of transformation of Tamshui village and further clarified a clear skeleton of the whole development. The research also studied the natural development of the village since Ching Dynasty and the policy-oriented change of the period of Japanese occupation and the effects of different political and economic environments upon the space development of Tamshui such as the move of the center of village, expansion of space scale, distribution of the area for activities, the development of various facilities and the effect of deposition of river course. The substantial transformation of space featured the human significance of the background of time and environment.
Books on the topic "Sufi poets"
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India), Iran Society (Calcutta, ed. Great Sufi poets of the Punjab. Iran Society, 1999.
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Chaudhri, Muhammad Ashraf. Sufi poets of the Punjab (Pakistan): (their thought and contribution). National Book Foundation, 2009.
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Chaudhri, Muhammad Ashraf. Sufi poets of the Punjab (Pakistan): (their thought and contribution). National Book Foundation, 2009.
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(Pakistan), National Book Foundation, ed. Sufi poets of the Punjab (Pakistan): (their thought and contribution). National Book Foundation, 2009.
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Chaudhri, Muhammad Ashraf. Sufi poets of the Punjab (Pakistan): (their thought and contribution). National Book Foundation, 2009.
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Chaudhri, Muhammad Ashraf. Sufi poets of the Punjab (Pakistan): (their thought and contribution). National Book Foundation, 2009.
Find full textBook chapters on the topic "Sufi poets"
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"Beloved Sufi Poets." In Of Sacred and Secular Desire. I.B.Tauris, 2012. http://dx.doi.org/10.5040/9780755611652.ch-002.
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Mir, Mustansir. "Teachings of Two Punjabi Sufi Poets." In Religions of India in Practice. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv131btwn.43.
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Mir, Mustansir. "36. Teachings of Two Punjabi Sufi Poets." In Religions of India in Practice. Princeton University Press, 1995. http://dx.doi.org/10.1515/9780691216263-041.
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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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Yavuz, M. Hakan. "Sites of Ottoman Memory." In Nostalgia for the Empire. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197512289.003.0004.
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This chapter presents Turkish literature as an incubator for the rise of counter-identity, exploring literature not merely as an instrument for exploring memories but, more important, as a site for storing and reconstituting them. The counterpoint of fictional writers and poets against professional historians and scholars is examined. In the case of Ottoman history, early Republican novels and poems were turned into texts of collective memory that offered a basis for reimagining the self simultaneously as Ottoman/Muslim and Turk. Literature stimulated interest and desire in Turkish readers to learn more about the past. The chapter also examines the Sufi orders and their role in preserving and reviving Ottoman memory.
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Hedayat Munroe, Nazanin. "Conclusion." In Sufi Lovers, Safavid Silks and Early Modern Identity. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721738_concl.
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Reattribution is proposed for some of the silks from Safavid sixteenth-century to Mughal seventeenth-century production, based on the migration of textile specialists and shared cultural values expressed by the silks. Nizami’s Khamsa and those of other poets represent these shared symbols of mystic aspirations of elite patrons and royalty in the Safavid and the Mughal realms. Symbolism in the story of Khusrau and Shirin demonstrates the emotional balance needed to achieve ideal kingship on earth, a metaphor of the divine realm; while the story of Layla and Majnun illustrates the transformative power of love as a catalyst for the evolution of the Sufi aspirant. The ‘trickle down’ effect of signed silk velvet and lampas designs to unsigned, less costly designs implies a general trend for Khamsa lovers worn as silk garments by Sufi lovers.
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Bellingeri, Giampiero. "Sayat Nova: tra le pause di quiete e le crisi di una creazione." In Eurasiatica. Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-340-3/012.
Full textAbstract:
Sayat Nova (1712?-1795?), the ‘singer’ par excellence of the Transcaucasian peoples and ashuq (lover), follows the hard path of Love of the ashuq/lovers towards the Beloved (or towards the Lord, God, in a sufi, mystical approach). Being based in Tbilisi/Tiflis, siege of the court of the Georgian rulers, he composes in three languages (Armenian, Azerbaijani, Georgian). However, in his trilingual collections (defter) of songs, we can hear and feel only one discourse, or mantıq, that is a logic used and applied by the ashuq/gusan. The evidence of a continuity, in a unique environment/muhit, between Sayat Nova, the medieval Armenian tradition, the Muslim sufi poets and the Christian Masters is clear enough. Sayat Nova organises and recomposes a common way of expression between traditions that are not very different from each other.
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Pickett, James. "Conclusion." In Polymaths of Islam. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501750243.003.0009.
Full textAbstract:
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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Feldman, Walter. "The Ney in Mevlevi Music." In From Rumi to the Whirling Dervishes. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474491853.003.0005.
Full textAbstract:
The reed flute nai/ney was one of the most ancient instruments of the Near East. It had been adopted as the classic instrument of medieval Persian Sufis, and it maintained that role among the Mevlevis until the present day. Beginning with Rumi, the ney has been the subject of a continuous poetic discourse, first in Persian and then in Turkish. These Turkish verses created mainly by Mevlevi but also by other Turkish Sufi poets, developed the symbolism of both music and the sema, in a manner rather distinct from the theoretical poetic treatises mentioned in the previous chapter. It seems that Mevlevi neyzens (flautists) had helped to perfect the new Ottoman form of the ney with a mouthpiece, by the later sixteenth century. And with this newly improved ney, the Mevlevi neyzens perfected their form of improvised performance, known as taksim. While the neyzens performed taksim in many contexts, the music of the ayin ceremony came to begin with a highly developed and meditative performance, known as the baş-taksim (“head taksim”).
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Narang, Gopi Chand. "The Progressives." In The Urdu Ghazal, translated by Surinder Deol. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0007.
Full textAbstract:
Several Urdu poets drew their inspiration from revolutions in Russia and China and advocated similar transformation in India. The Progressive Writers’ Movement, established by Mulk Raj Anand and Sajjad Zaheer, held its first conference in 1936. The ghazal had been marginalized for quite some time due to a misconception by some progressives that the ghazal was anti-progressive. Thankfully, poets like Faiz Ahmed Faiz kept writing ghazals using love and Sufi phraseology with new revolutionary import. Faiz reframed concepts of love and beauty to be in tune with the needs of changing times. This chapter makes the point that literature and fine arts are social acts, and if creativity is impeded and freedom of the mind is compromised, poetry will lack freshness and spontaneity. Thus, in spite of the harsh criticism of some mistaken people, the ghazal reappeared in a decade or two and thrived together with the wave of rising social consciousness and revolutionary zeal.