Thèses sur le sujet « Ibn al-`ArabÃ¥i,1165-1240 »

This thesis will examine how the Islamic concept of tawḥid ("monotheism") was understood, and perhaps more importantly, experienced by the 12th/13th Sufi, Ibn 'Arabi (1165-1240), also known as al-Shaykh al-Akbar ("The Greatest Master"). It has been argued that tawḥid is not simply a belief but also an operation, that is to say, a continual process whereby the literal meaning of tawḥid ("asserting oneness") is upheld. This understanding of tawḥid implies a certain dualism which for Ibn 'Arabi is a reflection of the two perspectives which express God's oneness, namely, tanzih ("transcendence"), which literally means "declaring something to be pure and free of something else," and tashbih ("immanence"), of which the literal meaning is "declaring something to be similar to something else." As can be seen, tanzih and tashbih are mutually contradictory and thus present tawḥid as a paradox. However, for Ibn 'Arabi, it is essential to not ignore any one perspective in favor of the other. For him, the paradox can and must be reconciled through the power of khayal, or imagination, which alone has the ability to combine opposites and thus, bridge the gap between tanzih and tashbih , thereby allowing for the experience of tawḥid .

This thesis examines the views held by Muh&dotbelow;yi al-Din Ibn al-`Arabi on shari`ah, based for the most part on his magnum opus, al-Futuh&dotbelow;at al-Makkiyyah. It explores his attitude towards the shari`ah as practical religious law and his teachings concerning its sources and interpretation. Despite being misunderstood on account of his s&dotbelow;ufi background and his well-known criticism of the fuqaha' Ibn al-`Arabi's teaching, in fact, advocated a strict and consistent orientation to the shari`ah. This thesis shows how, on the one hand, his criticism of the jurists was due to their inability to achieve the high standards that he set for interpreting the law, and how, on the other, his s&dotbelow;ufi beliefs complemented, rather than weakened, the foundations of the shari`ah. It is clear that the principle underlying his approach to the shari`ah's application was his belief in its being a manifestation of God's mercy. He demonstrates this by pointing to the direct sources of God's law, accepting differences in legal opinion and seeking as much as possible the deeper spiritual and universal meaning of God's intentions in the law.

L’objet essentiel de cette thèse est l'analyse du problème des images en islam. Nous avons considéré l'interdiction religieuse des images d'êtres vivants dans les hadiths du prophète Muhammad comme notre meilleur accès a l'étude de l'esthétique de l'art islamique. On sait que le monothéisme est le fond de la religion en islam, ce monothéisme, en dernier ressort, est une vision de l'homme, du monde et de dieu. Cette vision est celle qui a entrainé l'art islamique à dépasser le relatif vers l'absolu, l'immédiat vers le conceptuel. Or, l'esthétique de cet art allait se baser sur le conceptuel et l'imaginal, beaucoup plus que sur les données immédiates de la nature. Nous avons expliqué qu'une vraie appréciation de la vocation de l'art islamique vers l'abstrait et les formes stylisées, est une chose inséparable d'une profonde compréhension des principes spirituels de l'islam. Notamment, la société islamique à travers le moyen-âge a bien compris l'interdiction des images comme une question de dogme. L’auteur de cette thèse ne discute pas l'esthétique de l'art islamique à partir de son jugement personnel, mais à partir de la situation de l'image en islam, et à partir de la conception musulmane sur l'art. Pour réaliser ce but, nous avons choisi le grand maitre soufi, ibn arabi 1165-1240, qui a assimile l'expérience des cinq siècles de l'islam spirituel qui l'ont précédé. A travers la pensée d'ibn arabi, nous avons étudié la réalité de l'art islamique dans trois expressions : 1) abstraction et stylisation,2) arabesque,3) calligraphie. Selon cette étude, nous avons démontré qu'ibn arabi n'est pas seulement un grand soufi, mais un esthète et un critique d'art. Même les grands fondements de l'esthétique de l'art musulman se trouvent traites dans ses écrits tout en étant des enseignements doctrinaux. En outre, ibn arabi nous présente une explication originale et profonde pour le "problème des images", fondée sur ce qu'il appelle "le monde de l'imagination". Ce nouveau portrait d'ibn arabi nous assure que les fondements esthétiques et l'art musulman sont bien lies a la métaphysique musulmane<br>The main subject of this thesis is an analysis of the "problems of pictures in Islam". We have considered Prophet Muhammad’s hadiths that prohibit pictures of living creatures as the best access to the aesthetics of Islamic art. Monotheism is the essence of religion in Islam. It is a vision of man, world, and god. This vision has led Islamic art to surpass the relative to the absolute, the immediate to the conceptual. Hence, the aesthetics of Islamic art depend on the conceptual and the imaginal, more than on the imitation of given appearance of nature. We have explained that there is no true appreciation of abstraction and stylized forms, without a deep comprehension of spiritual principles of Islam. The Islamic society of middle-ages has understood the banning of pictures of living creatures as a question of faith. The author of this thesis doesn't discuss the aesthetics of Islamic art from a personal angle; discusses them in regard to the situation of pictures in Islam, and the impact of the conception of man, world, and god, in the mystical experience of Islam, whose teachings are based on the coran, and the tradition of prophet Muhammad. Among the soufis, we have chosen the thoughts of the great master ibn arabi 1165-1240, who had assimilated the experience of five centuries of spiritual Islam. Through ibn arabi, we have studied the reality of Islamic art, in three expressions:1) abstraction and stylization,2) arabesque,3) calligraphy. By this study, we have proved that ibn arabi isn't only a great soufi, but also an aesthete and a critic of art, who has presented to us a deep explanation of the problem of pictures in Islam, through the "world of imagination". This a new portrait of the great Islamic saint ibn arabi; accordingly to it, the aesthetics of Islamic art find its main fundaments in Islamic metaphysics

<p>This study is a theoretical research concerning Ibn Arabi's Sufi experience and his philosophy of the &quot<br>unity of being&quot<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> <p><br /> In the analytical study I explore the poems &quot<br>Tarjuman al Ashwaq&quot<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 &quot<br>the unity of being.&quot<br></p>

Essentiellement biographique, le propos de ce travail est de restituer l'itinéraire spirituel et intellectuel du grand soufi Muhyi l-din Ibn Arabi (ob. 638 1240) en le situant autant que possible dans le contexte religieux et historique de l'époque. Né à Murcie en 1165, Ibn Arabi meurt à Damas en 1240 après avoir passé la majeure partie de sa vie à sillonner l'occident musulman d'abord, puis l'orient. Sa destinée s'inscrit donc à l'un des moments les plus dramatiques de l'histoire du monde musulman : en Occident, ou Ibn Arabi passe les quarante premières années de sa vie, la reconquista gagne chaque jour du terrain ; en Orient, ou il émigra ensuite, les croisades se succèdent et le péril mongol se rapproche. Par un dépouillage minutieux des sources internes et des sources externes, ce travail tente non seulement de retracer la vie d'Ibn Arabi de manière chronologique et évènementielle mais également d'en mieux éclairer et ordonner les moments privilégiés, les étapes spirituelles marquantes et, d'autre part, de situer cette destinée exceptionnelle dans l'époque et la société qui en constituent le cadre<br>The aim of this biographical work is to reconstruct the spiritual and intellectual itinerary of the famous sufi Muhyi al-din Ibn Arabi (d. 638 1240) by placing it, as much as possible, in the religious and historical context of his time. Ibn 'Arabi was born in Murcia (Spain) in 1165 and died in Damascus in 1240, after having spent most of his life travelling throughout the Islamic world, first in the Maghreb and then in its eastern regions. Thus his destiny was to participate in one of the most dramatic periods in the history of the Muslim world: in the west, where Ibn Arabi spent the first forty years of his life, the reconquista was constantly gaining new ground ; in the Islamic east, to which he emigrated, the crusades were continuing and the Mongols hordes were approaching. This study, based on the detailed examination of both Ibn 'Arabi's own voluminous writings and external sources, does more than simply retrace the chronology and external events of his life. It also attempts to outline and clarify the critical moments, the decisive spiritual stages of his life, while at the same time relating that extraordinary destiny to the society in which it was situated

This study is a comparison of the philosophical systems composed by the Indian philosopher Sankara (788-830 CE), and the Muslim mystic, Ibn Arabi (1165-1240 CE). The primary thesis found in this study is that the conceptual systems constructed by Sankara and Ibn Arabi are not perfectly new creations derived from the core of their mystical realizations. Rather, they contain fundamental pre-existing principles, concepts, and teachings that are expanded upon and placed within a systematic philosophy or theology that is intended to lead others to a state of realization. A selection of these presuppositions are extracted from within each of these thinkers’ philosophical systems and employed as structural indicators. Similarities are highlighted, yet the differences between Sankara and Ibn Arabi’s thought, witnessed within their philosophical systems, lead us to the conclusion that the two mystics inhabited different conceptual space.<br>iv, 195 leaves ; 29 cm

Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2008<br>Bibliografia: f. 116-120<br>A obra de Ibn 'Arabi (1165DC), conhecido por al-Sheikh al-Akbar, o Mestre Maior, bem como sua pessoa, constituem um marco no pensamento místico muçulmano. Sua intensa experiência metafísica aliada a uma extrema plástica no cuidado das palavras e um profun<br>The works of Ibn 'Arabi (1165AD) known as, Al-Sheikh Al-Akbar, the Greatest of the Masters, as well as his own person, are a reference in the mystical Muslim thought. His intense metaphysical experience added to his extremely pliable use of Arabic words a

This thesis deals with the concept of the Perfect Man in the thought of both Ibn 'Arabi (560/1165-638/1240) and Iqbal (1877-1938). The concepts of these two figures are analytically compared by way of their views of wujud, the evolutionary process of human being, qada' and qadar, and the classifications of the Perfect Man. In Ibn 'Arabi's system, these concepts are based on wahdah al-wujud and, in Iqbal's system, on his philosophy of Khudi. Although Iqbal criticized many aspects of Ibn 'Arabi's thought, this thesis will show that their concepts of the Perfect Man are quite similar, and that Iqbal was influenced in a number of important ways by Ibn 'Arabi.

Jésus est un maître « vivant » ayant un rapport personnel très particulier avec Ibn ´Arabî. Il est « son premier maître » spirituel et le responsable de sa « conversion » et de son entrée dans la Voie. Plus encore, l’auteur découvre au cours d’une vision qu’il est l’ « égal, le fils et l’ami » de Jésus. La filiation est due à l’héritage spirituel et l’égalité au fait que les deux partagent la fonction de Sceau de la sainteté. Jésus possède l’aspect général et universel de cette fonction et Ibn ´Arabî scelle la sainteté particulière de Muhammad. Cela établit une relation de fraternité entre ces trois personnages. Chaque prophète est, pour Ibn ´Arabî, une manifestation visible d’un aspect divin alors que Muhammad est la synthèse de toutes les manifestations. Jésus est la « corporalisation » du Souffle du Miséricordieux déposé en Marie par l’ange Gabriel. Ce fait détermine toute la vie de Jésus —y compris son séjour dans le ciel de Mercure—, ses pouvoirs miraculeux, ses caractéristiques spirituelles et son être intime dual : humain et angélique. Il est une « Parole provenant de Lui » qui doit revenir à Lui. Jésus est ainsi le paradigme de toute la création qui est en voyage et en mouvement perpétuel. Ibn ´Arabî reconnaît en Jésus une manifestation de Dieu mais non pas dans le sens d’une Présence ou d’une « inhabitation », mais dans le sens d’un miroir qui reflète l’image divine en lui<br>Jesus is a living master who has a very particular and personal relationship with Ibn ´Arabî. He was Ibn ‘Arabî’s first spiritual master and the main cause of his conversion and of his entrance into the Path. Moreover, Ibn ‘Arabî discovers through a vision, that he is “similar to, and also a son and friend” of Jesus. This sonship is due to his spiritual inheritance. The likeness comes from the fact that they two share the function of "the Seal of Sainthood". Jesus owns the general and universal aspect of this function, while Ibn ´Arabî seals the particular sainthood of Muhammad. This fact establishes a fraternal relationship between these three characters. Every prophet is, according to Ibn ´Arabî, a visible manifestation of a divine aspect. Muhammad is the synthesis of all manifestations. Jesus is the “embodiment” of the Merciful Breath deposited on Mary by the angel Gabriel. This event determines the life of Jesus —including the fact of his indwelling in Mercurio’s heaven— his miraculous powers, his spiritual characteristics and his dual being: Human and angelic. He is a Word that comes from God and has to return to Him. This is how Jesus is converted into a paradigm of all creation which is unceasingly on a perpetual journey. Ibn ´Arabî acknowledges in Jesus a Divine manifestation, but not in the sense of a Presence or an “indwelling” but in the sense of a mirror that reflects the divine image

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura<br>Seminario de grado: Desde la escritura: imágenes y representaciones del Islam y los musulmanes<br>En el presente trabajo intentaremos defender la existencia de una ‘doctrina del amor’ a partir del estudio del símbolo epitalámico presente tanto en la obra de Ibn ‘Arabi (1165 – 1240), como en la de San Juan de la Cruz (1542 – 1591). Para esto dividiremos el estudio en tres partes: En primer lugar nos orientaremos hacia el problema del lenguaje y la escritura de la experiencia ‘mística’ de ambos autores, siguiendo su contexto histórico-tradicional, y lo apreciado por la crítica de Pablo Beneito y Luce López-Baralt. En segundo lugar nos centraremos en el simbolismo del epitalamio para el estudio comparativo de dichos textos, extendiéndonos al marco de sus tradiciones cuando sea necesario, y a las características específicas de la escritura mística de sus autores. Por último, realizaremos un estudio comparativo del simbolismo del epitalamio en ambos autores en función de mostrar su confluencia y particularidad, además de clarificar la identidad del amado en relación a sus amantes.

Le sujet de cette thèse est la conception du divin et de l’être humain parfait (insân kâmil) et du voyage spirituel dans la doctrine d’Ibn ‘Arabi à travers une présentation et une analyse de ses œuvres et études en anglais et en français. Cela implique une analyse profonde des sujets qui sont fondamentaux tout en étant dispersés dans l’œuvre du maître. Cette étude interprétative se concentre sur l’analyse et la discussion de ce que les traductions et les études offrent au chercheur occidental. La première partie présente la conception du divin chez Ibn ‘Arabi, ce qui inclut la présentation de la doctrine des différentes dimensions de la réalité divine. Le mouvement de l’unicité à travers les noms divins à la création du cosmos et de l’être humain est présenté et analysé. La deuxième partie analyse la totalité de la réalité de l’autre angle, celui de la perspective de l’être humain dans la doctrine d’Ibn ‘Arabi. Les caractéristiques de l’amour et de la lumière, que les humains et Dieu partagent, sont éclaircies. Le développement spirituel du serviteur qui cherche la proximité de Dieu et les différences entre les saints et les prophètes sont décrites dans la deuxième partie. La troisième partie précise le lien entre les deux parties précédentes. La question de l’identité du voyageur, sa motivation et sa destination sont examinées dans la perspective de l’ascension et de la redescente. Le chapitre conclusif rassemble les conceptions clés du sujet et introduit la conception de la transcendance inclusive dans l’œuvre d’Ibn ‘Arabi<br>This thesis explores the concepts of the divine, the perfect human being (insan kamil) and the spiritual journey in the doctrine of Ibn ' Arabi through a presentation and analysis of his works and studies in English and French. This involves a thorough analysis of the topics that are fundamental and yet dispersed in the work of the sheikh. This interpretative study focuses on the analysis and discussion of what the translations and studies provide the Western researcher. The first part presents the concept of the divine in Ibn 'Arabi, which includes the presentation of the doctrine of the different dimensions of the divine reality. The movement of unity through the divine names in the creation of the cosmos and of human beings is presented and analysed.The second part analyses the totality of reality from another angle, that of the perspective of the human being in the doctrine of Ibn 'Arabi. The characteristics of love and light that God and humans share are elucidated. The spiritual development of the servant who seeks proximity to God and the differences between the saints and the prophets are also described. The third part of the thesis establishes the connection between the previous two parts. The question of the identity of the traveller, their motivation and final destination are discussed from the perspective of the ascent and subsequent descent. The concluding chapter brings together the key concepts of the study and introduces the concept of ‘inclusive transcendence’ in the work of Ibn 'Arabi

Le travail comprend une préface, une section introductive sur la science des lettres dans l'histoire et selon Ibn ʿArabî, une deuxième section sur le symbolisme et une troisième section avec la traduction des textes. Dans la première section est présente une comparaison entre la moderne science de la phonétique et l'ancienne perception conceptuelle des sons, qui insérait la science des lettres dans le cadre de l'ésotérisme et des connaissances sacrées. La section sur le symbolisme s'ouvre sur le commentaire aux poèmes introductifs de chaque lettre que Ibn ʿArabî présente dans le chapitre 2 de son œuvre principale : Les Futûhât al-makkiyya. Des tableaux de synthèse sur les correspondances analogiques de chaque lettre achèvent les explications basées sur la confrontation avec deux autres chapitres des Futûhât : le chapitre 60 et le chapitre 198, qui sont résumés dans la seconde partie de cette section. La troisième section comprend la traduction du Kitâb al-alif ou Livre du Alif, sur le symbolisme de la première lettre de l'alphabet arabe ; le chapitre 60 des Futûhât, sur la production du monde univers conçu dans sa concaténation hiérarchisé de plains ontologiques et cosmologiques et un choix anthologique des sections du chapitre 198 concernant les lettres. Une esquisse conclusive, suivie d'un index des termes arabes et d'une bibliographie, achèvent ce travail de 659 pages<br>The work consists of a preface, an introductory section on the science of the letters, a second section on the symbolism and a third section with the translation of the texts. In the first section is a comparative passage between the modern science of phonetics and the conceptual perception of the sounds, that inserted the science of the letters in the setting of esoterism and the sacred knowledge. The section of the symbolism opens up on the commentary to the introductory poems of every letter that Ibn Arabî wrote in the chapter 2 of his main work : The Futûhâts al-makkiyya. The explanations finish with tables of synthesis for every letter based on the confrontation with two other chapters of the Futûhâts : the chapter 60 and the chapter 198, that are summarized in the second part of this section. The third section inclure the translation of the Kitâb al-alif or Book of the Alif, on the symbolism of the first letter of the Arabian alphabet ; the chapter 60 of the Futûhâts, on the production of the universal world conceived in his hierarchized concatenation of ontological level and cosmological world and one choice of the sections of the chapter 198 concerning the letters. The work ends with an index of the Arabian terms and a bibliography

The present study aims to understand the subject matter of the Shajarat al-Kawn. In the two earlier studies of this text--both translations, the first in English and the second in French with extensive notes--the translators approach the text with specific preconceptions which influence the translations and analyses. In contrast, our approach is to focus on the persons, events and images within the text and thereby to reveal the salient issues and themes. In the analysis we are led to question the authorship of the text, specific details reveal that it may not be by Ibn 'Arabi In spite of this problem, the description of the archetypal figures Muhammad and Iblis--which has elements resembling the description of the same figures by Mansur al-Hallaj and 'Ayn al-Qudat al-Hamadhani-leads us to believe that the Shajarat al-Kawn makes an important contribution toward understanding some of the riddles on how these complex figures are viewed.

Nous nous sommes livres dans cette approche a un travail de pionnier sur un terrain qui reste en grande partie inexplore. Les points de rapprochements entre la kabbale et le soufisme sont restes jusqu'a lors des allusions et des paragraphes eparpilles dans des travaux plus larges quant a leur sujet. Nous avons tenu d'abord a souligner, les problemes terminologiques et methodologiques, a faire le tour des conditions socio-historiques de la communaute juive en espagne musulmane ainsi que son apport dans la culture judeo-arabe, avant de passer a l'examen de certains traits communs. Pour cela, nous avons commence par l'analyse et la presentation des trois livres de reference de la kabbale : le zohar, le bahir et le sefer yestira. Deux phenomenes marquants dans la kabbale comme dans le soufisme vont attirer notre attention : la dimension numerico-linguistique et le melange entre la mystique et l'ascese. A ce sujet, nous avons fait appel aux noms d'abraham aboulafia, d'al ghazali, de saadia gaon et celui d'inb 'arabi. Nous avons souligne aussi l'apport particulier des freres de la saintete. Dans un voyage permanent entre les deux cultures nous avons degage un nombre de points communs sur lesquels nous attirons l'attention scientifique<br>We are in this approach leading a pionneer work upon a field which remains in its great part inexplorable. The common points between the kabbale and the sofism are till now scaltered in many vague works. We are atarted by underlying the terminological and methodological problems, by commenting the socio-historic conditions of the jeuish community in islamic spain. In this context, we are delt with the link of jewish-arabic culture and its common features. We have started by giving a preleminary study on three famous references on the kabbale as : the zohar, the bahir and the sefer yetsira. We have focused our attention on two main phenomenze in the kabbale and in the sofism : the mathematical-linguistic dimension ; secondly : the interference between the mystic and the ascetic. Concerning the first phenomenze we have consulted famous names as abraham aboulafia and ibn arabi, for the second phenomenze we have consulted al ghazali and saadia gaon. We have also underlined the particular innfluence of the "safa brothers". Consequently in this work we have arrived in discovering the shared points which rise a scientific curiosity

Le soufisme et Ibn ʿArabī en particulier ont accordé une place centrale à la doctrine de la connaissance qui procède de l'inspiration directe du coeur. L'introduction présente l'état de la recherche dans ce domaine ainsi que les développements de cette doctrine chez les prédécesseurs. Partie I étudie les organes et les facultés de la connaissance : coeur et intellect, les modalités d'acquisition de la science : intuition, inspiration et illumination et les modalités de perception : vision, contemplation, dévoilement et théophanie. Partie II traite du dévoilement dans sa dimension existentielle et cognitive : dévoilement et modes de perception (lumière et imagination), contemplation et modalités spirituelles (vision et prière) et théophanie et ses degrés hiérarchiques. Partie III sur la science et de la connaissance et leurs implications épistémologiques, correspondance entre Dieu et le monde et perfection comme apogée de la science. La conclusion est sur la connaissance après Ibn ʿArabī.

La campagne de dénigrement de l'Islam suite aux malheureux évènements du 11 septembre 2001 aux États-Unis se réfère principalement au caractère prétendument non démocratique de la culture musulmane. La Charia (corpus musulman) est généralement présentée comme un système normatif involutif en rupture totale avec le monde contemporain (irrespect des droits humains, minorisation du statut féminin, gouvernance théocratique. . . ). La mise en exergue de l'histoire du droit musulman montre cependant que les préceptes originels de ce corpus n'étaient pas en contradiction avec une vision évolutive du monde. Bien au contraire, la liberté de réflexion juridique laissée par le Prophète Mohammed aux premiers califes et magistrats de l'Islam, la diversité des écoles juridiques et la non-uniformité des interprétations données au corpus islamique, signent la souplesse originelle de ce droit. Mais la tradition jurisprudentielle des premiers jurisconsultes fera l'objet d'une telle vénération que l'autorité politico-juridique du Xe siècle proclamera un consensus interdisant toute approche critique du patrimoine des Anciens. Considérant cet interdit comme le principal facteur ayant rigidifié la pratique juridique de l'Islam. Et dans la mesure où celui-ci relève d'un fait non pas divin mais humain, sa levée devrait conduire à une relecture plus adaptée de la Charia aux nouvelles exigences du monde. Cette idée constituera la pierre angulaire du réformisme musulman du XIXe siècle dont les thèses semblent puiser leurs racines dans les courants médiévaux qui s'étaient dès le XI/XIIIe siècle énergiquement opposés au consensus portant l'interdiction de la jurisprudence.

This dissertation addresses the question: how might the Sufi master, Muḥyī al-Dīn Ibn al-ʿArabī (1165-1240 CE), have read the Gospel of John? Although the Gospel of John belongs originally to the Christian tradition, this dissertation is a contribution to Islamic Studies, endeavoring to illuminate Ibn al-ʿArabī’s distinctive manner of reading religious texts and to highlight features of his negotiation of a dual heritage from Jesus and Muḥammad. To set Ibn al-ʿArabī’s thought against an Islamic backdrop and situate it in an Islamic context, this dissertation adopts the device of constructing a commentary, guided by seminal passages in Ibn al-ʿArabī’s written corpus, on an Arabic translation of the Gospel of John: the Alexandrian Vulgate, widely circulated in the Arab world during Ibn al-ʿArabī’s time. This amounts not only to a comparison between Johannine doctrines and Ibn al-ʿArabī’s doctrines, but also a comparison between the latter and historical Muslim commentaries on the Christian scriptures—particularly the Biblical commentary (in circulation by the thirteenth century) attributed to the famed Sufi theologian Abū Ḥāmid al-Ghazālī, and the fourteenth-century Muslim Biblical commentary by Najm al-Dīn al-Ṭūfī (d. 1316 CE). Part I of the dissertation establishes a foundation for the commentary, inquiring into Ibn al-ʿArabī’s general attitudes towards non-Islamic religions, then considering autobiographical accounts of his relationship to Christianity, the question of his familiarity with the New Testament, and illustrations of his creative engagement with Christian doctrines. Part II of the dissertation constitutes the commentary, considering Ibn al-ʿArabī’s possible views on a number of Johannine doctrines: Jesus’ claim to have been the son of God; Jesus’ claim to have been one with God; the doctrine that Jesus was the embodied Word; the expiatory and epistemic functions of the embodied Word (paralleled by a dialectic relationship between two divergent kinds of witnessing); and the rumor, at the end of the Gospel of John, that the Beloved Disciple would never die.