This is an era when the Islamic World is making a range of attempts to redefine itself and to grapple with the challenges of modernity. Many schools of thought have emerged which seek to position modern Islam within the context of a rapidly changing contemporary world. Exploring and defining the relationship between religion and knowledge, Ismail Rafi Al-Faruqi, a distinguished 20th century Arab-American scholar of Islam, formulated ideas which have made substantial contributions to the Islam-and-modernity discourse. His review of the (...) interaction between Islam and knowledge examines the philosophy behind this relationship, and the ways in which Islam can relate to our understanding of science, the arts, architecture, technology and other knowledge-based fields of enquiry. This book includes contributions from Seyyed Hossein Nasr, John Esposito, Charles Fletcher and others, and will prove an essential reference point for scholars of Islam and students of philosophy and comparative religion. (shrink)

This is an era when the Islamic World is making a range of attempts to redefine itself and to grapple with the challenges of modernity. Many schools of thought have emerged which seek to position modern Islam within the context of a rapidly changing contemporary world. Exploring and defining the relationship between religion and knowledge, Ismail Rafi Al-Faruqi, a distinguished 20th century Arab-American scholar of Islam, formulated ideas which have made substantial contributions to the Islam-and-modernity discourse. His review of the (...) interaction between Islam and knowledge examines the philosophy behind this relationship, and the ways in which Islam can relate to our understanding of science, the arts, architecture, technology and other knowledge-based fields of enquiry. This book includes contributions from Seyyed Hossein Nasr, John Esposito, Charles Fletcher and others, and will prove an essential reference point for scholars of Islam and students of philosophy and comparative religion. (shrink)

Isma‘īl b. ‘Ali, who is referred to as Abū Sa‘d as-Sammān, was born in Ray, Iran, between 981 and 983 and he devoted most of his life to educational travels, especially for hadith and he returned to his city of birth towards the end of his life and died there in 1053. Isma‘īl b. ‘Ali is well-known with the name of as- Sammān, meaning butter trader, because of he was grew up in a family of butter traders. The movables and (...) real estates in his inheretence show that he belongs to a wealthy family. As-Sammān, who seems to be in the twelfth generation of Muʻtazilite tradition, approve the thoughts of Abū Hāshim al-Jubbā’ī (ö. 321/933) and Abu'l-Ḥusayn al-Baṣrī (ö. 436/1044) and he was accepted as the leader of the Muʻtazila in his own period. He had education from scholars such as Abū Tāhir al-Muḫallis, Ibn Abū Nasr at-Tamīmī and Abkasī (ö. 405/1014-15) in the discipline of hadith. As-Sammān, was an authoritative figure both in the fiqh of Hanafi and disagreements between thoughts of Hanafism and Shafi'ism as well as in the fiqh of Zaydism. In addition, he educated himself in the topic of Qur’anic recitation, scholars of narrators, genealogy, law of inheritence and arithmetic. Among the works of as-Sammān, who are stated as many, only one record seem to be extant until today: “Kitāb al-Muvāfaqa bayn ahl al-bayt wa's-sahāba wa mā ravāhu kullu farīqin fī haqq al-āḫar”, which was written to point out the fondness and respect between the first three caliphs and ‘Ali. Thus, it is not possible for us to have a detailed knowledge about his thoughts in kalam and fiqh. However, Ibn al-‘Adīm (ö. 660/1262) gives us some ideas about thoughts of al-Sammān through his will narrates in his “Bughyat aṭ-Ṭalab fī tārīḫi Ḥalab”. As-Sammān states that his thoughts of kalam and fiqh are formed on the school of Ahl al-‘adl wa't-tawḥīd, in particular parallel with Muʻtazila-Zaydiyya and he designed his will, which he gave about two years before his death, according to the Muʻtazilite theological paradigm. In this context, according to as-Sammān, Allah is one and eternal. Attributes of Allah such as Power, Knowledge, Life, Hearing, Sight and Wealth are by virtue of His essence. Allah does not resemble anything, nor a body or an accident. All actions of Allah are good, and He never do evil. Allah does not wish for a sin nor have any consent to sin. Allah does not test people with what they cannot afford. Allah does not oppress people nor punish anyone with no justice. Allah is faithful to his promise that he will reward people who are good and will punish people who do evil. Voluntarily actions are created by people themselves. Revelation regarding the doomsday and the hereafter are true. Also, worships performed by the living on behalf of the dead such as hajj, ‘umrah, charity, reciting the the Qur'an and visiting the graves of them are useful for the dead. Repentance which is the forgiveness of sins is the decisiveness of not to commit it again with regret. As-Sammān has been criticized because of his Muʻtazilite thoughts, but his credibility, his intellectual effort and his abilities have been appreciated even by his opponents. The combative and dynamic nature of his life was reflected in his will are analysed in this work and it is concluded that he expressed his thoughts on belief and deeds in his will as a true Mu‘tazilite manifesto. (shrink)

Intense debates about who will lead the Muslims after the death of the Prophet Muḥammad (PBUH) occurred among the Aṣḥāb (companions of the Prophet Muhammad). A group of Aṣḥāb claimed that the caliphate was the right of Ḥaḍrat ʿAlī and his descendants. This movement, which emerged as political advocacy supporting Ḥaḍrat ʿAlī (d. 40/661) and his children, took on a sectarian identity called Shīʿa by time, was divided into groups, and then spread to different places in the Islamic World. One (...) of these groups is the Ismāʿīliyya which took its name from Ismāʿīl b. Ḏj̲aʿfar al-Ṣādiḳ (d. 138/755). Ismāʿīliyya had believed that the Umayyads and the ʿAbbāsids usurped the right of Ḥaḍrat ʿAlī and his descendants; therefore, they struggled against these dynasties secretly under the leadership of ʿUbayd Allāh al-Mahdī (d. 322/934) and by means of callers. After establishing their first state Fāṭimids in the North Africa with the Berbers, the Ismāʿīlīs carried out their activities openly and seized a region from Barqa to the Atlantic Ocean. The Fāṭimid State based on sectarianism aimed to follow the Shīʿa belief rather than controlling an area since its establishment. In this respect, the Fāṭimids, who differed from the ʿAbbāsid and Umayyad states, made great efforts to capture Egypt and Andalus by increasing their propagandas through callers (dāī) from the end of the third century. Because of this effort and successful policy of al-Muʿizz li-Din Allah the third, they conquered Egypt. The callers played a key role in the Egypt. As the Sunni-Maliki sect had taken root in Andalusia, Ismāʿīlīs could not achieve the same success, and a limited number of people embraced their doctrine. However, they managed to direct some famous intellectual and literary men to their side. Undoubtedly, one of the most important achievements was Ibn Hāniʾ al-Andalusi (d. 362/973). Ibn Hāniʾ, who had to leave Andalusia, as he was a Shiite, went to Maghrib and came under the patronage of the governors of Masila, which depended on Fāṭimid. His poems about governors spread his fame and made him known until al-Qayrawan, the capital of Fāṭimid. One of the methods used by many of the caliphs and amīrs (ruler) to consolidate their rule within the borders of the state and to spread their influence abroad since the Jahiliyya (pre-Islamic period) is that they included poets who praised themselves and the state policies, in other words, made their advertisements in the palace. Ibn Hāniʾ was one of the poets Caliph Muʿizz invited to his palace in al-Mansuriyya as soon as he heard of the poet’s fame. Ibn Hāniʾ came to the presence of Caliph in 350/962 and named as al-Mutanabbī of Maghreb as he became famous than poets such as Abu'l-Qasim al-Fazari and ʿAlī b. Muḥammad al-Iyadi. In time, Ibn Hāniʾ who became one of the sincerest friends of Muʿizz, used all his creative potential to defend the Caliph and deliver the views of Ismāʿīliyya in return for the value and generosity he received from the Caliph. Thus, the poet, who became the most powerful defender and propagandist of the Fāṭimids who pursued an expansionist policy in the East and the West, introduced an innovation to his style of praise contrary to his classical style. Accordingly, he gained great reputation thanks to his poems that praised the Fāṭimid Imāms, especially Muʿizz using expressions attributing him superhuman properties. Naturally, the successful politics followed by Muizz and the doctrine and terms of the Shiite-Ismāʿīliyya party, which the poet advocated, had a distinct reflection on his odes. Moreover, the issue of Ahl al-Bayt (the family of the Prophet Muḥammad) and injustices they suffered, affected the poet’s feelings deeply, and he did not hesitated to express these injustices in his poems without worrying about any danger. These odes reported to be the first written documents including information about the Fāṭimid creed and the traits, which Fāṭimid Imāms were supposed to have, are important resources for researchers. Fāṭimids believed that the imām was innocent, knew everything, and he would intercede his friends on Judgment Day. They even saw him as superhuman and attributed holiness and glory to him that would make him the spirit of God. Furthermore, they regarded that the imām was the reason of life. Similar themes were very common in Ibn Hāniʾ’s poetry. His poems went beyond the borders of the states in the North Africa, spread to a large region extending from Andalusia to Baghdad, and provided recognition of the doctrine of Ismāʿīliyya. This study consists of an introduction and two parts. The introduction part includes brief information about the history of the Shīʿa-Ismāʿīliyya and Ibn Hāniʾ’s life and poetry. The other parts discuss reflections of the Shīʿa-Ismāʿīliyya belief in the poet’s odes and analyses of these poems. Finally, poems having historical and political value related to Karbala, which has profound effects on Shiite literature, are analyzed. (shrink)

Having constituted a new epoch in human history and a new religiouspolitical order, the revealed religions challenged the tradition of Greek philosophy to adjust to, investigate, and make intelligible a religiouspolitical order based on prophecy, revelation, and the divine law. The challenge led certain Arab and Muslim philosophers to reassess the relative distance between the thought of the Greek masters, and the doctrines propagated by the revealed religions, and to make use of such works as Plato's Republic and Laws, rather (...) than Aristotle's Politics, when offering a philosophic account of the new religious–political phenomenon and of such new disciplines as the science of the divine law and the science of revealed theology. Les religions révélées, en inaugurant une ère nouvelle dans l'histoire humaine et un nouvel ordre “religio-politique”, ont constitué un défi pour la tradition de la philosophie grecque. Celle-ci devait s'adapter a un ordre religio-politique fondé sur la prophétie, la révélation et la loi divine, en faire un objet d'investigation et le rendre intelligible. Ce défi conduisit certains philosophes arabes et musulmans à réévaluer la distance qui sépare la pensée des maîtres grecs des doctrines propagées par les religions révelées. Il les conduisit aussi à faire usage d'oeuvres telles que la République et les Lois de Platon, plutôt que la Politique d'Aristote dans leur effort de rendre compte philosophiquement du phénomène religio-politique nouveau et des nouvelles disciplines telles que la science de la loi divine et la science de la théologie révélée. (shrink)

The Muhaddis have demonstrated their efforts for the identification and preservation of ḥadīths by compiling various types of works such as musnad, mucem, sunen, musannef, cami‘.‎ On the ṣaḥīḥs and Sunens in the golden age of classification, especially the works of Abū ʿAbdallāh Muḥammad b. Ismāʿīl al-Bukhārī (d. 256/870) and Ebu'l-Hüseyn Müslim b. al-Ḥad̲j̲d̲j̲ād̲j̲ (d. 261/875) some studies have been done.‎ Mustedrek, Mustakhraj, zawâid, aggregation, summary and commentary are studies on the main ḥadīth sources. From the third century on, in (...) ḥadīth studies, it is seen that the works of the ḥadīths, which the ḥadīths gave importance to, have been dealt with depending on the subject of the authentic ḥadīth and some of their benefits have been explained. Based on the definitions in the method works, istihraj is the determination of the tariks of the narrations in a ḥadīth book by another scholar. The ‎tariq and the ‎producer he reached are sometimes combined with the sheikh of the author of the work, or with a sheikh who is higher up, sometimes even with a companion. In these works, expressions such as al-Muharrec, al-Musnad, es-Ṣaḥīḥ, ‎es-Ṣaḥīḥu'l-Muharrec, al-Müsnedü's-ṣaḥīḥ and al-Müsnedü'l-Mustakhraj are sometimes used instead of the concept of mustahrec. The words "Mustakhrajat has a great value in the eyes of the people of ḥadīth" reveal its value in the eyes of ḥadīth scholars. Scholars valued the genre of mustahraj, which is thought to have contributed significantly to the science of ḥadīth, and they intensified their studies on Bukhari and Muslim, who are considered the basis of ḥadīth science (umdetu'l-ilm). According to the Muhaddis, in order to be able to pass judgment on any narration, it is necessary to have knowledge about the narration and its narrators. Considering the contributions it has made to the ʿulūm al-ḥadīth, to convey more than one narration on the same subject is an important issue. Because, in cases such as its determination, interpretation and preference, determining that the ḥadīth comes from different tariqs (chain) is accepted as a fact that strengthens the narration. The primary goal of the works of the mustahrec type is to obtain the ālī isnād, but it is seen that the copyrighted works contain a significant amount of ‎abuses to the original text as well as to the individual texts. Considering that excess affect the ruling, it is considered important to focus on the mustakhraj type works, which contain different tariks, in terms of the discovery of the meaning and its contribution to the change of the ruling. In this study, an evaluation has been made about the nature of the mustakhraj, its benefits, the value of the mustakhraj as a species, their contribution to the ʿulūm al-ḥadīth in terms of promissory sanad and texts, and what they contain. In the research, the comparison of the narrations selected from the works of the mustakhraj type with the originals and whether the narrations in these works were used in the annotations were investigated. In the study, besides the ḥadīth method works, especially in determining the examples, due to the fact that it is one of the early period works and its reputation, Abū ‘Awāna Ya'kup al-Isferâyînî's ‎‎(d. 316/929) “Musned ṣaḥīḥu'l-muharrec 'ala kitâbi Müslim” In the context of his work named, the concept of mustakhraj has been emphasized. As a result of the research, it can be said that being knowledgeable about the tariqs of the ḥadīths made important contributions to the sanad and text, and that the ḥadīthists referred to the tariqs in the aforementioned literature in the interpretation of the ḥadīth. In summary, in the context of narration and wisdom sciences such as gharib al-hadīth, ıkhtilaf al-hadīth, mushkil al-ḥadīth, ʿIlal al-ḥadīth, nâsiḫu’l-ḥadīth ve mensûḫuh, fiqh al-ḥadīth, it is seen that it makes significant contributions the determination and evaluation of the ḥadīth. Each item mentioned about the benefits of the works in question has a comprehensive study and research field in the science of ḥadīth. It can be said that the methods used/offered in the current researches in which studies on the holistic approach style are carried out are applied by the hadith scholars in the tradition of ḥadīth science (partly in the differences of isnad and commentaries). It is possible to say that the ḥadīthists refer to the tariks in the aforementioned literature in the interpretation of the ḥadīth. As a result of the research, it is understood that the narrations in the mustakhraj support the originals in terms of wording and meaning. In addition to the aim of increasing the prestige of the original, the differences in the isnad and texts show the necessity of evaluating the narrations independently of the original. This study on the mustakhraj shows that extensive research can be done on the place of the related literature in the ʿulūm al-ḥadīth. (shrink)

Suyolcu-zāde Nahrī Aḥmad (d.1182/1768-1769) was an important sûfî poet being a member of Ismā‘īl Rūmī branch, the sect of Qādiriyya. He carried out the duty of spiritual and ethical guidance at Qādiriyya Lodge in Tekirdağ. Besides his sûfî character, he was a poet having an extensive knowledge about the theoretical and aesthetical bases of Dīwān literature. The only original copy of Nahrī’s Dīwānçe including his poems registered in the Vatican Library, Turkish Manuscripts, nr. 235. There are forty-five Turkish, twelve Arabic (...) and three Persian poems by Nahrī in this copy. The goal of this article is to present the formal and contextual features of Nahrī’s poems in Dīwānçe in the light of the analysis on some poems that we chose. Any study was not found about the poet’s life and poems in the literature review we made. In this study, poems are classified according to the verse form and the language, and the number of couplets, type of prosody, form, style and content of the chosen poems are evaluated accordingly. This study has importance in terms of providing insight about the Religious-Sûfîstic belief in the region and period of Nahrī Aḥmad who was a sûfî poet and a member of Qādiriyya sect. In addition, the study gives information about many important influencers of the period, particularly Niyāzī-i Miṣrī and inform the readers about these influencers’ and sûfîs’ effects on Nahrī’s poems and ideas. The study also makes contribution to determining literary-sûfistic terminology of 18th century.Summary: Suyolcu-zâde Nahrī Aḥmad (d.1182/1768-1769) was a member of Qādiriyya Dervish Convent in Tekirdag where he was born. He became the head sheikh of this convent following his father Sheikh Muḥammad Efendi and worked for the convent in several ways. Nahrī Aḥmad moved back to his hometown in 1182/1768-1769 after completing his Hajj duty and died soon after that. Nahrī had two works according to Osmanlı Müellifleri (Ottoman Authors) and it is stated that the first one of these two works is about “unity of existence”. It should be mentioned that we haven’t found a copy of this work yet. The other work of Nahrī is his Dīwānçe, which includes his poems. The only copy of this significant work is registered in Vatican Library, Turkish Manuscripts, nr. 235. In this study, we had the chance to determine a third work of Nahrī which has never been mentioned in the related literature. This third work that we determined is based on the information in an Arabic poem on the page 21a of the poet’s Dīwānçe. This book that we determined is an interpretation book completed in 1166/1752-53 but Nahrī Aḥmad didn’t mention the name of the work. Nahrī Aḥmad was a spiritual guide and sufi, and he was assigned to the duty of showing the true path in dervish lodge following his madrassa education, learning Qādiriyya lodge’s morals and methods and completing his “spiritual journey”. Besides these, he was a significant poet who could write poems in Arabic, Persian and Turkish languages and he was literary competent who knew the theoretical and aesthetic rules of Dīwān literature and used these features professionally in his works. When Nahrī’s poems are analyzed, it can be seen that he adopted the understanding of existence, knowledge and belief based on Islamic Sufism. Besides, it can be seen that he internalized the significant Religious-Sufi Turkish literature figures including especially Yūnus Emre.In the copy of his Dīwānçe, registered in Vatican Library, there are forty-five Turkish, twelve Arabic and three Persian poems. There are two other poems that weren’t written by Nahrī in the same work. These poems were written by a poet with penname of ‘Ᾱrif in the period when Nahrī’s son Muḥammad Muṣlih al-Dīn was the head sheikh in the same Dervish convent. These historical poems are significant as they describe the re-building of ruined Tekirdag Qādiriyya convent after Nahrī’s period. The goal of this article is to present the formal and contextual features of poems in Nahrī’s Dīwānçe on the basis of chosen poems. As far as we could determine, there is no other study on Nahrī’s works. Nahrī’s Dīwānçe wasn’t a kind of rearranged work of collected poems. Therefore, we classified the poems in terms of the form and language and evaluated the number of couplets, aruz prosody, shape, type and content. Poems of Nahrī in Dīwānçe in terms of verse style are: Four Turkish, three Arabic, one Persian ode, one Turkish compounded stanza, seventeen Turkish, nine Arabic and one Persian major stanza, three Turkish five-line stanzas, two Turkish pentastichs, eighteen Turkish and one Persian lyric.Nahrī Aḥmad wrote five-line stanzas for three of Niyāzī-i Miṣrī’s lyrics and one of Bāqī’s lyrics. He wrote parallel poems about one pentastich, one lyric and one other poem written in a specific style of blank verse of Niyāzī-i Miṣrī. Besides, there is also an original poem that is quite unique in the work. Nahrī wrote five couplets before each verse in Niyāzī-i Miṣrī’s ode which resulted in the creation of a common ode. Poems in Dīwānçe are contextually religious-Sufi based. ‘Abd al-Qādir al-Jīlānī, Ismā‘īl Rūmī who was the founder of the order of Rūmiyya branch and other sheikhs of Qādiriyya dervish order are the main names mentioned in the poems. One other significant point in Nahrī’s poems is that he had a deep love and respect for Niyāzī-i Miṣrī. There are praises, quintets and parallel poems about Miṣrī in Dīwānçe which shows Niyāzī-i Miṣrī’s effect on his work. This effect is so great that it covered not only the content but also there are the signs of the effect in terms of metaphoric language, words and verses. It can be said that ‘Abd al-Qādir al-Jīlānī and Niyāzī-i Miṣrī, a member of Khalwatī order, were two significant names that surrounded the mental world of Nahrī, located in the texture of his poems and gave characteristic features to his works. There is a great number of historical poems in Nahrī’s Dīwānçe. He wrote twenty-six historical verses about various historical issues such as birth and death, construction of mosque, dervish monastery, zawiya, pavilion, repairing of mansion, renovation of dervish convent, enthronement of Sultan and appointment of Grand Vizier. Also, there are some other important parts in Nahrī’s Dīwānçe such as invocation, praise and self-adulation.Although there are not many poems in the previously mentioned copy in Vatican Library, there are various names mentioned in these poems. When these poems are analyzed, it can be seen that there are the names of some prophets, some companions of Prophet Muḥammad such as ‘Alī, Ja‘far al-Sādiq, some Persian legendary characters such as Afrāsiyāb, Rustem and Anūshirwān, some Sufi names such as Manṣūr al-Hallaj, Jalāl al-Dīn Rūmī, Shams al-Dīn of Tabrīz, Ḥācī Bektash Velī, Ibn al-‘Arabī and Bāyazīd al-Bisṭāmī, philosopher Galen and famous love heroes Laylā and Majnūn. That is to say, the poet has a rich world of references. On the other hand, there are the names of some works mentioned in Dīwānçe. Epistle of Niyāzī-i Miṣrī named Devre-i ‘Arshiyya, and Ibn al-‘Arabī’s al-Futūhāt al-Makkiyya are the other names mentioned in the work. Name of the places included in Nahrī’s poems are: Aden, Aqmescit, Baghdad, Baghcesaray, Baṭḥā, Balkh, Dimashq, Ḥijāz, Iraq, Iran, Cairo, Ken‘ān, Karbalā, Qılburun, Crimea, Kirmān, Egypt, Nemce, Rūm, Sanaa, Shām, Yemen. This study has importance in terms of providing insight about the religious-sûfî belief in the region and period of Nahrī Aḥmad who was a sûfî poet and a member of Qādiriyya sect. In addition, the study gives information about many important influencers of the period, particularly Niyāzī-i Miṣrī. Moreover, it informs the readers about these influencers’ and sûfîs’ effects on Nahrī’s poems and ideas. The study also makes contribution to determining literary-sûfistic terminology of 18th century. (shrink)

Chelebi (Çelebi) Sulṭān is a Ṣūfī poet. Due to poor and limited sources, there is a hardness in finding accurate and sufficient information about him. Abdülbaki Gölpınarlı claimed that this anonymous poet could be Oğlan Sheikh İsmāʿil-i Maʿşūḳī (d. 1539) from Bayramī-Melāmī by relying on the unanimous ghazal recorded in Ḥālet Efendi 800 in Suleymaniye Library. However, the fact that the aforementioned ghazal with simple copy variations published in Eşrefoğlu Rūmī Diwan weakens the credibility of his argument that Chelebi Sulṭān (...) could be Oğlan Sheikh İsmāʿil-i Maʿşūḳī. Though the acknowledgment of this data, Gölpınarlı still insisted on the credibility of his claim that the ghazal belongs to Oğlan Sheikh. Moreover he argued that the claims suggesting that the ghazal belongs to Eşrefoğlu Rūmī (d. 1469) should be questioned. Other than this ghazal, there is one more qasida (ḳasīde) with having gizlidir word after the rhyme associate to Chelebi Sulṭān, and an annotation to this qasida by Āyīne-zāde Meḥmed Şemseddīn-i Sirozī (d. 1688/89). However, neither the qasida and ghazal attributed Chelebi Sulṭān nor the Āyīne-zāde’s annotation provide satisfying information to identify the identity of the poet. Therefore, it can be claimed that Chelebi Sulṭān’s identification is based on weak arguments. No more evidence can develop these estimations into evidence-based arguments. This article tries to provide a virtual framework for the identity of Chelebi Sulṭān. In this context, the article firstly discusses Chelebi Sulṭān’s disposition and popularity on Ṣūfī groups by considering the contents of the manuscripts mentioning him. Then, it analyzes whether Chelebi Sulṭān is associated with Ḥurūfīs or not by focusing on the ism-musemmā subject in the two first couplets of the qasida attributed to the Ṣūfī poet. Finally, the article speculates whether the poet called Chelebi Sulṭān in literature could be Misālī (d. 1577), or not, who is one of the Ḥurūfī poets. The subject of Chelebi Sulṭān's connection with Ḥurūfīsm is examined under two titles in the article. The possibility of Chelebi Sulṭān to be Misālī, one of the Ḥurūfī poets, was discussed based on the qasida with nedür rhyme. In this regard, there are two assumptions. The first one is that the pseudonym Misālī is mentioned in the qasida, and the second evidence is that there is a qasida with nedür word after rhyme belonging to Chelebi Sulṭān in the two copies of the Misālī Diwan. However, although the mentioned qasida exists in the recent copies, this qasida is not found in the oldest copies of the diwan. Therefore it is possible to conclude that this lack weakens the possibility that Chelebi Sulṭān could be Misālī, one of the Ḥurūfī poets. The second title is related to the issue of the ism-musemmā in the first two couplets of the qasida with nedür word after rhyme. Through this analysis, it was discussed whether Chelebi Sulṭān could be Ḥurūfī or not. At this point, it is revealed that there is a similarity between the two couplets of Chelebi Sulṭān in the qasida with nedür word after rhyme on the issue of ism-musemmā and some other couplets of Ḥurūfī poets (Nesīmī / Ḫalîlî, Misālī, et al.) on the same issue. Besides, the views of a few groups, apart from the Ḥurūfī Poets, that discussed ism-musemmā issue in their poetry, were evaluated. The article refers to the Ṣūfī poet's qasida with nedür word after rhyme while discussing the issue of which groups favored Chelebi Sulṭān more and it also tried to determine which groups read this qasida at that period. To discuss the general content of the manuscript, the manuscript registered in Suleymaniye Library Mihrisah Sultan number 185, the corpus cataloged in Suleymaniye Library, Galata Mevlevihanesi 233, and the manuscript cataloged in Millet Library Ali Emiri Collection (AEArb) 4341, were examined. Thus it can be claimed both Chelebi Sulṭān and his qasida were popular among heterodox groups, as it was observed that the qasida also exists in the works of Ḥurūfī, Alevi-Bektashi, and Bayramī-Melāmī groups. Despite all this, there is no clear conclusion regarding the identity of Chelebi Sulṭān. Nevertheless, it is possible to say that Chelebi Sulṭān was popular among heterodox Ṣūfī groups and that some Ḥurūfī views influenced him. (shrink)

Name der Zeitschrift: Der Islam Jahrgang: 91 Heft: 2 Seiten: 341-359.

Ali Benmakhlouf, professeur de philosophie à l'université de Paris-Est, retrace ici le sens de l'engagement des philosophes arabes dans la recherche de la vérité. Lire les philosophes arabes médiévaux avec l'oeil de la philosophie contemporaine pour y trouver des affinités de méthode et de doctrine : tel est le parti pris de ce livre. Lire ces philosophes arabes, c'est aussi les inscrire dans la tradition et le patrimoine de l'humanité, car ils ont su ménager des accès multiples à la vérité (...) où religion et philosophie sont pensées de manière conjointe. Leurs travaux dans de nombreux domaines, comme la médecine, la logique ou l'histoire continuent de nous interpeller comme ils ont contribué à la formation de la pensée européenne. Le médiéval rejoint alors le contemporain dans cette riche histoire qui est celle de l'humain et de l'intellect. (shrink)

Ṣūfī poetry or dīvān poetry, both of our poems have a universal appeal and a classical value just as the poetry of many nations’. Poets of both groups enhanced the consciousness level of every people one by one and created a virtuous society by taking power from the potential that existed in Turkish society already. If it is needed to mention a difference between those two poetries, it could be that dīvān poetry is a static one and sūfī poetry is (...) more dynamic than the dīvān poetry. While dīvān poetry has a unique World of poetry, sūfī poetry has a feeling of universe shaped by different meanings and concepts. Although dīvān poetry is based on intelligence and pleasure, there is intuitive inspiration and wāridāt in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme (mażmūn). Until today, since the first that comes to mind, when it is said poetic themes (mażmūn), is dīvān poetry, poetic themes of ṣūfī poetry were overshadowed. However, ṣūfī poetry is quite interesting and rich in terms of its poetic themes. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz). The aim of this article, which we can sample under three titles and with the couplets of our three ṣūfī poets, is to draw attention to the existence of a rich mażmūn staff independent of the dīvān poetry of Turkish ṣūfī poetry. The subject of mażmūns belonging to Turkish ṣūfī poetry should be considered important since it has not been mentioned much until today. Summary: The poet designs and presents it to his readers on behalf of his readers that he cannot even express what he has imagined but sometimes cannot imagine. Each poem has a specific interlocutor and addresses the emotions of its interlocutor. Each poem is adorned with thought and imagination; yet poems can be understood by annotation accompanied by rhetoric. Ṣūfī poetry and dīvān poetry, both poems have universal appeal and classical value like many poems of many nations. Ṣūfī poet and dīvān poet are the architects of an indestructible art existence that ruled for centuries and their works are masterpieces of their own fields. Both types of poetry, along with literary heritage, are a guide ship that leads the whole cultural heritage to the next generations, leading art branches. Both poets of both groups have strengthened from the potential that existed in Turkish society and raised the level of consciousness of each individual separately and created a virtuous society.Dīvān poetry is as beautiful as the aesthetics of genius; ṣūfī poetry is so beautiful with the sincere sincerity of heathat born to the heart. Without making use of the rich mażmūn staff of the lodge poetry, it would be an exclusivism and a status quo to make the mażmūn exclusive only to dīvān poetry or to search for the mażmūns of dīvān poetry in the lodge poetry and to interpret these mażmūns with the interpretation habits of dīvān poetry.The most obvious difference between ṣūfī poetry and dīvān poetry corresponds to the fact that the terms of Sufism are composed of similes (tashbīḥ), metaphors (majāz); sūfī poetry is a composition of poet’s personally experienced feelings or situations such as waḥdat, ḥalvet, manifest and observant concepts. While the depictions of the dīvān poet, spring and winter depictions, arouse enthusiasm for the reader for a while, the indifference of the ṣūfī poet to this world, the constant heartbeat of Jamāl and the heart beating with the excitement of vuslat (meeting) infiltrates the reader to the eternal world.If there is a difference between the two poems, it is that the poetry of the dīvān is static and the ṣūfī poetry is more dynamic than the poetry of the dīvān. As well as dīvān poetry has a unique world of poetry; ṣūfī poetry has a universe of emotions shaped by different meanings and notions. Even if the beauty they depict is materially and morally different, the poet of both groups wishes to go beyond the beauty that they mean and find themselves there. They do this sometimes with similes (tashbīḥ) and metaphors (majāz) and istiʿāre, succeed with various kinds of poetic themes. In dīvān poetry, there is pleasure and imagination based on intelligence, and inspiration and success based on intuition in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme. Dīvān poetry is an endless effort of abstract imagination, while ṣūfī poetry is an inexhaustible enthusiasm for concrete ecstasy. Although both have found what they are looking for outside of daily life, dīvān poet finds pleasure, yet sūfī poet finds inspire.When it comes to mażmūn, the first thing that comes to mind is Divan literature and it’s figure of beautiful woman’s length (cypress), hair (zulf), eye (daffodil), eyebrow (bow), eyelash (arrow) and skin (silver) and these mażmūns are stereotyped and widespread though each of them is known only to artisans. On the other hand, ṣūfī poetry has many other poetic themes such as Jamāl (grace), Jalāl (distress), ār and nāmūs (mālāmat), gūy (rıza), chevgān (ḳażā) and istignā (reluctant).To date, the first thing that comes to mind when it is said to be mażmūn is dīvān poetry, it has left behind the maẓmūns specific to ṣūfī poetry. However, ṣūfī poetry is also quite rich in terms of its mażmūns. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz).The fact that the dīvān poets used the mażmūn as a word and the use of the term started with the Tanzimat made it inevitable that different definitions of the mażmūn emerged in time. For this reason, many researchers now understand and define the term of mażmūn differently. However, all the academics who researched or wrote about the mażmūn brought to mind only the poem of the dīvān poem, and they selected the examples of the mażmūn from the couplets of the poem of the dīvān poem. In our opinion, the missing part of the subject of mażmūn is here. Nevertheless, our main aim in this article is not to discuss what is or is not a mażmūn, but to try to express that the ṣūfī poem is as rich as the dīvān poem. Whereas the mażmūn has no single generally accepted definition; if so, we can say that ṣūfī poetry may have its own unique mażmūn, we can exemplify it with couplets of ṣūfī poetry. (shrink)

Gottlob Frege (1848-1925) a cherché à réduire le raisonnement mathématique aux lois logiques générales. il a pour cela construit l'idéographie, langage formulaire, et mené une réflexion sur les réquisits de la pensée ainsi que sur la nécessité logique. A. Benmakhlouf se base sur la thématique du requis, du nécessaire et du superflu dans l'oeuvre de ce logicien.

Ikhwān al-Ṣafāʼ; philosophy, Islamic.

v. 1. Taʻlīqāt-i asfār -- v. 2. Rasāʼil va taʻlīqāt -- v. 3. Rasāʼil-i Fārsī, taqrīẓāt, qiṭaʻāt, taʻlīqāt-i naqlīyah, taqrīrāt va munāẓarāt.

ʿAlī fils d’Abū Ṭālib, gendre et cousin du prophète Muḥammad, premier imam (chef, guide, leader) des Shi’ites et quatrième calife, est sans doute une des figures les plus centrales de différents types de spiritualité en islam. Cependant c’est surtout dans la spiritualité shi’ite, fondée principalement sur la figure de l’imam, qu’il constitue le véritable pivot autour duquel gravitent les doctrines religieuses les plus importantes. L’article envisage ce rôle à travers une problématique précise, celle des rapports qui lient la figure de (...) ʿAlī au Coran. Ainsi, sont examinés respectivement les rôles de ʿAlī d’abord comme acteur et sujet de l’exégèse de la Révélation, ensuite comme contenu et objet ultime de celle-ci. Cette dimension duelle semble s’appuyer sur la double nature, humaine et divine, de ʿAlī. C’est la raison pour laquelle l’article se termine par l’hypothèse de l’identification possible, par certain proto-Shi’ites, entre leur premier imam et le Christ. (shrink)

L'idéal de la démocratie a aujourd'hui triomphé. Depuis la chute de l'URSS et le discrédit du communisme, rien ne semble plus pouvoir lui être opposé. En Occident comme ailleurs, la démocratie va de soi. Mais, savons-nous véritablement pourquoi et comment elle est devenue notre unique horizon politique? Et si l'avènement de la démocratie n'était rien de plus qu'une colossale entreprise de domestication des hommes? Et s'il nous fallait alors en sortir?