tag:dirassat.posthaven.com,2013:/posts Dirassat 2013-10-15T12:27:46Z tag:dirassat.posthaven.com,2013:Post/609152 2013-10-15T11:41:16Z 2013-10-15T12:22:42Z RUMI -- Shams show your face and take me home ...

All day I think about it, then at night I say it. Where did I come from, and what am I supposed to be doing? I have no idea. My soul is from elsewhere, I'm sure of that, and I intend to end up there.

This drunkenness began in some other tavern. When I get back around to that place, I'll be completely sober. Meanwhile, I'm like a bird from another continent, sitting in this aviary. The day is coming when I fly off, but who is it now in my ear who hears my voice? Who says words with my mouth?

Who looks out with my eyes? What is the soul? I cannot stop asking. If I could taste one sip of an answer, I could break out of this prison for drunks. I didn't come here of my own accord, and I can't leave that way. Whoever brought me here will have to take me home.

This poetry, I never know what I'm going to say. I don't plan it. When I'm outside the saying of it, I get very quiet and rarely speak at all. Shams if you show your face to me one more time, I can flee the imposition of this life ...

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tag:dirassat.posthaven.com,2013:Post/609142 2013-10-15T11:16:08Z 2013-10-15T11:16:10Z On the question of which one of Abraham's son was put to be sacrificed ?

Religion - The Huffington Post
http://www.huffingtonpost.com/james-goodman/totally-open-to-suggestio_b_4080484.html


Eid Al-adha: What if God Were a Writer Who Couldn’t Stop Revising? | James Goodman


Starting on Monday evening, at the very height of the Haj, Muslims around the world will observe Eid Al-adha, the Festival of the Sacrifice, a four-holiday that celebrates Abraham’s willingness to sacrifice his son to God.

Millions will converge on holy sites in Medina and Mecca, and if the past is prologue, here in the West, we will see images and read accounts of the festival that suggest (at their most generous) its strangeness — especially the sacrifice of a hundred million animals (each family consumes a third, shares a third with friends, and gives a third to the poor); the stoning of three great pillars (representing the devil); and a version of the sacrifice story in which Ishmael is the nearly sacrificed son.

What I see in Eid Al-adha is something else: a celebration with deep connections to both Christianity and Judaism. The deepest of those connections is the spectacle, past and present, of countless deeply devout people taking a sacred story into their own hands as if it were a clump of soft clay and remaking it in their own image.

At the root of the holiday is the story told in Genesis 22. There, God tests Abraham, commanding him to offer Isaac, the longed-for son of his and Sarah’s old age, on a mountain in the land of Moriah. Abraham sets out, without saying a word, but at the very last moment God stops him. Abraham sacrifices a lamb instead.

By the time Muhammad received his revelation from God, Jews and Christians had been revising those nineteen lines for centuries, adding characters (starting with Satan), dialog (conversations between Satan and God, God and Abraham, Abraham and Isaac, even Isaac and Ishmael), thoughts (How in the world am I am going to get away with Isaac without telling Sarah where we are going?), motivations, and meanings (obedience, fear, love, and faith).

Mohammed and other Muslims followed suit. The Koran’s Abraham, unlike the Bible’s, dreams that God wants his son in sacrifice. When he wakes, he asks his son what he thinks. His son says: “If that’s what God wants, lets do it.”

But the Koran, like the Hebrew Scriptures and Gospels before it, was just the beginning. The Jews had midrash, the Christians commentaries. Muslims had Hadith, the authoritative record of the words of the Prophet. There you will find scores of different Islamic versions of the story, some of them clearly derived from Jewish tradition (Satan trying to stop Abraham from obeying God, thus the need to stone him), some from pre-Islamic Arabian traditions, and some from emerging Islamic traditions.

In one version, the idea of the sacrifice is Abraham’s. He is so overjoyed by the news of the imminent arrival of a son that he promises to sacrifice him when he comes of age. In another, Isaac takes center stage, showing Abraham the God’s way. In a third, Sarah’s response to Abraham’s report sounds like the punch line to a Jewish comedian’s joke: “You would sacrifice my son and not tell me?”

The great Islamic innovation was to substitute Ishmael for Isaac as the nearly sacrificed son. In the Koran, the boy is not identified. Many early Islamic exegetes considered Isaac the victim, and they weren’t embarrassed as some later exegetes may have been, to cite Israelite tales (Torah) and the Gospels as authorities. But in no time there was a debate: “Some people say that it was Ishmael,” wrote al-Ya’qūbī (a Shiite historian and geographer in the third century of Islam), “because he was the one who settled in Mecca, while Isaac remained in Syria. Other people say that it was Isaac because Abraham sent him (Ishmael) and his mother out when Isaac was a young boy, and Ishmael was a grown man with children. There are many traditions about each view and people disagree about them.”

That debate raged for centuries, but as time went on the Ishmael versions gained favor. It is no mystery why. In the Bible, God made his covenant with Abraham and confirmed it (“because you have done this”) at Moriah. Ishmael, though banished, would be taken care of. He would be the father of many great nations, but the covenant was with Isaac and his children through the ages.

The early Christians started there, but they altered the definition of Abraham and Isaac’s descendants, casting the Jews off as Abraham and Sarah had earlier cast off Hagar. They made Jesus and through him all Christians the beneficiaries of God’s promise.

Ishmael was the genealogical link between Abraham and the Prophet, the progenitor of the Arab people. Is it any wonder that, as Islam took root in the Arabian peninsula and spread from there, many Muslims preferred the version of the near sacrifice that made Abraham’s older son the son whose submission to God defined their faith and secured God’s blessing? In favoring Ishmael, Muslims simply did what, for so many, comes naturally. They redirected the course of sacred history so that God’s blessing ran their way.

Today there are still Muslims who insist it was Isaac, just as there are those who (like many Christians and Jews) insist that Scripture got history wrong: God would never have asked Abraham to kill his son. Our religious traditions are not singular or fixed. They are plural and fluid, the product of conversation, argument, difference, dissent, and change, however halting. What has been (animal sacrifice, holy war, the subordination of women) does not have to be today, or tomorrow). I think of God as a writer who can’t stop revising.

     
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tag:dirassat.posthaven.com,2013:Post/609136 2013-10-15T10:57:15Z 2013-10-15T12:27:46Z Opening the Heart Through Ecstatic Poetry: Coleman Barks


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tag:dirassat.posthaven.com,2013:Post/609134 2013-10-15T10:55:55Z 2013-10-15T10:55:56Z The Ditch and the Ocean: A tribute to Bawa Muhiddeen by Coleman Barks

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tag:dirassat.posthaven.com,2013:Post/609121 2013-10-15T10:13:16Z 2013-10-15T10:13:17Z Coleman Barks: Rumi's Poetry: 'All Religions, All This Singing, One Song'

Rumi's Poetry: 'All Religions, All This Singing, One Song'

Rumi: The Big Red Book collects all the work that I have done on The Shams (Rumi's Divani Shamsi Tabriz, The Works of Shams Tabriz) over the last 34 years. As I put this book together, I felt drawn to revise slightly almost every poem, to relineate and reword. So I hope this is a refreshed collection.

I sent a copy to my friend, Robert Bly. He describes in a letter what I have done with these poems: "You have given them pats on the shirt, set them on some local horse, and given the horse a clap on the rear, and the poems are gone, well almost gone." He should know. He got me started on this path, when in June of 1976, he handed me a copy of Arberry's translation of Rumi and said, "These poems need to be released from their cages," by which he meant they needed to be translated out of their scholarly idiom into the lively American free verse tradition of Whitman. Hence this book. It is not all that I have done the last three decades, but I did spend some time, almost every day, with Rumi's poetry. I do not regret it. Something about the practice keeps unfolding.

The organization of this book is unique. The odes (ghazals) are divided into 27 sections, each a Name for the Mystery. I avoid, wherever I can, using the word God. It feels so freighted, to me, with doctrine and division and violence. I don't necessarily recommend this avoidance to anyone else. Eighteen of the Names are taken from my teacher, Bawa Muhaiyaddeen's The 99 Beautiful Names of Allah (The Opener, The Gatherer, The Patient, The Kind, The Intricate, Majesty, Light, Peace, The Grateful, The Living, etc). Two of the Names for Mystery are people I have been fortunate enough to meet, Bawa Muhaiyaddeen and Osho. Two other Names are also human beings, the Indian saint, Ramana Maharshi, and Shams Tabriz. Three other Names are borrowed. Dissolving the Concept of "God" (I have heard this somewhere, but I don't remember where), Playing (Plotinus), Tenderness Toward Existence (Galway Kinnell's phrase) and then there's the next to last, Everything and Everyone Else. The last Name is one that is implied in every Sufi list of the 99 Names, The Name That Cannot Be Spoken or Written.

The quatrains are more playfully, less thematically, divided. As I say in the Organizational Note (p. 364), the expanse of Emily Dickinson's 1789 short, title-less poems in the Harvard edition is dismaying to the eye. So in order to give some pattern to this array of Rumi's short poems, and some spaciousness too, I set them in 27 sections, 25 under the aegis of a constellation (Taurus, Leo, Pegasus, Orion, Pisces, etc.), and two under the name of another celestial body: the Milky Way (our home galaxy seen from the side) and the Black Hole at the center of it, which I have presumptuously named. Somebody had to. Bijou. It is that maelstrom that gives our galaxy its spiraling, dervishly outflung arms. The strange devices above the headnotes for each section are 10th Century drawings of the constellations from al-Sufi's (903-986) The Book of Fixed Stars. That is the fairly esoteric layout of the book. The wildly ecstatic, and wise, poems themselves are of more interest.

In other volumes I have buried some surprises in the Notes. The four recipes at the end of The Essential Rumi, for example, the last two meant to serve 60 and 100 people! There are buried items here, too. On p. 487 I explain how I came to sign a book for President Obama, and on p. 484 I lay out the circumstances, as well as I can determine them, of Osho's death, which was very possibly a CIA assassination, a slow one by thallium poisoning.

****

In October, I gave a reading in Toronto with a Sufi group. Several were of Pakistani descent. They asked me about the intense Islamophobia loose in this country, that is particularly pointed against Pakistan. I acknowledged the truth of their question, but I begged for more time before answering. I'll attempt a piece of an answer here.

During the 1979 hostage-taking in the US Embassy in Tehran, Bawa Muhaiyaddeen (my teacher) called a news conference in Philadelphia with the world media, something he had never done. He denounced the hostage-taking, saying, this is not Islam. Did this happen after the destruction of the World Trade Center towers? If it did, I am not aware of it. Did the great Sufi Masters of Pakistan, and there are many, come forward in Karachi to say al Qaeda is not Islam? Have they in the 10 years since? I need to be educated in these matters. Have the Ayatollahs in Iran spoken out in this way? Has my friend Ayatollah Zanjani? I hope so. I hear there is a strong movement in Iran now among the young people toward Sufism.

(We could at this point, in all fairness, call upon our own leaders to acknowledge our very American violence. Two and a half million is one estimate of those killed in Vietnam. We exploded more ordnance in that war than was exploded by all sides in World War II. How many were killed in the First Gulf War? 205,000. In the March 2003 invasion of Iraq, which continues, and in Afghanistan? 919,967. Do we keep such records? Where? I googled these numbers. Nobody knows the true body count. If we could weep for much of what we have done, I feel the old Sufis would weep with us.)

Islamophobia is real and deep and widespread in this country. This much we can know for sure. I sat recently watching a baseball playoff game with a very well-educated man, who seriously recommended that we "Nuke Tehran. Hit them hard. That's all they understand. Like Dresden." Sheer Idiocy. I visited Tehran in May of 2006. I tried to describe that beautiful, gentle, European culture to him. Not much help. There is a lot we do not see. The lines of Islamic men bowing down, touching their foreheads to the ground, sitting back, standing up, bowing again. They are doing a form of prayer that acknowledges unity, not political or religious solidarity with each other, but in praise of the mystery of oneness within all living beings, all things, all molecules even. That is the essence of Islam that I meet in Sufis today, that I saw in Bawa's eyes. There is a sweetness and a coolness, a profound courtesy, and a peace in Islam that we are mostly blind to in the West, and in the media particularly. The Islam that Rumi speaks from within is not one that separates us into different religions. Amazingly, it is one that celebrates how we can meet in Friendship and sing One Song. Here is one of his most famous poems.

One Song

Every war and every conflict between human beings
has happened because of some disagreement about names.

It is such an unnecessary foolishness,
because just beyond the arguing
there is a long table of companionship
set and waiting for us to sit down.

What is praised is one, so the praise is one too,
many jugs being poured into a huge basin.
All religions, all this singing, one song.
The differences are just illusion and vanity.
Sunlight looks a little different on this wall
than it does on that wall
and a lot different on this other one,
but it is still one light.

We have borrowed these clothes,
these time-and-space personalities,
from a light, and when we praise,
we are pouring them back in.

He said that in the 13th Century. Rumi very consciously made himself and his poetry a bridge between cultures and between religions. There is nothing exclusivist about him. He includes everyone in his embrace. He was, and is, a healer of whatever might separate us. Shams Tabriz adds another, more incandescent, element to his gift. Pure freedom, pure internal wildness, beyond any category we know. The West has no one comparable. Thoreau to the 100th power. Dostoyevsky to the 10th. Cervantes times 40. Mark Twain spun into seven new dimensions. It is the whirlwind of his presence that we feel as the power within Rumi's poetry. Shams is what draws us.

I am often asked why Rumi is currently so popular. I give my lame reasons. The real cause is Shams Tabriz, the one so startlingly alive and awake, his face is "what all religions long for." That is the feel of the depth of their friendship. Such friendship is another quality we are missing about Islam. Rumi called his red book The Works of Shams Tabriz. He did that because these poems flow from their seamless friendship. And I would make the mystical claim that that is a way of being, of loving, that we can experience eight centuries later, a little taste of, by reading.

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tag:dirassat.posthaven.com,2013:Post/600410 2013-09-10T11:42:54Z 2013-10-08T17:29:44Z Making art out of words | Yemen Times Making art out of words | Yemen Times

MAKING ART OUT OF WORDS

It’s all in the wrist: Calligraphy is a hobby for many Yemeni artists. While there are several independent schools and institutions that teach calligraphy classes all over Sana’a, enthusiasts would like to see the art form become a part of Yemen’s school

It’s all in the wrist: Calligraphy is a hobby for many Yemeni artists. While there are several independent schools and institutions that teach calligraphy classes all over Sana’a, enthusiasts would like to see the art form become a part of Yemen’s school

Calligraphers ask government to add craft to school curricula

Amani Mohammed Al-Kabodi, 18, stands beside a table placed inside a room at the Arab Painting Forum in Sana’a, carefully drawing the Arabic alphabet in black ink with studied brush strokes.

Special pens, ink, paper, brushes and other tools are scattered on the table next to her. Every time Al-Kabodi starts drawing a new letter, she cleans the pen off with a tissue and dips it into a special ink.

Calligraphy, both for secular artwork and for religious depictions is practiced in Yemen by a number of talented Yemenis and immigrants.

Calligraphers say the art is an important part of Islamic and Arab identity and many complain about the absence of calligraphy in school curricula. Students are often taught calligraphy as part of the Arabic language, instead of as a separate subject. Many are encouraging the education sector to take it a step farther and offer calligraphy courses.  

Al-Kabodi, a recent high-school graduate who will begin medical school next year, has been practicing calligraphy since age 10.

“I decided to enroll in Arabic calligraphy courses after my relatives encouraged me to improve my handwriting,” said Al-Kabodi.

“Because of the lack of Arabic calligraphy departments at Yemeni universities, I will go to medical school and look for institutes that teach the art so I can improve my skills,” she said.

Al-Kabodi studied Riqaa', Al-Dewani and Al-Thlth Arabic calligraphy font courses at the forum. Many want to expand access and availability.

“Calligraphers don’t have an identity here in Yemen due to the lack of Arabic calligraphy curricula, departments and local competitions,” said Khalid Al-Ward, an Arabic calligraphy trainer involved with school curriculum at the Education Ministry.

Al-Ward has been working in the Education Ministry for 18 years. He started teaching Arabic calligraphy courses at private institutes five years ago and has improved his skills by learning from talented Syrian, Egyptian and Iraqi teachers in the ’80s.

“Other countries have a special Arab calligraphy curriculum for students. So, we were very happy when teachers from these countries come to Yemen because they teach us many things about Arabic calligraphy. I also read old books about calligraphy. Yemen is at the end of the list when it comes to the art,” Al-Ward said.  

To improve that ranking, calligraphy will need public support.

“We want to enrich generations and history with multi-faceted calligraphy, but we cannot as long as we receive no government attention,” he added.

Al-Ward says that those interested in Arabic calligraphy are a small, cultured group. This, he said, is the reason why the number of talented calligraphers is so few. 

“Yemenis are busy earning a living and chewing qat. For them, the art is unnecessary entertainment,” said Al-Ward.

At another table at the forum sat Hisham Al-Ulafi, practicing his craft. Like Al-Kabodi, Al-Ulafi was also interested in improving his handwriting, but mostly, he wanted to improve his paintings with calligraphy.

A young painter, Al-Ulafi has been taking classes for a month.

“Once training finishes, I’ll be able to use Arabic calligraphy in my paintings,” he said.

Though Yemeni calligraphers are few, they are a presence at Arab exhibits.

Yemeni calligrapher Hamoud Al-Bana is an award-winning artist who has participated in several Arab calligraphy competitions. The last competition he participated in was in 2011 in Jordan. Al-Bana blames the government for the lack of talented calligraphers.

“I am awarded by foreign countries, but I cannot find funds for an Arabic calligraphy exhibition in my [own] country,” Al-Bana said.

Al-Bana put together a beginner’s guide to teaching Arabic calligraphy. The guide has not been approved by the Education Ministry to be used as part of public curricula, but some private schools are making use of it for extra school activities.  

Over the past five years, Al-Bana, in cooperation with calligrapher Nasser Al-Nasari, has been preparing a methodology for teaching Arabic calligraphy.  The methodology will be used in training courses over the next two years.  

He indicated that this methodology, if used, will help establish the first Arabic Calligraphy Institute, which will enable talented and aspiring calligraphers to hone their skills.

“We will be strong competitors in international calligraphy exhibitions,” Al-Bana predicted.

The work of Al-Kabodi and many other trainees were thoughtfully displayed on the forum’s walls. Al-Ward called Al-Kabodi’s work creative and encouraged her to stick with the art.

She is looking forward to taking part in calligraphy-related exhibits organized by independent Yemeni calligraphers.  

“Our [appreciation for the craft] needs to evolve. Arabic calligraphy is representative of our Islamic identity,” said Al-Kabodi.
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tag:dirassat.posthaven.com,2013:Post/599805 2013-09-07T19:44:09Z 2013-10-08T17:29:33Z فلعله يزورك في خلوتك ...

Regards, Walid.

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tag:dirassat.posthaven.com,2013:Post/598709 2013-09-02T20:56:15Z 2013-10-08T17:29:20Z الهوى

Regards, Walid.

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tag:dirassat.posthaven.com,2013:Post/598460 2013-09-01T21:42:04Z 2013-10-08T17:29:18Z The Marginalia Review of Books – Rachel Friedman on The Poetics of Iblis, by Whitney Bodman The Marginalia Review of Books – Rachel Friedman on The Poetics of Iblis, by Whitney Bodman


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Rachel Friedman on The Poetics of Iblis, by Whitney Bodman

Can a reader use Western literary theory to approach the Qur’an?

Since the time of its appearance in seventh-century Arabia, the Qur’an has been the subject of rich and diverse commentaries, a testament to its power as experienced by Muslim and non-Muslim audiences. What can Western literary thought contribute to this longstanding tradition of interpreting the Qur’an? How can a contemporary audience not versed in Islamic sources understand this religious text?

These questions lie at the heart of many recent efforts to bring European-born modes of interpretation to the study of Islamic Scripture. Traditional tafsir interprets the text largely in an atomistic, verse-by-verse manner. Modern readings, by contrast, approach the text from angles ranging from structural to thematic to narrative. These experimental projects draw attention to connections between different parts of the text as well as common themes and structures that undergird the suras (roughly, “chapters” of the Qur’an). Though they are not the first to do so, they show how the rhetorical and linguistic features of the Qur’an contribute to its power.

Whitney Bodman’s book The Poetics of Iblis, which applies reader-response criticism to the Qur’an, is part of this growing field of research. While Bodman is not entirely successful in using his interpretive mode of choice, he reveals meaningful variations among the Qur’an’s seven iterations of the story of Iblis by expanding the story’s scope to allow for a wider range of interpretation.

According to traditional Islamic exegesis, Iblis is considered to be a specific shaytan, or devil. Bodman instead reads Iblis as a tragic literary figure, contrasting him with Shaytan, who represents pure evil. The character of Iblis develops throughout the Qur’an, possibly even meriting the audience’s sympathy, while Shaytan remains a static symbol of evil in the world. Qur’an 17:61 states: “Behold! We said to the angels: ‘Bow down unto Adam’: They bowed down except Iblis: He said, ‘Shall I bow down to one whom Thou didst create from clay?’” Iblis’s response to God here is Bodman’s key to understanding him as an interesting literary figure and specifically as a tragic hero. God punishes Iblis for refusing to prostrate to “a human whom you [God] created from ringing clay, from stinking black clay,” a sentiment reiterated in several places in the Qur’an. Iblis’s refusal is a decision made using his God-given reasoning to determine that bowing to Adam, a smelly creation made from earth, is “neither logical, nor just, nor warranted.”  Bodman shows that portrayals of Iblis as a literary character in modern Arabic literature also pick up on this logic.

Bodman has chosen to use the variety of reader-response criticism associated with the German literary scholar Wolfgang Iser. For Iser, meaning is formed in the interaction between the author’s so-called “implied reader”—whom the author imagines as her ideal future audience of the text—and the particular thinking of actual readers. The author draws on this implied reader’s background knowledge with the aim of helping the reader create meaning. To apply Iser’s theory, Bodman tries to reconstruct what background knowledge the Qur’an assumes its implied reader to have. He surveys ancient Semitic texts as well as Jewish and Christian sources, focusing on the interpretation of biblical material. Bodman identifies several themes in these pre-Islamic texts that the Qur’an also incorporates, such as sibling rivalry and the myth of a fallen angel. He also investigates the origins of some Qur’anic ideas. For example, was the notion of angels present in pre-Islamic Arabia or did it come from Judeo-Christian lore? This allows him to ask ”what the original hearers of passages concerning angels might have made of the concept.”

The choice to focus on the Qur’an’s first audience is common to Western academic approaches to the Qur’an. This decision assumes that the Qur’an is a response to circumstances in seventh-century Arabia and privileges the origins of ideas over their function in the text. Yet to what extent can this endeavor understand the Qur’an on its own terms without undervaluing what these ideas mean within it? For many it will seem strange to interpret this sacred text using a German mode of criticism that reached the height of its popularity in the 1970s. A theory that was formulated with modern European texts and readers in mind may not be suitable for a more ancient Arabian source. What are the implications of applying Western literary theory to the Qur’an?

In the case of reader-response criticism, this question takes on an interesting valence. As previously mentioned, the notion of an implied reader fails to do justice to the experience of actual readers and the background knowledge they bring to their readings of the text. The author of a text cannot account for all actual readers, an idea that was important to Iser’s theory about the production of meaning. While human authors cannot account for all actual readers, a divine omniscient author is an exception: this author would not have to project a prototypical reader and guess at this reader’s background knowledge. A divine, omniscient author is very different from Iser’s imagined author. The former would already know the entirety of future readership and, moreover, would be eminently aware of all meanings of the text. In this case, meaning could not be produced in the gap between what the implied reader knows and what actual readers bring to the text, because this gap would not exist. Reader-response criticism could not work in the way Iser theorized.

Iser’s reader-response criticism is generally not applied to texts claiming to be the direct word of God. Islamic doctrine asserts the divine origin of the Qur’an, although many scholars have attributed its composition to Muhammad, a group of seventh-century authors, or later writers. Moreover, the Qur’an speaks of itself as having a divine source and addresses all of humanity, which indicates that its author does not have one ideal reader in mind. Following much recent Western scholarship on Islam, Bodman avoids addressing the issue of the Qur’an’s authorship directly.

Not all scholarship on the Qur’an must deal with the question of authorship. But for a writer who applies a mode of interpretation in which the author’s own assumptions play a unique role, the issue cannot be ignored. A text that claims a divine source may imagine a reader response different from the type that a mortal author would imagine.

Bodman would have done well to devote more attention to the Qur’an’s self-understanding, but I am not suggesting that he take a theological stand on the Qur’an’s origins. In light of the Qur’an’s specific features, its encounter with reader-response theory should be allowed to push the boundaries of the theory itself.

As an interaction between the Qur’an and literary theory, The Poetics of Iblis is best taken as an experimental project, part of a contemporary effort to determine whether and how one might productively and thoughtfully apply Western understandings of literature to the Qur’an. These efforts tend to focus on larger patterns of meaning, narrative, and aesthetics, which can make the text at hand more approachable and meaningful to audiences that may otherwise find it alien and hard to comprehend. As a text held to be divinely authored, the Qur’an poses an interesting challenge to Western theory, exposing its limitations when applied to texts beyond the realm of modern European writings.

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tag:dirassat.posthaven.com,2013:Post/598458 2013-09-01T21:39:15Z 2013-10-08T17:29:18Z Book: The poetics of Iblis, Narrative Theology in the Qur'an Iblis, the character in the Qur'an who refuses God's command to bow to Adam and is punished by eviction from heaven, is commonly depicted as a fiendish character no different from Satan. However, some Sufi stories describe Iblis as the ultimate monotheist, a lover of God, but tragically rejected. This volume seeks the origins of this alternative Iblis within the Qur'an itself, by looking at each of the seven Qur'anic versions of the Iblis story as a unique rendering of the basic narrative. Whitney Bodman finds that the likely earliest version of the Iblis story presents him as a tragic figure, an elder sibling of Adam unjustly displaced from God's favor. Subsequent renderings present an Iblis more hostile to humanity, and in the last two abbreviated versions Iblis becomes an incidental figure in the extended story of Adam. In modern Arab literature the character of Iblis is deployed to reveal tragic dimensions of modern life. Alhough it is often said that there is no place for tragedy in Islam, Bodman's careful examination of the Iblis story shows that the tragic exists even in the Qur'an and forms part of the vision of medieval Sufi mystics and modern social critics alike.

The Poetics of Iblis: Narrative Theology in the Qur'an (Harvard Theological Studies)

~ Whitney S. Bodman (author) More about this product
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tag:dirassat.posthaven.com,2013:Post/598393 2013-09-01T15:14:19Z 2013-10-08T17:29:17Z طهر قلبك

Regards, Walid.

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tag:dirassat.posthaven.com,2013:Post/598225 2013-08-31T12:17:31Z 2013-10-08T17:29:15Z Did Iblis disobey His Lord out of love or out of self conceit ? هل عصى إبليس ربه حباً به ام غروراً بنفسه

Ah! Just as Gabriel, Michael and the other angels heard in the realm of hiddenness "Bow to Adam!", in the hiddenness of the world of hiddenness and contemplation, He spoke again (to Iblis) "Do not bow to another than Me". In public He says "Bow to Adam" and in secret, He asked "Oh Iblis, reply, 'Will I bow to whom you have created from clay !?', whispered the divine will in the heart of Iblis "

And so the wretched fellow, in accord with what he was ordered in secret, said "I will not bow to whom you have created from clay". He replied "My curse is upon you !" Iblis answered "Since the robe of honor comes from You whether it brings curse or mercy no matter".

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tag:dirassat.posthaven.com,2013:Post/598220 2013-08-31T11:54:48Z 2013-10-08T17:29:15Z علم إبليس

كان إبليس متبوئاً مرتبةً عليّة أهَّلته للإطلاع على خفايا اسرار الصنع الالهي للكون. 
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tag:dirassat.posthaven.com,2013:Post/598219 2013-08-31T11:40:10Z 2013-10-08T17:29:15Z عجيب كيف يتمرد الإنسان و هو مؤمن بحتمية القضاء ]]> tag:dirassat.posthaven.com,2013:Post/596403 2013-08-21T20:56:55Z 2013-10-08T17:28:51Z ‘Sex and the Citadel,’ by Shereen El Feki
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A Fig Leaf Is Dropped in Islamic Societies

“Men in Egypt, in the gulf, they always want to have sex in the wrong place,” one Egyptian woman whispered to the writer Shereen El Feki, while she conducted her research into sexual proclivities in a rapidly changing Arab world.

The comment was about anatomy, not geography. And it’s indicative of the frankness Ms. El Feki’s “Sex and the Citadel” sometimes achieves. Though she warns her readers that she is not writing an encyclopedia or staging a peep show, Ms. El Feki does ask an array of highly personal questions about present-day sexual relations in Muslim societies, with particular emphasis on Egypt, Tunisia, Lebanon, the United Arab Emirates and Morocco. A number of people tell her that anal sex gains appeal when a culture places a high premium on virgin brides.

Ms. El Feki, who is of both Welsh and Egyptian descent, became drawn to her book’s subject matter while serving as vice chairwoman of the United Nations’ Global Commission on H.I.V. and the Law. She was knowledgeable and curious about sexuality, but how hard would she rock the casbah? “Sex and the Citadel” is as much a work of ill-supported optimism as it is an exposé, with a political context that does not extend far beyond the Arab Spring of 2011. So Egypt’s current turmoil and potentially repressive climate go unmentioned. And in a book that frequently invokes the Mubarak administration, she does not mention either President Mohamed Morsi or any improvements his rule might bring.

Of course it’s all relative: Ms. El Feki begins this book taking a long view. She contrasts the avidly sensual Egypt of past centuries with the Arab world’s view of a prim and joyless West. Gustave Flaubert, when not writing “Madame Bovary,” found time for a 19th-century version of sexual tourism in Egypt and described it enthusiastically. (About one of his consorts: “She is very corrupt, writhing, full of pleasure, a little tigress. I stain the divan.”) He voiced disappointment that no worthwhile opportunities for sodomy allowed him to broaden his research.

Flaubert had been drawn by a rich tradition of Middle Eastern erotica that has all but vanished under present-day Islamic strictures. The arrival of Napoleon’s European influence and, later, the rise of the Muslim Brotherhood in the 1920s helped this change. Ms. El Feki cites the remarkable fact that some of today’s Egyptian women barely know the Arabic words for female genitalia, since the subject is considered too shameful to discuss. Yet Egypt also treats female circumcision as a commonplace, and Ms. El Feki quotes a mother who says casually, “I’m having my daughters done next week.” Though “Sex and the Citadel” works well enough as a general survey, it lacks the thoughtfulness to reconcile all the contradictory sexual attitudes it describes.

Ms. El Feki finds a daya, “an untraditional traditional midwife,” who performs these circumcisions and also justifies them. The gist of the daya’s argument: Circumcised women are less apt to make nuisances of themselves than intact ones. “What is the case if her husband died or divorced her, is she going to pull men from the cafes?” the daya asks. The world of “Sex and the Citadel” is full of such unanswerable questions.

The rules governing marriage in Islamic countries seem to give great advantages to men. A man can strike up a temporary marriage with a woman with whom he wants to have sex, then say, “I divorce you!” three times and have it be all over. There are several other gradations of marriage that rank beneath the most estimable version: state-recognized, religiously sanctified, family-approved unions. Yet the Egypt that this book describes is anything but a stud’s paradise. When economic hardship is coupled with increasing importance of women in the workplace, male anxieties rise. “Being a man is a privilege, but it’s also a terrific pressure,” one man tells Ms. El Feki. She concludes, “Whatever the reason, the upshot is men with their tackle in a twist.”

“Sex and the Citadel” is not above cheap tricks. The author begins her introduction by showing a vibrator to six baffled Cairo housewives. And the title comes from Ms. El Feki’s claim that a taxi driver told her to strip, even though she merely asked to be taken to the Saladin Citadel in Cairo; she says that the Citadel’s Arabic name sounds like the Egyptian word for undressing.

But her survey covers major sex-related subjects, like being unmarried in an Arab country (“It’s almost inconceivable to bring home a date unless it’s of the edible variety”), trying to persuade a condom-averse population to practice protected sex, the ubiquitousness of prostitution and the treatment of homosexuals. Every single aspect of the book is influenced by the new pervasiveness of Western pornography and the impossibility of shrouding sex in secrecy anymore.

Most of her book is general. But Ms. El Feki does come across some memorable specifics, like the restored-virginity racket. Chinese efforts to market fake hymens filled with red dye touched off a 2009 debate in Egypt’s Parliament and became one more blot on the Mubarak government’s record. And an ethical dilemma faces doctors asked to do surgical hymen repair. “Are they complicit in a procedure that buttresses the patriarchy and the double standards around virginity?” Ms. El Feki asks.

As one Cairo doctor puts it: “When I have 10 women who appear for a consultation, I sympathize with at least 9 of them. They’re suffering, and I am of a mind to help these girls.”

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tag:dirassat.posthaven.com,2013:Post/595526 2013-08-17T20:38:50Z 2013-10-08T17:28:41Z Satan and mystics

Satan and mystics
http://www.frontline.in/static/html/fl2909/stories/20120518290907800.htm






BOOKS Satan and mystics A.G. NOORANI
The book makes a fascinating exploration of the story of Iblis in Quranic verses.


FOR centuries, the motif of Iblis (Satan) as a figure to be admired, rather than despised, has continued in Sufi lore and Islamic literature. Of course, Iblis also retained his place in religious belief as the damned one. The lay Muslim and the ulema point to the Quranic verses which describe the fall of Satan from the exalted position he once occupied as Azazil, the archangel, and Satan's confrontation with Adam and Eve leading to their expulsion from heaven. The Sufi resents any suggestion that his faith in the Quran is weaker than that of the maulvi. But he reads the text differently.

God formed Adam from clay and breathed into him His spirit. He ordered the angels to bow before this unique creation made of clay but with the divine spark within. All obeyed, except Iblis. He argued: “I would never prostrate myself before a mortal whom Thou has created out of clay and mould. I am better than he: Thou created me of fire and, him Thou created of clay.” Satan is banished from Paradise for his defiance, and a divine curse rests in him until Judgment Day. But he is given a respite until then so that he can tempt and test man.

The fall of the angel preceded the fall of man. Adam and Eve were asked to live in the garden where God provided for them in abundance. He denied them the produce of only one tree. Iblis tempted them to eat just that. They lost their innocence and were driven to an earthly existence carrying with them the seeds of human aggression and fratricide.

Iblis was sworn to serve as the enemy of man. The Quranic account bears a close resemblance to that in the Bible.

Dr Peter J. Awn of the Department of Religion in Columbia University was the first to explore the theme with a wealth of learning in his work Satan's Tragedy and Redemption: Iblis in Sufi Psychology (E.J. Brill, Leiden, 1983). Whitney S. Bodman, Associate Professor of Comparative Religion, Austin Presbyterian Theological Seminary, discusses his work and proceeds to make his own fascinating exploration of the Quranic verses, the classic Commentaries, the writings of old mystics and modern writings including those of the poet-philosopher Iqbal. The diversity of interpretations of Iblis in modern works, he holds, “is foreshadowed in the diversity of the Quranic story itself. The Quran does not tell a simple story of Iblis but weaves a complex and suggestive narrative that allows for a range of diverse and divergent interpretations. Muslims through the ages have found within that range the opportunity to explore various nuances of the age-old issue of theodicy. The Quran indeed not only allows this exploration but also invites and encourages it.”

The mathnawis of Fariduddin Attar and Jalaluddin Rumi, one of the greatest mystic poets of all time, are rich in allusions to Iblis. In his devotion, Iblis can still hope for God's mercy. Attar wrote: “My heart was filled with His glory;/ I was a confessor of His unity./ Nevertheless, without cause, in spite of all this devotion,/ He drove me from His threshold without warning/… Since without cause I was driven away by Him,/ I can also, without cause, be called back by Him./ Since in God's actions there is no how and why, it is not right to abandon hope in God./ … Since, without cause, You bestowed the gift of existence,/ In the same way, without cause, drown me in Your generosity.”

In the Quran, God assures man that He is “closer to you than your jugular vein.” But He warns also that “truly Satan flows in man's very bloodstream”. He thrives on man's nafs, the lower soul, which leads him astray.


Satan's fate illustrates the results of pride and intellectual conceit. He revelled in logic, little realising its limitations. “He did not realise that one who bowed to Adam in accordance with God's command was truly bowing to God himself.” Rumi's lines on this failing reflect the Sufi disdain for the intellect as the sole guide in the spiritual progress of man: “He possessed intellect, but since he possessed not the passionate yearning of faith, He saw in Adam only a clay form. Even if you possess the fine points of knowledge, O worthy fellow, that will not open your two eyes to pierce the unseen.”

But, it is to Mansur Al-Hallaj, who went to the gallows declaiming that he was the Truth (God), that one must turn to discover the first elaborations of the complex tragedy surrounding the personality of lblis. For Mansur, lblis is a tragic victim. Condemned he was, but perfect in his devotion to God and preferred self-destruction to a compromise with his faith. To man, lblis is teacher no less than tempter.

Mansur devotes a whole chapter in his Tawasin to lblis. “There was no monotheist like lblis among the inhabitants of the heavens. When the essence revealed itself to him in stunning glory, he renounced even a glance at it and worshipped God in ascetic isolation…. God said to him, ‘Bow.' He replied, ‘To no other.' He said to him, ‘Even if my curse be upon you?' He cried out, ‘To no other.'”

A few centuries later, Sarmad spoke in the same vein. He was a Jewish convert to Sufism who met the same fate as Mansur. Aurangzeb ordered him to be beheaded on the steps of Jama Masjid, Delhi, where his tomb is. Sarmad wrote in one of his quatrains: “Go, learn the method of servantship from Satan: Choose one qibla and do not prostrate yourself before anything.” Satan emerges as a strikingly colourful, almost attractive, figure in Iqbal's Javid-Namah. In another poem, Iqbal has Gabriel and Iblis exchanging taunts and reproaches. Gabriel tells Iblis: “You lost the loftiest position by your denial. What prestige can angels now enjoy in the eyes of the Almighty?” Iblis retorts what a daring and stormy life he leads on earth in contrast to Gabriel's uneventful existence in heaven. The concluding lines read: “If ever you find yourself alone with God, ask Him: Who has coloured the story of Adam with his own blood? I prick the conscience of the Almighty like a thorn. You can only declaim, Oh God! Oh God!”

It is an erudite and fascinating book. Its author's summing up is perfect. “The burdens of discernment and the power of desire, even desire for God, lead mortals into a wilderness of God's own design. Although will and righteousness direct us towards the final destination, that same will and righteousness also lead us astray. Like al-Hallaj's Iblis, we cannot assume that God's command, often interpreted through human medium and contextualised in time and space, with God's will, which is eternal, are the same. The very recognition that there is a difference is the fertile soil of tragedy. We choose, discern, reason, decide, and suffer the consequences, trusting in God's mercy. While it is tempting, in the human search for the straight path, to dismiss tragedy as a failure of faith in God's good mercy, in fact, it is in the tragic that we recognise that the straight path is not well lit. We choose, and suffer the consequences. That is the path.”

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tag:dirassat.posthaven.com,2013:Post/594074 2013-08-10T18:58:44Z 2013-10-08T17:28:23Z Conscience and freedom

Regards,
Walid.
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tag:dirassat.posthaven.com,2013:Post/541948 2013-04-29T19:59:00Z 2013-10-08T17:17:11Z Parallel Migration of Dirassat to dirassat.wordpress.com

Dear participants,

I have performed a duplicate migration of "dirassat" content to dirassat.wordpress.com in addition to dirassat.posthaven.com.

I will be evaluating both services and finalizing one shortly. It all depends on the speed with which Posthaven can ramp up their functionality from the existing beta release.

You are invited to send me your input to my email at walid@dirassat.org.

I am planning a final migration to "dirassat.org" address using Wordpress or Posthaven blogging services. A joined administration of the blogging is needed for the continuity of the blogging services for future generations.

Today is the final day for dirassat.posterous.com before the service shuts down on midnight.

I bid you all farewell and a successful new reincarnation in the new platform.

Dirassat Posterous Died ...  Long Live Dirassat ...

Regards,

Walid.

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tag:dirassat.posthaven.com,2013:Post/529747 2013-04-28T22:16:17Z 2013-10-08T17:14:35Z Welcome to dirassat.posthaven.com

Testing my first posting

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tag:dirassat.posthaven.com,2013:Post/541949 2013-04-28T22:06:00Z 2013-10-08T17:17:11Z Migrating dirassat site to dirassat.posthaven.com Dear participants, I have migrated the dirassat content to dirassat.posthaven.com. Posthaven is a new blogging company started by the founders of posterous. Please take note that posthaven is still in the process of building up all the functions available in posterous. Thanks, Walid.]]> tag:dirassat.posthaven.com,2013:Post/541950 2013-04-28T21:52:00Z 2013-10-08T17:17:11Z انتقال موقع دراسات الى dirassat.posthaven.com الى المشتركين الكرام قام مؤسسوا posterous بتأسيس موقع posthaven حيث تم نقل كل المحتوى الحالي للموقع. عنوان الموقع الجديد : dirassat.posthaven.com. الرجاء أخذ العلم ان الشركة الجديدة بحاجة الى بعض الوقت لاستكمال كافة متطلبات الموقع الجديد. وشكرا وليد.]]> tag:dirassat.posthaven.com,2013:Post/529473 2013-04-06T19:26:00Z 2013-10-08T17:14:32Z إعادة قتل أبي العلاء المعرّي واستشهاده فؤاد عبيد حين هوى رأسك على أرض معرة النعمان، تفجّرت ينابيع الدماء من أبياتك وكأنها نزيف أمة لا زالت تُصرّ على محاربة الحياة. درسناك شاعراً يتلمّس موقع الفيلسوف. حفظناك أمثالاً نردّدها كلّما ضاقت بنا السُبل. أعطيناك دائماً مثالاً لاتساع صدر الأمة والدين. ولم نعهدك عرّافاً يقرأ منذ ألف سنة أن التعصب يجافي العقل في كل زمان ومكان. قتيلاً ذهبت ضحية شغفك بالقراءة والكتابة والمعرفة وقاتلك يفخر بأنه لا يقرأ حتى كتاب إيمانه، ولا يدرك عظمة نبيّه. خالف السيرة والسورة ولم يعلم أن الله يهدي من يشاء ولو شاء ربك لجعل الناس أمة واحدة. خالف الكتاب ولم يعرف أن الله قال في كتابه العزيز «إقرأ وربّك الأكرم الذي علّم بالقلم علّم الإنسان ما لم يعلم»، فبدأ بقطع رؤوس أهل القلم. صنّفك من بطانة الحكام وأنت الذي استهلكت ألف حاكم ولا زلت تشعّ كالمنارة منذ رحيلك وحتى الآن. أبو العلاء، على امتداد أرض الأمة العربية تُخالَف المصاحف، تُنهَب المتاحف، تُهدَم الآثار، تُضطهَد الكلمة، يُسجَن الأحرار، يُقتَل المفكرون، يُكفّر الفلاسفة، يُسجَن الشعراء، تُكسَّر أصابع المبدعين، تُقتَلع حناجر الفنانين، تُغتصَب النساء ترهيباً باسم التغيير، فكيف نكون خير أمة أخرجت للناس إذا لم نتعلم كيف نأمر بالمعروف وننهى عن المنكر. انها أزمنة القحط المتكررة حين تضلل الشعوب وتضل طريقها إلى الخلاص. في أزمنة النور إيمان وهداية وحكمة وفكر وانتشار حضاري. وفي أزمنة القحط ضلال وغي وانكسار وافتخار بالجهل المقيم، في أزمنة النور احتمل الفكر العربي وافتخر بالمعتزلة والأشعرية وبعلم الكلام. وفي أزمنة النور احتملت حضارة الإسلام وفاخرت بإبن رشد والفارابي وإبن سينا وإبن خلدون وكل العباقرة وكبار التاريخ العربي والإسلامي، وفي أزمنة القحط حُرقت آثارهم ولو وُجِدوا لسُحلت أجسادهم. في أزمنة النور الفكر نور والعلم نور وفي أزمنة الضلال الفكر عورة والعلم معصية. في زمن النهضة العربية تخرج جيوش الاستعمار وفي زمن التردي تعود مصالح الاستعمار تدبّ كالنعاس تحت جفون الأمة. ونحن اليوم نفتقد العروبة على ضفاف النيل وتعود إلينا رائحة الحاكم زين العابدين تغتال عطر الياسمين. وها أنت يُمرّغ رأسك في التراب. ونحن نقضي عمرنا وطموحنا ان نفض الاشتباك المفتعل بين أنبيائنا في أرض الأنبياء والديانات. فماذا أقول في إعادة اغتيالك وفي يوم استشهادك؟ طوبى لك ولكل الشهداء فمن دمائك ستعود هذه الأمة لتزهر، ولكن حسرتنا أننا لن نرى مواسم الزهر في عمرنا. أبو العلاء سنخفف الوطأ لأن أديم الأرض العربية أصبح من أجسادنا ومن عظمة روح تاريخ أمتنا. فؤاد عبيد http://www.assafir.com/Article.aspx?EditionID=2388&ChannelID=57439&ArticleID=...]]> tag:dirassat.posthaven.com,2013:Post/529474 2013-04-04T20:53:00Z 2013-10-08T17:14:32Z مأزق المرأة المتمردة، من ليليت إلى نساء الربيع العربي

مأزق المرأة المتمردة، من ليليت إلى نساء الربيع العربي  

7 مارس/ آذار 2013 22:24 GMT

نساء مصريات

متى بدأت المرأة تتمرد على وضعها الذي تعتبره مجحفا لإنسانيتها وترى فيه تمييزا سلبيا عن وضع صنوها ورفيق حياتها، الرجل ؟

لعل "ليليت" التي ورد ذكرها في بعض الميثولوجيات القديمة هي أول امرأة اتخذت موقفا رافضا من عدم مساواتها برفيقها الذكري "آدم".

يتباين تصوير "ليليت" في الميثولوجيات والأساطير القديمة، حسب الموقف الأخلاقي/الديني منها، فهي التي عرفت في الحضارة السومرية باسم "ليليتو"، عرفت بالأكدية كربة الرياح التي تجلب المرض والعواصف والموت.

وذكرت ليليت في الحضارة الإغريقية واليونانية والمصرية القديمة والعبرية، ، ففي التوراة (السفر الأول_سفر التكوين) هي نظيرة آدم، التي خلقها الله كما خلق آدم، من المادة نفسها، لذلك رفضت الخضوع له، على اعتبار أنهما متساويان.

وتنسب إليها بعض الميثولوجيات دور المحرض أيضا في قصة الخلق، فهي، وبعد أن تمردت هربت من الجنة، ثم ظهرت بشكل "الأفعى" التي تغري حواء، الزوجة البديلة، الخاضعة لآدم، بالتمرد مستخدمة وسائل الإغواء.

اما المسيحية فقد أنكرت وجود ليليت إلى حد كبير، ولم يرد أي ذكر لها في القرآن.

منذ الحضارات القديمة وحتى يومنا الحاضر تباينت الأحكام الأخلاقية على ليليت، فهي "الشريرة" "العاهرة" وإسمها مرادف للـ"عتمة" في نظر بعض الأساطير، بينما يرى فيه البعض، خاصة في العصر الحديث، رمزا للتمرد على الغبن والشجاعة والجرأة، والنضال من أجل المساواة.

"ليليت" العربية

أما النسخة العربية الحديثة من "ليليت" فهي حائرة بين إخلاصها الديني وولائها للتقاليد التي نشأت عليها، وبين رفضها الفطري أو الواعي لوضعها الاجتماعي والإنساني.

الكثير من الفتيات العربيات يبدأن سن المراهقة بالتمرد على الامتيازات التي يحصل عليها الشقيق الذكر في العائلة، فهو يحظى "بخدمة" إناث العائلة، ويعفى من المساهمة في الأعمال المنزلية في معظم الأحوال، وبينما يبدأ سني مراهقته باستعراض "ذكورته" أمام الفتيات، تقضي شقيقته جزءا كبيرا من وقتها في غسل الأطباق وتنظيف المنزل.

بداية التمرد غير الواعي عند بعض الفتيات العربيات تبدأ بالاعتراض على هذا التقسيم الوظيفي، وإما أن تتطور بعد ذلك إلى اعتناق أفكار محددة في هذا الاتجاه أو تتجه الى التصالح مع وضعها،خاصة بعد الزواج.

ترى الكثير من الفتيات في الزواج وسيلة للحصول على الأمان والانتقال من منظومة قوانين العائلة الأبوية التي ترى فيها الفتاة الزاما عاطفيا وعشائريا، إلى منظومة العلاقة الزوجية التي تأمل أن تجد فيها هامشا من حرية الحركة والتعبير عن الذات.

التحرر السياسي والاجتماعي

بعض الفتيات اللواتي يواصلن طريق "التمرد" يتجهن إلى النشاط السياسي الذي يجدن فيه مدخلا لإثبات أنهن "لا يختلفن في دورهن الحياتي عن الرجال"، فهن يشاركنهم في المخاطر التي تنطوي عليها النشاطات السياسية، خاصة في العالم العربي.

ويلاحظ أحد الكتاب الفلسطينيين، في أحد أحاديثه، ساخرا ، أن "الجيش وأجهزة الأمن الإسرائيلية هي أول من يعامل الفتيات والشباب الفلسطينيين على قدم المساة من حيث التنكيل بهم، فالفتيات عرضة للسجن والتعذيب بل والقتل ايضا، كالشباب تماما".

لكن هذا ليس حكرا على الوضع الفلسطيني-الإسرائيلي، إذ يبدو أن الجهة التي تثور المرأة ضدها تعتبرها "ندا"، فقد شهدنا ذلك اثناء الثورة المصرية ايضا، حيث تعرضت فتيات لعمليات سحل وتعذيب وإذلال، كالشباب تماما.

المفارقة هنا هي أن "رفيق دربها" هو الذي يتوانى عن معاملة المرأة كند مساو له حين قطف ثمار العمل السياسي الذي شاركته أصعب مراحله ومظاهره.

كان للنساء حضور بارز في الثورات العربية الأخيرة، من تونس الى مصر الى البحرين الى سوريا، ولكن حين وصلت بعض الثورات مرحلة "قطف الثمار" وجدت المرأة نفسها مغيبة ومجحفة.

في ليبيا كان من أول التغييرات التي حصلت بعد الثورة أن تعهد رئيس المجلس الوطني الانتقالي الليبي مصطفى عبد الجليل باعلان إلغاء حظر تعدد الزوجات .

وفي مصر لم تحظ النساء بحضور سياسي في الحكم يوازي حضورها في الشارع أثناء الثورة. لم تحصل المرأة المصرية إلا على 8 مقاعد فى مجلس الشعب المنتخب من أصل 498 مقعدا أى نسبة لا تصل إلى 2%.

وتقول الباحثة نعيمة سمينة "هناك ضعف واضح للمشاركة السياسية للمرأة التونسية حيث لا تؤدي دورا ذا أهمية كبيرة في الحياة السياسية ومواقع صنع القرار بالمقارنة مع تواجدها في قطاعات أخرى كالتعليم والصحة.

مأزق الأنوثة في الحركات النسوية

في أوروبا وأمريكا اتخذ تمرد المرأة على وضعها شكلا منظما، وبني على أيديولوجيات وفلسفات راسخة، علما بأن العالم العربي أيضا أنتج "منظراته" النسويات.

كانت الأكاديمية والكاتبة المصرية نوال السعداوي من أوائل من تطرقوا الى وضع المرأة في المجتمع العربي بشكل علمي جريء في عدة كتب اصدرتها في سبعينيات القرن الماضي ، منها "المرأة والجنس" و "الرجل والجنس" و "الأنثى هي الأصل" .

تطرقت السعداوي بجرأة غير مسبوقة الى مواضيع كان الحديث فيها محظورا في المجتمع العربي، ناهيك عن طرحها من قبل امرأة ، كالعذرية وختان الإناث والمتعة الجنسية.

وفي لبنان ارتفع صوت الشاعرة جمانة حداد منتقدا وضع المرأة في المجتمع العربي والنظرة النمطية لها في الغرب، وانتقدت ما ترى أنه " دور المؤسسات الأبوية والدينية في تكريس هذا الوضع" عبر الكثير من المقالات والكتب التي أصدرتها ومنها "قتلت شهرزاد" و "سوبر مان عربي".

في أوروبا بدأت الثورة على الوضع السائد للمرأة تبني ثقافتها وفلسفتها في مرحلة تاريخية مبكرة، ولعل الروائية البريطانية جين أوستين كانت من أوائل النساء الأوروبيات اللواتي تطرقن إلى الموضع قبل أن تتبلور ملامحه بشكل واضح، ويعتبرها البعض "من أوائل المفكرات النسويات في أوروبا".

وفي القرن العشرين كانت الفيلسوفة الفرنسية سيمون دو بوفوار من أشهر من تطرقوا الى قضايا تحرر المرأة في العديد من مؤلفاتها ومنها "الجنس الآخر".

"مأزق" الأنوثة والجنسانية

اصطدمت منظرات وناشطات الحركات النسوية في كل مكان بمأزق العلاقة مع الرجل.

من الملفت للانتباه أن هناك ميلا، حتى لدى مناصري المرأة، لعزلها الجنساني، وهو، وإن كان "تمييزا إيجابيا" في نظر البعض، إلا أنه تمييز على أي حال.

كيف يمكن الحديث عن "كاتبات" مثلا وهل الكتابة مرتبطة بجنس الشخص ؟ ولماذا تخصص "كوتا" للمرأة في الانتخابات في بعض البلدان ؟

ولعل أكثر الإشكاليات تعقيدا هي إمكانية توصل المرأة الساعية لنيل حقوقها إلى موقع متوازن في علاقتها بالرجل.

الكثير من الناشطات النسويات ينظرن اليه على أنه "سادن النظام" ورمز التمييز ضدهن، مما يجعهل موقفهن منه عدائيا.

هناك قلة تنظر اليه على أنه كالمرأة تماما، ضحية القوانين السائدة، وبالتالي يجب النظر اليه كشريك ورفيق، ولعل الروائية البريطانية دوريس ليسينغ في بعض أعمالها تسلط الضوء على هذه النقطة.

الإشكالية الأخرى، والأكثر تعقيدا، هي حيرة النساء الثائرات على وضعهن بين الأنوثة كمظهر لثقافة استهلاكية ترسخ الوضع القائم، و "الأنوثة" كهوية متفردة يمكن الالتصاق بها والدفاع عنها.

وتذهب بعض الناشطات الى حد الثورة على المظاهر الجمالية التي يعتبرنها رمزا للاستغلال الجنسي للمرأة.

ويبقي التحدي الأكبر هو كيفية الوصول إلى نقظة التوازن التي تحافظ للمرأة على إنسانيتها دون أن تجردها من هويتها الأنثوية المتفردة، ومدى امكانية تحرير علاقة الرجل بالمرأة بطرفيها من شوائب ثقافة التسلط دون الاضطرار الى الاستقطاب الجنسي الذي يشوه العلاقة ويقتلها.

http://www.bbc.co.uk/arabic/mobile/worldnews/2013/03/130307_rebellious_women.shtml

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tag:dirassat.posthaven.com,2013:Post/529475 2013-03-26T20:00:00Z 2013-10-08T17:14:32Z يوم صلبوا الحلاج!

يوم صلبوا الحلاج!...لماذا الحلاج؟

 

الحلاج.. قبل اللغة: أجلى من اللفظ.. أحلى من الرمز! 

 

 

 

الحلاج.. بعد اللغة: أمتن من العبارة.. أبين من الاشارة!

 

الحلاج.. قبل الكلمة: روح المعنى.. و بعد الكلمة سر المغنى!

 

الحلاج.. قبل الحرف: نور إملا.. و بعد الحرف قلم أعلى!

 

الحلاج.. قبل الجسد: فوق الناسوت.. و بعد الجسد اشراق اللاهوت!

 

الحلاج.. هوية العين و عين الهوية!

 

الحلاج.. حجة الأزل على الصوفية.. بَلْهَ الطُّرْقِيَّة!

 

الحلاج.. محجَّة الأبد للعرفانية الشَّعْشَعانِيّة!

 

الحلاج.. أنا لا أنت.. و أنت لا أنا..

 

           بل لا أنا و لا أنت.. و لا أنت ولا أنا..

 

           لكن هو..   بل لا هو..     لكن هو هو..

 

استمع الى الحلاج.. يلقي درس العشق من فوق المشنقة!

 

        الى حتفي سَعَى أنفي   الى عدمي سَعَتْ قدمي

 

                        أرى قدمي أراقَ دمي

 

اصغ الى الحلاج.. يطيب نفساً.. لا يتخوَّف.. ولا يتأفَّف..

 

نديمي غير منسوبٍ            إلى شيء من الحيف        
سقاني مثلما يشربْ            كفعل الضيف للضيف         
فلما دارت الكاّسُ              دعا بالنطع والسيف         
كذا من يشرب الراحَ           مع التِّنين في الصيف       

 

 

 

أنظر الى الحلاج.. بينما جدائل المشنقة تلتفُّ حول عُنق العاشق لِخَنْقِ ترجمان الغيب! ولكن هيهاتَ!       

 

        هيكليُّ الجسم نوريُّ الصّميم   صمديُّ الرُّوحِ ديَّانٌ عليم

 

 

 

من فوق أعواد المشنقة الغائرة في وَهْدَة العدم

 

شَهِدَ الحسين ُ بنُ منصورٍ غَيْبَةَ الحدْث في سَطْوَة القِدَم

 

        انَّه عُرْسُ الأبَدْ         قُل هو الله أحد

 

                                 بغداد

                                  السادس والعشرون من آذار سنة   922م                                       

 

 

 

                                    

 

 

  

 

 

 

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tag:dirassat.posthaven.com,2013:Post/529476 2013-03-20T13:19:53Z 2013-10-08T17:14:32Z أحِنُّ إلى خُبْزِ أُمِّي لمرسيل خليفة
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tag:dirassat.posthaven.com,2013:Post/184606 2013-03-14T16:57:26Z 2013-10-08T16:00:30Z Migrating Dirassat out of Posterous Dear participants,

Last year, Posterous blogging company got acquired by Twitter. By end of April,
Dirassat will be closing. I am working on evaluating couple of alternative blogging services similar to Posterous. Inshallah, by the end of this month, I will be migrating the existing content from Posterous to a new blogging service and updating all participants with the change. I am looking forward for a smooth and easy migration. Regards,
Walid.]]>
tag:dirassat.posthaven.com,2013:Post/184620 2013-03-14T13:21:00Z 2013-10-08T16:00:30Z Status of woman in Rumi’s teachings

http://www.risingkashmir.in/news/status-of-woman-in-rumis-teachings-43197.aspx

Wednesday, 13 Mar 2013

 

 

 

Parvaze Ahmad Pala
The Prophet (SAW) says, “Heaven is under the feet of mothers. By loving this land as a mother, as a beloved by protecting it, our nation not only possesses a heaven but will inherit heaven in the spiritual world. In all holy Books it is said, that at the beginning of the creation Eve was created from a part of Adam’s body. But woman continues her being, without separation from man, as a mother of all humanity. So as a result of this Divine equilibrium (balance), man and women complete each other and form an undivided and unified whole. According to us, woman who is the course of our existence is a monument to generosity, affection and love.

Maulana Jalaludin Rumi, the most prominent mystic poet in Persian literature is among the Sufi masters who have gone beyond the boundaries and Sufi traditions to open a broader space in their teachings for the women. In his spiritual teachings, not only do feminine images and metaphors have great significance, but women are held in high regard in his spiritual circle as followers - Murid, companions and spiritual guides. Rumi’s family itself had a long tradition of recognizing the spiritual beauty and wisdom of women. It has his grandmother, the princess of Khorasan, who first lit the spark of inquiry in Rumi’s father, Bahaeddin Valed. Under her care, he grew to be the “Sultan of the learned men” (Ulema) and a great spiritual light in his time. Rumi’s mother Mumine Khatun a pious and saintly lady, was very dear to him played a very influential role in Rumi’s life. She died shortly after Rumi’s own marriage to Gower Khatun, the daughter of one of Bahaeddin’s closest disciples. Rumi was not married to two women at the same time. He married Kerra Khatun after death of Gower Khatun.
Throughout his life, he gave lessons to woman, conversed with them; attended gatherings organised by them and permitted them, as a part of Turkish tradition to hold their own celebrations and ceremonies among themselves. After him, this practice, which had become customary, was carried on for a long time. It spread even into villages, where woman participate in ceremonies along with men.
In his works, he considered women primarily as a person. In his works, he discussed male-female relationships enlightening the public. He addressed himself to women regardless of the good or bad reputation they had in society.
In order to maintain, the dignity of women here it is very significant to discuss two of Maulana’s letters which have contributed a lot to highlight the dignity, and status of women. One of these significant letters documented in the Maktubat is written to Governor Atabak-e A’zam about a young woman from a notable family who was supposed to marry him. The governor had postponed or cancelled the wedding due to the spread of gossip about his bride-to-be. This letter indicates clearly Rumi's position against the social habit of defaming and disgracing women, which, in his understanding, was not only harmful and even life-threatening to them but also damaging to their families' dignity.
In this letter, Rumi defends the accused girl by pointing to the history of the harmful social habits, reminding the grand governor that people of weak judgement have throughout history not only accused women but also the saints, prophets and even God. In this letter, Rumi defends the girl and stands firmly behind the dignity of her family by mentioning that disgracing and defaming her would be equivalent to disgracing him, Rumi, and his family. He considered dealing with this issue – which in his opinion, amounts to a social sickness – so important that he assigned his representative, Hesam al-Din, to follow up the case relentlessly with the accusation … until the accusation is clear.
Another account of Rumi's encounter with a prostitute indicates his awareness of women's social hardship not to be limited to the notable families, his Murids or the female members of his extended family. Aflaki relates that passing through a famous caravanserai in Konya, Rumi encounters a woman of bad fame, of bad reputation, who lived with her servants.
She respectfully approaches Rumi, who instead of ignoring or insulting her – a common behaviour of many religious scholars and Sufis towards such women – starts a long conversation with her. At the end of the conversation, Rumi expresses his admiration for her sincerity, and later he explains that his respect for the prostitute lies in the fact that her appearance and outward image is in harmony and balance with her inner self, contrary to many pious people's hypocrisy and insincerity.
We should not ignore the possibility that these kinds of accounts might have been inflated (exaggerated) to a certain extent by Rumi's Murids and devotees before being recorded by his biographer, Ahmad Aflaki. Nevertheless, the significance of such narrations remains highly invaluable, since it indicates that for Rumi's followers, the respect of this spiritual leader for a woman of bad reputation was not a sign of imperfection – rather, it was considered to be sacred as the wondrous act of Keramat.
Again in the “Fiha Ma Fiha”, Maulana Rumi points out that if a woman has an element of corruption in her nature, she will certainly find a way of bringing this out in her actions. To illustrate that, secrecy arouses curiosity, Maulana Rumi uses the examples of a city where the streets are full of loaves of bread, and even the dogs refrain from eating them. But if there were a loaf that is wrapped and hidden, it would attract every one’s attention.
Thus, Maulana Rumi says, “What is a woman, what is the world? Whether you say something or not, whatever is, is. It will not desist from what it does. It gets even worse as you give warning of it, such as the interest of the populace in the loaf of bread that you hide under your arm, under your sleeve, where the attraction will go beyond all bonds. This is because people go after what is forbidden. So long as you command woman to hide, the desire to show herself off increases. The more a woman hides, the more the people desire to see her. In this case your position excites the desire of both parties. Then you consider this the righteous way, whereas this is complete defeat in itself. It is in nature of woman not to do evil, whether you say do or don’t she will follow her good nature, clean essence and behave accordingly. If, on the contrary her nature is corrupt she will follow her own path. In truth to say please don’t do this or that, don’t expose yourself, increase desire and serves no other purpose”.  
On this topic as well, Maulana makes no distinction between man and woman, he informs us that “in each person’s body is hidden a world of freedom”. This means that compulsion is against human nature. A woman who has strong instincts knows how to behave according to the person. Maulana says the mind has to provide guidance, the soul follows. Virtue cannot be protected by covering under pressure or just by covering. In the Mesnevi, Maulana says, “people with heart will not be able to withstand women and will be defeated by woman”. “When you mention women, there must be a man. When you mention a judge, you need someone to be judged.” Yet, again in Mesnevi, he indicates that men seem superior to women but shows with concrete examples, occasions when women are victorious over men.
Maulana defines women as one of the great manifestations of the Highest Creator, the most perfect example of God’s creative power on earth. His aphorism, “woman is light of the God, not just the beloved. It is as if she is creative not be created”, reflects the value he attached to women.


The author is a Research Associate, Dept. of Persian, University of   Kashmir.

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tag:dirassat.posthaven.com,2013:Post/184634 2013-03-12T19:32:00Z 2013-10-08T16:00:30Z هنا بقلبي .. جلال الدين الرومي

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tag:dirassat.posthaven.com,2013:Post/184667 2013-03-07T19:16:00Z 2013-10-08T16:00:30Z The Passion

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tag:dirassat.posthaven.com,2013:Post/184691 2013-03-06T15:12:42Z 2013-10-08T16:00:31Z Mysterium Tremendum الرهيب الجذاب ]]>