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Copyright of Journal of Eskişehir Osmangazi University Faculty of Theology is the property of Journal of Eskisehir Osmangazi University Faculty of Theology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Kaff al-raʿāʿ ʿan muḥarramāt al-lahw wa-l-samāʿ is an influential treatise on the legal status of music and other recreational activities written by the Shāfiʿī Ibn Ḥajar al-Haytamī (d. 974/1567) in 958/1551. This article offers the first analysis of this "treatise against recreation". Ibn Ḥajar al-Haytamī argues for the impermissibility of most musical activities on the basis of the Qurʾan and Hadith, the consensus of the ʿulamāʾ (particularly from his Shāfiʿī school), and the incompatibility of recreation (lahw) and piety. These arguments are forged in response to claims found in more permissive texts by the Ẓāhirīs Ibn Ḥazm (d. 456/1064) and Ibn al-Qaysarānī (d. 507/1113) and the Mālikī Muḥammad al-Shādhilī al-Tūnisī (d. 882/1477). I suggest that it is Ibn Ḥajar's negative attitude to lahw that underlies his restrictive views on music, highlight the gendered element in this attitude, and observe that attitudes to recreation are not interchangeable with affiliation to Sufism. [ABSTRACT FROM AUTHOR]

Islamic education is vital in determining and producing quality for the next generations; so far, Muslims have adopted more Western educational concepts. However, if Muslims examine more deeply, many Islamic concepts in the Qur'an that teach educational methods are more relevant to Muslims. This study will examine the "Optimization of same, Bashor, and af'idah in learning the subjects of moral creed in Madrasah Ibtida'iyah Qodratullah." This research uses qualitative methods, namely by prioritizing the results of observations and interviews. The results showed that Madrasah Ibtida'iyah Qodratullah teachers using the same concepts, Bashor and af'idah, with a combined approach or adjustment of auditorial, visual, and analytical methods in teaching moral creed subjects could provide a holistic and adaptive approach. By combining all three methods, teachers can create a rich and supportive learning environment, allowing students to understand religious values better. This holistic approach considers the diversity of student learning styles and provides space for each student to find the way of learning that works best for them. In other words, integrating these three methods provides flexibility and responsiveness to diverse learning needs.

By examining polemical treatises on Sufi samāʿ or 'spiritual audition', written by scholars with a Ḥanbalī or traditionalist orientation, we assess the strategies and rhetorical devices that they used to discuss the status of samāʿ within their tradition. Our exploration reveals a clear difference in approach between pre-Taymiyyan scholars, on the one hand, and 'Taymiyyan' scholars, including Ibn Taymiyya (d. 728/1328) himself, on the other. Unlike their predecessors, the latter systematically refer to the legacy of esteemed figures from the formative period of Sufism, such as al-Junayd (d. 289/910) and some of his contemporaries, invoking his spiritual authority to consolidate the relation between Ahl al-Ḥadīth traditionalism and what they considered to be Sufism in its 'true' form. [ABSTRACT FROM AUTHOR]

The present article aims to elucidate the role of Ibn Qaysarani in defending Sufism and solidifying its position from the perspective of Sama’. By using an analytical-descriptive research method, a brief report of Ibn Qaysarani's two narrations in Safwa al-Tasawuf and Kitab al-Sama’ is provided. Then, his method in substantiating the permissibility of Sama’ is clarified. Furthermore, Ghazali's view of Sama in Ehyaye Olum-e-Din is examined and its similarities and differences with Ibn Qaysarani's view are shown. The importance of this discussion lies in the fact that both of them were among the prominent scholars of religion and among the elders of hadith, who sought a root for their fatwas in the Qur'an and the Sunnah, and they figured out a way to the Sunnah of the Prophet and the Companions for all the movements and states of the Sufis in the monastic system. With their knowledge both in the field of theology and jurisprudence as well as the Book and Sunnah, unlike the conservative Sufis, they issued verdicts concerning permissibility of Sama’, through deploying the methods of scholars and jurists and relying on verses, hadiths, and Sunnah.

Dawrān, which means a Ṣūfī standing up and spinning, either alone or in a gathering of Ṣūfīs in dhikr assemblies, was practiced by most Ṣūfī orders except the Malāmiyya and Naqshbandiyya. The subject of samāʿ and dawrān caused controversy between the scholars and Ṣūfīs, and many treatises were written and fatwās were issued in favor and against. In the 16th century, the discussions on samāʿ and dawrān, which took place mostly at the intellectual level in Ottoman society, changed shape in the 17th century, and the members of the tarīqah who practiced dhikr and dawrān in public were subjected to actual interventions by the Kadizādīs. The strongest reaction to the rhetoric of Kadizāde Mehmet Efendi, the leader of the Kadizādī movement, against Ṣūfism and Ṣūfīs came from ʿAbd al-Majīd Sīvāsī, one of the Khalwatiyya shaykhs. After Kadizāde Mehmet Efendi, one of his followers, Üstüvānī Mehmet Efendi, continued his opposition to samāʿ and dawrān, and ʿAbd al-ʿAḥad Nūrī Sīvāsī was his opponent. Among the Ṣūfīs who wrote treatises in defense of samāʿ and dawrān were ʿAbd al-Aḥad Nuri and his caliph Seyyid Hüseyin Efendi. In this article, in order to contribute to the literature on the defense of dawrān, Seyyid Hüseyin Efendi’s views on dhikr, samāʿ and dawrān within the framework of his Al-Risālah al-Dawrāniyyah wa Iʻānah Arbāb al-Tarīqah are discussed. [ABSTRACT FROM AUTHOR]

In the golden era of Islam, poetry as a part of Arabic literature continued to develop and still exists today. Arabic poetry is widely used by nuhats as a source of taking nahwu rules. The purpose of this study is to reveal the role of poetry in taking the nahwu rules that are currently developing. This research employs descriptive qualitative research method. This research is a literature study related to the role of poetry in taking nahwu rules. The research data were analyzed by content analysis method with the aim of describing the content in detail. The results of the study show that sama’ has been one of the arguments/sources in creating rules in nahwu science. Sama’ is divided into three, they are the Qur'an, hadith and the sayings of Arabs in the poetry and prose. The poetry is widely used as hujjah or argument in nahwu rules by the nahwu scholars of various madzhabs, whether used as main arguments or supporting arguments, for which the main arguments are from the Qur'an and Hadith. Meanwhile, according to Arab scholars, literature occupies the third position as the most fluent Arabic language after the language of the Qur'an and Hadith. In addition to adding treasures in the study of Arabic literature, this research is expected to open more attention of Arab scholars to Arabic literary works such as poetry in developing easy nahwu rules. In addition, to add treasures to the study of Arabic literature, this research is expected to open more attention of Arab scholars to Arabic literary works such as poetry in developing easy nahwu rules.

Throughout the early history of Islamic sciences, listening and reading has been the most respected methods of imparting knowledge. In the knowledge of Hadith, for the listening (sama) the teacher delivered the material, from memory or by reading from a book before the students. The reading (qirā‘a), it was a student who recited from the teacher's work while the latter listened and monitored the recitation. We must note the significance of the heard transmission (al-riwāya al-masmu‘a) in the Hadith teaching system. Because this system demanded that each text under review be heard from in the presence of the au- thorized transmitter. So, it means that this knowledge is authenticated. The proofs for the authentic knowledge in hadith transmission are phrases for transmission. The excellent phrases for transmission showing the listening method are haddasanā and ahbaranā. The aim of this article is to contribute to the understanding of the history of hadiths by revealing the systematic transformation process of hadith method after tracing the issue in the literature of hadith methodology by considering the discussions on the use of the phrases of narration in Tahawi's treatise. For this purpose, how Tahāwī dealt with and grounded the subject in the treatise will be described in detail, and the preferences and evidence of those who expressed their views on this subject will be given. It will be tried to trace the effects of the preferences and priorities of the scholars, who think that these two phrases of narration are the same/different, on the methods of receiving and transmitting hadiths and the writing of hadiths, on their views of the subject. In the next step, the reflection of their thoughts on the subject on the wording of the narration they use while transmitting hadiths will be taken as a sample from a group of hadiths will be tried to be detected. [ABSTRACT FROM AUTHOR]

Samāʿ literature reveals a tension in premodern Islamicate societies. While musical practices were ubiquitous and practiced in many contexts, Islamic legal tradition regarded them with suspicion. Musical instruments occupied a central place in these discussions, perhaps, because as physical objects associated with what is otherwise in the non-tangible domain of sound they were seen as the quintessential manifestation of music. Udfuwī's Imtāʿ is one of the most comprehensive works in the genre, and its chapter on instruments is unique in both the length and place it ascribes to percussion instruments. Udfuwī argues for their permissibility and stresses their social importance throughout history. [ABSTRACT FROM AUTHOR]

Copyright of DAYAH: Journal of Islamic Education is the property of DAYAH: Journal of Islamic Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores the role of emotion in relation to the medium of expression. Starting with an investigation as to what feelings are named and foregrounded, the paper looks for shifts in affect as the medium changes from cosmopolitan to vernacular. It studies scenarios of evoking and cultivating emotions to determine to what end they are mobilized and how this stimulates the formation of new emotional communities through songs of ecstasy. This broader frame is approached through case studies of songs in 'Early Hindi-Urdu' with earliest evidence datable from the 15th and 16th century. The first section provides analysis of 'yogi songs' that feature the affect of satire and spiritual awakening (śānti), exemplified by the fifteenth-century Kabīr. The second section revisits the question of why the vernacular is used for Sufi songs, foregrounding the rhetorical device of familiarization. The example here is Abdul Quddus Gangohī, whose Early Hindi-Urdu poems are sometimes interpreted as translations from Persian. Next follows an analysis of transcreations of Sanskrit scripture in the Braj devotional milieus of the first half of the sixteenth century, foregrounding synaesthetics. Examples here are the songs of intimacy of Harirām Vyās. Songs by that same author also provide evidence for the next section on devotional community formation, complemented with the hagiographical literature of the eighteenth-century Nāgarīdās. The final section analyzes sentiments that run the range from embarrassment and complaint to shameless surrender in adaptations of folk genres (focusing on the theme of 'the woman at the well') in diverse Hindu and Sufi contexts. [ABSTRACT FROM AUTHOR]

Resumo - DIssertação de Mestrado

This article is devoted to thirteen Arabic audience certificates (samāʿāt) that originate in Baghdad in the time from Rabīʿ I 486/April 1093 to Ṣafar 501/September–October 1107. The analysis presents the attending master, the chamberlain Ibn al-ʿAllāf (died 505/1111), and provides an overview of the heterogenous composition of the seven reading circles represented in the certificates. It scrutinizes the change of seating position in pairs of sessions and examines the three certificates that were copied to the Gotha manuscript from another manuscript of the same work by the 4th/10th century author al-Ḫarāʾiṭī. Furthermore, the identity and social position of the readers and writers are clarified as far as possible using external sources, and the way that partial attendance is dealt with by the writer and the attending master is elucidated. An index of names makes the persons mentioned in the texts as well as the biographical information presented in the article accessible. The edition of the Arabic text of all thirteen certificates attempts to make their structure visible by means of layout (indentation, coloured script). [ABSTRACT FROM AUTHOR]

Copyright of HORIZONTE: Revista de Estudos de Teologia e Ciências da Religião is the property of HORIZONTE: Revista de Estudos de Teologia e Ciencias da Religiao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The following article looks briefly into the development of the spiritual practice of dance (samāʿ) in Islamic mysticism prior to the ritualization of the dervishes' 'dance' with the early Mawlawiyya. Focusing on changes in the notion of 'dance' or physical motion as a consequence of contemplation and ecstasy, it also examines its quality as a means to obtain this state. This is preceded by some remarks on the terms 'dance' in Arabic, Persian and Turkish, and a brief discussion of the difficulties of research dealing with medieval dance, primarily in the Turkish context. [ABSTRACT FROM AUTHOR]

This article demonstrates how Rūmī has made use of the Iranian musical system and Persian classical prosody, two separate semiotic systems with overlapping forms and aesthetic principles, in order to create a hybrid semiotic system in his poetry. His poetic feat can be observed through a comparative analysis of the linguistic and musical components of his poems in the Divān-e Shams-e Tabrizi , used extensively in the sacred tradition of samāʿ as well as in Iranian musical performances. This essay shows how the systematic use of rhythm and music in versification reaches new heights in Rumi's ghazals, where the combination of language and music gives birth to a transcendental mode of expression devised with the aim of expressing the ineffable Ultimate Truth. Rumi employed this unique sign system to communicate a mystical message that cannot be conveyed using ordinary language. His unparalleled means of expression, in direct relation with the mystic experience of wajd , is used to incarnate what Sufis call maʿnā (the archetypal meaning). These archetypal ideas cannot be understood through dialectic means of the intellect but can only be taken in by the heart of the mystic in a state of ecstasy. [ABSTRACT FROM AUTHOR]

An 'avatar' is a technical Sanskrit term used in Indian mythology, referring to a divine manifestation on earth. The ultimate goal of an avatar is to save the earth and guide its occupants to salvation. Similarly, Rūmī equates true love with God and introduces seven different personifications of love on earth as divine agents who are there to lead mankind to the ultimate joy of liberation – liberation from their own egos and from their surroundings. The typical stories of love revolve around the lovers' fears, pains, joys, and other emotional states, and the path they follow in order to experience the ultimate ecstasy of union with the beloved. In the Mathnawī the issue of love has been discussed in various passages and stages. A detailed analytical study of the magnum opus shows an effort by Rūmī to represent various stages of love in bodily forms. That is to say the lover, in his mystical journey, faces individuals who are in fact personifications of love. In his journey of self-discovery, the lover encounters seven mysterious individuals, whom we have termed the Seven Avatars of Love. These seven avatars appear at various stages of the journey in order to test, help, and provide guidance to the lover. They are in fact manifestations of a single reality disguised in seven forms: the Blood-shedder, the Spiritual Guide (Pīr), the Constable, the King, the Caliph, the Angel Gabriel, and finally, the Musician. Together they display various intellectual, mental, and emotional challenges that are experienced by true lovers on the path of love. [ABSTRACT FROM AUTHOR]

Sufis took Islam to many parts of Asia and in some of those countries still continue to have a significant impact. Using Kraft’s model of dynamic equivalence this paper examines the Sufi spiritual forms of dhikr and sama ʾ. Taking his parameters of form, function and meaning, these forms have been researched in terms of their use in fostering the Christian spiritual growth of Muslim seekers/followers of Jesus Christ in one of those Asian contexts. The assessment seeks to discover the degree to which they are compatible or may create difficulties with similar Christian forms. Following a brief overview of Sufism, the dhikr is considered in terms of its form, function and meaning. Both the fikr, the complement of the dhikr and the sama' are examined briefly. Then, the main issues highlighted are examined from a Christian theological perspective. Following Hiebert, a brief consideration is also given in terms of Christian history and traditions. Finally, observations are made as to how compatible these forms are within the Christian context while also outlining some of the possible problems. [ABSTRACT FROM AUTHOR]

Language is considered as the basic material in research on literature & mysticism. For the linguistics can enable researchers to achieve functional approaches. Although the presupposition was accounted in the past issue of the more basic subjects in domain of linguistics and newer approaches have shown little interest about this phenomenon by logical analysis, but reflect on some of these issues can assist in the analysis of invisible aspects of the meaning which was usually neglected in generative grammar. The research methodology is descriptive - analytic. It should consider the presuppositions as the specific kinds of conversational implicatures that, particularly, by means of the connectors of the discourse, such as conjunctions (but, so, in addition, etc) transfer the cognitive value of the propositions to the audience. This paper tries to respond to this question that how the presuppositions can figure the evolution of mystical principles in Sama' through its association with the requirements of ontological, epistemological and cultural context of the subject. [ABSTRACT FROM AUTHOR]

Este artículo aborda la cuestión de la visibilidad del samā‘ en la literatura de los manāqib, los diccionarios biográficos, los manuales de sufismo y la producción jurídica del Magreb de los siglos VII/XIII a X/XVI. Se examinan las formas atestiguadas de esta práctica, en los madyanī, šāḏilī, rifā‘ī y los ‘Arūsiyya-Salāmiyya, en los círculos literarios de Túnez, Qairawān, el litoral de Ifrīqiya y el área tripolitana. Se explora la gran variedad de posicionamientos de los juristas magrebíes con respecto a esta práctica, así como los intentos de dilucidar, por parte de las autoridades sufíes, los fundamentos escriturales, doctrinales y éticos del ḏikr y el samā‘ que han jalonado los procesos de codificación de estas dos prácticas. A pesar de la desconfianza generada por las «innovaciones», consideradas blasfemas y estigmatizadas por algunos šayjs que recomendaban la supresión de estas prácticas, percibimos más bien una intención de regular, de prevenir, más que de prohibir dichas prácticas. El samā‘, más allá de las palabras utilizadas para designarlo, parece ser una práctica dotada de una gran capacidad de resistencia; su importancia atestigua su resonancia en las experiencias de santidad en el Magreb a lo largo de la Edad Media.

It is undeniable that Islamic mysticism (tasawuf) has important contribution to Islamic civilization development. But, its complicated and ‘wilderness’ teaching makes it always becomes the object of criticism especially from the scholars of fiqh. Using historic-conceptual trace, this writing reveals the role of Islamic mysticism in developing Islamic civilization such as in philosophy, education, psychology, literature, dance and music. The fundamental concept of sufi wahdah al-Wujûd (the oneness of Being) gives contribution to solve problems related to modern science especially physic. Islamic mysticism like modern physic, teaches the awareness of unity and interrelationship among all things and events, occurrence of all phenomena in this universe as a manifestation of a basic unity. However, its intricate teachings which is difficult to accept by ordinary people frequently lead to misunderstanding. To make thing worst, some practitioners of Islamic mysticism commercialize the spiritual value of the Islamic mysticism for a little price.

A famous Naqshbandī Sufi, Ahmad Kāsānī Dahbīdī, surnamed Makhdūm-i A'zam, had great influence on Islamic practices and thought in the Chinese part of Central Asia as early as the late sixteenth century when his descendants, known as Makhdū- mzāda, conducted missionary campaigns in the Tarim basin. Among the 30 or so treatises that he wrote, two are of particular interest for understanding Islamic soundscapes. The first work is entitled Risālāyi dhikr, or Treatise on Recitation, and describes the devotional repetition of the profession of faith (shahāda). The second text is devoted to the practice of spiritual audition (samā'). This Risālāyi samā'iyya is basically a defence of Sufi musical performances. A close reading of the texts shows that the master nourished the ambition to promote a profound and encompassing vision of Sufi practices, which would educate and, at the same time, enlarge his circles of disciples. Despite the later divisions among the Makhdūmzāda branches, and the heated debates on forms of dhikr and samā', Ahmad Kāsānī's teaching was an inaugural act that has left a deep legacy for the Sufi soundscape of Xinjiang. [ABSTRACT FROM AUTHOR]

Sama' or sima' literally means audition, hearing someone's good and nice fame. In terminology it denotes listening to a melody and the enthusiasm felt, acts done, because of the spiritual ecstasy felt during its audition. Şefik Can also gives a similar definition. He states that according to Sufis sama' strengthens someone's love for Allah and generates various states in him. These states cleanse the heart from the impurities and eventually take the person to the rank of the perfection in contemplating Allah and spiritual manifestation. In a way sama' is the manifestation of a dervish's love for Allah and his excitement through movements and whirling. Thus sama' saves the dervish from his own being and gets him spiritually closer to Allah. It is like a chick trying to break the egg of ego; the bird of the soul imprisoned in the cage of the body fluttering towards the heavens; or a divine trust stuck in slime trying to save itself. Sama' means to find Allah in one's soul under the influence of music, to feel excitement, and to whirl like moths. This whirling is not done just by bodily movements. It should be performed with the entire soul, spirit, love, faith, material and spiritual being. In this whirling the lover of Truth is saved from his imaginary existence and his ego and disappears in Allah. It is the disappearance of the part in the Whole and ascendance of an atom whirling towards the Sun. According to Annemarie Schimmel, it is not even necessary to mention how an important place sama' had in Mevlana's life and works. By looking into a few examples we can see how Mevlana combined various trends in his view of sama'. The pre-eternal and post eternal Friend as mentioned in his quatrains manifests Himself dancing on the curtains of the heart so that He teaches the art of whirling during a sama'. This sama' has a deep meaning; water of life gushes from the earth at the place where the Beloved stepped His feet on during His dancing. Music, according to Jean During, is universal like mystic. Both have almost universal rules and come together through practices particular to themselves and both of them are distinguished from others by the practices of different people. Be it during a sama' or not there is such a special relation between a dervish and music. Music completes a dervishes chanting. [ABSTRACT FROM AUTHOR]

In response to the globalized musical market’s demands, Moslem artists propose a specialized representation of Sufism on the public stage, transposing its mystical audition, transforming confreric practices and exposing the bodies of performers. The authors explore the interaction between confreric practices and the staging of performances, an interaction characteristic of musical movements that react to the demands of the general public and market forces. When Sufism goes on stage, it yields to consumerism while asserting itself as a privileged interlocutor of contemporary Islam. [ABSTRACT FROM PUBLISHER]