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The Essence of Islamic Civilization (Occasional Papers Series - 21)
There can be no doubt that the essence of Islamic civilization is Islam; or that the essence of Islam is tawhid, the act of affirming Allah to be the One, absolute, transcendent Creator, Lord and Master of all that is. These two fundamental premises are self-evident. They have never been in doubt by those belonging to this civilization or participating in it. Only in recent times have missionaries, Orientalists, and other interpreters of Islam subjected these premises to doubt. Whatever their level of education, Muslims are apodictically certain that Islamic civilization does have an essence, that this essence is knowable and capable of analysis or description, that it is tawhid. Analysis of tawhid as essence, as first determining principle of Islamic civilization, is the object of this Occasional Paper.
Books-In-Brief: Rethinking Muslim Women & The Veil
Until now the bulk of the literature about the veil has been written by outsiders who do not themselves veil. This literature often assumes a condescending tone about veiled women, assuming that they are making uninformed decisions choices about veiling makes them subservient to a patriarchal culture and religion. “Rethinking Muslim Women and the Veil” offers an alternative viewpoint, based on the thoughts and experiences of Muslim women themselves. This is the first time a clear and concise book-length argument has been made for the compatibility between veiling and modernity. Katherine Bullock uncovers positive aspects of the veil that are frequently not perceived by outsiders. “Reth...
Marital Discord
The Quran speaks of living with each other on a footing of love, kindness, mercy and mutual consultation between husband and wife. It also addresses those times when the atmosphere is strained. This paper examines the issue of marital discord with a deep sensitivity to the perspective of women. Criticizing an approach to the Quran that is misogynistic rather than emancipatory the paper moves the debate forward by introducing an alternative interpretation of the Quranic text dealing with the issue of marital discord. The explanation is fresh, firmly on the side of women’s human rights and recaptures the full Islamic spirit of human dignity.
Maqasid Al-Shariah
Current applications (or rather, misapplications) of Islamic law are reductionist rather than holistic, literal rather than moral, one-dimensional rather than multidimensional, binary rather than multi-valued, deconstructionist rather than reconstructionist, and causal rather than teleological. There is lack of consideration and functionality of the overall purposes and underlying principles of the Islamic law as a whole. Further, exaggerated claims of ‘rational certainty’ (or else, ‘irrationality’) and ‘consensus of the infallible’ (or else, ‘historicity of the scripts’) add to lack of spirituality, intolerance, violent ideologies, suppressed freedoms, and authoritarianism. ...
We Shall Suffer There
Tony Banham documents the experiences of Hong Kong's prisoners of war and civilian internees from their capture by the Japanese in December 1941 to liberation, rescue and repatriation.
Europe & The Near East: The Presence And Absence Of Metals
Europe and the Near East: The Presence and Absence of Metals queries the assumption of the earlier advantage of the West in attaining industrialization. Professor Goody contends that the Near East (an area which includes the Middle East) started what archaeologists call civilization with the Bronze Age, developing its own renaissance and extension of trade influencing Europe. However, it was always handicapped by the absence of iron and coal. And it was the plentiful exploitation of these in Britain, with the help of German metallurgists, that made way for the industrial revolution in Europe, rather than any Protestant ethic which represents a Europeanist point of view.
Urban Heritage and Sustainability in the Age of Globalisation
This book offers a deep exploration of architectural and urban heritage, using interdisciplinary and intercultural approaches to assess how historical, social, economic and political factors have impacted heritage development and its sustainability. It sheds light on the stakes of heritage conservation, management and maintenance in today’s globalised world. Through detailed studies of historic cities, the book explores both the tangible aspects of their built heritage (urban fabric, housing design, construction methods and materials for thermal comfort) and the intangible components of local communities (including identities, cultures, religions, values and ways of life) in diverse case studies in Egypt, France, India, Iran, Jordan, Morocco, Syria and Tunisia. By addressing not only urban and architectural heritage but also socio-cultural, environmental and political issues—including economic challenges and climatic concerns—this book is an essential resource for scholars and researchers across fields, including architecture, civil engineering, urban planning, sociology and philosophical anthropology.
The Arts of Islamic Civilization
In dealing with any aspect of Islamic civilization, its final raison d'etre and creative base must be seen as resting on the Qur'ān. Islamic culture is, in fact, a "Qur'ānic culture"; for its definitions, its structures, its goals, and its methods for execution of those goals are all derived from that series of revelations from God to the Prophet Muhammad. Without that revelation, the culture could not have been generated; without that revelation, there could have been neither an Islamic religion, an Islamic state, an Islamic philosophy, an Islamic law, an Islamic society, nor an Islamic political or economic organization. Just as surely as these aspects of Islamic culture may be rightly seen as Qur'ānic in basis and motivation, in implementation and goal, the arts of Islamic civilization should also be viewed as aesthetic expressions of similar derivation and realization. Yes, the Islamic arts are indeed Qur'ānic arts. How then are the Islamic arts to be seen as "Qur'ānic" expressions in color, in line, in movement, in shape, and in sound? This is the subject of this work.
