Auswahl der wissenschaftlichen Literatur zum Thema „Muslim Badias“

This research is about Shaikh Abdul Hamid ibn Badis, the president of the Algerian Association of Muslim Scholars, who led the reformist movement during the French occupation and was one of the leaders of reformation in the Muslim world. The research aims to reveal how the Shaikh dealt with the reality of Sufism and its spiritual authority and broad influence embedded in Algerian society. The author addresses issues within Algerian society during the French occupation, the position of the Shaikh as a man of satire in general, and his relationship with the elders’ zawaya of Sufi methods. The research concludes that the Shaikh followed a middle ground in his dealings. He was clear in his opinions and convictions and expressed them through his writings and articles, while he had good connections with all the elders’ methods. His approach was not to differentiate but to assemble and remove the differences that weakened the society’s resistance towards the French occupation. As the Imam had been wise and advocative, he knew how to win the hearts and attitudes of his society.[Tulisan ini membahas Syaikh Abdul Hamid ibn Badis, Pemimpin Asosiasi Ulama Muslim Aljazair, yang memimpin gerakan reformis pada masa pendudukan Perancis dan merupakan salah satu pemimpin reformasi di dunia Muslim. Penelitian ini bertujuan untuk mengungkap bagaimana sang Syaikh menyikapi realitas Tarekat serta otoritas spiritual dan pengaruhnya yang luas, yang tertanam dalam masyarakat Aljazair. Penulis membahas isu-isu yang terjadi di tengah masyarakat Aljazair selama pendudukan Perancis, posisi sang Syaikh sebagai satir secara umum, dan hubungannya dengan zawiyah-zawiyah Tarekat yang lebih tua. Penelitian ini menyimpulkan bahwa Ibn Badis telah memilih jalan tengah. Pendapat dan keyakinannya jelas, dia mengungkapkannya melalui tulisan dan artikelnya, sementara hubungannya dengan semua zawiyah Tarekat dibina sangat baik. Pendekatannya bukan untuk membeda-bedakan tetapi untuk mengumpulkan dan menghilangkan perbedaan-perbedaan yang melemahkan perlawanan masyarakat terhadap pendudukan Perancis. Karena sang Imam adalah orang yang bijaksana dan advokatif, dia tahu bagaimana memenangkan hati dan sikap masyarakatnya.]

Interest in the development of Shari'ah sciences at the universitieshas emerged in the context of efforts to reconstruct the cultural andintellectual paradigms of the Islamic umrnah and affirm its role indirecting and guiding the procession of hwnan culture. As a result ofthis interest, the International Institute of Islamic Thought, the IslamicStudies and Research Association, Jordan University, Yannouk University,and Mu'tah University held a conference on the subject.Institutions that deal with the Shari'ah sciences, particularlyuniversities, play a positive and effective role in awakening Islamicfeeling among Muslims and in preventing Islamic thought from beingdiverted and becoming stagnant. It is therefore mandatory to supportthem and their objectives so that they can function as solid springboardsfor Islamic thought and serve as preparation centers for thoseulama and du'at who are expected to resolve the crises besettingcontemporary Muslim and non-Muslim societies.The importance of the Shari'ah sciences and knowledge has beenrecognized by past and present Muslim reformers: i.e., al Ghazancalled for the restoration of the religious sciences and Ibn Taym1yahcalled for the enactment of Muslim behavior congruent with the Prophet'stradition. Furthermore, contemporary reform movements haveacknowledged the importance of this role and, consequently, consideredthe development of the Shari'ah sciences as a basic axis ofreform and modernization. Along this line, one can mention the contributionsof such reformers as I:Iassan al 'A,t,tar, Mul}amrnad 'Abduh,Mul}ammad Rash1d Ri(ia, Khayr al 01n al Tiinis1, Mubammad al Tahir'Ashiir, 'Abd al 'Azlz al Tha'labi, and lbn Badis. However, severalfactors nullified these reformative efforts: the cognitive and psychologicaldichotomy created by the prevailing duality of education aswell as the intellectual paradigm confirmed by the imitation of andpreoccupation with external (rather than internal) affairs. Unfortunately,such factors have defeated the reformers' efforts.Therefore, the continuous revision of the Shari'ah sciences andcurricula, as well as the reality of their institutions, must receive an ...

Islam is a universal religion that encourages science and considers it obligatory for every Muslim, and has never been the cause of retardation. Any science is acceptable unless it is a flag that contradicts Islamic law and its rules. Islam honors scientists and makes them inheritors of the prophets and orders knowledge from birth to death. Civilization meaning: "living and staying in urban area and civilization of the city, which is unlike Badia, cities, villages and countryside, so named because the people attended the places and houses of homes that have a decision, remember civilization in the language it means what is the opposite of the Bedouin, means, the inhabitants of cities and villages. A manifestation of Islamic civilization: - Foundations of the system of governance in Islamic civilization, including the method of choosing the ruler and the way of governance "Koran and Sunnah, Shura and justice and guarantee freedom of the Muslim and other freedom of choice for his religion. - Islamic civilization and economic life: - Islam built an integrated economic system and organized the methods of collecting money and methods of spending as well. - Islamic civilization and its influence on education through the Quran and Sunnah encouragement to acquire science. - Islamic civilization and social impact on life: The signs of Islamic social life and organization from the first moment of the Prophet's founding in the establishment of the mosque and the organization of relations of immigrants and supporters and the conclusion of treaties with non-Muslims in society. - Science: There was a special interest in Islam with science and its types and details such as translation, medicine, mathematics, agriculture and chemistry. - Science and the Arts: It is clear that the great impact of Islamic art in all fields and during the successive Islamic eras and Islamic controversies that continue to the present time on all other civilizations and until now Western societies are affected by Islamic science and art. Key words: Islamic Civilization, Teaching Skills

In the present piece of research, we argue that translation cannot be effective unless the purpose and the audience are clearly identified. One of the main lessons we have learned during this journey is the need for a thorough register analysis of the source text before translation, in addition to the necessity of embedding the target text in its immediate cultural environment within a critical discourse analysis. In this respect, an analysis of the article “Asymmetric struggle for the hearts and mind of viewers: Can the media actually trigger sympathy towards terrorists? (Maoz, 2010), which was translated by Badia Elharraki (2012), will give the reader an idea about the difficulty of translation because this article, if translated without some modifications at the lexical level, will have huge undesirable effects on the Arab/Muslim audience.

Abstract This study critically analyzes representations of Kurdish women fighters in US mainstream media from January 2014 to December 2018. The article argues that the narrative articulated through the presentation of Kurdish women in the US media as “badass” soldiers fighting against the violence and extremism of the Islamic State serves to eschew a deeper understanding of their political and ideological motivations. Although they do not fit into the stereotypical category of oppressed Muslim women in need of saving, Kurdish women too are the subject of misrepresentation in US media in ways similar to the monolithic and essentialized representations of Afghan women in the post-9/11 era or Iranian women following the 1979 Iranian Revolution. The present work questions why this misrepresentation takes place and what renders the representation of Kurdish women Orientalist despite its differences from the previous discursive constitutions of Muslim women in US media.

This paper discusses the interpretation pattern of adabi ijtima>'i in al-Gharb al-Isla>mi’s area by studying the Ibn Badis’s book, Maja>lis al-Tadhki>r and Mohammed al-Makki al-Nashiri’s book, al-Taysi>r fi> Ah}>adi>th al-Tafsi>r. This study aims to describe, analyze, and compare the interpretation patterns and tendencies of Ibn Badis and al-Nashiri in their interpretations using historical approach. The results showed that both mufassir carried the same approach in interpreting the Qur'an. They are using the adabi ijtima>'i’s style in their works to improving the social order and solving social problems of their communities. But the difference is Ibn Badis uses his interpretation to counter French colonialism and improve the life of the Algerian Muslim community in general. He called on all parties of his community in Algeria, including the leaders, people, and ulama to unite to continue their struggle against the invaders. Meanwhile, al-Nashiri, even though he lived during the French occupation of Morocco and during the independence of Morocco, but his commentary was written or rather delivered to the public after independence, so that the nuances of the interpretation of adabi ijtima>'i attached to al-Taysi>r fi> Ah}>adi>th al-Tafsi>r talked more about improving the bureaucracy, morals and behavior, interaction between people and responding to the phenomenon of society's reality which he considered to be out of the guidance of the Qur'an.

A doctrine that is associated to the Prophet for killing apostates was widely known by Muslim community, in spite of one of the main principles of the Islamic doctrines teached the freedom of religion. The following article discusses some Hadiths on killing apostates and relates them with the early Islamic historical narration. Besides, this article describes the classical and contemporary ulamas in their multiple understanding of Hadiths on killing apostates. Finally, I argue that the reasons of fighting against persons who are suspected as apostasy in the early Islamic period are more political in nature. Essentially, Islam allows people to convert to and from Islam, in the absence of criminal punishment under a sentence of death.

The subject of halal slaughtering is one of the most widely discussed issues of animal cruelty and animal welfare in the public sphere. The discrepancy in understanding the contemporary and religious laws pertaining to animal slaughtering does not fully publicize to Islamic and Muslim majority countries especially with respect to interpreting the use of stunning in animals. The electrical stunning is the cheapest, easiest, safest, and most suitable method for slaughtering that is widespread and developed. However, stunning on head of poultry before being slaughtered is a controversial aspect among the Islamic sects due to regulations of the European Union and some other countries. The current review highlights the instructions of halal slaughtering, legal legislation, and the effect of this global practice on poultry welfare and the quality of produced meat.

There is a lot of published literature in the disciplines of Archaeology and Anthropology on ceramics that amongst others focus on their typologies, dating sequences, manufacture and trade with reference to groups of people that inhabit the Southern African region. Additionally, several studies have focussed on the use of ceramic objects including figurines in ritual practices of these societies. However, the emphasis has been differential and skewed as it has largely been focussed on certain cultures such as that of the Zulu group or linked to archaeological sites, to the exclusion of other groups. For example, there is scant literature that focuses on the description or discussion of ceramic vessels by the Basotho-Batswana people of Southern Africa, who, like the Zulu have an active ceramic tradition including the manufacture and reverence of spiritual ceramic vessels. The thrust of this dissertation is therefore to widen our understanding and knowledge of the spiritual significance of African ceramic vessels by focusing particular attention on how these Sotho-Tswana groups practice this tradition with the ultimate objective of encouraging the appropriate recognition and preservation of traditional African ceramic vessels.
Mini Dissertation (MSocSci)--University of Pretoria, 2020.
Mellon Foundation
Tangible Heritage Conservation
MSocSci (Tangible Heritage Conservation)
Unrestricted

This thesis asks how music and philosophy interact in Antagonisme by Xavier Darasse. Antagonisme is a chamber work for piano, marimba, vibraphone, violin and narrator composed for the 1965 concours de composition at the Conservatoire de Paris on a text by Alain Badiou. Through the first ever study of correspondence, sketches and scores relating to the work, the thesis argues that Darasse responded to Badiou’s text through an unprecedented confrontation of serial procedures with Messiaen’s technique of interversion. Through original analyses of Messiaen’s writings on and uses of interversion, the thesis argues that Messiaen and Darasse used order, as sequence or ordinality, as a distinct musical parameter alongside the conventional serial parameters of pitch, duration, dynamics, timbre and articulation. By comparing Alain Badiou’s notion of a musical “situation” and Karl Popper’s “problem situation,” the thesis argues that the methodology best suited to studying the interaction of music and philosophy in Antagonisme takes into account both the immanent, musical problems at stake in the work and the broader contextual problems that Darasse and Badiou faced. This methodology integrates critical editing, music analysis and contextual criticism as distinct and equally important parts of the study. The thesis shows how Badiou’s text reflects its philosophical context, including structuralist debates around subjectivity and formal autonomy in serial works. The text also reflects the transition from Jean-Paul Sartre’s existentialism to the Marxist structuralism of Louis Althusser in Badiou’s early work and that of his contemporaries. Darasse’s musical response to Badiou’s text is first considered from a semiological perspective. After unravelling layers of ironic text-music relationships, it is argued that the relationship of text and music in Antagonisme must be considered as more than word-painting. Darasse’s innovative use of fundamental musical materials must be examined in its relationship to Badiou’s first theoretical article, completed in the same month as Antagonisme’s première, “Autonomy of the Aesthetic Process.” The issue of musical autonomy is both immanent to the work and essential to the tasks required in its study. The critical edition provided in an appendix of this thesis is an organ of thought in this regard. An edition representing the music’s most complete response to the text differs greatly from any extant version of the manuscript or the composer’s final intentions. The editor must make significant interventions, including material from the sketches that were never included in the manuscript or performance scores. In concluding the thesis, Badiou’s mature philosophy is convoked once more to argue that musicology can actively affirm the musical novelty of Darasse’s score.

Recently discovered collection of eighteen music manuscripts, containing 107 vocal-instrumental pieces and titles of subsequent two (not preserved), belonged to Joannes Chrysostomus Zalaski, Catholic church cantor active in Silesia in the 2 nd half of 17th century. He was not only the owner of those manuscripts (all of them are signed with his initials – I.C.Z. / J.C.Z.), but also copyist of the majority of music material. His full name, biographical issues, context of activity and existence of such a vast collection of music were however totally unknown. The collection itself contains a varied repertoire of sacred music from that time – masses, vespers, antiphons, motets and songs. Among masses one can find Missa super O gloriosa Domina by Polish court composer Marcin Mielczewski – this source, being the unique complete one, has been used for the critical edition of this piece (by Zygmunt Szweykowski); its connections to a wider collection and context were unknown either. Due to further archival research I have identified the full name of I.C.Z. monogrammist, as well as three places of his activity and some details concerning his background, family and social connections. Joannes Chrysostomus Zalaski claimed himself to be of Cassubian origin; during his time of activity known up to now (1657–1705) he worked as a schoolteacher and church cantor in Prusice/Prausnitz (1657–1664), Namysłów/Namslau (1664–1678) and Brzeg/Brieg (1678–1705). All those three centres belonged at the time to Silesia, then part of the Habsburg Empire, and the churches there were then newly “re-catholicised”, due to the imperial decree establishing Catholicism as the only confession that could be performed legally. Zalaski made thus in his life such a career, moving from small town of Prusice through larger town of Namysłów, finally to Brzeg, former capital of a duchy and very significant cultural centre on the map of pre-Thirty-Years-War Silesia. The unequivocal confessional context of those times may be reflected both by his family life (his first wife, as well as the second one, seems to be of Lutheran background) and the repertoire of his handwritten collection, in which one can find pieces by Lutheran authors in terms of text and music. In the time of re-catholicisation in Silesia, there were hundreds – if not thousands – of churches that changed its confessional affiliation due to a political decision. There were hundreds of musicians – cantors, organists, other vocalists and instrumentalists – that migrated in different ways, both Lutherans on exile to more tolerant regions and Catholics looking for employment in the new administration. As it was quite impossible to imagine a religious life without music, the churches and communities had undoubtedly their own music culture both before and after the change. From the whole region of Silesia in this time, however, there were no music sources known to originate in centres affected by the imperial decree, being thus a testimony of music culture facing such a movement. Joannes Chrysostomus Zalaski’s music collection seems to be the first group of music sources documenting those circumstances. Even if incomplete (only 18 manuscripts from at least 83 owned by Zalaski at the time are preserved) and without ambitions to represent the whole region with its differences, it leads us to many questions concerning music culture and – together with further archival records – allows to answer at least some of them. In the first chapter of my dissertation, I have presented the collection itself – its content, state of preservation, copyists, dating, places of origin, as well as a short biography of the owner, Joannes Chrysostomus Zalaski. A thematic catalogue of the collection is provided in the first appendix, all the records are entered to the RISM database as well. The second chapter describes the historical context of all the three centres in which Zalaski has worked and created his music collection: Prusice, Namysłów and Brzeg, with focus on musical and confessional issues. The music culture of those places in 17th century (Prusice, Namysłów) or after re-catholicisation (Brzeg) was totally neglected due to the lack of direct sources (i.e., music manuscripts and prints). Zalaski’s collection, newly discovered, became a kind of pretext for further research in the archives, in search of non-musical traces of musical life. Chronicles, letters, reports, accounts and parish registers helped to reconstruct at least some part of colourful image of a lost culture. Due to archival records many unknown cantors, organists, instrumentalists, as well as luthiers and organ builders from those towns were identified. To this chapter the second appendix is enclosed: a list of music prints published in Brzeg before 1707. The third chapter presents the repertoire of Zalaski’s collection: 107 preserved pieces and two others documented only by a title page. Masses, vespers, antiphons, motets and songs, composed by authors renowned locally or on a larger European scale, of both Catholic and Lutheran background, originated from Silesia, Bohemia, PolishLithuanian Commonwealth, Switzerland and Italy, reveal a variety of sacred music performed in ordinary parish churches at the time. Although many of them seem not to be of great ‘artistic value’, being just simple settings that a small community could afford (in terms of musicians’ numerosity and performing skills), they are still a valuable trace of musical life led somewhere beyond the cathedrals, collegiate churches or huge monasteries. Two local composers (active in Żmigród and Wrocław) have been identified, Zalaski’s collection being for them the unique prove of compositional activity. From the other side, the presence of Italian and Swiss works leads to a question of transmission of the repertoire, its paths being probably connected to a trade market of printed books or to religious orders’ networks. More than a half of all the pieces are unique; the third appendix contains transcriptions of them. The fourth and last chapter situates the collection, its background and contents in a wider European perspective. Neither Silesia was the only region to undergo the re-catholicising process, nor those circumstances were the only ones where music culture met confessional changes. To understand what could be characteristic for music in the time of re-catholicisation, what could have changed and what could remain similar, I presented both Catholic and Lutheran theoretical views on music as well as practical applications of music for liturgy, private devotion, education, religious propaganda and polemics. The issues of transmission of the repertoire (oral, handwritten, printed), including cross-confessional transmission, adoption or censorship, were also introduced, as well as possible impact of the re-catholicising process on society and culture (mobility, migrations, cultural patronage, soundscape etc.). All those issues, in relation to Silesian culture, require further research; this chapter being thus only a brief summary of what could be the socio-cultural context of a newly discovered collection of music manuscripts, a tiny but meaningful trace of a vivid life in a rather intricate political and confessional situation.
Odkryta niedawno kolekcja osiemnastu rękopisów muzycznych, zawierająca 107 utworów wokalnoinstrumentalnych oraz informacje o kolejnych dwóch (niezachowanych), należała do Joannesa Chrysostomusa Zalaskiego, katolickiego kantora działającego na Śląsku w drugiej połowie XVII wieku. Był on nie tylko właścicielem tych rękopisów – wszystkie podpisane zostały jego inicjałami (I. C. Z. / J. C. Z.) na kartach tytułowych – lecz także kopistą większości z nich. Jego pełne imiona i nazwisko, biografia, kontekst jego działalności i fakt gromadzenia przez niego muzycznej kolekcji pozostawały jednak dotychczas nieznane. Badany zespół źródeł zawiera różnorodny repertuar muzyki religijnej: msze (m.in. jedyny kompletny przekaz Missa super O gloriosa Domina Marcina Mielczewskiego), nieszpory, antyfony, motety i pieśni. Dzięki badaniom archiwalnym zidentyfikowałam pełne imiona i nazwisko monogramisty I. C. Z., a także trzy ośrodki jego działalności oraz informacje na temat jego pochodzenia, powiązań rodzinnych i społecznych. Joannes Chrysostomus Zalaski pochodził z Kaszub; pracował jako nauczyciel i kantor w Prusicach (1657–1664), Namysłowie (1664–1678) i Brzegu (1678–1705). Wszystkie te trzy ośrodki, położone na Śląsku, należały wówczas do imperium Habsburgów; terytoria te objęte zostały rekatolizacją – zgodnie z cesarskim dekretem po wojnie trzydziestoletniej, katolicyzm pozostawał jedynym legalnym wyznaniem, a niegdyś ewangelickie kościoły przekazano katolickim społecznościom, początkowo bardzo nielicznym. Zalaski zaczynał pracę w niewielkim mieście, jakim były wówczas Prusice; następnie przeniósł się do Namysłowa, większego ośrodka miejskiego, a w końcu do Brzegu, będącego wcześniej stolicą księstwa, i pozostającego znaczącym centrum kultury. Skomplikowana sytuacja wyznaniowa tych terenów miała swoje odbicie w jego życiu prywatnym (zarówno jego pierwsza, jak i druga żona pochodziły z luterańskich rodzin) i w repertuarze jego muzycznej kolekcji, w której odnaleźć możemy także dzieła ewangelickich kompozytorów i poetów. W czasach rekatolizacji setki – jeśli nie tysiące – śląskich kościołów zmieniły swoją przynależność wyznaniową w wyniku narzuconej decyzji politycznej. Liczni muzycy – kantorzy, organiści, inni wokaliści i instrumentaliści – migrowali w różnych kierunkach w poszukiwaniu nowych miejsc życia i zatrudnienia: luteranie przeprowadzali się na tereny, gdzie obowiązywała tolerancja religijna, a katolicy przybywali do luterańskich dawniej miast cesarstwa, by znaleźć pracę w nowej administracji. Kultura muzyczna tych ośrodków była żywa zarówno przed, jak i po zmianie; jednak z całego terytorium Śląska nie były dotychczas znane źródła muzyczne pochodzące z kościołów rekatolizowanych po wojnie trzydziestoletniej. Kolekcja muzykaliów Zalaskiego wydaje się więc być pierwszym zespołem źródeł muzycznych bezpośrednio dokumentującym wspomniane wyżej okoliczności. Mimo jej niekompletnego zachowania (spośród przynajmniej 83 rękopisów, jakimi dysponował niegdyś Zalaski, znamy dziś jedynie 18) i reprezentowania jedynie trzech ośrodków, badania nad nią prowadzić mogą do wielu pytań dotyczących kultury muzycznej – a w powiązaniu z innymi źródłami także do odpowiedzi na niektóre z nich. W pierwszym rozdziale mojej dysertacji przedstawiona została sama kolekcja źródeł – jej zawartość, stan zachowania, kopiści, datacja, miejsca powstawania, a także krótka biografia właściciela, Joannesa Chrysostomusa Zalaskiego. Uzupełnieniem tego rozdziału jest zamieszczony w aneksie I katalog tematyczny utworów; wszystkie kompozycje zostały także opisane w katalogu RISM dostępnym online. W drugim rozdziale opisany został kontekst historyczno-kulturowy trzech miast, w których Zalaski pracował i tworzył swoją kolekcję: Prusic, Namysłowa i Brzegu. Kultura muzyczna tych ośrodków w XVII wieku (w przypadku Prusic i Namysłowa) lub po rekatolizacji (w przypadku Brzegu) była praktycznie nieznana z powodu braku źródeł bezpośrednich (rękopisów i druków muzycznych). Odkryta kolekcja stała się więc powodem podjęcia dalszych badań archiwalnych, w poszukiwaniu pozamuzycznych śladów życia muzycznego. Kroniki, korespondencja, rachunki i księgi parafialne pozwoliły przynajmniej częściowo zrekonstruować barwny obraz istniejącej niegdyś kultury. Dzięki źródłom archiwalnym udało się także zidentyfikować wielu nieznanych dotąd kantorów, organistów, instrumentalistów, lutników i organmistrzów z tych ośrodków. W aneksie II, komplementarnym do tego rozdziału, znajduje się wykaz druków muzycznych wydanych w Brzegu przed rokiem 1707. W trzecim rozdziale przedstawiony został repertuar zachowany w kolekcji Zalaskiego: 107 utworów oraz karty tytułowe dokumentujące dodatkowe dwie niezachowane kompozycje. Źródła te są świadectwem użytkowania w kościołach parafialnych różnorodnego repertuaru muzyki religijnej: mszy, nieszporów, antyfon, motetów i pieśni autorstwa kompozytorów lokalnych i szeroko znanych, należących do kontekstu katolickiego i luterańskiego, działających na Śląsku, w Czechach, w Rzeczypospolitej, Szwajcarii i Italii. Wiele z tych utworów wydaje się nie mieć szczególnie wysokiej wartości artystycznej – są to głównie proste opracowania, odpowiadające możliwościom wykonawczym i finansowym niewielkich parafii; pozostają one jednak cennym śladem muzycznej codzienności poza wielkimi ośrodkami katedralnymi, kolegiackimi czy klasztornymi. W toku badań zidentyfikowałam dwóch twórców lokalnych, dla których kolekcja Zalaskiego stanowi jedyne świadectwo działalności kompozytorskiej. Z drugiej strony, obecność utworów włoskich i szwajcarskich prowadzi do pytania o ścieżki transmisji repertuaru, powiązane prawdopodobnie z rynkiem drukarstwa muzycznego oraz sieciami kontaktów między domami zakonnymi. Ponad połowa utworów z tej kolekcji zachowana jest unikatowo; ich transkrypcje znalazły się w aneksie III. Czwarty i ostatni rozdział stanowi próbę umiejscowienia kolekcji, jej kontekstu i repertuaru w szerszej perspektywie europejskiej. Zjawisko rekatolizacji występowało nie tylko na Śląsku, lecz także w innych częściach Starego Kontynentu; ponadto okoliczności te nie były jedynymi, w których przemiany wyznaniowe wpływały na kulturę muzyczną. By ukazać cechy charakterystyczne muzyki w czasach rekatolizacji, możliwe przemiany i te elementy, które pozostawały wspólne, w rozdziale tym przedstawione zostały teoretyczne założenia dotyczące muzyki i ich praktyczne realizacje u katolików i luteran (w zakresie liturgii, pobożności prywatnej, edukacji, propagandy wyznaniowej i polemik), a także kwestie dotyczące transmisji repertuaru (ze szczególnym uwzględnieniem przekazu międzywyznaniowego, adaptacji i cenzury) oraz wpływu procesu rekatolizacji na kulturę (mobilność, migracje, patronat, krajobraz dźwiękowy itp.). Wszystkie te kwestie w odniesieniu do kultury Śląska wymagają z pewnością poszerzonych badań; rozdział ten stanowi jedynie krótkie wprowadzenie w zagadnienia tworzące kontekst społeczno-kulturowy nowoodkrytej kolekcji źródeł – niewielkiego, lecz cennego śladu muzycznego życia pośród skomplikowanej sytuacji politycznej i wyznaniowej.

Chapter 2 considers the oldest, namely the Muslim Brotherhood of Egypt. First, it describes the Muslim Brotherhood’s general perspective on the environment based on the writings of Hassan al-Banna, Sayyed Qutb, Yusuf al-Qaradawi, Mohamed Badie, and Mohamed Morsi. Moreover, the chapter analyses the Brotherhood’s policy regarding water management, animals, pollution and energy. Finally, it examines the role of religion in the formulation of the Brotherhood’s environmental policy.

This chapter identifies the literary neo-Nietzschean critical ethos that defined the review from its opening issues, whilst also tracing how this ethos shifted in response to changes in the French social and political climate. The review’s progressive emphasis on anti-essentialist and post-foundational thought is contrasted to the return to Enlightenment thought, French values and communicational rationality proposed by Jürgen Habermas and Alain Finkielkraut. In contrast to the more abstract, conceptual emphasis of Derridean deconstruction, the review’s materialist approach to literary writing is demonstrated with particular reference to the works of Jean-Noël Vuarnet and Michel Surya. The review’s early, staunch secularism is then seen to become more tempered after scandals surrounding Islamic headscarves, laïcité, and the terrorist threats made towards Salman Rushdie, Taslima Nasreen, Robert Redeker and Charlie Hebdo, as the review refuses to be drawn into outright condemnation of France’s stigmatised Muslim minority. Lastly, the review’s Nietzschean stress on amoral philosophy is seen to be more responsible than nihilistic when placed in the context of shifting social mores, especially regarding changing philosophical perspectives on paedophilia.

The focus of this chapter is largely on Badiou’s delimitation of what counts as music: he insists on an a priori commitment to an understanding of music that locates its essence (or more accurately for Badiou, its ‘truth’) not in its sounding, the experience of listening or playing, or in its effects, but only in its formal procedures – a move that derives from a specific historical construction of music which makes the actual happening of music (whether live, recorded, imagined, etc.) irrelevant to philosophy. As a result, Badiou’s playlist of musical ‘truths’ runs from the architectonic innovations of Haydn and sonata form at the end of the c18th through to the post-tonal continuation of Schoenberg’s legacy: truth, musically speaking, exists in Europe between about 1780 and 1950. Consequently, this chapter argues that it is more specific than simply validating the musical products of elite Western culture; it is specifically limited to those produced under the ideology of ‘absolute music’. Finally, though Badiou never identifies music with any feminine essence, the chapter traces the subterranean misogyny embedded in his philosophy of ‘truth’, and argues that his musical – and broader – thinking remains problematic from a feminist perspective.

Erik Vogt offers an important re-examination of Badiou’s critique of Rancière, on the basis of Wagner’s Die Meistersinger von Nürnberg. Vogt’s argument prioritizes the aesthetic regime as a way of doing, a radical erupting-within that, for Vogt is embodied in the figure of the cobbler as conduit.

The article presents the essence, functions and meanings of the traditional veil – safsari/ sefsari, and the Muslim veil – hijab, worn by women in Tunisia throughout the 20th and 21st centuries. The stages of the veils’ acceptance and abandonment were presented, and the reasons for their return. Contexts of wearing veils were indicated, as well as their polysemy related to communication as a distinguishing form of social behaviour.

Abstract SYNOPSIS Eternal divine knowledge does not contradict divine omnipotence; the Jewish position about God’s omnipotence; the place of modification (bada ‘) in the Shi’ite doctrine; the determination of God’s decree (qa{j.a); the benefit in the belief in modification; the real meaning of bada’ in the ShI’ite doctrine; Sunni traditions that corroborate bada ‘; disclosures by the infallible Imams of future events. In chapter 10 we discussed the question of abrogation (naskh) of ordinances, and this was in the realm of matters related to the Shari’a. We should now tum our atten tion to the question of bada ‘, which is a sort of naskh, but in the realm of the matters connected with creation (takwfn). This subject is important because the actual meaning of bada’ is unknown to many Muslim scholars, and hence, they have attributed to the ShI’ites that of which they are innocent. Moreover, they have not been able to comprehend the subject well and have not been fair in their critique. If only they had proceeded with caution or had suspended judgment when they did not know the sub ject.1 To preserve complete integrity in citations and to apply caution in passing a judgment on a subject under investigation is a normal expectation in a work of scholarship. Moreover, in the matter of religion, one needs to observe the requirements of piety. In view of all this, it is necessary to make a few remarks to clarify the meaning of bada ‘, even though it is not directly relevant to an introduction to the exegesis of the Qur’an.

In 2017, the Galicia Jewish Museum received a thick notebook in black cover, tightly written in small but very legible handwriting. It was brought by Mrs. Ewa Czekaj. She explained that it was the diary of Janina Goldstein, the daughter of Julian Goldstein, who ran the Artistic and Locksmith Workshop in Krakow at Dajwor Street, where the museum rooms and offices are located today. Ewa Czekaj's grandparents, Alicja and Andrzej Łach, knew the Goldstein family: Julian, his wife Sara and three children – Róża, Janina and Stefan. Andrzej Łach worked for Julian Goldstein. Mrs. Ewa Czekaj wanted Janka's diary to be published, and so in the autumn of 2018, Janka Goldstein's Diary was published in a small edition by the Galicia Jewish Museum with the support of the City of Krakow.

ARTEFACTS ABOUT CYRIL AND METHODIUS AT THE NATIONAL MUSEUM OF MILITARY HISTORY (Summary) The article describes artefacts from the collection of the National Museum of Military History in Sofia, which reveal the place of Cyril and Methodius in the cultural memory of Bulgarians. Three battle flags are represented – the Samara flag (1876), the main flag of the Macedonian-Adrianopolitan Volunteer Corps (1912), the flag of the 3rd Thessaloniki Battalion of the Macedonian-Adrianopolitan Volunteer Corps (1912). Bulgarian orders, medals and badges with the images of the Slavic first teachers are also presented, among which is the order “Saints Equal to Apostles Cyril and Methodius” – the highest decoration in the Kingdom of Bulgaria and a dynastic order of the Bulgarian kings.

Konflikt hrabiego Trypolisu Rajmunda II z żoną Hodierną był jednym z najgłośniejszych, ale też najbardziej tajemniczych skandali obyczajowych w państwach krzyżowych w XII w. Kronika Wilhelma z Tyru informuje ogólnie o jego przebiegu, ale nie podaje przyczyn, wokół których już wówczas narosło wiele plotek. Jedynymi źródłami mogącymi rzucić więcej światła na tę sprawę są pieśni trubadura Jaufré Rudela. Zgodnie z romantyczną wersją wydarzeń zakochał się on w hrabinie Trypolisu, mimo że nigdy jej nie spotkał, i to na jej cześć tworzył swoje poematy. Specjalnie, aby ją poznać, wziął udział w drugiej wyprawie krzyżowej. Zachorował jednak w drodze i zmarł tuż po przybyciu do Ziemi Świętej w ramionach swojej pani. Zazwyczaj badacze jednoznacznie odrzucali tę relację. Większość logicznie zakładała, że trubadur po prostu zmarł podczas podróży morskiej i nigdy Hodierny nie spotkał. Pieśni autorstwa Rudela zdają się potwierdzać ten wniosek. Jednak warto zauważyć, że istotna może tutaj być kolejność chronologiczna owych poematów, które mimo ogólnej wymowy zawierają pewne zaskakujące sformułowania. Zazwyczaj przyjmuje się, że najwcześniej powstały pieśni, które zachowały się w najstarszych rękopisach, co jednak nie musi być kolejnością właściwą. Ułożenie ich w zależności od częstotliwości występowania w manuskryptach może prowadzić do bardzo interesujących, choć równie ryzykownych wniosków.