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Książki na temat „Muslim Badias”

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Autor: Grafiati

Data publikacji: 18 maja 2024

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1

Avaz, Komil. Olis oḣanglar: Badia. Toshkent: Ghafur Ghulom nomidagi adabiët va sanʺat nashriëti, 1997.

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2

Museum, British. Acquisitions of badges, (1978-1982). London: British Museum, 1985.

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3

Kostner, Barbara. Olach'al rondenësc: Musiche e canti tradizionali in Val Badia = musighes y cianties tradizionales tla Val Badia = Gesungen ... San Martin de Tor (Bolzano): Istitut ladin Micurà de Rü, 2004.

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Avaz, Komil. Olis oḣanglar: Badia = : Distant sounds and melodies : essay. Toshkent: Ghafur Ghulom nomidagi Adabiët va sanʺat nashriëti, 1997.

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5

Kostner, Barbara. Olach'al rondenësc: Musighes y ćianties tradizionales tla Val Badia = musiche e canti tradizionali in Val Badia = Gesungen und gespielt-Volksmusik aus dem Gadertal. San Martin de Tor (Bz): Istitut ladin Micurà de Rü, 2004.

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6

Kostner, Barbara. Del tuo bel fuoco il santo amor: Il canto religioso tradizionale a Pieve di Marebbe in Val Badia. Brescia: Grafo, 2002.

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7

Duri, Qahtan Abd al-Rahman. Ulama amilun: Al-Shaykh Abd al-Qadir al-Jilani, al-Shaykh Muhammad Abduh, al-Shaykh Muhammad Rashid Rida, al-Shaykh Abd al-Hamid ibn Badis, al-Shaykh Muhammad ibn Ali al-Sanusi. Bayrut: Kitab - Nashirun, 2020.

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8

ʻAfīfī, ʻAmr. al-Tahdhīb al-malīḥ li-kitāb al-Jawāb a-ṣaḥīḥ li-man baddaa dīn al-Masīḥ: Ikhtiṣār wa-tartīb mawḍūʻī li-kitāb al-Jawāb al-Ṣaḥīḥ li-Ibn Taymīyah ; Wa-yalīhi Talqīḥ al-albāb bi-juhūd ʻulamāʼ al-Muslimīn fī mujādalat ahl al-kitāb ilá nihāyat al-qarn al-thāmin. al-Qāhirah: Dār al-Yusr, 2019.

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9

Fadil, Abd al-Qadir. Imam al-Jazair, Abd al-Hamid ibn Badis. Dar al-Ummah, 1998.

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10

Salim, Muhammad Bahi al-Din. Ibn Badis: Faris al-islah wa-al-tanwir. Dar al-Shuruq, 1999.

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11

Misri, Deepti. “This Is Not a Performance!”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038853.003.0006.

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This chapter explores a set of visual representations deployed by the Association of Parents of Disappeared Persons (APDP),the now iconic women-led organization that draws attention to the enforced disappearances of Muslim men, judged “anti-nationals” en masse by the Indian state. The APDP members utilize a performative repertoire in their public protests, such as recognizable iconography—“branding” the organization into the public eye through the use of badges, headscarves, and banners; and the insistence that “This is Not a Performance (tamasha)!” The chapter looks at some graphic and cinematic practices that have accreted around the APDP's protests, placing this range of countervisual practices against the scopic regime of the Indian state.

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12

Rahhal, al-Zubayr Bin. al-Imam Abd al-Hamid ibn Badis: Raid al-nahdah al-ilmiyah wa-al-Fikriyah, 1889 M-1940 M (Min alam al-Jazair). Dar al-Huda, 1997.

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13

Cachopo, João Pedro, Patrick Nickleson i Chris Stover, red. Ranciére and Music. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474440226.001.0001.

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The place of music in Rancière’s thought has long been underestimated or unrecognised. This volume responds to this absence with a collection of 15 essays by scholars from a variety of music- and sound-related fields, including an Afterword by Rancière on the role of music in his thought and writing. The essays engage closely with Rancière’s existing commentary on music and its relationship to other arts in the aesthetic regime, revealed through detailed case studies around music, sound and listening. Rancière’s thought is explored along a number of music-historical trajectories, including Italian and German opera, Romantic and modernist music, Latin American and South African music, jazz, and contemporary popular music. Rancière’s work is also set creatively in dialogue with other key contemporary thinkers including Adorno, Althusser, Badiou and Deleuze.

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14

Waltham-Smith, Naomi. Haydn’s Revolution. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190662004.003.0002.

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This chapter rigorously revises the music-theoretical conception of convention from the standpoint of Derridean deconstruction. The mediation of personal expression and generic convention is shown to be a dialectic of the proper and the improper. Analyses of a number of Haydn’s quartets illustrate that the modes of listening they produce always entail a certain exappropriation. This reading suggests one way in which Haydn is an “event,” as Badiou has claimed: the music reveals listening’s intimate relation to belonging. It does so by manipulating the relation between musical material and its use and by exposing the (im)potentiality of material before any appropriation.

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15

Chairman Mao Badges: Symbols and Slogans of the Cultural Revolution (British Museum Research Publication). British Museum Press, 2008.

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16

Waltham-Smith, Naomi. Music and Belonging Between Revolution and Restoration. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190662004.001.0001.

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In what ways is music implicated in the politics of belonging? How is the proper at stake in listening? What role does the ear play in forming a sense of community? Music and Belonging argues that music, at the level of style and form, produces certain modes of listening that in turn reveal the conditions of belonging. Specifically, listening shows the intimacy between two senses of belonging: belonging to a community is predicated on the possession of a particular property or capacity. Somewhat counterintuitively perhaps, Waltham-Smith suggests that this relation between belonging-as-membership and belonging-as-ownership manifests itself with particular clarity and rigor at the very heart of the Austro-German canon, in the instrumental music of Haydn, Mozart, and Beethoven. Music and Belonging provocatively brings recent European philosophy into contact with the renewed music-theoretical interest in Formenlehre, presenting close analyses to show how we might return to this much-discussed repertoire to mine it for fresh insights. The book’s theoretical landscape offers a radical update to Adornian-inspired scholarship, working through debates about relationality, community, and friendship between Derrida, Nancy, Agamben, Badiou, and Malabou. Borrowing the deconstructive strategies of closely reading canonical texts to the point of their unraveling, the book teases out a new politics of listening from processes of repetition and liquidation, from harmonic suppressions, and even from trills. What emerges is the enduring political significance of listening to this music in an era of heightened social exclusion under neoliberalism.

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17

Hickmott, Sarah. Music, Philosophy and Gender in Nancy, Lacoue-Labarthe, Badiou. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458313.001.0001.

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This book looks at the way music is used, characterised and understood in the work of Nancy, Labarthe and Badiou. Despite the differences in their philosophical-theoretical positions, they all invoke music – both directly and indirectly – to negotiate their relationship to ontology, politics, ethics and aesthetics. The book situates these texts in a longer genealogy of musico-philosophical interactions and also brings them into dialogue with recent musicological approaches, thus showing how an inherited idea of what music ‘is’ is often assumed rather than critically re-evaluated. It argues that though music is instrumentalized by progressive thinkers as a way of shifting theoretical/philosophical paradigms, it nonetheless does so in a way that has a strong sense of continuity with previous thinking on music. Secondly, the book highlights the way in which music in its metaphysical-ontological guise is often conceived as synonymous with Western high art classical music (which is itself constructed as absolute and transcendent, and ontologically independent of its means of (re)production or context) whilst non-literate, popular, folk and world musics – on the occasions that they are addressed and not simply ignored or denigrated – are notably considered almost exclusively in terms of their social-cultural or technological contexts. Finally, the book demonstrates that much of this takes place through a simultaneous instrumentalization of gender as an organisational category for philosophy, and one which all too often has the consequence of sending women – along with music – to the beyond of pre-, inter-, or post-signification.

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18

Ameen, Fendi. Lambaian Goodwill Bridge: Sebuah kisah cinta keluarga di Tanah Ratu. UUM Press, 2016. http://dx.doi.org/10.32890/9789670876368.

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Perjalanan menuntut ilmu di bumi asing dalam suasana baharu yang penuh cabaran boleh menjadikan seseorang itu gagal atau berjaya, bergantung kepada kemampuan masing-masing. Ramai yang pulang dengan tangan kosong atau menghabiskan pengajian separuh jalan dan ramai juga yang pulang dengan kejayaan.Novel ini mengisahkan Malik, seorang tutor dari Universiti Teknologi Malaysia (UTM) yang mengikuti pengajian PhD dalam bidang computer security di Queensland University of Technology (QUT), Brisbane, Australia.Setelah dua tahun berada di bumi Queensland (Tanah Ratu), Malik bersua dengan seorang pelajar perempuan di universiti yang sama, pada suatu musim dingin di atas jambatan pejalan kaki yang sibuk, merentangi South Bank ke kampus QUT yang terletak di Gardens Point.Pertemuan itu telah menarik Malik kepada soal cinta, ketika beliau sedang memberi tumpuan kepada pengajiannya yang masih berbaki kira-kira dua tahun. Pelbagai cabaran muncul dalam hidup Malik, antara cintanya kepada Maiza dan pengajian yang sedang diikutinya. Pun begitu, Malik dapat menempuhi dengan jayanya. Sementelah, kedua-dua ibu-bapa mereka merestui hubungan cinta yang terjalin.Dugaan demi dugaan dihadapi oleh kedua-duanya.Cinta bidadari Inggeris yang fasih berbahasa Melayu turut mengocakkan riak Sungai Brisbane menjadi gelombang ganas, seganas hempasan badai di pantai Coral dalam perhubungan mereka. Akhirnya Malik dan Maiza berjaya disatukan di bawah ikatan perkahwinan.Mereka hidup bahagia dan berjaya dalam pelajaran.Sekembalinya ke tanah air, Malik terperangkap dalam gelora janda muda dan cinta dari seorang pelajar menelusuri keindahan Jambatan Bestari di Putrajaya.Gelora belum reda dalam rumah tangga mereka.Maiza tabah untuk kekal bersama Malik demi mengenangkan nasib Mia, anak perempuan mereka yang menghidapi autisme dan amat memerlukan kasih Malik.Malik menerima pengajaran dari perbuatannya, apabila diserang sejenis penyakit saraf.Apakah kesudahannya?

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