Teses / dissertações sobre o tema "Ḥasakh"

This thesis is an analysis of the political thought and activities of an Iranian 'alim, SAYYID HASAN MUDARRIS (1870-1938). It demonstrates the continuation of the Iranian 'ulama's struggle, started in late 19th century, against colonialism and despotism during the years after the Persian Constitutional Revolution. This study investigates the deep causes of conflict between Mudarris and Riza Shah, the founder of the Pahlavi regime. Mudarris was a man of God as well as a man of his people. He was a mujtahid with high degree of patriotic sentiments. He devoted his life to Iran and to the dignity of his people for whose freedom from the yoke of Imperialism and despotism he lost his life.

The central theme of this study is the question of turath (cultural heritage) as perceived by contemporary Arab thinkers since the Arab defeat by Israel in 1967. The diverse understandings of turath have raised various questions with respect to it, yielding a plethora of opinions that make it difficult to come up with a common definition. This unstable view of the phenomenon has led to what may be called "the problematic of turath." This study asks whether turath has the roots of the problematic or whether it is mainly the positions on it that have led to its problematization. An attempt to explore the term reveals that the contemporary meaning assigned to turath is ideological in nature, such that it is perceived as a tool for either progress or decline. To understand how this ideologization operates, the study looks at two antithetical positions on turath: that of the Islamic-modernist, H&dotbelow;asan H&dotbelow;anafi (b.1935) and that of the secular-modernist, Adonis (b. 1930). Their positions are described in the light of their intellectual and ideological backgrounds, and analyzed in view of their primary texts. The study concludes that their "imagined" visions of turath reflect biased thinking, an understanding of turath that is adapted to their own ideological stance. As an Islamic phenomenologist, H&dotbelow;anafi perceives Islamic revelation as a phenomenon present to consciousness, regarding it as authoritative due to its presumed "uncorrupted" character. This makes it suitable to any place and time and renders it the only legitimate source for renewal and progress. However, the fact that he feels a rereading of turath is necessary to achieve this goal reflects a paradox in his discourse, whereby the same turath becomes simultaneously the chief problem and the chief solution for Arab-Muslim society. By contrast, Adonis, as a secular deconstructionist, looks at the inherited turath as a "text" with a static/dynamic dualism, and tries to show that the static elements of turath, which always appear stable, logical and capable of achieving progress, make it otherwise. For him, divine revelation --- which is responsible for the predominance of the static and hence an obstacle to human freedom, creativity and progress --- must be deconstructed. This paves the way for his own agenda of replacing the static, i.e., religious elements, with dynamic or secular elements, which alone can enable the reconstruction of a new civilization. But in the process, Adonis may only be replacing the religious with the secular and merely setting in place a new static dimension.

This thesis compares and contrasts the responses of Hasan H&dotbelow;anafi (Egypt, b. 1935), Muh&dotbelow;ammad `Abid al-Jabiri (Morocco, b. 1936) and Nurcholish Madjid (Indonesia, b. 1939) to the slogan "Back to the Qur'an and the Sunna," a slogan that many modern Sunni reformers consider as the ideal solution to the decline of Islam in the modern age. The comparison is analyzed in the light of H&dotbelow;anafi's three dimensional Islamic reform project known as Heritage and Modernity ( Al-Turath wa al-Tajdid). Their responses to the factors that have led to the decline of Islam in the modern age will be compared from the perspective of the first and second dimensions of his project, which examine the implications of the classical Islamic and Western heritages, respectively, for the reform of Islam. It is, however, in the context of the third dimension of H&dotbelow;anafi's project, which deals with the theory and practice of interpretation, that we will examine their hermeneutics of the return to the Qur'an and the Sunna. In the process we will demonstrate how their respective backgrounds, political influences and concerns have led each of them to adopt a position that is, at one and the same time, radical and traditional.

Questo elaborato intende fornire una prospettiva della maniera in cui lo sciismo, una delle correnti principali e più antiche dell’Islām, ha recepito ed assimilato il concetto del “digiuno”, pilastro fondamentale della religione musulmana nel suo complesso. L’analisi incomincia col tratteggiare la visione dell’Islām sciita, i suoi sviluppi e le sue peculiarità, dalle origini ai principali elementi che contraddistinguono questa corrente; dopo aver brevemente confrontato le caratteristiche primarie dello sciismo e quelle della corrente attualmente maggioritaria nel mondo arabo (l’Islām sunnita), si passa dunque a delineare con maggiore chiarezza il concetto di “digiuno”, e la maniera in cui esso è stato percepito e accolto dall’Islām, arrivando a rivestire (tanto nell’ambito sunnita quanto, appunto, in quello sciita) , un ruolo fondamentale. La successiva parte della trattazione presenta una biografia essenziale di Muḥammad Ibn Ḥasan al-Ḥurr al-‘Āmilī (1624-1693), e la traduzione di un’ampia parte della sua opera maggiore, dal “Wasā’il al šī’a ilā tahshīl masā’il al-šarī’a” ,che descrive con chiarezza - da una prospettiva sciita - gli scopi primari del digiuno e le sue corrette modalità di attuazione. Il senso ultimo di questo scritto rimane comunque quello di dimostrare come l’Islām nel suo complesso , nonostante la molteplicità di interpretazioni e correnti di cui si compone, presenti valori comuni e fondanti, ritenuti sacri e fortemente identitari dall’intera comunità dei credenti; in primis appunto il valore del digiuno, percepito non solo come un atto di rinuncia “esteriore” ma soprattutto come un più profondo dovere interiore di ogni musulmano.

Ce travail pose le problème de la lumière dans la poésie bachique d'Abû Nuwâs. Ce poète, admiré par les critiques arabes du Moyen-Âge, souvent sous-estimé par les orientalistes, est-il uniquement un épicurien ou les métaphores du vin comme lumière et des épousailles de l'eau et du vin traduisent-elles une recherche de transcendance hors des sentiers balisés de la religion officielle ? Nous essayons de répondre à cette question par une étude de cinq poèmes bachiques fondée sur les méthodes de l'analyse narrative et le concept d'intertextualité. Il existe un paradigme de la scène bachique dans l'oeuvre d'Abû Nuwâs, qui équivaut à un double parcours initiatique, celui du vin qui atteint sa plénitude et celui des convives que le vin peut alors illuniner. Le poème est suscité par la nostalgie de ces moments paradisiaques, dont il propose une reconstruction par le souvenir
This work raises the issue of the light in Abû Nuwâs's bacchic poetry. One can wonder if this poet, who was admired by Arab middle-age critics and often underestimated by the orientalists, is just an epicurean ; or if the wine, as a metaphor of the light and of the nuptials of water and wine, expresses a search for trancendence that strays from religious orthodoxy's tracks? We will try to answer this question throughout the study of six bacchic poems, using the methods of narrative analysis and intertexuality's concept. There is a paradigm of bacchic scene in Abû Nuwâs's work, which equals a double initiatory path : the one of the wine reaching its fullness and the one of the gusts whom the wine may them enlighten. Rebuilding the nostalgia of those heavenly moments through their memories, gave birth to this poem

Hasan Salah, a 13th-century exponent of the Isma'ili qiyamat doctrine, and Saint Paul the Apostle, the author of much of the New Testament, believed that during their lifetimes, a Messiah had come. The arrival of the Messiah triggered the end time; in this new time of sacredness, both authors believed that it was impossible---and even counterproductive---to gain salvation by following the traditional religious law. This thesis juxtaposes both authors' conceptions of the religious law, highlighting how each author reinterprets scripture to argue that the law simply cannot bring salvation in this new time. It then discusses how, in place of the law, both authors advocate a new, more individual soteriology structured around the Messianic figure. This thesis then discusses the seven shared structural features of both eschatologically based theologies, strengthening the corpus of evidence suggesting that Isma'ili thinkers often incorporate specifically Christian elements into their theology.

Cette étude s'est fixé deux ambitions et deux objectifs, il s'agit d'une approche de l'univers poétique d’Abu Nuwas. Cela va nous mener à sa vision poétique et sa pensée qui reflètent la nouvelle réalité de la société arabo-musulmane à son époque. C’est pourquoi nous avons envisagé de consacrer la première partie au milieu socioculturel d'Abu Nuwas, afin de faire ressortir les aspects caractéristiques. La deuxième partie se divise en deux grands chapitres. Le premier est consacré à l'aspect formel de la poésie d’Abu Nuwas: l'ironie et son rôle dans le cadre poétique, ainsi que l'étude de la structure métrique et la rime. Nous avons examiné ensuite les effets stylistiques de l'ironie ainsi que ses dimensions esthétiques, et établi le rapport entre elle et d'autres figures rhétoriques. Le dernier chapitre est une étude du contenu procédant à l'étude thématique suivie d'un inventaire des victimes de l'ironie d’Abu Nuwas
This study is based on two ambitions and two objectives, it is question of an approach to the poetic universe of Abu Nuwas. This will conduct us to his poetic visualisation and his ideas on the new reality of the Arabic Muslims society at this time. That is why we have decide to consecrate the first chapter to the field of sociocultural of Abu Nuwas in order to specify the appearances characteristic of this period and the high degree of the civilisation in the period of his arrival. The second part is divided into two chapters. The first is based on the formal look of the poems of Abu Nuwas. Irony and his role in poetic field as well as the structural metric and the rhythm. We have examined afterwards the style's effects of the irony as well as the aesthetic dimensions, and established a report between it and other rhetorical figures. The first chapter is a study of the content proceeding to the thematic study followed by an inventory of the victims of Abu Nuwas irony

Cette thèse analyse la littérature arabe de l’exil et de la migration produite au tournant de la « crise des réfugiés » de 2015, à travers un corpus de six romans dont les auteurs diffèrent par leurs sexe, âge, origine, notoriété et statut migratoire. L’étude vise à décrire l’émergence d’une nouvelle esthétique migrante construite autour de l’expérience polyvalente et multiforme du refuge, en identifiant les différents éléments de continuité et de discontinuité qui relient la fiction contemporaine au canon littéraire du passé. Focalisée sur des romans qui puisent dans la littérature de harraga (Taytānīkāt afrīqiyya d'Abū Bakr Ḥāmid Kahhāl et Anāšīd al-milḥ d'al-'Arabī Ramaḍānī), la première partie met en évidence les liens entre les textes qui relatent l'expérience de la migration clandestine et ceux qui se concentrent sur l'exode des demandeurs d'asile, en faisant ressortir le même type de discours critique à l'égard de la forteresse Europe et des hiérarchies établies par le système humanitaire. Concentrée sur les concepts de vulnérabilité, traumatisme et résilience, la deuxième partie est consacrée aux réalités du transit et de l'immobilité. Elle analyse les espaces d'exception incarnés par les camps de réfugiés palestiniens (Muḫmal de Ḥuzāma Ḥabāyib) et par la Syrie prérévolutionnaire, caractérisée par une double réalité d'accueil et répression (Ḥurrās al-hawāʼ de Rūzā Yāsīn Ḥasan). La troisième partie se concentre sur l'expérience de l'asile en Europe (Barīd al-layl de Hudā Barakāt et 'Āzif al-ġuyūm de 'Alī Badr), nous permettant d'explorer des représentations anti-hégémoniques des notions d'hospitalité, d'identité, d'appartenance et de citoyenneté
This thesis analyses the Arabic literature of exile and migration produced at the turn of the 2015 "refugee crisis", through a corpus of six novels whose authors differ in gender, age, origin, notoriety and migratory status. The study aims to describe the emergence of a new migrant aesthetic built around the polyvalent and multifaceted experience of "refuge", identifying the different elements of continuity and discontinuity that link contemporary fiction to the canon of the past. Focusing on two novels that draw on the tradition of harraga literature (Abū Bakr Ḥāmid Kahhāl's Taytānīkāt afrīqiyya and al-Arabī Ramaḍānī's Anāshīd al-milḥ), the first part of this work sheds light on the links between texts that recount the experience of clandestine migration and those that focus on the exodus of asylum seekers, bringing out from them the same kind of critical discourse towards Fortress Europe and the hierarchies established by the humanitarian system. Linking the concepts of vulnerability, trauma and resilience, the second part is devoted to the realities of transit and immobility, and analyses the spaces of exception embodied by Palestinian refugee camps (Ḥuzāma Ḥabāyib's Muḫmal) and pre-revolutionary Syria, characterised by a dual reality of regional shelter and repression (Rūzā Yāsīn Ḥasan's Ḥurrās al-hawāʼ). The third part sheds light on the experience of asylum in Europe (Hudā Barakāt's Barīd al-layl and Alī Badr's Āzif al-ġuyūm), allowing the reader to explore the anti-hegemonic representations of notions such as hospitality, identity, belonging and citizenship

Dans le cadre du présent travail, nous nous proposons d’entreprendre l’édition intégrale d’un manuscrit arabe qui s’intitule Qusb al-Surûr fî Awsâf al-Anbixa wa-l-Kumûr (Le plus grand des plaisirs à décrire les vins et les liqueurs). Il est attribué à Abû Ishâq Ibrâhim al-Qayrawânî mieux connu sous son laqab (surnom) d’Ibn ar-Raqîq ou encore ar-Raqîq. L’ouvrage est un réservoir de citations et un très riche recueil traitant du vin et, plus précisément, de la poésie bachique où sont décrites l’odeur et la couleur de ce vin, les coupes qui circulent parmi les buveurs et les outres des marchands. Qutb al-Surûr est un ouvrage d’adab dans le sens traditionnel et large du terme bien qu’il traite principalement de ce qui se rapporte à la littérature du vin. C’est une anthologie de prose et de poésie, où se mêlent les biographies et les anecdotes, les appréciations critiques, les digressions de toutes sortes. Ar-Raqîq a rassemblé dans cet ouvrage tout ce qu’il savait sur les vins et les liqueurs. Bref, il a fait du kamr le maître de son œuvre. Celivre est assurément l'une des plus sûres voies d'accès offertes à ceux qui désirent explorer la société islamique et sa culture de cour. Pour cette présente édition, nous avons tâché de reconstituer une version la plus complète possible.

Une fois la théorie des équations quadratiques établie, les algébristes arabes orientent leurs recherches vers d'autres sujets. À la fin du Xe siècle l'un d'eux, le mathématicien al-Karajī, choisit d'explorer les relations entre arithmétiques et algèbre, et développe un système cohérent et exhaustif de règles de calcul pour les entités algébriques. Ce faisant, il inaugure une nouvelle tradition de recherche d'arithméticiens-algébristes qui visent à féconder l'algèbre avec l'arithmétique, et inversement. La notion centrale de cette tradition est celle d'opération et son objectif est de faire en sorte que l'algébriste puisse opérer sur les quantités inconnues comme l'arithméticien opère sur les connues. La recherche d'al-Karajī est ensuite perfectionnée au XIIe siècle par al-Samaw'al. Le travail du mathématicien persan al-Zanjānī (XIIIe siècle) s'inscrit clairement dans cette tradition de recherche, et son Qisṭās al-muʻādala reprend fidèlement les textes karajiens. Dans ce traité, al-Zanjānī présente la théorie du calcul algébrique, il compose une longue collection de problèmes et conclut son écrit avec un chapitre entièrement consacré à l'analyse indéterminée. Le traité était, jusqu'à maintenant, inédit. Notre édition critique est suivie d'une traduction en français et précédée d'une analyse historique, philologique et mathématique du texte. Cette analyse vise à mettre en évidence les aspects les plus significatifs de l'algèbre d' al-Zanjānī, ainsi que de la tradition à laquelle ce dernier appartient
Once the theory for second degree equations was established, algebraists redirected their interests to new topics. By the end of tenth century, one algebraist, the mathematician al-Karajī, chose to investigate the interaction between arithmetic and algebra, and began to create a coherent and exhaustive system of rules for calculating with algebraic entities. His work gave birth to a new tradition of arithmetician-algebraists, whose aim was to improve algebra with the help of arithmetic and vice versa. The focus of this tradition was on the notion of operation, and its aim was to make the algebraist able to manipulate unknown quantities like the arithmetician manipulates known ones. Al-Karajī's research was then improved by the twelfth-century scholar al-Samaw‘al. In the thirteenth century, the Persian mathematician al-Zanjānī followed this same tradition, and his Qisṭās al-muʻādala accurately recalls and elaborates upon al-Karajī's work. Al-Zanjanī presents his theory for algebraic computations, composes a long collection of problems, and concludes his treatise with a chapter on indeterminate analysis. Al-Zanjanī's treatise was unpublished until now. Our critical edition of the text is followed by a translation into French and preceded by an historical, philological and mathematical commentary of the text. This commentary aims to underline the most significant aspects of al-Zanjanī's algebra and of the tradition to which he belonge

Adaptant la théorie d’Ivan Jablonka sur les rapports entre l’histoire et la littérature ainsi que la théorie de la micro-histoire de Carlo Ginzburg, ce travail se propose d’étudier l’écriture de l’histoire (au sens d’historiographie) dans l’œuvre de deux écrivains contemporains issus de deux aires culturelles et géographiques différentes : l’écrivain français Patrick Modiano et le romancier iranien Amir Hassan Cheheltan. L’étude se concentre sur un choix sélectif des textes des deux auteurs. Le corpus des textes de Modiano est formé par les œuvres suivantes : La Place de l’étoile (1968), La Ronde de nuit (1969), Les Boulevards de ceinture (1972) et Dora Bruder (1997) ; de Cheheltan sont abordées les œuvres suivantes : La Salle des miroirs (Talâr-e aïné, 1990), La Mandragore (Mehr-e giâh,1998), Téhéran, ville sans ciel (Tehran, shahr-e bi asséman, 2001) et L’Aube iranienne (Sépidédam-e irani, 2005). Notre étude démontre que malgré l’omniprésence de l’histoire dans ces textes, ils ne respectent pas les critères du traditionnel roman historique et se rapprochent plutôt d’une littérature science-sociale qui, au moyen du raisonnement et de la narration, vise à dire la vérité sur le monde sans pour autant vouloir représenter ou recréer les grands événements historiques ou mettre en scène ses personnages notoires. « Romans-Histoire », ils invitent le lecteur à réfléchir sur les versions officielles de l’Histoire. Quant à Dora Bruder, il s’identifie plutôt à un « texte-recherche » (Jablonka) ou à une enquête micro-historique sans toutefois que la quête modianesque aboutisse à une réponse définitive. Une analyse de nature thématique montre que les deux auteurs s’intéressent à des figures problématiques ou marginalisées dans deux métropoles qui sont le théâtre de l’histoire : Paris (Modiano) ou Téhéran (Cheheltan). En dernier lieu, nous nous penchons sur l’aspect formel et esthétique des deux œuvres pour montrer la diversité des formes mobilisées par les deux auteurs, chacun à l’intérieur de son œuvre et l’un par rapport à l’autre. Il s’agit donc de comparer le traitement thématique, formel, esthétique mais aussi épistémique que ces écrivains réservent à l’Histoire et d’analyser les principales modalités de son inscription dans leurs œuvres
Adapting Ivan Jablonka’s theories on the relationship of history and literature, and Carlo Ginzburg's notion of “microhistory”, this work aims at studying how two contemporary writers from different cultural and geographical spheres—the French author, Patrick Modiano and the Iranian novelist, Amir Hassan Cheheltan—set about writing history, in the historiographic sense of the term. With a particular focus on Modiano’s La Place de l'Étoile (Place de l'étoile, 1968), The Night Watch (La Ronde de nuit, 1969), Ring Roads (Les Boulevards de ceinture, 1972) and Dora Bruder (1997) and the novels The mirror room (Talar-e aineh, 1990), Mandragora (Mehr-e giah, 1998), Tehran, city without sky (Tehran, shahr-e bi asseman, 2001) and Iranian Dawn (Sepidedam-e irani, 2005) by Cheheltan, this study demonstrates that, despite the omnipresence of history in these texts, none of them actually respect the criteria of the traditional historical novel genre. Rather, it will be suggested, they approach something akin to social-science literature; that is, their narratives endeavor to tell the truth about the world without explicitly representing or re-creating great historical events or portraying great historical figures. Instead, as “Novel-Histories”, these works invite the reader to think about the nature and status of official History. As for Dora Bruder, it can be viewed as “text-search” or a “micro-historical inquiry”; but unlike its more traditional counterparts Modiano’s quest never offers a definitive answer. A thematic analysis will illustrate that the two authors are particularly interested in writing about problematic or marginalized figures in the two metropolises that feature in their work—Paris (Modiano) and Tehran (Cheheltan)—, geographical spaces which are also the theater of history. Finally, the formal and aesthetic aspects of the two works will be explored, with a view to demonstrating their literary and artistic diversity. So, it is a question of comparing how both authors engage with history from a thematic, formal, aesthetic but also epistemic perspective and analyzing the main modes by which history is inscribed in their works

La présente thèse porte sur l’étude des Aḥkām al-sulṭāniyya (statuts gouvernementaux) du théologien et juriste hanbalite, Abū Yaʿlā. Il s’agit du premier traité de droit public, dans l’histoire de la pensée politique hanbalite. Dans un premier temps, la thèse se concentre sur les cadres politico-religieux bagdadiens au Ve/XIe siècle : l’affaiblissement de l’institution califale, le rapport d’Abū Yaʿlā avec le vizir et les mécènes hanbalites, la résurgence de l’islam sunnite traditionaliste et l’évolution du hanbalisme politique bagdadien. Dans un deuxième temps, la thèse fait porter son analyse sur le hanbalisme contextuel d’Abū Yaʿlā à travers ses œuvres. Enfin, pour saisir le sens et la portée des Aḥkām al-sulṭāniyya d’Abū Yaʿlā, la présente étude tente d’aborder et d’inscrire la théorie politique de celui-ci au sein l’école hanbalite et en particulier avec celle d’Ibn Taymiyya, ensuite de la confronter avec celle du légiste chafiite, al-Māwardī, à travers son traité de droit public, les Aḥkām al-sulṭāniyya
This thesis deals with the study about the Aḥkām al-sulṭāniyya (Ordinances Government) of the Hanbalite theologian, Abū Yaʿlā. This important treaty can be considered indeed as the first treaty of public law in the history of Hanbalite political thought. In the first part, the thesis focuses upon the religious and political frame in the Bagdadian circles of the Vth/XIth century : the weakening of the caliphate institution, the relationship between Abū Yaʿlā and his vizir and patrons of the Hanbalites court, the resurgence of the traditionalist Sunnī islam and the typical evolution of the policy of Hanbalism in Bagdad. In the second part, this study develops a contextual analysis of Hanbalism according to Abū Yaʿlā’s works. In the end, for understanding the meaning and the scope of the Aḥkām al-sulṭāniyya, this study intends first of all to place Abū Yaʿlā’s political theory within political Hanbalite doctrine especially with Ibn Taymiyya, and then we compare it to al-Māwardī’s Aḥkām al-sulṭāniyya

Les XIe et XIIe siècles correspondent à une période durant laquelle l'orthodoxie sunnite a construit ses bases tant intellectuelles qu'institutionnelles. A cette époque où le Califat est affaibli, les Turcs Seldjoukides, en combinant l'habileté au combat des tribus turques et la tradition étatique de l'Iran, ont construit un état fort et assumé le leadership dans l'institutionnalisation du sunnisme. De manière générale, l'un des éléments saillants permettant de déterminer cette période est le fait que l'orthodoxie sunnite, qui s'institutionnalise en s'opposant fondamentalement au mutazilisme et au chiisme ou plutôt à l'une des branches du chiisme, l'ismailisme, intègre en son sein le mouvement soufi (taṣawwuf). Les personnalités mises en avant comme représentantes de cette période sont sur le plan intellectuel Ğuwaynī et Ġazālī et sur le plan politique le grand vizir seldjoukide Niẓām al-Mulk. Les Madrasas Niẓāmiyyas qui constituent l'un des traits concrets de l'institutionnalisation de l'orthodoxie sunnite, sont pour la plupart des réalisations de Niẓām al-Mulk. Celui-ci a réussi à transmettre aux générations suivantes ses réflexions sur le gouvernement de l'état et son administration grâce à son œuvre intitulée Siyāsat-nāma
The eleventh and twelfth centuries correspond to a period during which Sunni orthodoxy built its intellectual and institutional foundations. At this time when the Khalifa was weakened, the Seljuk Turks, combining the fighting skills of the Turkish tribes and the state tradition of Iran, built a strong state and assumed leadership in the institutionalization of Sunnism. In a general way, one of the salient elements for determining this period is the fact that Sunni orthodoxy, which is institutionalized by fundamentally opposing mutazilism and Shiism or rather one of the branches of Shiism, Ismailism, integrates within it the Sufi movement. The personalities put forward as representatives of this period are on the intellectual plane Ğuwaynī and Ġazālī and politically the Grand Vizier Seljuk Niẓām al-Mulk. The Niẓāmiyyas Madrasas, which constitute one of the concrete features of the institutionalization of Sunni orthodoxy, are for the most part achievements of Niẓām al-Mulk. He managed to pass on his reflections on the state government and its administration to the following generations through his work entitled Siyāsat-nāma
XIe et XIIe siècles ler sunnite ortodoksinin hem düşünsel hem de kurumsal temelde kurulduğu bir dönemdir. Hilafetin zayıfladığı bu zaman diliminde Türkler Seldjoukides göçebe Türk boylarının savaş yeteneklerini İran devlet geleneğiyle birleştirerek güçlü bir devlet kurmuş ve sunnite ortodoksinin kurumlaşmasında siyasal öncülüğü üstlenmişlerdir. Genel olarak chiisme ama daha çok da chiismin bir kolu olan ismāʿīlisme ve mutazilisme karşıtlığı temelinde kendini kurumsallaştıran sunnite ortodoksinin, taṣawwuf hareketini kendi içine çekmesi bu sürecin karakterini belirleyen en önemli olaylardan birisidir. Düşünsel planda Ğuwaynī ve Ġazālī, politik planda da daha çok Seldjoukides lerin büyük veziri Niẓām al-Mulk dönemin simge isimleri olarak öne çıkmışlardır. Sunnite ortodoksinin kurumlaşmasının en somut göstergelerinden biri olan Madrasas Niẓāmiyyas lar büyük oranda Niẓām al-Mulk ün bir eseridir. Niẓām al-Mulk, yazdığı Siyāsat-nāma isimli kitapla devlet yönetimi hakkındaki düşüncelerini gelecek kuşaklara aktarmayı başarmıştır

This thesis examines the work of the contemporary exilic Iraqi author Ḥasan Blāsim within the framework of magical realism. At the same time it argues for a more formalistic and wider definition of magical realism, which also includes fiction without any supernatural elements. Magical realistic components found in the short story collection Majnūn sāḥat al-ḥurrīya (The Madman of Freedom Square) underline the most important themes in the stories. These are related to the catastrophes that afflicted Iraq and its people in the course of last thirty years. With its emphasis on the documentation of modern Iraqi history dominated by war and exile Blāsim's work belongs to the genre of documentary narrative. The goal of documentary narrative is to contribute to the collective memory of a nation. Despite Blāsim's focus on documenting, magical realism in his work cannot be considered as an attempt to create a parallel cultural world. The supernatural in his stories functions metaphorically and relates exclusively to the real world of war and violence, in which people under heavy circumstances turn into animals, cannibals, which is magical in itself. In addition, Blāsim's work is on a subordinate level discussed from the perspective of postcolonial theory. Postcolonial theory has undergone a complicated...

Martina Buchlová Summary This thesis looks into the methods of imagination in Egyptian cinema through in-depth analysis of the film adaptation of the Nobel Prize Winner Nagīb Maḥfūẓ's novel Bajna 'l-Qaṣrajn. For the analysis, combined approaches of narratology, film theory and neo- formalism have been used. All the observations and conclusions are supported by evidence in form of extracts from the novel and/or stills from the film. The initial chapter gives a brief account of the history and tendencies of Egyptian cinema from its beginnings to the 1960's, when the analysed film was shot. It also summs up the carrier of the film's director, Ḥasan al-Imām, and puts the film into the appropriate context. Furthermore, this chapter lists the storyline of the novel and mentions a few basic facts about its inception. In the next chapter, the transfer of narrative features of the text into film is being discussed, using the model of cardinal functions by Roland Barthes. A table gives precise account of the narrative elements which were transfered to the film and those which were not or were subject to considerable changes. The following chapter deals with the transfer of the novel's non-narrative elements (whose adaptation to the new medium requires a more inventional approach), such as description of the time and...