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Through empirical analysis and theoretical reflection, this book shows that the aesthetics and politics of the Islamic State is \"futurist.\" ISIS overcomes postmodern pessimism and joins the modern, techno-oriented, and optimistic attitude propagated by Italian Futurism in the early twentieth century.

the volume represents a significant contribution to the complex history of the conceptualization and pictorialization of the Prophet Muhammad in the West.It gives a rapid and though deep overview of the history of the making of an image of the Prophet Muhammad in Europe and thus reflects the whole history of the making of the image of Islam in.

The representation of prophets and saints in Islam is erroneously considered nonexistent by many scholars of Islam, Muslims, and the general public. The issue is often dealt with superficially without attention to its deep roots in piety and religiosity. Visualizing Belief and Piety inIranian Shiism offers new understanding of Islamic iconography and Muslim perspectives on the use of imageries in ritual contexts and devotional life. Combining iconographic and ethnographic approaches, Ingvild Flaskerud introduces and analyzes imageries (tile-paintings, posters and wall-hangings), ritual contexts and interviews with male and female local viewers to discuss the representation, reception and function of imageries in contemporary Iranian Shia environments.This book presents the argument that images and decorative programmes have stimulating qualities to mentally evoke the saints in the minds of devotees and inspire their recollection, transforming emotions and stimulating cultic behaviours. Visualization and seeing are significant to the dissemination of religious knowledge, the understanding of spiritual and ethical values, the promotion of personal piety, and functions as modes of venerating God and the saints.

It is often argued that a very special sort of consciousness went into creating Islamic art, that Islamic art is very different from other forms of art, that Muslims are not allowed to portray human beings in their art, and that calligraphy is the supreme Islamic art form. Oliver Leaman challenges all of these ideas, and argues that they are misguided. Instead, he suggests that the criteria we should apply to Islamic art are identical to the criteria applicable to art in general, and that the attempt to put Islamic art into a special category is a result of orientalism. Leaman criticizes the influence of Sufism on Islamic aesthetics and contends that it is generally misleading regarding both the nature of Islam and artistic expression. He discusses issues arising in painting, calligraphy, architecture, gardens, literature, films, and music and pays close attention to the teachings of the Qur'an. In particular he asks what it would mean for the Qur'an to be a miraculous literary creation, and he analyzes two passages in the Qur'an-those of Yusuf and Zulaykha (Joseph and Zuleika) and King Sullayman (Solomon) and the Queen of Sheba. His arguments draw on examples from history, art, philosophy, theology, and the artefacts of the Islamic world, and raise a large number of difficulties in the accepted paradigms for analyzing Islamic art.

The reader is invited to view Islamic art as no more and no less than ordinary art, neither better nor worse than anything else that counts as art. It follows that there are no special techniques required in Islamic aesthetics as compared with any other form of aesthetics.

No detailed description available for \"Muslim Rap, Halal Soaps, and Revolutionary Theater\".

What does it mean to be a modern Muslim today? In contemporary discourse Islam and modernity are often presented as each other’s opposites in media and popular culture. Southeast Asia has a large Muslim population, especially in Indonesia, Malaysia, and Singapore, but Islamic culture in these states is conspicuously absent from the wider global discourse on Islam. With a focus on popular culture in Indonesia – a country that houses the world’s largest Muslim population and that is also undergoing modernisation –Islamic Modernities in Southeast Asia will demonstrate how Islamic modernities are being negotiated and constructed through popular and visual culture from a trans-regional perspective. Looking at a variety of Islamic-themed popular and visual culture including rock music, cinema, art, visual decorations in shopping malls, self-help books, and fashion blogs, the book explores how Islamic modernities are imagined, negotiated, contested, and shared in Southeast Asia.

Westerners have a strong impression that Islam does not allow religious imagery. Elias corrects this view. Unearthing shades of meaning in Islamic thought throughout history, he argues that Islamic perspectives on representation and perception should be sought in diverse areas such as optics, alchemy, dreaming, vehicle decoration, Sufi metaphysics.

This article discusses the text and performance, as well as the sociopolitical context, of Algerian feminist activist, actor and writer Rayhana's (mostly) French-language play 'A Mon ge je me cache encore pour fumer', first performed in Belleville in late 2009. The play is set in a hammam, thus rendering publicly visible a private women's space, and in doing so, crossing the distance between the patriarchal separation of public and private, and between actors and audience. A real-life attack on the author, during the play's first season, closed the distance between \"art\" and \"life\" as each echoed and mirrored the other. The play and its performances, inevitably anchored within the broader French debate about women, Islam, culture, liberty and equality, also traversed the often artificial distances that supposedly separate Algerian women's experiences from those of French women.

Westerners have a strong impression that Islam does not allow religious imagery. Elias corrects this view. Unearthing shades of meaning in Islamic thought throughout history, he argues that Islamic perspectives on representation and perception should be sought in diverse areas such as optics, alchemy, dreaming, vehicle decoration, Sufi metaphysics.