A collection of articles and studies discussing early Islamic tenets and beliefs based on Islamic traditions and literature. A number of studies appear for the first time in English. The topics dealt with relate to the Islamic prostration in ritual prayer, Islamic traditions which are discussed through the analysis of hadith literature and reports and narratives related to the literary genre of the qiṣaṣ al-anbiyā' (Stories of the Prophets). The readers of this collection of essays are scholars and students of early Islam, of the development hadith literature and of the narratives on Islamic prophets; all together the studies bring to light the dynamics between the formation of early traditions and their role in the origin and developments of Islamic literature.

In celebration of the many contributions of Claude Gilliot to Islamic studies, an international group of twenty-one friends and colleagues join together to explore books and written culture in the Muslim world. Divided into three sections – authors, genres and traditions – the essays explore themes that have been of central interest and concern to Gilliot himself including the Qurʾān, tafsīr, ḥadīth, poetry, and mysticism. Gilliot’s detailed and extensive work on many authors and texts, literary genres, and specific case-studies on many Muslim traditions renders this volume an apt tribute to him as well as offering Islamic studies’ scholars valuable research insights on these subjects. The authors of these English, French and German essays are all renowned scholars from Europe and North America, each of whom have benefitted substantially from Gilliot’s work and collegiality. With contributions by: Mohammad Ali Amir-Moezzi, Mehdi Azaiez, Anne-Sylvie Boisliveau, Abdallah Cheikh-Moussa, Jean-Louis Déclais, Denis Gril, Manfred Kropp, Pierre Larcher, Michael Lecker, Jane Dammen McAuliffe, Harald Motzki, Tilman Nagel, Angelika Neuwirth, Emilio Platti, Jan van Reeth, Andrew Rippin, Uri Rubin, Walid Saleh, Roberto Tottoli, Reinhard Weipert, Francesco Zappa

"This book is a study of the Muslim world's entanglement with colonial modernity. More specifically, it is an historical examination of the development of the long-standing, indigenous tradition of learning and praxis known as Islamic law (shari°a, fiqh) as a result of its imbalanced interaction with new European modes of knowing during, and in the immediate aftermath of, the colonial experience. Drawing upon the writings of jurist-scholars from the òHanaf åischool of law writing in Cairo, Kazan, Lucknow, Baghdad and Istanbul, Transformations of Tradition reveals several central shifts in Islamic legal writing that throw into doubt the possibility of reading its later trajectory through the lens of a continuous "tradition." By focusing especially on the work of Muòhammad Bakhåit al-Muòtåi°åi, Mufti of Egypt for a time and a leading scholar at the Azhar, Transformations shows that the colonial moment of the late nineteenth and early twentieth centuries marked a significant rupture in how Muslim jurists understood history and authority, science and technology, and religion and the secular, thereby upending the very ground upon which Islamic law had until then functioned"--

Bringing together the expansive scholarly expertise of former students of Professor Michael Allan Cook, this volume contains highly original articles in Islamic history, law, and thought. The contributions range from studies in the pre-Islamic calendar, to the "blood-money group" in Islamic law, to transformations in Arabic logic.

What is 'art' in the sense of the Islamic tradition? Mohammed Hamdouni Alami argues that Islamic art has historically been excluded from Western notions of art; that the Western aesthetic tradition's preoccupation with the human body, and the ban on the representation of the human body in Islam, has meant that Islamic and Western art have been perceived as inherently at odds. However, the move away from this 'anthropomorphic aesthetic' in Western art movements, such as modern abstract and constructivist painting, have presented the opportunity for new ways of viewing and evaluating Islamic art and architecture. This book questions the very idea of art predicated on the anthropocentric bias of classical art, and the corollary 'exclusion' of Islamic art from the status of art. It addresses a central question in post-classical aesthetic theory, in as much as the advent of modern abstract and constructivist painting have shown that art can be other than the representation of the human body; that art is not neutral aesthetic contemplation but it is fraught with power and violence; and that the presupposition of classical art was not a universal truth but the assumption of a specific cultural and historical set of practices and vocabularies. Based on close readings of classical Islamic literature, philosophy, poetry, medicine and theology, along with contemporary Western art theory, the author uncovers a specific Islamic theoretical vision of art and architecture based on poetic practice, politics, cosmology and desire. In particular it traces the effects of decoration and architectural planning on the human soul as well as the centrality of the gaze in this poetic view - in Arabic 'nazar'- while examining its surprising similarity to modern theories of the gaze. Through this double gesture, moving critically between two traditions, the author brings Islamic thought and aesthetics back into the realm of visibility, addressing the lack of recognition in comparison with other historical periods and traditions. This is an important step toward a critical analysis of the contemporary debate around the revival of Islamic architectural identity - a debate intricately embedded within opposing Islamic political and social projects throughout the world.

Islam's fourth caliph, Ali, can be considered one of the most revered figures in Islamic history. His nearly universal portrayal in Muslim literature as a pious authority obscures centuries of contestation and the eventual rehabilitation of his character. In this book, Nebil Husayn examines the enduring legacy of the nawasib, early Muslims who disliked Ali and his descendants. The nawasib participated in politics and scholarly discussions on religion at least until the ninth century. However, their virtual disappearance in Muslim societies has led many to ignore their existence and the subtle ways in which their views subsequently affected Islamic historiography and theology. By surveying medieval Muslim literature across multiple genres and traditions including the Sunni, Mu'tazili, and Ibadi, Husayn reconstructs the claims and arguments of the nawasib and illuminates the methods that Sunni scholars employed to gradually rehabilitate the image of Ali from a villainous character to a righteous one.

"Locating Hell in Islamic traditions" gathers research on the history of the Muslim hell from its beginnings in the Quran through its medieval and modern transformations.