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The religious movement known as Bābism profoundly affected Iranian society during the 1840s. After a lengthy hiatus, academic study of the sect has entered a new phase with the appearance of several important books, articles, and theses. The present work surveys Persian and Arabic manuscripts relating to the history and doctrines of the sect. Part one examines the writings of the Bāb and his followers. Part two analyses primary and secondary sources for Bābī history, with a discussion of the controversial Kitāb-i Nuqṭat al-kāf. Discussion of each title is followed by a comprehensive listing of known MS copies. An appendix contains an index of first lines and titles for works of the Bāb. This is the first study to examine the large corpus of Bābī writing and will help scholars identify texts and find manuscripts in Europe and the Middle East.
Based throughout on original Persian and Arabic sources, most in manuscript, this is an exhaustive overview of Babi history and doctrine. Alongside Amanat's "Resurrection and Renewal," this distillation of a lifetime's work on the movement brings Babi studies into the twentieth century.
In this pioneering book, Negar Mottahedeh explores the central issues of vision and visibility in Iranian culture. She focuses on historical and literary texts to understand the use of visual culture and performance traditions in the production of the contemporary nation. Tracing the historical mediation and dissemination of ideas for national reform in the modern period of Iran, the book examines the various discourses that have constituted the image of the unpresentable “Babi” as the figure of Iran’s Other. In her exploration of gender and Iranian cinema, the author powerfully argues that this unpresentable image continues to haunt contemporary Iranian cinema’s representations of the nation. As cinema began to displace other forms of representation in Iran, Islamic culture attempted to keep the motion picture industry free from what it perceived to be the taint of foreign values and intervention. With insight and detail, Mottahedeh looks at the revealing ways in which contemporary Iranian cinema has dealt with representing an unpresentable national modernity articulated through traversals in time and space. These deeply national tropes of traversal shaped the image of the “Babi,” against which nineteenth-century Iran produced its own modernity. This highly original work, signaling a paradigmatic shift in Iranian studies and gender studies, will be an invaluable resource for scholars in cultural, Iranian, or film studies.
The religious movement known as B bism profoundly affected Iranian society during the 1840s. After a lengthy hiatus, academic study of the sect has entered a new phase with the appearance of several important books, articles, and theses.The present work surveys Persian and Arabic manuscripts relating to the history and doctrines of the sect. Part one examines the writings of the B b and his followers. Part two analyses primary and secondary sources for B b history, with a discussion of the controversial Kit b-i Nuqt at al-k f. Discussion of each title is followed by a comprehensive listing of known MS copies. An appendix contains an index of first lines and titles for works of the B b.This is the first study to examine the large corpus of B b writing and will help scholars identify texts and find manuscripts in Europe and the Middle East.
Black Morocco: A History of Slavery, Race, and Islam chronicles the experiences, identity and achievements of enslaved black people in Morocco from the sixteenth century to the beginning of the twentieth century. Chouki El Hamel argues that we cannot rely solely on Islamic ideology as the key to explain social relations and particularly the history of black slavery in the Muslim world, for this viewpoint yields an inaccurate historical record of the people, institutions and social practices of slavery in Northwest Africa. El Hamel focuses on black Moroccans' collective experience beginning with their enslavement to serve as the loyal army of the Sultan Isma'il. By the time the Sultan died in 1727, they had become a political force, making and unmaking rulers well into the nineteenth century. The emphasis on the political history of the black army is augmented by a close examination of the continuity of black Moroccan identity through the musical and cultural practices of the Gnawa.