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Exposes the secret history of drink and drugs, from creative stimulant to addictive poison.
Sufi Castigator investigates the writings of Ahmad Kasravi, one of the foremost intellectuals in Iran. It studies his work within the context of Sufism in modern Iran and mystical Persian literature and includes translations of Kasravi’s writings. Kasravi provides a fascinating topic for those with interests in Sufism and Iranian studies as he attempted to produce a form of Iranian identity that he believed was compatible with the modern age and Iranian nationalism. His stress on reason and the de-mystification of religion caused him to repudiate Sufism and much of the Sufi literary heritage as backwards and believed it a reason for the weakness of modern Iran. Kasravi’s historical observations were weak, and his writings indicate that he was working towards pre-determined conclusions. However, his works are of significance because they contributed to a major discussion in the 1930s to 1940s about the ideal image and identity that Iranians should adopt. Despite the academic weaknesses of Kasravi’s works he had a profound effect on the next generation of thinkers. Sufi Castigator is stimulating and meticulously researched book and includes two lengthy translations of Kasravi’s works, Sufism and What does Hafez Say? and will appeal to scholars of middle eastern studies.
Shape your world with God's spoken word! God created us to carry hope and transformation to the world! God’s supernatural ability is manifested through His words, and when His people confidently decree His words, we will see supernatural breakthrough take place! In Decrees That Unlock Heaven’s Power, Tommy and...
The 13th century Sufi poet Farid al-Din Attar is renowned as an author of short lyrics written in the Persian language. Dealing with themes of love, passion and mysticism, this book presents the English versions of Attar's poetry. It also offers an analysis of Attar's poetic language and thought.
“A curious, often amusing travelogue of [Sardar’s] quest for understanding and the Muslims he has encountered along his journeys.”—Publishers Weekly Ziauddin Sardar, one of the foremost Muslim intellectuals in Britain, learned the Koran at his mother’s knee in Pakistan. As a young student in London he set out to grasp the meaning of his religion, and, hopefully, to find “paradise,” his quest leading him throughout the Muslim world, from Iran to China to Turkey. Along the way he accepts that he may never reach paradise—but it’s the journey that’s important. At a time when the view of Islam in the West is so often distorted and simplistic, Desperately Seeking Paradise—self-mocking, frank and passionate—is essential reading. “Intoxicating . . . upon finishing the book, I turned back and started reading it all over again.”—Kamila Shamise, New Statesman “At once and earnest and humorous, light-hearted and profound, this is a book that displays a sustained capacity for self-questioning of a kind that has few parallels in the liberal West.”—The Independent “This challenging book not only acts as a guide for Muslims but provides insight and clarification for those outside the Islamic faith.”—Financial Times “The only funny book I’ve read about Islam.”—Mail on Sunday
It is said that words are like people: One can encounter them daily yet never come to know their true selves. This volume examines what words are—how they exist—in religious phenomena. Going beyond the common idea that language merely describes states of mind, beliefs, and intentions, the book looks at words in their performative and material specificity. The contributions in the volume develop the insight that our implicit assumptions about what language does guide the way we understand and experience religious phenomena. They also explore the possibility that insights about the particular status of religious utterances may in turn influence the way we think about words in our language.
Annemarie Schimmel, one of the world's foremost authorities on Persian literature, provides a comprehensive introduction to the complicated and highly sophisticated system of rhetoric and imagery used by the poets of Iran, Ottoman Turkey, and Muslim India. She shows that these images have been used and refined over the centuries and reflect the changing conditions in the Muslim world. According to Schimmel, Persian poetry does not aim to be spontaneous in spirit or highly personal in form. Instead it is rooted in conventions and rules of prosody, rhymes, and verbal instrumentation. Ideally, every verse should be like a precious stone--perfectly formed and multifaceted--and convey the dynamic relationship between everyday reality and the transcendental. Persian poetry, Schimmel explains, is more similar to medieval European verse than Western poetry as it has been written since the Romantic period. The characteristic verse form is the ghazal--a set of rhyming couplets--which serves as a vehicle for shrouding in conventional tropes the poet's real intentions. Because Persian poetry is neither narrative nor dramatic in its overall form, its strength lies in an "architectonic" design; each precisely expressed image is carefully fitted into a pattern of linked figures of speech. Schimmel shows that at its heart Persian poetry transforms the world into a web of symbols embedded in Islamic culture.