This book presents an anthropological study of the Qur’an, offering an unprecedented challenge to some of the epistemological and metaphysical assumptions of the tawḥīdic discourses. Combining primary textual materials and anthropological analysis, this book examines transcendence as a core principle of the Qur’an, uniquely signified in the divine name al-Quddūs (the Holy). It shows how the tawḥīdic representations of Allah constitute an inversion of this attribute; examines how this inversion has been conceived, authorized, and maintained; and demonstrates how it has affected Islamic thinking and practices, especially as relates to authority. This book also explores how a return to the Qur’anic primacy of God’s otherness as al-Quddūs can influence Islamic thinking and practices moving forward. Therefore, it will be highly useful to scholars of Islamic Studies, philosophical theology, Qur’anic studies, political science, ethics, anthropology, and religious studies.
It may be true, as Paul Valery said, that the painter “takes his body with him,” but it is almost certain that artists leave some of their bodies in their art. This book studies the embodied intentionality inscribed in the works of the artists of the Qsur and ‘Amour mountains in Algeria. It retraces the aesthetic gestures of these artists, revealing sounds they heard, tactile and kinesthetic interactions they experienced, and emotions they felt as they recorded the distress and pain of some animals. Combining naturalist style, skilful composition, and spatial features, these artists often gave their art the form of installation, where induced motion and parallactic flow create immersive experiences. Using continuous line technique, they created monumental objects and intricate labyrinthine forms.
It may be true, as Paul Valery said, that the painter “takes his body with him,” but it is almost certain that artists leave some of their bodies in their art. This book studies the embodied intentionality inscribed in the works of the artists of the Qsur and ‘Amour mountains in Algeria. It retraces the aesthetic gestures of these artists, revealing sounds they heard, tactile and kinesthetic interactions they experienced, and emotions they felt as they recorded the distress and pain of some animals. Combining naturalist style, skilful composition, and spatial features, these artists often gave their art the form of installation, where induced motion and parallactic flow create immersive experiences. Using continuous line technique, they created monumental objects and intricate labyrinthine forms.
This book presents an anthropological study of the Qur’an, offering an unprecedented challenge to some of the epistemological and metaphysical assumptions of the tawḥīdic discourses. Combining primary textual materials and anthropological analysis, this book examines transcendence as a core principle of the Qur’an, uniquely signified in the divine name al-Quddūs (the Holy). It shows how the tawḥīdic representations of Allah constitute an inversion of this attribute; examines how this inversion has been conceived, authorized, and maintained; and demonstrates how it has affected Islamic thinking and practices, especially as relates to authority. This book also explores how a return to the Qur’anic primacy of God’s otherness as al-Quddūs can influence Islamic thinking and practices moving forward. Therefore, it will be highly useful to scholars of Islamic Studies, philosophical theology, Qur’anic studies, political science, ethics, anthropology, and religious studies.
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