Transformation in the discipline of Social Sciences is a global phenomenon but in the post-colonial societies it means two things. First, far reaching societal changes resulting into the emergence of new fields in Social Sciences fulfilling new conditions and requirements of society. Second, the growing need and relevance of Social Sciences research so as to address issues which cause serious societal changes. Marginalization of Social Sciences and social scientists in case of Pakistan is not a new phenomenon. There cannot be (...) any time line which can be given for modernizing Social Sciences in Pakistan which can meet the criteria and standards of 21st century. Yet, those who teach and do research in different subjects of Social Sciences must come forward and play a leadership role in this regard. This would require a paradigm shift in the arena of admitting students and appointing faculty so that the best stuff both at the student and faculty level is motivated to join the subjects of Social Sciences in order to ensure quality control and standard which seem to have deteriorated in the last four decades is restored. By attracting the best talent in the subjects of Social Sciences one can expect positive transformation in the state and societal patterns of Pakistan. (shrink)

While research on political violence often focuses on its outcome, there is little attention to the process of political violence. Filling the knowledge gap, the present research applies the theory of instrumentalism to understand political violence as a means to achieve certain political ends. The research is a qualitative case study on Lyari, which was a comparatively peaceful neighborhood in Karachi but transformed into a violent no-go area during 2000s. The paper describes the process of instrumentalization of political violence in (...) Lyari with the objective of outlining the relationship of three key actors – political parties, state authorities, and criminal gangs – using violence for their respective interests. The paper explains how the convergence of their interests influenced the intensity of political violence and converted it into an ethnic conflict. Hence, it expands the literature on political violence by outlining the complexities of the real world where multiple political actors simultaneously use violence to achieve varied objectives that sometimes compliment and sometimes clashes with each other, resulting in further extension of violence. (shrink)

The two-volume set LNCS 10350 and 10351 constitutes the thoroughly refereed proceedings of the 30th International Conference on Industrial, Engineering and Other Applications of Applied Intelligent Systems, IEA/AIE 2017, held in Arras, France, in June 2017. The 70 revised full papers presented together with 45 short papers and 3 invited talks were carefully reviewed and selected from 180 submissions. They are organized in topical sections: constraints, planning, and optimization; data mining and machine learning; sensors, signal processing, and data fusion; recommender (...) systems; decision support systems; knowledge representation and reasoning; navigation, control, and autonome agents; sentiment analysis and social media; games, computer vision; and animation; uncertainty management; graphical models: from theory to applications; anomaly detection; agronomy and artificial intelligence; applications of argumentation; intelligent systems in healthcare and mhealth for health outcomes; and innovative applications of textual analysis based on AI. (shrink)

L’article se penche sur l’opposition bi‑l‑majāz vs. bi‑l‑ḥaqīqa qu’on rencontre dans plus d’un traite d’al‑Kindī. Il s’agit de determiner si l’usage qu’en fait al‑Kindī se situe sur le plan lexical, voire semantique, a savoir l’opposition ‛sens propre’ vs. ‛sens figure’ ou devrait plutot se lire sur le plan ontologique, ḥaqīqa s’appliquant alors a tout ce qui est propre a Dieu et majāz a ce qui est cree par lui et donc en derive. S’appuyant sur les conclusions de Wolfhart Heinrichs au (...) sujet de la genese de la dichotomie ḥaqīqa ‑ majāz, l’auteure montre que l’usage qu’al‑Kindī en fait releve de l’ordre ontologique, ce en quoi il s’accorde avec les milieux mu‛tazilites contemporains du philosophe. Cette interpretation est relayee par un temoin plus tardif, a savoir le theologien et philosophe andalou Baḥya Ibn Paqūda dont le traite al‑Hidāya ilā farā’iḍ al‑qulūb fait d’importants emprunts a la Philosophie Premiere d’al‑Kindī. (shrink)

: The medieval Karaite grammarian and exegete Abū l-Faraj Hārūn b. al-Faraj was a broad reader of the literature available in Arabic, in a variety of genres. Earlier studies have demonstrated that in his grammatical works on the Hebrew language, Hārūn adapted discussions from well-known compositions focused on Arabic and the Qurʾān. The following examination of Hārūn’s treatment of the subject of biblical majāz, non-literal language, aims to show that in constructing his sophisticated and innovative discussion of the topic, the (...) Karaite scholar read widely – and adapted creatively – incorporating the methods of a variety of genres in Arabic, including uṣūl al-naḥw, uṣūl al-fiqh and even iʿjāz al-Qurʾān and combining them together with earlier Jewish and Karaite scholarly tradition to produce what seems to be the first comprehensive discussion of non-literal language in Judeo-Arabic. (shrink)

Through the influence of the religious mystical thought, which interprets the human as a traveler and the world as a destination to settle in and migrate from, numerous connotations as to the road, the passenger as well as the journey have been created in Turkish Ṣūfī poetry. The caravan, which takes place in poetry as an element of simile (tashbīḥ) and generally within the framework of metaphor (majāz) is one of these associations. In Ṣūfī texts, the caravan symbolizes the spiritual (...) journey of the sālik, who wants to reach the rank (maqām) of the Perfect Human Being in the footsteps of the leading figures of the religion and Ṣūfīsm (Taṣawwuf). The caravan has passed, which is understood as a symbol peculiar to the lore language, looks like a formula of a series of advice that reminds and warns people of the responsibilities they are obliged to fulfill even though life is short and the world is temporary. Being delayed of the unwary traveler when the caravan has passed was used in the sense that the sālik could not make use of his life, time, and opportunities; and the situation of the person who was left behind and separated from the caravan was generally met with the analogy of a lame donkey. In this study, which is about the caravan as a mystical metaphor (majāz), the survey model, one of the qualitative research methods, was used. The research aims to determine the use of the caravan metaphor (majāz) in the examples of Ṣūfī poetry and meanings it has gained in Ṣūfī terminology. For this purpose, the major works written between the 12th and 19th centuries in Turkish Ṣūfī poetry have been investigated, and the data obtained have been evaluated in the light of the works and views of the leading figures who have been influential on Turkish Ṣūfī culture and literature. The study, which is thought to contribute to the understanding of the metaphors (majāzs) that Turkish Ṣūfī poetry is based on is important since it reveals that the usages the caravan has passed is one of the common symbols of Ṣūfīsm (Taṣawwuf). As a result of the research, it was found out that the metaphor (majāz) of the caravan has existed in poetry uninterruptedly since the 12th century when Turkish Ṣūfī literature began to take shape. Although time, place, and persons change, the meanings attributed to the metaphor (majāz) of the caravan are almost the same. Especially in the poems containing advice, the metaphor (majāz) of the caravan was frequently used to guide people and human life was associated with the caravan. In this respect, it can be said that the metaphor (majāz) of the caravan has a traditional usage in Turkish Ṣūfī poetry. On the other hand, the usage of the caravan metaphor (majāz) in Turkish Ṣūfī poetry and the usage in Iranian literature show similarity. As a matter of fact, starting with Aḥmed Yesevī (d. 562/1166), many Ṣūfī poets depicted the same journey in a similar way, and Saʿdī-i Shīrāzī (d. 691/1292) dealt with the same theme in a way that coincided with the narrative and vocabulary of Turkish poets. The fact that the caravan is determined with similar uses in the poems of different societies as a Ṣūfī symbol shows that the metaphor (majāz) of the caravan has a common usage regarding Ṣūfīsm (Taṣawwuf) in the wide cultural geography of Islam. The metaphor (majāz) of the caravan has a special usage in Turkish Ṣūfī poetry in the form of the caravan has passed. Expressions in the style of the caravan has passed which succinctly fit a long adventure into two words, are symbols peculiar to the lore language, and serve as psychological advice in Turkish Ṣūfī poetry. On the one hand, this symbol deals with the caravan journey in the dimension of truth, on the other hand, it gives metaphorical meanings to the word, referring to the spiritual journey of sālik. In this sense, the caravan has passed is a powerful metaphor (majāz) that warns people to make the best use of the rest of their life, or rather the moment they are in, and it looks like a formula of a series of advice that warns them. The advice in question is closely related to the words die before you die and time is a sharp sword, often used by the leading figures of religion and mysticism. Therefore, the caravan has passed is a kind of contemplation and presents a vivid picture of the journey that takes its source from the social life so that the traveler does not forget that he is on the way by reminding him of death. The advice style is generally dominant in the poems in which the metaphor (majāz) of the caravan is used, especially in the poems describing the caravan’s passing and the heedless traveler staying on the road. However, it is obvious that the subject is presented in a lyrical and impressive style, especially in poets such as Aḥmed Yesevī, Yūnus Emre (d. 720/1320 [?]) and Niyāzī-i Mıṣrī (d. 1105/1694). (shrink)

This article argues that early Arabic philologists developed a robust, if implicit, theory of metaphorical language, one that was not dictated by theological concerns, and one that took shape outside the technical term majāz. The starting point of the article is the oft-cited claim found in Islamic legal theory, according to which authority over matters of majāz rested in the hands of the lexicographers. For Ibn Taymiyya, this was a lie meant to justify the acceptance of metaphor in the Quran. (...) But evidence from lexicographical, lexicological, and grammatical works supports the jurists’ general claim. There was a difference, however, between the lexemes that the jurists identified as majāz and the metaphorical expressions that the lexicographers pointed out, in that the former were not always codified in the dictionaries and thus more aligned with “live” or creative metaphors. Methodologically, the article proposes an updated model for the study of medieval Arabic technical terms, away from the term itself and toward the concept behind it. (shrink)

Understanding the nusus and the interpretation of their texts has been at the center of the activities of many schools and ulama in fiqh studies, and as a result, each school of usool has sought to find a method suitable for their own understanding in order to understand and interpret the nusus in a sahih way. For this purpose, fiqh schools have developed some unique methods. It can be said that the main differences among the hukms that fiqh schools rely (...) on are generally due to these methodological differences. One of the efforts to understand and interpret through the linguistic structures and patterns of the nusus is tawīl. For this reason, it is necessary to know conceptions of tawīl in order to accurately determine the hukm giving methods of fiqh schools. In this context, the thought of Zâhiri Ṭawīl, which is based on the zâhiri meaning of the words in the language and aims to solve the meaning pattern of the nusus within the framework of the rules of the language, is important. To this end, the tawīl understanding of Ibn Hazm (d. 543/1148), one of the leading ulama of Zâhiri thought, has an important position in the determination of their understanding of fiqh and usool. For this purpose, by searching the works of Ibn Hazm, how his understanding of tawīl, which he used as a method, is reflected in his fiqh thought, will be examined through his fiqhi inferences. The Qur’an used their language when addressing the societies. The Qur'an especially, on the one hand, has used the language they use to convey its messages to its interlocutors in a correct and understandable way, on the other hand, it has used a unique style without departing from the natural structure of the language in unseen matters due to the nature of religious language. Therefore, it is necessary to take into account the words of the texts in order to understand and interpret the language used. The word tawīl was used by the ilm circles in the first period to mean the same as the word tafsir and in naming the works written as the Qur’an tafsir, the word tawīl was preferred instead of tafsir. Mâturîdî, the writer of the first dirayah tafsir, which points to the distinction between tafsir and tawīl, defines the word tafsir as 'to express exactly what is the meaning and purpose of the Qur'an, which is the divine word' and states that tafsir can be done only by the the Ṣaḥābah who knows Quran and Sunnah well. According to one of the many theses about the origin of language, it is God given. In other words, language has been taught to man by a supreme power (Allah). Ibn Hazm also defends this view. According to Ibn Hazm, the basic elements / elements of the language were taught by Allah to Adam (a.s), and then people developed this language in proportion to their needs. Therefore, the indications of the words depend on the declarations of God and linguistic experience. As a matter of fact, Allah has attributed new meanings to words such as salat, allegiance, hajj and similar words used for other meanings in the custom of language, and the new meanings attributed to them are accepted as the truth for the meanings of these words. Usûlists who adopted the method of fuqaha in usool, in the methods of istinbat of hukm out of sharii dalils, have generally made the taqseem of the words in terms of the meaning they were given to as âm, khâs, mushtarak and muavval while their taqsseem in terms of the words’ being used or not in the sense they were given was haqiqat, majaz, sarih and kinayah. Compared to other schools, the issue of tawīl has a different meaning according to the Zâhirî usûlists and faqih who base on the zâhiri khitab. Since the zâhir of the nusus is primary and essential, there should be a certain usool, principle and rule to give up the zâhir of the nusus and to switch to another possible meaning. Ibn Hazm states that there are different opinions among the usûlists about whether the imperative form is indicant of hukm. He also says that according to some Hanafi, Malikî and Shafii usûlists, as long as there is no evidence showing that it is wujub, tahrim, nedb, ibahâ and karahah, then the imperative form cannot be views as indicating a hukm. (shrink)

Ṣūfī poetry or dīvān poetry, both of our poems have a universal appeal and a classical value just as the poetry of many nations’. Poets of both groups enhanced the consciousness level of every people one by one and created a virtuous society by taking power from the potential that existed in Turkish society already. If it is needed to mention a difference between those two poetries, it could be that dīvān poetry is a static one and sūfī poetry is (...) more dynamic than the dīvān poetry. While dīvān poetry has a unique World of poetry, sūfī poetry has a feeling of universe shaped by different meanings and concepts. Although dīvān poetry is based on intelligence and pleasure, there is intuitive inspiration and wāridāt in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme (mażmūn). Until today, since the first that comes to mind, when it is said poetic themes (mażmūn), is dīvān poetry, poetic themes of ṣūfī poetry were overshadowed. However, ṣūfī poetry is quite interesting and rich in terms of its poetic themes. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz). The aim of this article, which we can sample under three titles and with the couplets of our three ṣūfī poets, is to draw attention to the existence of a rich mażmūn staff independent of the dīvān poetry of Turkish ṣūfī poetry. The subject of mażmūns belonging to Turkish ṣūfī poetry should be considered important since it has not been mentioned much until today. Summary: The poet designs and presents it to his readers on behalf of his readers that he cannot even express what he has imagined but sometimes cannot imagine. Each poem has a specific interlocutor and addresses the emotions of its interlocutor. Each poem is adorned with thought and imagination; yet poems can be understood by annotation accompanied by rhetoric. Ṣūfī poetry and dīvān poetry, both poems have universal appeal and classical value like many poems of many nations. Ṣūfī poet and dīvān poet are the architects of an indestructible art existence that ruled for centuries and their works are masterpieces of their own fields. Both types of poetry, along with literary heritage, are a guide ship that leads the whole cultural heritage to the next generations, leading art branches. Both poets of both groups have strengthened from the potential that existed in Turkish society and raised the level of consciousness of each individual separately and created a virtuous society.Dīvān poetry is as beautiful as the aesthetics of genius; ṣūfī poetry is so beautiful with the sincere sincerity of heathat born to the heart. Without making use of the rich mażmūn staff of the lodge poetry, it would be an exclusivism and a status quo to make the mażmūn exclusive only to dīvān poetry or to search for the mażmūns of dīvān poetry in the lodge poetry and to interpret these mażmūns with the interpretation habits of dīvān poetry.The most obvious difference between ṣūfī poetry and dīvān poetry corresponds to the fact that the terms of Sufism are composed of similes (tashbīḥ), metaphors (majāz); sūfī poetry is a composition of poet’s personally experienced feelings or situations such as waḥdat, ḥalvet, manifest and observant concepts. While the depictions of the dīvān poet, spring and winter depictions, arouse enthusiasm for the reader for a while, the indifference of the ṣūfī poet to this world, the constant heartbeat of Jamāl and the heart beating with the excitement of vuslat (meeting) infiltrates the reader to the eternal world.If there is a difference between the two poems, it is that the poetry of the dīvān is static and the ṣūfī poetry is more dynamic than the poetry of the dīvān. As well as dīvān poetry has a unique world of poetry; ṣūfī poetry has a universe of emotions shaped by different meanings and notions. Even if the beauty they depict is materially and morally different, the poet of both groups wishes to go beyond the beauty that they mean and find themselves there. They do this sometimes with similes (tashbīḥ) and metaphors (majāz) and istiʿāre, succeed with various kinds of poetic themes. In dīvān poetry, there is pleasure and imagination based on intelligence, and inspiration and success based on intuition in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme. Dīvān poetry is an endless effort of abstract imagination, while ṣūfī poetry is an inexhaustible enthusiasm for concrete ecstasy. Although both have found what they are looking for outside of daily life, dīvān poet finds pleasure, yet sūfī poet finds inspire.When it comes to mażmūn, the first thing that comes to mind is Divan literature and it’s figure of beautiful woman’s length (cypress), hair (zulf), eye (daffodil), eyebrow (bow), eyelash (arrow) and skin (silver) and these mażmūns are stereotyped and widespread though each of them is known only to artisans. On the other hand, ṣūfī poetry has many other poetic themes such as Jamāl (grace), Jalāl (distress), ār and nāmūs (mālāmat), gūy (rıza), chevgān (ḳażā) and istignā (reluctant).To date, the first thing that comes to mind when it is said to be mażmūn is dīvān poetry, it has left behind the maẓmūns specific to ṣūfī poetry. However, ṣūfī poetry is also quite rich in terms of its mażmūns. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz).The fact that the dīvān poets used the mażmūn as a word and the use of the term started with the Tanzimat made it inevitable that different definitions of the mażmūn emerged in time. For this reason, many researchers now understand and define the term of mażmūn differently. However, all the academics who researched or wrote about the mażmūn brought to mind only the poem of the dīvān poem, and they selected the examples of the mażmūn from the couplets of the poem of the dīvān poem. In our opinion, the missing part of the subject of mażmūn is here. Nevertheless, our main aim in this article is not to discuss what is or is not a mażmūn, but to try to express that the ṣūfī poem is as rich as the dīvān poem. Whereas the mażmūn has no single generally accepted definition; if so, we can say that ṣūfī poetry may have its own unique mażmūn, we can exemplify it with couplets of ṣūfī poetry. (shrink)

The Holy Spirit Association for the Unification of World Christianity, founded in Seoul in 1954 by the Reverend Sun Myung Moon, has been more popularly known as the Unification Church or ‘the Moonies.’ Following revelations that he reports having received as a young man, Moon devoted his life to preaching and eventually publically proclaiming himself to be the Messiah, or Lord of the Second Advent, come to fulfil the mission of restoring God’s Kingdom of Heaven on earth. His early struggles (...) in Korea clearly had a considerable influence on the trajectory of his life and the development of the UC into a world-wide movement that reached into a wide variety of areas, such as anti-communist politics, the media, the arts, the sciences and vast businesses. Following Moon’s death, the movement has split into three separate factions, the largest of which is run by his widow, and the other two by, respectively, his oldest living and youngest sons. (shrink)