Online Bibliographical Guide for Islamic Philosophy and Theology

Brief Bibliographical Guide for Islamic Philosophy and Theology
by Thérèse-Anne Druart

A Brief Bibliographical Guide in Medieval Islamic Philosophy and Theology 2010 - 2011
A Brief Bibliographical Guide in Medieval Islamic Philosophy and Theology 2009 - 2010
A Brief Bibliographical Guide in Medieval Islamic Philosophy and Theology 2008 - 2009
A Brief Bibliographical Guide in Medieval Islamic Philosophy and Theology 2007 - 2008
A Brief Bibliographical Guide in Medieval Islamic Philosophy and Theology 2006 - 2007
A Brief Bibliographical Guide in Medieval Islamic Philosophy and Theology 2004 - 2006
A Brief Bibliographical Guide in Medieval Islamic Philosophy and Theology 2002 - 2004
A Brief Bibliographical Guide in Medieval Islamic Philosophy and Theology 1998 - 2002

Averroes Long Commentary on the Metaphysics On Line

Averroes Long Commentary on the Metaphysics On Line

• Averroès, Tafsir ma ba‘d at-tabi‘at: Tome V, 1 (Notice - 1952) 

• Averroès, Tafsir ma ba‘d at-tabi‘at: Tome V, 2 (Livres PETIT ALIF, GRAND ALIF, BA', GIM - 1938) 

• Averroès, Tafsir ma ba‘d at-tabi‘at: Tome VI (Livres DAL, HE, ZAY, HHA', TTA' - 1942)

A collaborative project between the main libraries of East Jerusalem A collaborative project between the main libraries of East Jerusalem The First Virtual Library of Collections of Arabic Manuscripts in Jerusalem

Developed within the framework of project Manumed, financed by the European Union and the region Provence Alpes Cote d'Azur, "The Arabic Manuscripts Digital Library of Jerusalem" aims to promote the written heritage of East Jerusalem and to make this heritage accessible to all with the sole caveat of an internet connection. It relies on the latest technology to provide access which is simple, multimedia and multilingual.



Al-Quds Manuscripts

The manuscripts of the Aga Khan Museum (AKM)

The Aga Khan Museum, which is under construction in Toronto, Canada,  includes an important manuscript collection (over 70 manuscripts) and several hundred folios with miniature paintings.
The manuscripts (Qur'an, religious commentary,  books of science, philosophy , and literature (including some famous Shahnameh) have been scanned (digitized) and are avalaible on this website.

Aga Khan Museum

Gallup report: After the Arab Uprisings: Women on Rights, Religion, and Rebuilding. 

Gallup has released a report on Women in the Arab world post Arab spring. The title is:

After the Arab Uprisings: Women on Rights, Religion, and Rebuilding -- Final Report

"After the Arab Uprisings: Women on Rights, Religion, and Rebuilding" examines ordinary citizens' views on the issues vital to rebuilding after the revolution. The report focuses on several countries that experienced upheaval in 2011, exploring the perspectives of women and men on the role of religious legislation, women's rights, life perceptions, and the economy."

One Off Journal Issues: Journal of Art Historiography Number 6 June 2012

Journal of Art Historiography Number 6 June 2012: ISLAMIC ART HISTORIOGRAPHY

The present volume of studies has evolved from what was originally a fairly modest panel proposal for the 2010 Association of Art Historians annual conference held in Glasgow, seeking to survey the state of the field by inviting papers that dealt with the historiography of scholarship on the art of the pre-modern Islamic world but also accepting presentations of current research that were not primarily concerned with historiography. The very open-ended nature of the original Call for Papers reflects the fact that one of our main aims at that point was simply to address the absence of any dedicated Islamic art history panel at an AAH annual conference since Robert Hillenbrand’s panel at the 2000 conference held in Edinburgh,1 an omission that we saw as unhappily reflecting both the Eurocentrism and modern/contemporary biases of the AAH, and the apparent disinterest of some of the practitioners in our field (particularly, perhaps, in the United Kingdom) towards the critical dialogues taking place in the larger field of art history. We remain grateful for the generous support of Iran Heritage Foundation and the University of Edinburgh, which allowed us to assemble a full AAH panel of Islamic art historians once again. Even after the rather dramatic intervention of the Icelandic volcano lost us two of our speakers to the giant ash-cloud which grounded all flights in the western hemisphere, we did in the end have a panel that included excellent papers on a wide variety of subjects, some of which have gone on to appear in print elsewhere. However, the majority of the papers presented did not deal with historiography per se.

It was at this panel that we were first approached by the editor-in-chief of the Journal of Art Historiography, Richard Woodfield, who invited us to act as guest editors for a special edition of the journal on the historiography of Islamic art...

ISLAMIC ART HISTORIOGRAPHY
Guest edited by Moya Carey (V&A) and Margaret S. Graves (Indiana University)

Introduction
Moya Carey and Margaret S. Graves, ‘Introduction: Historiography of Islamic art and architecture, 2012’            6-MCG/1

Prologue

Avinoam Shalem, ‘What do we mean when we say “Islamic art”? A plea for a critical rewriting of the history of the arts of Islam’   6-AS/1

Scholars and showmen

Zeynep Simavi, ‘Mehmet Ağa-Oğlu and the formation of the field of Islamic art in the United States’       6-ZS/1

Robert Hillenbrand, ‘Oleg Grabar: the scholarly legacy’       6-RH/1

Yuka Kadoi, ‘Arthur Upham Pope and his “research methods in Muhammadan art”: Persian carpets’        6-YK/1

Connoisseurs, collectors and consumers

Keelan Overton, ‘A history of Ottoman art history through the private database of Edwin Binney, 3rd’   6-KO/1

Amanda Phillips, ‘The historiography of Ottoman velvets, 2011-1572: scholars, craftsmen, consumers’     6-AP/1

Christiane Gruber, ‘Questioning the “classical” in Persian painting: models and problems of definition’    6-CG/1

The recorded object: collating the canon

Eva Troelenberg, ‘Regarding the exhibition: the Munich exhibition Masterpieces of Muhammadan Art (1910) and its scholarly position’       6-ET/1

Lara Eggleton, ‘History in the making: the ornament of the Alhambra and the past-facing present’            6-LE/1

Hussein Keshani, ‘Towards digital Islamic art history’          6-HK/1

The limits of Islamic art history

Nasser Rabbat, ‘What is Islamic architecture anyway?’         6-NR/1

Mariam Rosser-Owen, ‘Mediterraneanism: how to incorporate Islamic art into an emerging field’  6-MRO/1

Margaret S. Graves, ‘Feeling uncomfortable in the nineteenth century’        6-MSG/1

Wendy Shaw, ‘The Islam in Islamic art history: secularism and public discourse’    6-WS/1

Translation

Fatima Quraishi, ‘Asar-ul-Sanadid: a nineteenth-century history of Delhi’   6-FQ/1

Documents

Sheila S. Blair and Jonathan M. Bloom, ‘The Mirage of Islamic Art: Reflections on an Unwieldy Field’, The Art Bulletin, 85(1), 2003. Reproduced by permission of the authors and the College Art Association.  6-SSB/1

Robert Hillenbrand, ‘Studying Islamic Architecture: Challenges and Perspectives’, Architectural History, 46, 2003. Reproduced by permission of the author and the Society of Architectural Historians of Great Britain.      6-RH/2

Finbarr Barry Flood, ‘From the Prophet to Postmodernism? New World Orders and the End of Islamic Art’, in Elizabeth Mansfield, ed., Making Art History: A Changing Discipline and its Institutions, London and New York: Routledge, 2007. Reproduced by permission of the author and publishers.  6-FBF/1

Gülru Necipoğlu, ‘The Concept of Islamic Art: Inherited Discourses and New Approaches’, in Benoît Junod, Georges Khalil, Stefan Weber and Gerhard Wolf, eds, Islamic Art and the Museum, London: Saqi, 2012. Reproduced by permission of the author and publishers.       6-GN/1

Notice

Due to the late approval given by the publishers John Wiley & Sons Ltd., we will not formally be able to include Nasser Rabbat’s article ‘Islamic Architecture as a Field of Historical Enquiry’, AD Architectural Design, 74(6), 2004 in the current journal’s table of contents. It will appear in the ToC for issue 7. We are, however, pleased to be able to make it available to readers in advance of December 2012, with the approval of the author and John Wiley & Sons Ltd.  7-NR/1

See the Alphabetical List of Open Access Journals in Middle Eastern Studies

Online Prosopography of the Byzantine World

Prosopography of the Byzantine World

Prosopographical Reading of Byzantine Sources, 1025-1150

This edition replaces the beta version of the Prosopography of the Byzantine World database, published in 2006.

It includes much more information than before on the first half of the twelfth century, mainly from Latin and Greek sources. As well as the history of Byzantium, it now has reasonable coverage of the first two crusades and the history of the crusader states until 1150. The religious dimension of eleventh-century Byzantium, which before was a weakness, is becoming a strength. The first Armenian and Arabic texts have been added. See the full list of texts we have included, which also serves as an index of the coverage of the project

The full bibliographic description is
M. Jeffreys et al., Prosopography of the Byzantine World (2011) available at <http://pbw.kcl.ac.uk>; the standard abbreviation is PBW. Entries should be cited with the date at which they were consulted, and may use the permalinks provided for each individual on person pages and seal pages: so

• PBW (consulted 1.xi.2011) Boulloterion 2508, <http://db.pbw.kcl.ac.uk/id/boulloterion/2508>
• PBW (consulted 1.xi.2011) Leon 20224, <http://db.pbw.kcl.ac.uk/id/person/154244>

Aims and objectives of PBW: please see About the Project.
Acknowledgements
The project owes a debt of gratitude to recent participants in PBW (see a list of names and contributions here) and many others who have contributed much understanding and energy: for the full list for the whole project, see Project Team. Our work has been made possible by the generosity of institutional supporters. The entire project depends on the vision, oversight and support of the British Academy. Essential funding has been provided by the Arts and Humanities Research Council, the Leverhulme Trust, and the A.G. Leventis Foundation.

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