Reflecting both private devotional love and the attempt to attain union with God and become absorbed into the Divine, many poems in this edition are imbued with the symbols and metaphors that develop many of the central ideas of Sufism: the Lover, the Beloved, the Wine, and the Tavern; while others are more personal and echo the poet's battle to leave earthly love behind.These translations capture the passion of the original poetry and are accompanied by an introduction on Sufism and the common themes apparent in the works. This edition also includes suggested further reading.

    A master of magic and a superb story-teller, Tuhami lives in a dank, windowless hovel near the kiln where he works. Nightly he suffers visitations from the demons and saints who haunt his life, and he seeks, with crippling ambivalence, liberation from 'A'isha Qandisha, the she-demon. In a sensitive and bold experiment in interpretive ethnography, Crapanzano presents Tuhami's bizarre account of himself and his world. In so doing, Crapanzano draws on phenomenology, psychoanalysis, and symbolism to reflect upon the nature of reality and truth and to probe the limits of anthropology itself. Tuhami has become one of the most important and widely cited representatives of a new understanding of the whole discipline of anthropology.

    The book covers the life of Muhammad and the birth of Islam, through the great days of the Ummayad and Abbasid Caliphates (8th-10th centuries), to the period of political fragmentation which followed it when Islam lost its core unity, never to be recovered.

    For centuries following the fall of Rome, western Europe was a benighted backwater, a world of subsistence farming, minimal literacy, and violent conflict. Meanwhile Arab culture was thriving, dazzling those Europeans fortunate enough to catch even a glimpse of the scientific advances coming from Baghdad, Antioch, or the cities of Persia, Central Asia, and Muslim Spain. T here, philosophers, mathematicians, and astronomers were steadily advancing the frontiers of knowledge and revitalizing the works of Plato and Aristotle. I n the royal library of Baghdad, known as the House of Wisdom, an army of scholars worked at the behest of the Abbasid caliphs. At a time when the best book collections in Europe held several dozen volumes, the House of Wisdom boasted as many as four hundred thousand.Even while their countrymen waged bloody Crusades against Muslims, a handful of intrepid Christian scholars, thirsty for knowledge, traveled to Arab lands and returned with priceless jewels of science, medicine, and philosophy that laid the foundation for the Renaissance. I n this brilliant, evocative book, Lyons shows just how much "Western" culture owes to the glories of medieval Arab civilization, and reveals the untold story of how Europe drank from the well of Muslim learning.

    We experience the sights and sounds of the region just as enlightened Islamic empires and primitive Christendom began to contest it. We learn about the siege tactics, theological disputes, and poetry of this enthralling time. And we see that people of different faiths coexisted far more frequently than we are commonly told.Catlos’s meticulous reconstruction of the era allows him to stunningly overturn our most basic assumption about it: that it was defined by religious extremism. He brings to light many figures who were accepted as rulers by their ostensible foes. Samuel B. Naghrilla, a self-proclaimed Jewish messiah, became the force behind Muslim Granada. Bahram Pahlavuni, an Armenian Christian, wielded power in an Islamic caliphate. And Philip of Mahdia, a Muslim eunuch, rose to admiral in the service of Roger II, the Christian “King of Africa.”What their lives reveal is that, then as now, politics were driven by a mix of self-interest, personality, and ideology. Catlos draws a similar lesson from his stirring chapters on the early Crusades, arguing that the notions of crusade and jihad were not causes of war but justifications. He imparts a crucial insight: the violence of the past cannot be blamed primarily on religion.

    Lewis' The Discarded Image paints a lucid picture of the medieval world view, as historical and cultural background to the literature of the Middle Ages and Renaissance. It describes the image discarded by later ages as the medieval synthesis itself, the whole organization of their theology, science and history into a single, complex, harmonious mental model of the universe. This, Lewis' last book, was hailed as the final memorial to the work of a great scholar and teacher and a wise and noble mind.

    Far from being meek and mild, they were violent, ruthless and fundamentally intolerant. Unlike the polytheistic world, in which the addition of one new religion made no fundamental difference to the old ones, this new ideology stated not only that it was the way, the truth and the light but that, by extension, every single other way was wrong and had to be destroyed. From the 1st century to the 6th, those who didn't fall into step with its beliefs were pursued in every possible way: social, legal, financial and physical. Their altars were upturned and their temples demolished, their statues hacked to pieces and their priests killed. It was an annihilation.Authoritative, vividly written and utterly compelling, this is a remarkable debut from a brilliant young historian.

    A brilliantly creative work that established the reputation of Dutch historian John Huizinga (1872-1945), the book argues that the era of diminishing chivalry reflected the spirit of an age and that its figures and events were neither a prelude to the Renaissance nor harbingers of a coming culture, but a consummation of the old.Among other topics, the author examines the violent tenor of medieval life, the idea of chivalry, the conventions of love, religious life, the vision of death, the symbolism that pervaded medieval life, and aesthetic sentiment. We view the late Middle Ages through the psychology and thought of artists, theologians, poets, court chroniclers, princes, and statesmen of the period, witnessing the splendor and simplicity of medieval life, its courtesy and cruelty, its idyllic vision of life, despair and mysticism, religious, artistic, and practical life, and much more.Long regarded as a landmark of historical scholarship, The Waning of the Middle Ages is also a remarkable work of literature. Of its author, the New York Times said, "Professor Huizinga has dressed his imposing and variegated assemblage of facts in the colorful garments characteristic of novels, and he parades them from his first page to the last in a vivid style."An international success following its original publication in 1919 and subsequently translated into several languages, The Waning of the Middle Ages will not only serve as an invaluable reference for students and scholars of medieval history but will also appeal to general readers and anyone fascinated by life during the Middle Ages.

    It traces a soaring, poetic, popular tradition that celebrates love for both humanity and the Divine as the ultimate path leading humanity back to God. Safi brings together for the first time the passages of the Qur’an sought by the Muslim sages, the mystical sayings of the Prophet, and the teachings of the path of “Divine love.” Accurately and sensitively translated by leading scholar of Islam Omid Safi, the writings of Jalal al‑Din Rumi can now be read alongside passages by Kharaqani, ‘Attar, Hafez of Shiraz, Abu Sa‘id‑e Abi ’l‑Khayr, and other key Muslim mystics. For the millions of readers whose lives have been touched by Rumi’s poetry, here is a chance to see the Arabic and Persian traditions that produced him.

    They are alive with images and symbols--all of which are packed with meaning. But today few people, from regular visitors to tourists, truly understand the wealth of meaning in what they find there. How to Read a Church is must reading for anybody who wants to know more about what they see in a church or cathedral. It explores the principal features of churches and what each represents. It also explains: "the significance of church layout "the importance of such details as the use of colors or letters "the identity and significance of people and scenes "the symbolism of animals, plants, colors, numbers, and letters "the meaning of it all In addition to exploring these brick-and-mortar motifs, the author also reveals fascinating and unexpected details such as how to 'read' the priest and the congregation, and he shows the varied ways that church architecture and appointments reflect the Christian year. From major themes to small but vital details, How to Read a Church will serve as a fascinating guide to the history, meanings, and messages of these beautiful buildings and the treasures they contain.

    A centuries-old tradition developed in Europe during the Renaissance, cabinets of wonder (also known as curiosity cabinets) are once again in fashion. Shops, restaurants, and private residences echo these cabinets in their interior design, by making use of the eclectic vintage objects commonly featured in such collections. "Cabinets of Wonder "showcases exceptional collections in homes and museums, with more than 180 photographs, while also explaining the history behind the tradition, the best-known collections, and the types of objects typically displayed. Offering both a historical overview and a look into contemporary interior design, this extravagantly illustrated book celebrates the wonderfully odd world of cabinets of wonder.

    Yet two centuries later, the Knights were suddenly arrested and accused of blasphemy, heresy and orgies, their order was abolished, and their leaders burnt at the stake. Their dramatic end shocked their contemporaries and has gripped peoples' imaginations ever since.This new book explains the whole context of Templar history, including, for the first time, the new evidence discovered by the Vatican that the Templars were not guilty of heresy. It covers the whole swathe of Templar history, from its origins in the mysteries of Solomon's Temple in Jerusalem through to the nineteenth century development of the Freemasons.The book also features a guide to Templar castles and sites, and coverage of the Templars in books, movies and popular culture, from Indiana Jones to the Xbox360 game Assassin's Creed.

    Many writers have grappled with Cage’s music—which used notes chosen by chance, randomly tuned radios, and even silence—trying to understand what his music means rather than where it came from. An unprecedented and revelatory book, Where the Heart Beats reveals what actually empowered Cage to compose his incredible music, and how he inspired the tremendous artistic transformations of mid-century America.Where the Heart Beats is the first biography of John Cage to address the phenomenal importance of Zen Buddhism to the composer’s life, and to the artistic avant-garde of the 1950s and 60s. Zen’s power of transforming Cage’s troubled mind, by showing him his own enlightened nature—which is also the nature of all living things—liberated Cage from an acute personal crisis that threatened his life, his music, and his relationship with his life-partner, Merce Cunningham. Caught in a society that rejected his music, his politics, and his sexual orientation, Cage was transformed by Zen from an overlooked and somewhat marginal musician into the absolute epicenter of the avant garde.Using Cage’s life as a starting point, Where the Heart Beats looks beyond to the individuals he influenced and the art he inspired. His circle included Robert Rauschenberg, Andy Warhol, Merce Cunningham, Yoko Ono, Jasper Johns, Morton Feldman, and Leo Castelli, who all went on to revolutionize their respective disciplines. As Cage’s story progresses, as his students’ trajectories unfurl, Where the Heart Beats shows the blossoming of Zen in the very heart of American culture. Both an innovative biography and a ground-breaking cultural history of the American Century, Where the Heart Beats is the work of acclaimed art critic Kay Larson. Following her time at New York Magazine and The Village Voice, Larson practiced Zen at a Buddhist monastery in upstate New York. Larson’s deep knowledge of Zen Buddhism, her long familiarity with New York’s art world, and her exhaustive original research all make Where the Heart Beats the definitive story about one of America’s most enduringly important artists.

    and, during the next millennium, spread across the Greco-Roman world, producing the remarkable discoveries and theories of Thales, Pythagoras, Hippocrates, Plato, Aristotle, Euclid, Archimedes, Galen, Ptolemy, and many others. John Freely explains how, as the Dark Ages shrouded Europe, scholars in medieval Baghdad translated the works of these Greek thinkers into Arabic, spreading their ideas throughout the Islamic world from Central Asia to Spain, with many Muslim scientists, most notably Avicenna, Alhazen, and Averroës, adding their own interpretations to the philosophy and science they had inherited. Freely goes on to show how, beginning in the twelfth century, these texts by Islamic scholars were then translated from Arabic into Latin, sparking the emergence of modern science at the dawn of the Renaissance, which climaxed in the Scientific Revolution of the seventeenth century.Here is early science in all its glory, from Pythagorean “celestial harmony” to the sun-centered planetary theory of Copernicus, who, in 1543, aided by the mathematical methods of medieval Arabic astronomers, revived a concept proposed by the Greek astronomer Aristarchus some eighteen centuries before. When Newton laid the foundations of modern science, building on the work of Copernicus, Tycho Brahe, Kepler, Galileo, and others, he said that he was “standing on the sholders [sic] of Giants,” referring to his predecessors in ancient Greece and in the Arabic and Latin worlds from the Middle Ages through the Renaissance.Caliph Harun al-Rashid was one of the Muslim rulers who first promoted translating Greek texts into Arabic. His Baghdad is the setting for The Thousand and One Nights, in which Scheherazades’s “Tale of Aladdin and His Magic Lamp” reflects the marvels of the new science and the amazing inventions it was said to produce. John Freely’s Aladdin’s Lamp returns us to that time and brings to light an essential and long-overlooked chapter in the history of science.

    Originating in the wild imagination of French poet and playwright Alfred Jarry and his schoolmates, resisting clear definition, purposefully useless, and almost impossible to understand, 'pataphysics nevertheless lies around the roots of Absurdism, Dada, futurism, surrealism, situationism, and other key cultural developments of the twentieth century. In this account of the evolution and influence of 'pataphysics, Andrew Hugill offers an informed exposition of a rich and difficult territory, staying aloft on a tightrope stretched between the twin dangers of oversimplifying a serious subject and taking a joke too seriously. Drawing on more than twenty-five years' research, Hugill maps the 'pataphysical presence (partly conscious and acknowledged but largely unconscious and unacknowledged) in literature, theater, music, the visual arts, and the culture at large, and even detects 'pataphysical influence in the social sciences and the sciences. He offers many substantial excerpts (in English translation) from primary sources, intercalated with a thorough explication of key themes and events of 'pataphysical history. In a Jarryesque touch, he provides these in reverse chronological order, beginning with a survey of 'pataphysics in the digital age and working backward to Jarry and beyond. He looks specifically at the work of Jean Baudrillard, Georges Perec, Italo Calvino, J. G. Ballard, Asger Jorn, Gilles Deleuze, Roger Shattuck, Jacques Pr?vert, Antonin Artaud, Ren? Clair, the Marx Brothers, Joan Mir?, Max Ernst, Marcel Duchamp, James Joyce, Flann O'Brien, Raymond Roussel, Jean-Pierre Brisset, and many others.