Apresentamos neste trabalho nove gazais de Jalal Uddin Rumi (1207-1273), fundador da Ordem dos Dervixes Rodopiantes de Konya, na Turquia, traduzidos diretamente do persa para o português a partir de uma perspectiva interdisciplinar que envolve História, Dança, Literatura e Tradutologia. Temas centrais da sua poesia, como raqs (dança) e samá (audição), são tomados pela problemática da fusão de seus significados, realizada pelos estudiosos e tradutores. Retoma-se o contexto histórico peculiar de emergência, reiteração e atualização semântica dos termos, pautado pelo debate islâmico sobre a música e a dança, tanto em âmbito secular como religioso, sobretudo entre os séculos IX e XIV. Os autores envolvidos nesse debate discorreram sobre a diferenciação entre dança e audição mística e, a partir da defesa de Alghazali (1058-1111), um novo sentido foi conferido à dança e pautou a sua licitude até o nosso tempo, embora com retrocessos e restrições que variaram conforme o local e a época. Aqui examinamos a noção e terminologia específica utilizada por Rumi em seu diálogo poético com os autores do debate, propondo uma metodologia tradutória focada na metáfora da dança e sensível ao processo da audição mística. / This thesis presents nine gazals of Jalal Uddin Rumi (1207-1273), founder of Whirling Dervishes Order of Konya in Turkey, translated from Persian directly to Portuguese in an interdisciplinary perspective involving History, Dance, Literature and Traductology. The conceptual fusion of Raqs (dancing) and Sama (hearing) - central themes of his poetry which was always done by scholars and translators is discussed herein. We also present and investigate the emergence of these concepts in the Islamic controversy regarding music and dance, in secular as in religious spheres, particularly between the 9th and 14th centuries. Authors who discussed the theme pointed out differences between dancing and mystical hearing; since the defense of Alghazali (1058- 1111) a new meaning was attributed to dance, which has, up until now, been accepted, regardless of setbacks and constraints in different places and times. The specific notion and terminology of dance in Rumis poetry is analyzed in the light of his own dialogue with the authors of this debate. We propose a translation methodology focusing on the dance metaphor which be according to the mystical hearing process.

Apresentamos neste trabalho nove gazais de Jalal Uddin Rumi (1207-1273), fundador da Ordem dos Dervixes Rodopiantes de Konya, na Turquia, traduzidos diretamente do persa para o português a partir de uma perspectiva interdisciplinar que envolve História, Dança, Literatura e Tradutologia. Temas centrais da sua poesia, como raqs (dança) e samá (audição), são tomados pela problemática da fusão de seus significados, realizada pelos estudiosos e tradutores. Retoma-se o contexto histórico peculiar de emergência, reiteração e atualização semântica dos termos, pautado pelo debate islâmico sobre a música e a dança, tanto em âmbito secular como religioso, sobretudo entre os séculos IX e XIV. Os autores envolvidos nesse debate discorreram sobre a diferenciação entre dança e audição mística e, a partir da defesa de Alghazali (1058-1111), um novo sentido foi conferido à dança e pautou a sua licitude até o nosso tempo, embora com retrocessos e restrições que variaram conforme o local e a época. Aqui examinamos a noção e terminologia específica utilizada por Rumi em seu diálogo poético com os autores do debate, propondo uma metodologia tradutória focada na metáfora da dança e sensível ao processo da audição mística. / This thesis presents nine gazals of Jalal Uddin Rumi (1207-1273), founder of Whirling Dervishes Order of Konya in Turkey, translated from Persian directly to Portuguese in an interdisciplinary perspective involving History, Dance, Literature and Traductology. The conceptual fusion of Raqs (dancing) and Sama (hearing) - central themes of his poetry which was always done by scholars and translators is discussed herein. We also present and investigate the emergence of these concepts in the Islamic controversy regarding music and dance, in secular as in religious spheres, particularly between the 9th and 14th centuries. Authors who discussed the theme pointed out differences between dancing and mystical hearing; since the defense of Alghazali (1058- 1111) a new meaning was attributed to dance, which has, up until now, been accepted, regardless of setbacks and constraints in different places and times. The specific notion and terminology of dance in Rumis poetry is analyzed in the light of his own dialogue with the authors of this debate. We propose a translation methodology focusing on the dance metaphor which be according to the mystical hearing process.

The main objective of this paper is to construct a site chronology of the Campanayuq Rumi site which is a large ceremonial center of the Formative Period located in the Peruvian south-central highlands. For this purpose, 12 radiocarbon dates obtained from our excavations will be considered in combination with the data of both architectural and ceramic sequences of the site. Through the comprehensive interpretation of these data, we will present a new site chronology of the Campanayuq Rumi site. / El objetivo principal de este artículo es la construcción de la cronología del sitio arqueológico de Campanayuq Rumi, un gran centro ceremonial del Periodo Formativo ubicado en la sierra centro-sur del Perú. Para ello se tomó como base 12 fechados radiocarbónicos obtenidos de las excavaciones de los autores en combinación con los datos de las secuencias arquitectónica y cerámica. Mediante una interpretación integral, se pretende presentar una nueva cronología para este complejo.

Shaykh Aḥmad al-R­ūmī al-Āqḥiṣārī (d. 1041/1632), Ḥanafi jurist, theologian and Sufi, is largely an unknown figure to scholars of Ottoman religious history. Progress towards disclosing key aspects of al-Āqḥiṣārī’s thought has been made in recent times thanks to the important contributions of Y. Michot, who has, in particular, demonstrated the association of al-Āqḥiṣārī with the Ottoman puritanical movement, the Qaḍīzādelis. Building upon Michot’s work, this study delves further into the works of al-Āqḥiṣārī especially his seminal contribution, the Majālis al-abrār. The study sets out its main themes and the authorities on which it is based; it then moves to show the degree of overlap between al-Āqḥiṣārī’s understandings and Naqshbandī Sufism, as well as the extent to which his thought converges with that of better-known Ottoman puritans such as Birgivī Efendī (d. 981/1573) and Qaḍīzāde (d. 1044/1635). It is suggested that the impact of the Majālis al-abrār on the Qāḍīzādelis had the outcome in the second half of the seventeenth century of increasing the violence of their activists, a development which ultimately led to their downfall. A key aspect of this study is the re-examination of the view that the Qāḍīzādelis were a proto-Wahhābī or proto-Salafī movement, which is typical in the existing literature. Whilst demonstrating the influence of Ibn Qayyim al-Jawziyya (d. 751/1350) and his teacher, Aḥmad b. Taymiyya (d. 728/1328), upon al-Āqḥiṣārī’s thought, the limits of this influence are clearly demonstrated by bringing to light al-Āqḥiṣārī’s distinct doctrinal and legal positions, which were very much embedded within the Ottoman Islam of his times. Ultimately, by studying the relationship between al-Āqḥiṣārī’s masterpiece, the Majālis al-abrār and Qāḍīzādeli and Naqshbandī beliefs, the study aims to place the movement in its own Ottoman, Ḥanafī, and Sufi milieu, thereby challenging the dominant approach which reads the movement through modern paradigms.

The Rumi Cultural Events Centre explores how the built environment can reflect a cultural phenomenon such as the evolution of Muslim communities in Western secular society of Canada. The centre has been designed for second generation Muslims, whose simultaneous exposure to religious and secular values change their outlook on religion and culture (Greif, 2007; Amor, 2006, Hadjiyanni, 2007; Kohut, Allan & Wike, 2006; Akyol, 2011; Mandaville, 2001; Distin, 2001). They reinvent the notion of Islam in a secular context, and create a synthesis that embodies religiosity, culture and secularism. The Rumi Centre is a new typology of space that emerges from a need to synthesize the new Muslim identity and values in order to create a non-traditional cultural environment. The Rumi Centre is not a religious institution. It is a culturally appropriate and contemporary events venue where forward looking and traditional Muslims come together with the local community. The centre’s design language reflects the attitude of Muslims who embrace modernity and secular lifestyle but remain true to their culture. / May 2016

Made available in DSpace on 2016-04-25T19:20:20Z (GMT). No. of bitstreams: 1 Wanessa Cardoso.pdf: 903754 bytes, checksum: 8e375cb3d6151e2d5aac99c041351e15 (MD5) Previous issue date: 2012-05-10 / This research aims at the knowledge of the spiritual development in the work of the Sufi mystic Djalal-od-Din Rumi, known as Mawlana, meaning Our Master . Born in 1207 in the Balkh province, the cradle of Persian civilization, Rumi produced several works of a mystical character, the most famous being the Masnavi, a collection of poems bearing the mystical as well as theological and philosophical treatises. A monumental work, divided into six books, containing fifty-one thousand verses. Known as the Persian Quran it was one of the works that we used in this research, as well as the book Fihi ma Fihi, which is about the inner life and spiritual teachings, which is the focus of this research. The main objective of the research is to understand the meaning of thinking with the heart, since it is the only place of spiritual knowledge, as posted by Rumi. We researched this recurring theme throughout his mystical work in the bibliographical literature. We understand what this Mystic of Love taught as being spiritual development, when he says that is can only happen by opening the spiritual heart, a place of communication with God. We also covered aspects of the philosophy of religions and the categories of Sufism, from a historical point of view as a setting for the readers, as we are at the base of Islam and the Middle Ages, and from there to the Rumi gnosis itself. We concluded that Rumi, throughout his life and work, emphasizes the character of a living religion , i.e., a religion that points to a path of development of the human potential, caused by a deep transformation, insisting that we don t learn through reason, but through a mystical body, which is the heart. Moreover, we can say that, according to Rumi, we need a path and a teacher to support all the changes, since it is a path that involves a sort of death, not a physical one, but from the little self, something very difficult and painful for the human being. You could still say that Rumi extends the spiritual development so that it is primarily experiential, insisting that humanity was born only to remember its source and its birthplace, which is God / Esta pesquisa tem como objetivo o conhecimento do desenvolvimento espiritual na obra do místico sufi Djalâl-od-Din Rûmi, conhecido como Mawlana, que significa Nosso Mestre . Nascido em 1207 na província de Balkh, berço da civilização persa, Rumi produziu várias obras de caráter místico, sendo a mais famosa o Masnavi, um conjunto fértil de poesias místicas e de tratados teológico-filosóficos. Uma obra monumental, dividida em seis livros, contendo cinquenta e um mil versos. Conhecido como Alcorão persa é uma das obras que utilizamos nesta pesquisa, como também o livro Fihi ma fihi, que é um livro do interior e de ensinamentos espirituais, que é o nosso foco na pesquisa. Temos como problema de pesquisa entender qual o significado de se pensar com o coração, já que ele é o único lugar de conhecimento espiritual, conforme colocado pelo próprio Rumi. Pesquisamos um tema insistente em toda obra deste místico, através da pesquisa bibliográfica. Compreendemos o que esse Místico do Amor ensinou como desenvolvimento espiritual, afirmando que ele só pode acontecer através do alargamento do coração espiritual, local de comunicação com Deus. Também abordamos aspectos da filosofia da Religião e das categorias do sufismo, partindo de uma abertura histórica para ambientar os leitores, já que estamos na base do islamismo e da Idade Média, para, posteriormente, seguirmos rumo à gnose de Rumi propriamente. Pudemos concluir que Rumi, em toda sua vida e obra, insiste no caráter de uma religião viva , ou seja, de uma religião que aponte para um caminho de desenvolvimento das potencialidades humanas, causado por uma profunda transformação, insistindo que não aprendemos através da razão, mas mediante um órgão místico, que é o coração. Além disso, podemos afirmar que, segundo Rumi, necessitamos de um caminho e de um mestre, que sustente todas as transformações, já que é um caminho que pressupõe uma morte, não física, mas do pequeno eu, algo muito difícil e doloroso para o ser humano. Ainda é possível dizer que Rumi amplia o desenvolvimento espiritual, para que ele seja prioritariamente experiencial, insistindo que a humanidade nasceu apenas para se lembrar de sua fonte e de sua nascente, que é Deus

The purpose of this essay is to compare the works of Jalal ad-din Rumi and Fakhr al-din Araqi to see which ideas of God the two writers want to convey. Rumi and Araqi were two actors in the mystical dimension of Islam, who lived in the thirteenth century in what is today Turkey. Both were of Persian birth and their works were written in Persian. The material I have chosen to work with is Lama´at by Araqi and parts of the Masnavi by Rumi. Both of them have been translated into Swedish by Ashk Dahlén. The theoretical premiss is taken from Influence in art and literature by Göran Hermerén. My method is to find images for God in the texts to see which ideas of God the two writers want to convey. My review shows that many of the images come from the Koran and speak of personal qualities of God. Some of them also specify that God is not located at the same level as the humans. A few passages compare God with natural phenomenon like the sun and the ocean. To sum up, God is represented as a powerful being who does not exist on the same level as the humans. By applying Hermerén´s theory, I conclude that there are influences between the two writers. Their work and the images they have chosen are similar in many aspects. These influences are most likely the result of the fact that both of the writers existed within the same cultural context and under the influence of Ibn Arabi.

Eric Hermelin, the translator and mystic who, while being incarcerated at a mental institution outside Lund in Sweden, managed to write himself into the history of literature by translating the Great Persian sufi poets of the Middle Ages, Rumi, Attar and Sadi, to name a few. Amongst his other translations we find the native Emanuel Swedenborg who will be the focus of this study.The purpose for this study is to look upon how the teachings of Swedenborg affected Hermelin through a comparative analysis where the translations of Hermelin will play a key role. By comparing them to the original texts of both Swedenborg and the Persian poets and by putting Hermelin in context with his times we hope to find out in what way Hermelin related to Swedenborg.Analysis is centered around three concepts; the Personality, the Correspondence and Influxus, which mirrors the Hermelin focus regarding Swedenborg. The study shows that Swedenborg is central to Hermelin in helping him finding strength for his massive work. Hermelin knows Influxus by experience and he seems well aware of the mystic and esoteric context in which Swedenborg belongs where the Persian poets also plays an important part. In a way Hermelin relate Swedenborg to the Persian poets using the teachings of Swedenborg as an instrument to point out the similarities of content.

Detta examensarbete behandlar den sufiska poeten Jalal Ud-din Rumis dikter som läromedel inom ämnet religionskunskap. Genom att föra samman de två fenomenen religion och poesi undersöker jag på vilket sätt de förhåller sig till varandra i fråga om kunskap om och förståelse inför livet och världen. Vidare behandlar jag sedan hur dessa kopplingar, mellan poesin och religionen, i så fall skulle kunna användas inom religionsundervisningen. Studien är i huvudsak teoretisk med ett religionsdidaktiskt fokus och kretsar kring tolkningen av två dikter.

The objective of this thesis is not only to design a building or investigate an idea, but also to explore and learn to appreciate what is truly important and, hope- fully, to discover that part of truth which may lead us to a serenity in our souls. My entire struggle is basically to try to achieve a comprehension of the order of nature. At some point in my life as an architect, if I have to build an artifact, that artifact should remind people of the everlasting merits of the invisible world and awaken the imagination of others in the pursuit of truth. This book recounts the attempt to articulate an idea, one which I believe to be a part of the order of nature, into the design environment. / Master of Architecture