In our modern world, a signifi cant number of traditional values have been dramatically manipulated, taking on new meanings and definitions quite diff erent from their original or natural signifi cance. Moreover, these traditional values are being replaced by new ones deemed more suitable to today’s world. Ideas such as selfl essness, humility, and longing, among others, have seemingly lost value as a consequence of the frantic pace of modern life and replaced by self-centredness, greed,aridity, exteriority, which will have a direct impact on our surrounding environment. Let’s imagine a land in which selfi shness is not a priority. Instead, replace it with a society driven by humane preferences. Would the architecture of that society still look like ours does today? Would it be as unsociable as it is in our so-called advanced civilization? This thesis investigates this query through a juxtaposition of the traditional values of a Persian art with the demands of modern life. It is a study of the calligraphic art of Iran as a transcendental practice, highly intertwined with strong emotions, wherein the intention of the research is to discover the relationship between Persian calligraphy and architecture. Presenting calligraphy as a context for understanding architecture has the potential to get beyond ourselves in the spaces we author. This research aims to allow the essence of Persian calligraphy into modern space as a means to revive the true essence of architecture: reunion of feeling and space, a concept that is given too little attention in our current architecture.

In our modern world, a signifi cant number of traditional values have been dramatically manipulated, taking on new meanings and definitions quite diff erent from their original or natural signifi cance. Moreover, these traditional values are being replaced by new ones deemed more suitable to today’s world. Ideas such as selfl essness, humility, and longing, among others, have seemingly lost value as a consequence of the frantic pace of modern life and replaced by self-centredness, greed,aridity, exteriority, which will have a direct impact on our surrounding environment. Let’s imagine a land in which selfi shness is not a priority. Instead, replace it with a society driven by humane preferences. Would the architecture of that society still look like ours does today? Would it be as unsociable as it is in our so-called advanced civilization? This thesis investigates this query through a juxtaposition of the traditional values of a Persian art with the demands of modern life. It is a study of the calligraphic art of Iran as a transcendental practice, highly intertwined with strong emotions, wherein the intention of the research is to discover the relationship between Persian calligraphy and architecture. Presenting calligraphy as a context for understanding architecture has the potential to get beyond ourselves in the spaces we author. This research aims to allow the essence of Persian calligraphy into modern space as a means to revive the true essence of architecture: reunion of feeling and space, a concept that is given too little attention in our current architecture.

La crise que traverse l'Algérie est mise à profit pour dépasser les contradictions et aplanir les difficultés de communication entre les pouvoirs publics et la population, via les zaouïas. De grands moyens sont mis à la disposition des zaouïas de manière à utiliser les réseaux d'alliances et d'obédiences des différentes zaouïas au service de l'Etat. Avec l'émergence de l'islamisme politique, on assiste, en Algérie, à la réhabilitation des zaouïas. Officiellement, ceci a été décidé pour répondre à un besoin culturel et politique visant à remplir le vide et couper la voie aux « modèles religieux extrémistes ». Les zaouïas sont réellement soutenues par le président de la république pour un projet politique fondé sur le « religieusement zaouïas ». Il s'agit du projet que j'intitule délibérément le « zaouisme ». Un paradigme qui traduit les rapport et liens entre le pouvoir et les zaouïas. Le « zaouïsme » se marie parfaitement avec la baraka et l'allégeance dans une relation d'échange avec le pouvoir dans les deux sens : « la réhabilitation » en échange de la « baraka » et vis-versa. Un projet politique non déclaré officiellement, mais déjà approuvé. Le choix du « zaouisme » comme modèle soutenu et encouragé par l'Etat a débuté par « la réhabilitation des zaouïas ». Sur le terrain son exécution se trouve à un degré très avancé. Le « zaouïsme » puise sa force de la faiblesse du régime qui a fait éclater différents projet (s) social (aux) à l'œuf, dont celui des islamistes, et profite des effets des différentes crises qu'a connu l'Algérie. / The Algerian crisis is exploited to overcome the contradictions and the difficulties of communication between the public authorities and the population through the zawiyas. Wide means are available for zawiyas in order to use the alliance and persuasion networks of different zawiyas in the service of State. With the emergence of political Islamism, we are witnessing, in Algeria, rehabilitation of zawiyas. Officially, it was decided to meet a cultural and policy needs in order to fill the gap and cut the path to « The Religious extremist models." The zawiyas are actually supported by the republic president for a political project based on the "religiously zawiyas." This is the project that I deliberately titled "zaouism." A paradigm that reflects the links between power and zawiyas. The "zaouism" blends perfectly with the baraka and allegiance in a relationship of exchange with power in both directions "rehabilitation" in exchange for "baraka" and vice-versa. A political project not formally declared, but already approved. The choice of "zaouism" as model supported and encouraged by the State began with "rehabilitation of the zawiyas." Its execution on the field is at a very advanced level. The "zaouism" draws its strength from the weakness of the regime who broke various social project (s) in the egg, including the Islamists one, but also the effects of various crises experienced by Algeria. The zawiyas are trying today, under the benevolent eye of the President A. Bouteflika to deploy great efforts to make their new project recognized and to accepted for society. In order to reach their goal, they organize themselves, claim and turn on all areas.

Alors que le rôle du soufisme dans les processus d’islamisation de l’Anatolie à l’époque tardo-médiévale a été étudié depuis le début du XXe siècle, l’architecture des pôles de dévotion, dénommés zāwiya dans les sources textuelles, est longtemps restée à la marge de l’historiographie de l’architecture islamique en Anatolie. Les prospections archéologiques dans le Pont intérieur (Anatolie septentrionale) et les recherches dans les archives d’Istanbul et d’Ankara ont permis de rassembler un important corpus de sites et de sources documentaires qui y sont liées, majoritairement des chartes de fondation (waqfiyya). Cet ensemble concerne la période comprise entre la conquête mongole de l’Anatolie en 1243 et l’intégration progressive du Pont intérieur dans le giron de l’Empire ottoman durant le premier quart du XVe siècle. La thèse propose une étude multiscalaire de ces corpus complémentaires afin de comprendre la place de ces institutions et des communautés qu’elles hébergent dans les processus d’islamisation, entendu dans un sens large, qui touchent l’Anatolie durant cette période. La première partie étudie ainsi l’évolution de l’architecture de ces monuments dont le caractère polyfonctionnel est révélé par l’étude des waqfiyya. Dans un second temps, la thèse s’attache à analyser les modalités d’implantation des zāwiya, en ville et à la campagne, ainsi que leurs assises économiques. Enfin, la troisième partie questionne la formation de réseaux soufis aux échelles régionales et micro-locales. Le rôle de ces pôles de dévotion dans la transformation d’une topographie chrétienne du sacré préexistante est également exploré à partir de l’étude des remplois antiques et byzantins. / While Sufism and its role in the Islamization process of late-medieval Anatolia was studied since the early 20th Century, the architecture of dervish lodges, commonly named zāwiya in written sources, was neglected for a long time in the historiography of Islamic architecture in Anatolia. Archaeological surveys in the Inner Pontos region (Northern Anatolia) and research in the archives at Istanbul and Ankara have brought together an important corpus of sites and documentary sources related to these buildings, mostly endowment deeds (waqfiyya). This corpus covers the period between the Mongol conquest of Anatolia in 1243 and the progressive integration of the Inner Pontos into the Ottoman realm during the first quarter of the 15th Century. The dissertation proposes a multi-scalar analysis of these complementary corpuses in order to better understand the role played by these institutions and the Sufi communities that they host in the Islamization of Anatolia, understood as a multi-dimensional process. The first chapters discuss the multi-functional character of zāwiya, as reflected in waqfiyya, and the evolution of their architecture. Then follows, in the second part, an analysis of the settlement pattern of these dervish lodges, in the city and the countryside, and a study of their economic resources. Finally, the third part questions the formation of Sufi networks at a regional and micro-local scale. A study of the antique and byzantine spolia observed in these buildings questions the role of these buildings in the transformation of a pre-extant, mostly Christian, sacred topography.

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Cette thèse propose d’étudier le rôle de la musique dans des contextes émotionnels intenses. Dans les rituels d’invocation de Dieu, les soufis tentent d’accéder à un état spirituel supérieur en s’approchant de la connaissance immanente du monde divin. La confrérie šaḏiliyya place la musique au cœur de ce processus : l’écoute de poèmes d’amour mystique chantés, puis la production collective de gestes dansés porte l’émotion à son paroxysme, en une extase contemplative (wajd). Entre ethnomusicologie et psychologie cognitive, cette thèse présente des pistes de réflexion pour l’étude des musiques vocales de tradition orale et leur expressivité. Dans un premier temps, une étude ethnographique dépeint le quotidien d’une confrérie damascène, pour tenter de déterminer les éléments musicaux pouvant être source d’émotion. Après une exposition des théories psychologiques cognitives de l’émotion, une analyse musicale acoustique s’intéresse plus particulièrement aux stratégies de deux interprètes. / The purpose of this dissertation is to demonstrate the role of music in intense emotional contexts. In Sufi invocation rituals, believers try to reach to a superior spiritual state in their quest for divine knowledge. The šaḏiliyya brotherhood includes music at the core of this process : by listening to mystic love songs followed by collective dancing, emotion reaches its paroxysm in an ecstatic contemplation (wajd). This dissertation lies in between the fields of ethnomusicology and cognitive psychology. It introduces several lines of thinking concerning the study of vocal music belonging to the oral tradition and its expressivity. First, a description of a Damascene brotherhood doctrine will highlight emotional elements in rituals. Then, following a presentation of major theories of emotions in cognitive psychology, two interpretations of the same work will be compared using acoustic and prosodic methods of analysis.

Magister Artium - MA / This study is a theoretical research concerning Ibn Arabi's Sufi experience and his philosophy of the "unity of being" (also his poetical talent). I therefore adopted the historical and analytical methodologies to analyse and reply on the questions and suggestions I have raised in this paper. Both of the methodologies reveal the actual status of the Sufism of Ibn Arabi who came with a challenging sufi doctrine. Also, in the theoretical methodology I attempt to define Sufism by giving a panoramic history of it. I have also researched Ibn Arabi's status amongst his contemporaries for example, Al-Hallaj and Ibn Al Farid, and how they influenced him as a Sufi thinker during this time.In the analytical study I explore the poems "Tarjuman al Ashwaq" of Ibn Arabi, of which I have selected some poems to study analytically. Through this I discovered Ibn Arabi's Sufi inclinations and the criticisms of various literary scholars, theologians, philosophers and also sufi thinkers, both from the East and the West. In this analysis I have also focused on the artistic value of the poetry which he utilized to promote his own doctrine "the unity of being." / South Africa

L'expérience mystique n'est pas étrangère à la notion de plaisir spirituel. Mais quels sont lesmodes d'expression littéraire de ce plaisir à travers la diversité des écoles et des traditionsmystiques? On se propose, dans ce travail, d'interroger deux moments particulièrement richeset intenses dans l'histoire de la mystique universelle : la poésie mystique persane du XIIIesiècle, et la littérature spirituelle française du premier XVIIe siècle. Le corpus comprend unouvrage majeur de la poésie mystique persan, lu dans la langue originelle : le Dîvân de Djalalod-dîn Rûmî et une oeuvre emblématique de la mystique française: l'Épithalame de Jean deSaint-Samson. Bien qu'appartenant à des époques et à des sphères culturelles profondémentdifférentes, ces textes présentent des caractéristiques communes qu'il s'agira d'analyser, tantsur le plan de l'écriture que sur celui de la spiritualité. L’imaginaire du corps, en particulier,comme aussi le symbolisme métaphorique feront l'objet d'une enquête spécifique. Cette étudecomparative permettra d'élucider les courants souterrains d'un langage mystique qui s'inscritcertes dans telle ou telle tradition spirituelle, mais qui ignore, paradoxalement, les frontièresusuelles de l'orthodoxie confessionnelle. / The mystical experience is not foreign to the concept of spiritual pleasure. But what are themodes of the literary expression of pleasure amongst the diverse schools and mysticaltraditions? In this work, we examine two specific rich, and intense periods in the history ofuniversal mysticism: Persian mystical poetry of the thirteenth century and French spiritualliterature of the first half of the seventeenth century. The corpus includes a major work ofPersian mystical poetry, read in its original language, Divan of Jalal ad-Din Rumi and theemblematic work of the French mystic Jean de Saint-Samson, Epithalame. Although theybelong to profoundly different times and cultural enviroments, these texts have commonspiritual and literary characteristics. We will analyze these similarities, with particular focuson the fantasy of the body as metaphorical symbolism. This comparative study will elucidatethe undercurrents of a mystical language which exposes a unique spiritual tradition, butignores, paradoxically, the usual boundaries of religious orthodoxy.

Cette étude porte sur Ḳayġusuz Abdāl, le représentant le plus célèbre et le plus prolifique du mouvement appelé les Abdālān-ı Rūm, un groupe de derviches de tendances antinomiques affiliées de façon ténue, qui apparut lors du 13e siècle en Anatolie et devint un composant principal du Bektachisme à partir du 14e siècle. Les œuvres de Ḳayġusuz Abdāl ont joué un rôle clé dans la formation du corpus ultérieurement appelé « la littérature Alévi-Bektachi ». La première partie de ce travail se concentre sur sa doctrine religieuse, ses positions versatiles et opportunistes en fonction des milieux, et son choix du turc vernaculaire comme vecteur de son propos. Ce dernier aspect est comparé à l’apport de Yūnus Emre, fameux derviche des 13e - 14e siècles, qui a contribué grandement au style littéraire de Ḳayġusuz Abdāl. Les şaṭḥiyye (un type de poème) de Ḳayġusuz Abdāl et Yūnus Emre sont analysés pour leurs rôles de passerelles entre les genres folkloriques et la littérature soufie classique. Dans le dernier chapitre de la première partie, les ouvrages des successeurs de Ḳayġusuz Abdāl, de Ṣādıḳ Abdāl, Yemīnī, Şemsī et Vīrānī Abdāl sont lus sous l’angle de leurs contenus doctrinaux. Ainsi, un panorama de l’évolution des pensées abdāl et bektāşī est créé. La deuxième partie de l’étude constitue en l’édition critique, la traduction et le commentaire de l’ouvrage le plus fascinant de Ḳayġusuz Abdāl, à savoir le Kitāb-ɩ Maġlaṭa. Le commentaire commence par étudier comment l’ouvrage se met en résonance avec la tradition islamique sur les rêves, en montrant particulièrement la subversion de celle-ci. Suit une analyse structurale, doctrinale et littéraire de l’ouvrage, trois aspects qui se complètent et se renforcent les uns les autres dans la manière humoristique de Ḳayġusuz Abdāl. En conclusion, le présent travail vise à comprendre la pensée religieuse et littéraire de Ḳayġusuz Abdāl, personnage saint toujours vénéré de l’Alévisme. Sa vision de la sainteté a joué un rôle clé dans la formation du Bektachisme et de l’Alévisme et leur évolution jusqu’à nos jours. / This study focuses on Ḳayġusuz Abdāl, the most famous and prolific representative of the abdāls of Rūm, an antinomian movement of loosely-affiliated dervishes which emerged in Anatolia in the thirteenth century and became a main constituent of Bektashism from the fourteenth century onwards. Ḳayġusuz Abdāl’s works played a major role in the formation of the corpus later called “Alevi Bektashi literature.” The first part of the study focuses on Ḳayġusuz Abdal’s religious doctrine, multiple social positions, and choice of the Turkish vernacular as his literary medium. This last aspect is compared to famous 13th-14th century dervish Yūnus Emre, who was instrumental in shaping Ḳayġusuz Abdāl’s literary style. Yūnus Emre’s and Ḳayġusuz Abdāl’s şaṭḥiyye (a type of poem) are analyzed for their role in creating a bridge between folk genres and classical Sufi poetry. In the last chapter of the first part, the works of Ḳayġusuz’s Abdāl’s successors, Ṣādıḳ Abdāl, Yemīnī, Şemsī, and Vīrānī Abdāl are examined for their doctrinal content, thus creating a panorama of the evolution of abdāl and bektāşī thought. The second part of the study contains the critical edition, translation, and commentary of Ḳayġusuz Abdāl’s most intriguing work, the Kitāb-ı Maġlaṭa (The Book of Prattle). The commentary begins with a focus on the work’s engagement with and subversion of the Islamic tradition of dream literature. A structural, doctrinal, and literary analysis of the work is undertaken, wherein these three aspects are shown to complement and reinforce one another in Ḳayġusuz’s unique humorous way. As a whole, the study aims to understand the religious and literary thought of Ḳayġusuz Abdāl, who has been to this day one of the most important saints of Alevism. His understanding of sainthood was instrumental in shaping Bektashism and Alevism up to our day.

Graduted work "Cosmological Themes and Geometric Conception in islamic art" is about relationship betweewn religion and cosmological themes in philosophy opinions and their influence to fine art. Theoretic part is about signs of islamic art and give a simply look on religious, science, philosophic, generaly cultural and art influences of islamic culture of "Golden Age" to global culture. The next part is about cosmologie. Third part is about influence of cosmological themes to geometric forms in individual examples of fine art. The last part is about expresive interpretation symbols of cosmologii and geometry. Practic part have video form of own dance creative, which is expresive interpretation influenced by theme od diplom work. Pedagogic part is koncept of Art Project for second degree of Basic School (High school) , which is partly documented and reflected in practic works