Results 181 to 190 of about 12,027 (212)
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2017
This chapter considers the extent to which Islamic governance can integrate international humanitarian law (IHL) into its own legal system by examining the case of Iran. It addresses the consequences of the emergence of an Islamic-universal hybrid legal system.
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This chapter considers the extent to which Islamic governance can integrate international humanitarian law (IHL) into its own legal system by examining the case of Iran. It addresses the consequences of the emergence of an Islamic-universal hybrid legal system.
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TDR/The Drama Review, 2004
A Klee painting named “Angelus Novus” shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past.
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A Klee painting named “Angelus Novus” shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past.
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2011
Thus far the master narratives we have explored lack any distinctive Islamic sectarian character, even though the extremists we have focused on so far come mostly from within the Sunni branch of Islam (broadly speaking). The Battle of Karbala, however, is a distinctly Shi‘ite master narrative.
Jeffry R. Halverson +2 more
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Thus far the master narratives we have explored lack any distinctive Islamic sectarian character, even though the extremists we have focused on so far come mostly from within the Sunni branch of Islam (broadly speaking). The Battle of Karbala, however, is a distinctly Shi‘ite master narrative.
Jeffry R. Halverson +2 more
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TDR/The Drama Review, 2005
Taziyeh historians claim that the introduction of veils into the passion play was meant to cover the fact that only men and children took part in the representa- tion of the Karbala tragedy. Women did not participate as actors—or, rather, role-carriers—on the public stage.
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Taziyeh historians claim that the introduction of veils into the passion play was meant to cover the fact that only men and children took part in the representa- tion of the Karbala tragedy. Women did not participate as actors—or, rather, role-carriers—on the public stage.
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A Different Style and Content in Karbala İncident: Karbala Treatise by Mehmed Nazim Pasha
2021Scenes that are envisioned in a credible way around the incident of Karbala, the rhetoric of mourning and thirst in literary works, scenes of war and heroism were included in the painting of lamentation. The glory and personal characteristics of Hussein's lineage, the persecution of Ahl al-Bayt, and the curse of those who share this cruelty found ...
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