The Quran is an Andragogic communication – Adult focussed.

The Quran is an Andragogic communication – Adult focussed.

Nabi was an Andragogue – adult educator.

BUT we/they have reduced through the “madresa” the Quran to meaningless chanting by children.

How many muslims (South Africa) make the Quran an “object of Lifelong Study”, in Arabic, if not then in English.

Did you pack a Quran+ commentary when you went on holiday?

—————

?How many Honours, Masters, PhDs, DLitts in Adragogy do we have? With a focus on Quran?

Salaamat  wa  Aadaab

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Sura Baqara

SURA   BAQARA

Salaamat  wa  Aadaab 

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In   sura  Baqara  (S2:V2)   word  number  one  (1)    “dhaalika”,   THAT,   is  ismul ishaara  lil  ba’iid,   demostrative  pronoun  for  distant  objects.   However   it   is   interpretad   as   refering   to   the   Qur’aan   and   interpreted   as   haadhaa,   THIS.   Tafsir al-Jalalayn:  the use of the demonstrative   here   is   intended   to   glorify   [the Book].

Is   it   possible   that   dhaalika   is   actually   for   ba’iid,   something   distant,   refering   to   something   other  than  the  Qur’aan,   is   kitaab   HERE   actually   the   text   of  the   qur’aan   or   something   else,  for  example,   the   authority   conferred   to/upon   Nabi   Muhammad  (S).     

The ASSASSINATION-MURDER of Nabi Muhammad’s father

Salaamat  wa  Aadaab

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* * * * * * * * * * * *

The   MURDER   of  Nabi   Muhammad’s   father.

Who   was   Muhammad?     Who   was   Muhammad’s   father?

Bukhari   in   his   Sahiih   cites   a   hadiith   which   gives   an   account   of   a   meeting   between   Abu Sufyaan   and   Hariqla   a   Roman   Ruler,   Governor?

Abu   Sufyaan   recounts   that   during   a   private   caucus   with   his   Makkan   colleagues   he   said,   “Qad   Azuma   amru ibni Abi Kab’sha”   translation:  the   matter   of   the   son   of   the   father   of   kabsha   (the   murdered   lamb)   has   become   one   of   great   importance.

My   teacher   Maulana   Saalih   Salaahuddinn’s   explanaition   of   the   genitive   construction   “1. amru  2. ibni  3. Abi  4. Kab’sha”

1. amr   here   refers   to   the   political   cause   movement   impact   of   Nabi   Muhammad.   The   amr   had   reached   such   proportions   that   it   was   being   deliberated   by   the   Rulers   of   the   Roman   Empire

3. and 4. Abu  Kabsha  (the   father   of   kabsha,   the   murdered   lamb)

3. Abu/i  refers   to  Muhammad’s   grandfather,   Abdul Mutattalib,   he   is   the   father   of   KABSHA,   the   MURDERED   LAMB,

4. Kab’sha,    the   MURDERED   LAMB,   is   Abdullah   who   is   Muhammad’s   father.

Why   is   Abdullah   referred   to   as   “Kab’sha,”   the   MURDERED   LAMB

Prior   to   Muhammad’s   birth,   Abdullah   and   his   wife,   pregnant   with   Muhammad   visited   Madina   on   a   dangerous   political   peace   mission.   This   political   peace   mission   (shuttle   diplomacy)   was   disguised   as   a   family   visit   to   Aamina’s   relatives.

The   purpose   of   this   diplomatic   mission   was   to   forge   peace   between   the   warring   groups   in   Madiina   –   Arab,   Jewish,   Christian   AND   others.

Peace   always   has   its   enemies,   those   whose   agenda   is   served   through   fomenting   violence,   whose   agenda   is   violence…

Upon   making   significant   headway   in   the   high   level   secret   negotiations   Abdullah  (Nabi Muhammad’s   father’s   laqab,  sobriquet)   went   to   meet   the   nomads   around   Madina   who  were   important   stakeholders   and   actors   on   the   Madanese   stage.   ANY   person   is   most   vulnerable   when   he/she   is   traveling,    especially   politicians,   emissaries….

During   Abdullah’s   travels   to   the   nomads   around   Madiina   he   was   murdered-assassinated   to   scuttle,   destroy,   sabotage,   torpedo   the   peace   mission.

This   is   why   Abdullah   is   referred   to   as   Kabsha,    the   murdered   lamb

2.   ibni/u   here   refers   to   Muhammad (s)

Why   is   Muhammad   referred   to   as   his (Muhammad’s)   grandfather’s son?

Nabi   Muhammad’s   father   was   MURDERED   while    Aamina   was    pregnant   with   Muhammad   but   BEFORE   Nabi   Muhammad   was   born.

Nabi   Muhammad   was   brought   up   by   his   GRANDFATHER,   In   this   sense   he   was    the    “son”   of   his   grandfather,   Abdulmuttalib.

The   above   ilm   was   transmitted   to   me,   Maulana   Munir   Hassan,   by   my   ustad   Maulana   Saalih   Salaahuddiin.

Muhammad Asad (Mufassir, exegete)

Alternative   Madrasa : film on Muhammad Asad (mufassir,  exegete  of  the  quran)

 

salaam

  

the   idea  behind  alternative  madresa   create   awareness   about   creative   efforts   at   islamic   articulations

 

“long live the legacy of the modern day Zamakhshary,  i   am  forever  in  your  debt” 

Maulana  munir  hassan, 

Maulawi,   Aalim,   Faazil

 

Salaamat   Aadaab

 Dear   first-time   visitor   Please   visit   the  

((About   Maulana   Munir   Hassan   and   this   blog))   Page,

it   will   put   things   perspective   for   you.

Link   is   at   the   top   right.    

Jazaakallaah   ([munirblog])  (@)  [[gmail]]  ([(dot)])  ([(com)])

a  review   of   Film   on  the  life  of  the  mufassir   Muhammad  Asad.

A Road to Mecca: The Journey of Muhammad Asad

by Georg Misch, Director
Icarus Films, Brooklyn, NY, 2009
DVD, 92 mins., $US 440 (Institutional).
Distributor’s website: http://www.icarusfilms.com.

Reviewed by Catalin Brylla
University of Newport

cbrylla@yahoo.com

A Road to Mecca follows the path taken by journalist and writer Muhammad Asad, alias Leopold Weiss, from the suburbs of the Austro-Hungarian Empire to Israel, Palestine, Saudi Arabia, Pakistan and New York. Weiss, a Viennese Jew, converted to Islam after travelling to the Middle East and studying the Koran. As Muhammad Asad he spread the message of peace and brotherhood through the eyes of Islam, served as advisor at the Royal Court in Saudi Arabia, and was co-founder of the state of Pakistan. The places he lived and visited are explored, and at the same time friends, relatives, experts and numerous locals talk about his motivation, his purpose, and his legacy as a theological thinker.

The poignant beginning is representative of the plethora of different formal and stylistic treatments Georg Misch jovially employs throughout the film: poetic imagery (most notably wide shots of the desert in different permutations), observational actuality events, interviews, archive material, vox-pops, and voice-over. This strong sense of authorship is reinforced by self-reflexive techniques, such as the filmmaker intervening with questions off-camera, flicking through Asad’s photo diary (which becomes the leitmotif of the film), revealing the production set of a live TV debate and deliberately staging the mise-en-scène in interviews.

It seems odd that with such an excess in styles and point-of-views (the film gives voice to numerous discursive and conflicting point-of-views about Asad) the audience does not perceive this as an intellectual, nor artistic exercise. The binding factor is the plot. The plot is organised in an incredibly languid and fluid manner, using the concept of “the journey”. On a superficial level there is Asad’s physical journey, but in parallel, there is the exploratory journey of the filmmaker, constantly reminding the spectator of his enquiring presence. Interestingly, unlike the classic character portrait or travelogue, the narrative structure is not chronologic. Rigid linearity is dismissed in favour of logical associations and causal relations, achieved by bold temporal and spatial jumps.

In a postmodern society in which cultural ideologies, religious dogmas, as well as demographic homogeneity undergo a significant fragmentation and a constant cross-cultural convergence, A Road to Mecca offers a fascinatingly current character portrait, potentially at the expense of a certain personal intimacy and transparency usually associated with portraits. The eclectic sujet infers an overall fabula reminiscent of Magritte’s famous La Reproduction Interdite; a “portrait of a non-portrait.” In other words, the puzzle that is allegedly pieced together, actually defies a coherent assembly. This is mainly due to the form and style shifting somewhat uncomfortably between nostalgic homage and critical scrutiny, resulting in an inquisitive journey, rather than a precise portrait. A case in point is the lyrical use of space juxtaposed with sober interviews or actuality dialogue questioning Asad’s purpose or his cultural-political legacy. However, this uncertainty and occasional ambiguity that subtly linger upon this character are not necessarily negative. At worst, it might explain how an Austrian Jew converted voluntarily to an Islamic scholar. At best, it might give the audience an insight into the seemingly unbridgeable gap between the Western and the Islamic world. Nevertheless, one is left to wonder whether cultural understanding is possible or not, and by raising questions, rather than answering them, a film like this shows us that the meaning of truth must be constantly reviewed. The spectator is taken on a beautifully uncertain journey (physically and psychologically) with a suitable formal closure (Asad’s grave in Andalusia) and even more thought-provoking discursive openness. This is definitely not a conventional biography as seen on the History Channel, and it does not pretend to be as translucent and clear-cut. But as Allan Berg Nielsen from the Danish Film Institute, succinctly puts it, “Reality is not unequivocal […] If you are someone who is in doubt […] about the difference between good and evil […], it is comforting to be reminded that others are too. Anyone who tells me my scepticism is groundless […] makes me doubt all the more.“

Usuulul Fiqh – suggestion for translation of term

Salaamat  wa  Aadaab 

Dear  first  time  visitor,  please  visit  the        ( About  Maulana  Munir  Hassan  and  this  blog ) Page,  it  will  put  things  in  perspective  for  you.  JazaakallaaH

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There   are   many   translations   in   use   in   English   for   the   academic  discipline   Usuulul Fiqh,   for   example:   principles   of  jurisprudence;   fundamentals   of   law…

i   humbly   present   for   consideration   “Interpretation   of   Statutes”   as  a   useful   English   for   the   original   Arabic.  

 “Interpretation   of   Statutes”   is   a   course   name    in   the   LLB   degree  offered   by   the   University   of   South   Africa.   the   course   deals   with   the   HOW   of   interpreting   legal   statutes,   court   cases   legal   writing.  

this   is   the   core   of   the   focus   of   Usuulul Fiqh.