#Marcia Falk

[whatlieswithintheorchard]

#jewish #jumblr #blessing #marcia falk #kiddush #hebrew #Shabbat #nonbinary

[earlymodernlesbian]

@ jewblr, does anyone have the plural hebrew version of the blessing written by marcia falk that a lot of reform congregations do as an alternative (non-gendered) shabbat blessing over children that's like "be who you are, and may you be blessed in all that you are"?

for some reason i'm having an impossible time finding it and can only track down gendered singular versions of it in hebrew which like defeats a large percentage of why most congregations are incorporating this blessing lmfao

#i do own marcia falk's book of blessings and could theoretically look it up and retype it #but i'm trying to do it with vowels and it's just so much woooooork #and i'm being lazy lmao #jewish #shabbat #blessings #reform judaism #marcia falk

[businesstiramisu]

I love this version of The Four Children from the Haggadah that my mom’s friend used for her seder:

Found a transcription here -- also attribution is to Marcia Falk

I *particularly* love the reinterpretation of The Wicked Son  (here, The Child Who Feels Apart And Alone) -- we’ve done a LOT of joking about the wicked son over the years in my family, but played straight it’s a cruel story -- a child asks a question in a rude way and the RELIGIOUS AUTHORITY ON HIGH goes “yep, he’s irredeemable, he deserves slavery forever.” Like, sure, it can be cathartic to tell someone rude to fuck off, but the authority-speaking-to-child framing... and as an illustrative moral lesson?? ehhhhhh. 

[If you’re not familiar with The Four Sons bit from the Haggadah, here’s a more standard version (the bold paragraphs). ]

Anyways, the version by Marcia Falk entirely reinterprets it -- “what is this holiday to you?” is taken as a request to hear your personal perspective, not a rude separation of the speaker from the gathering. It’s a bridge, a positive thing -- the child wants is taking an interest not just in the story of the seder, but trying to start a conversation about your specific experiences with it! And the response is really beautiful. I also really feel the title -- feeling apart and alone IS a pretty universal struggle, and I like the encouragement to welcome people in and work to overcome those feelings together.

#judaism #pesach #though tbh i don't really get the other three in falk's version #they sound nice though

[owlintheolives]

“Nothing. You began as nothing and you will end as nothing. And in between—everything, and nothing. In between—joy and sorrow, beauty and decay. Everything yours to partake of yours to bear. Yours to see, to know, to give birth to—and to let go. None of it yours to have.

Not even you are yours to have.

You belong to a wholeness so great you cannot even conceive of it. No, it is not a belonging; nothing owns you. You are simply part of it. You came out of it, and you will return to it. You do not ever leave it; you are part of it forever. And this is your moment to be alive.”

— Marcia Falk

[mental-mona]

#marcia falk #hagaddah #haggadah #jewish feminism #jewish feminist #new hagaddah #new haggadah #judaism #jumblr #pesach #passover #inclusive haggadah #inclusive hagaddah

[whisperthatruns]

But those who lack authority and centrality and power are often invisible, their speech---like Hannah's prayer---inaudible, at least to those accustomed to hearing their own voices echoing loudly in the sanctuaries and other meeting places. How, then, do we begin to hear these silent prayers and give them voice? In the words of the feminist theologian Nelle Morton, we need 'to hear each other into speech,' so that listening becomes the stimulus for expression instead of---as we are more accustomed to having it---speech being the stimulus for our hearing.

Marcia Falk, from “Reflections on Hannah’s Prayer,” Out of the Garden: Women Writers on the Bible (Ballantine Books, 1995)

#marcia falk #reflections on hannah's prayer #out of the garden #out of the garden: women writers on the bible #essays

[magica-pseudoacademica]

And when, as inevitably will happen, critics question the authenticity of this work, denying feminist Jews the right to call our creativity and our creations Jewish , we - the members of the feminist Jewish communities that help comprise klal yisrael, the community of Israel - need to remind them that Jewish prayer, like all of Jewish practice and belief, all of Jewish life, has never been finally "fixed." Rather, it has evolved, adapted, and changed throughout Jewish history. It is only recently, in fact, that the Hebrew liturgical tradition ossified; it is not too late, we must hope, to revive it. As we compose new prayers today to affirm diversity within unity, to express our visions of a true monotheism and our dedication to tikkun olam, repair of a fragmented world - as we compose and say such prayers, we place ourselves firmly in the tradition - a tradition that is still, always, in the process of becoming. We need to remind our critics, and ourselves, that tradition is not just what we inherit from the past; it is also what we create and pass on to the future. Tradition necessarily implies progress, the continual forging of links on an unending chain. And the challenge to keep growing and changing even while forging an identity, to stay true to the present moment even while nurturing a sense of continuity with the past and with the future - is this not at the core of authentic being?

Marcia Falk, “Notes on Composing New Blessings: Toward a Feminist-Jewish Reconstruction of Prayer” in Weaving the Visions: New Patterns in Feminist Spirituality (1989)

#marcia falk #quotes #judaism

[miniskirtday]

Be a #VisuallyGenerousWife ladies!

#LoveYourHusband #VisuallyGenerousWife #SongOfSongs #Scripture #PinUp #Pin-Up #harry ekman #Marcia Falk

[tabernacleheart]

Each of us has a name given by God and given by our parents.

Each of us has a name given by our stature and our smile and given by what we wear.

Each of us has a name given by the mountains and given by our walls.

Each of us has a name given by the stars and given by our neighbors.

Each of us has a name given by our sins and given by our longing.

Each of us has a name given by our enemies and given by our love.

Each of us has a name given by our celebrations and given by our work.

Each of us has a name given by the seasons and given by our blindness.

Each of us has a name given by the sea and given by our death. 

Zelda, “Each Man Has a Name,” as adapted by Marcia Falk in The Book of Blessings, New York: Harper Collins, 1996, p. 106ff.

#the power of names #a vital warning #a vital reminder #reflect on this #every choice has a consequence #marcia falk #each man has a name #the book of blessings #zelda

[pargolettasworld]

https://www.youtube.com/watch?v=4CgGfWrv8u8

Linda Hirschhorn is a composer and a cantor, based in California.  She has an all-female a cappella ensemble called Vocolot, and she also does these events where she’ll come to your synagogue and hold musical workshops, popup choral concerts, and things like that.  This is one that she did in Chicago a few years ago.  She was at Anshe Emet for the whole weekend, and I think there were two concerts and several workshops during that time.  I split my time that weekend between this and the Midwest Sacred Harp Convention -- it was quite the weekend! -- so I’m not in this video, but some of my friends are.

Hirschhorn’s text is from Marcia Falk’s 1996 The Book of Blessings, which was almost, but not quite, a feminist siddur.  Falk took the major prayers and blessings for most of the Jewish worship cycle and paraphrased them, in Hebrew and in English, in new, woman-centered language.  The book itself is more than a little unwieldy, so it’s not going to replace official siddurim any time soon.  But I do know quite a few women composers and religious leaders who have taken inspiration from it, including Linda Hirschhorn.

#jewish music

[specgram]

“Dead metaphors make strong idols. ”

—Marcia Falk

#linguistics #quotes

[finita-la-commedia]

Each of us has a name given by our sins and given by our longing                                                                               Each of us has a name given by our enemies and given by our love

Zelda (Ukraine, 1914 – Palestine, 1984), from “Each of us has a name”, translated from Hebrew by Marcia Lee Falk    

#poetry

[finishinglinepress]

FLP FEATURED AUTHOR OF THE DAY: Dinah Berland’s first chapbook, Fugue for a New Life (2020), was the 2019 winner of the WaterSedge Poetry Chapbook Contest. She also received an individual fellowship in poetry from the California Arts Council, an international prize from the Atlanta Review, and was twice nominated for a Pushcart Prize. Her poems have appeared in The Antioch Review, The Iowa Review, New Letters, and Ploughshares, and are published in many anthologies. She was the spring 2017 Writer in Residence at the Annenberg Community Beach House in Santa Monica, and currently leads the Poetry Oasis workshop from her home in Los Angeles.

TO ORDER GO TO: https://www.finishinglinepress.com/product/hotel-at-the-end-of-the-world-by-dinah-berland-nwvs-161/ Please share/please repost [PROMO]

ADVANCE PRAISE FOR Hotel at the End of the World – by Dinah Berland – NWVS #161

How lovely and rare it is to find a book of purely lyrical poetry like Hotel at the End of the World. With images that are at once visually vivid and musical—“the silver sheets of light,” “a shawl of rain draped across a distant mountain”—Dinah Berland’s book draws us in with all our senses and shepherds us through broad landscapes of feeling. Humor merges with memory and longing in poems about her childhood self, her family, her ancestors: “I’m on a double-helix rollback toward my ancestors, / An unfurled scroll reaching back . . .” In the words of its tender title poem, Hotel at the End of the World offers us a plenitude of “ways . . . of repairing the heart.”

–Marcia Falk, author of Inner East: Illuminated Poems and Blessings

In this affecting collection, Dinah Berland moves—in deft sonnets, a fine sestina, and a terrific ghazal, as well as lyrical free verse—from the personal to the political, between the worldly and the otherworldly. In “Milk Glass,” a post-shower glimpse at a reflection in a fogged-up mirror suggests “the way the soul goes when it flies / out of the body.” In the book’s penultimate poem, the promise of “tranquil weather” inspires a retrospective look at an imagined life devoid of disappointment and loss, which are the subjects of so many of these wistful yet life-affirming poems.

–Jacqueline Osherow, author of My Lookalike at the Krishna Temple

There is so much quiet magic in these poems, so much tenderness and skill. Dinah Berland achieves a kind of seamlessness, here, between worlds—the worlds of the living and the dead, of waking and of dreams, of art and life, of the terrible and the beautiful. Even while the poems embrace the ordinariness of our everyday existence, they are reaching far beyond it, toward a kind of eternity.

–Cecilia Woloch, author of Tsigan: The Gypsy Poem

#flpauthor #preorder #AwesomeCoverArt #poetry

#poetry #preorder #flp authors #chapbook #flp #poets on tumblr #american poets #leah maines #women poets #chapbooks

[guadalupegomezverdi]

“Políticas del deseo: para todes, tode.”

Centro Cultural Kirchner, marzo 2020.

Una celebración de la soberanía de los cuerpos, la diversidad de género y las disidencias

La exhibición Políticas del deseo: para todes, tode reúne obras de más de 250 fotógrafas, poetas, compositoras, músicas, cantantes, bailarinas y diseñadoras de todo el país. Desplegada en doce salas del cuarto, quinto y sexto piso del Centro Cultural Kirchner, cuestiona las categorías identitarias, celebra la soberanía de los cuerpos y otorga un lugar central a la diversidad de género y las disidencias. Kekena Corvalán, curadora de la exhibición, propone un diálogo entre las artes visuales y las artes vivas; incluyendo obras de carácter tradicional, artes domésticas, instalaciones, intervenciones performáticas, artivismos y propuestas ecofeministas, entre otras manifestaciones.

Artistas 

Eje: Somos las Hijas Abril Barrado ,City Bell Ana Payro, CABA Andrea Passut, CABA Cecilia Teruel, Santiago del Estero Cristina Piffer, CABA Cristina Schiavi,CABA Germaine Derbecq  Diana Aisenberg, CABA Diana Dowek, CABA Elba Bairon, CABA Fátima Pecci Carou, CABA Gabriela Halac, Córdoba Lucia Von Spragher, Córdoba  Marcia Schvartz ,CABA María Elena (Ñahuis), Santiago del Estero María Martorell, Salta Mariana Olivares, San Juan Marina Curci, Lanús Mildred Burton, Entre Ríos Roxana Toledo, Chaco Sarina Cano (Ñahuis), Santiago del Estero Silvana Lacarra, Santa Fe Silvia Lucero, La Plata Guadalupe Fernandez, CABA Andrea Brunotti, CABA Azul Blaseotto,CABA Evangelina Aybar, Salta Guadalupe Garriz , Buenos Aires Marina Olmi, CABA Moma Mozetich,Bariloche Nosotras Proponemos, todo el país Escuelas de Arte América López Ailen Possamay Cami Márquez Camila Castro Carolina Chorolque Jimena Morales Lorena Franco Lucía González Maia Rosario Maciel Micaela González Pañuelazo Sofía Monzón Victoria Avella Eje Vivas y Deseantes Constanza Ruibal, Córdoba Debora Kirnos, CABA María Torrallardona, La Plata Mariela Paniagua, San Luis Patricia Hakim,CABA Soledad Dahbar, Salta Susana Sanabria, Palomar- Buenos Aires Valeria Anzuate, Misiones Amalia Boselli (arteMA) Maria Laura Vazquez (arteMA) Caro Guiña (arteMA) Jimena Fuertes, CABA Adriana Albi,CABA Agustina Scliar ( Proyecto Petra), CABA G.R.A.S.A, distintos lugares Daniela Rubio (Proyecto Petra), CABA Eleonora Ghioldi, CABA Inés Alicabe, La Plata Laura Nieves (Electrohacedoras) Luisa Lerman (Proyecto Petra), CABA Luli de Pedro (Proyecto Petra), CABA Mariela Becker (Proyecto Petra), CABA Marlin Velasco (Electrohacedoras) Melisa Aller, CABA Piren Benavidez (Electrohacedoras) Rocio Inmensidades, Ituzaingó Roma Vaquero Díaz, CABA Silvana Solari, Cipolleti- Río Negro Verónica Padín, Neuquén Camila Barcellone, CABA Manuela de la Cruz, Salta Yuliana Balmaceda (Fansine Heliográfico), San Juan Sofía Manrique (Fansine Heliogáfico), San Juan Melisa Díaz (Fansine Heliográfico), San Juan Mariana Arias (Fansine Heliográfico), San Juan Emilia Coll (Fansine Heliográfico), San Juan Claudia Vilela Luco (Fansine Heliográfico), San Juan Ana Contreras (Mutágenas artistas feministas del Conurbano) Carla Lucila Alvarez (Mutágenas artistas feministas del Conurbano) Cecilia Acuña (Mutágenas artistas feministas del Conurbano) Cristyn Gonzalez (Mutágenas artistas feministas del Conurbano) Daiana Rose (Cromoactivismo) Diana Guzmán, La Rioja Elena Blasco, CABA Guillermina Mongan (Cromoactivismo) Laura González Vidal, Buenos Aires Lidia González,CABA Malena Leal (Mutágenas artistas feministas del Conurbano) María Celeste Destéfano (Mutágenas artistas feministas del Conurbano) María de los Angeles Capelli (Mutágenas artistas feministas del Conurbano) María Florencia Venditti (Mutágenas artistas feministas del Conurbano) María Pichot, CABA Mariela Scafatti (Cromoactivismo) Marina de Caro (Cromoactivismo) Michelle Rozen,CABA Miriam Peralta,CABA Natalia Forcada,CABA Natalia Iñíguez (Mutágenas artistas feministas del Conurbano) Nilda Rosemberg, Río Gallegos- Santa Cruz Pamela Neme Scheij (Mutágenas artistas feministas del Conurbano) Paula Senderowicsz, CABA Romina Di Pietro (Mutágenas artistas feministas del Conurbano) Rosana Cassataro, Mar del Plata Silvana Lanchez, Buenos Aires Silvana Spagnotto, San Luis Valeria Dincoff (Mutágenas artistas feministas del Conurbano) Valeria Venditti (Mutágenas artistas feministas del Conurbano) Victoria Mussotto (Cromoactivismo) Victoria Palacios (Mutágenas artistas feministas del Conurbano) Violeta Capasso, CABA Vivas nos queremos, CABA Majo Malvarez, CABA Adriana Lestido, CABA Eleonora Korsatz, Salta Guada Piqué Patricia García Adriana Flores (Altar Siglo XXI) Alejandra Latino (Altar Siglo XXI) Alicia Calegaro (Altar Siglo XXI) Angeles Baudevin (Altar Siglo XXI) Aurora Gagliolo, Catamarca Ayelén Guarino (Altar Siglo XXI) Bar Hassen, CABA Beatriz Sobuá (Altar Siglo XXI) Carmín Micheli (Altar Siglo XXI) Cristina Rocha, Bariloche Daniela Zacur (Altar Siglo XXI) Debora Kirnos (Río Memoria), CABA Taller Flotante -Orilleras. Proyecto Rio Feminista, Entre Ríos Dora Morgen, CABA Duli (Altar Siglo XXI) Elia Gasparolo (Altar Siglo XXI) Estela Torres (Altar Siglo XXI) Florencia Breccia, Mendoza Gabriela Olivieri (Altar Siglo XXI) Gisele Jazmín Gabriel (Altar Siglo XXI) Gladys Silva, Buenos Aires Gloria de Paola (Altar Siglo XXI) Gloria Polo, Formosa Greta Saavedra (Altar Siglo XXI) Irma Cacia (Altar Siglo XXI) Ivana Ponzio (Altar Siglo XXI) Karina Ruiz (Proyecto Emilia), Azul Liliana Straini (Altar Siglo XXI) María Fernanda Medina (Altar Siglo XXI) Maria Paula Doberti (Río Memoria), CABA Marisa Rossini, Tucuman Marta Brizuela (Altar Siglo XXI) Mónica Ocampo (Altar Siglo XXI) Nadia Antoun, CABA Nadia Puentedura, Santiago del Estero Natalia Romano, Río Gallegos Paola Ferraris, CABA Patricia Domínguez (Altar Siglo XXI) Rosa Latorre (Altar Siglo XXI) Sandra Soto (Altar Siglo XXI) Silvia Barrios (Altar Siglo XXI) Silvia García, Mar del Plata Sofía Korol (Altar Siglo XXI) Sonia Tortosa (Altar Siglo XXI)  Susana Babot, Tucumán Virginia Corda (Río Memoria), CABA Virginia Rodríguez (Altar Siglo XXI) Ximena Pereyra, Santa Fe Andrea Brunotti (Acciones Buenalistas) Carolina Moncada (Acciones Buenalistas) Celina Yohai (Acciones Buenalistas) Silvia García (Acciones Buenalistas), Mar del Plata Paula Doberti, CABA Alejandra Faiazzo, Neuquén Trinidad Metz Brea, CABA Carlota Beltrame, Tucumán María Rocha, Santiago del Estero Bandera Warrior Amanda Bustamante Daniela Zapata Evangelina Acuña Georgina González Juliana López Mara Ailén Zeballos Maria de la Paz Castiñeira María del Mar Gelabert Victoria Zapata Eje Rematriadas Ana Gallardo, México Claudia Fontes, Brighton Liliana Porter, Nueva York Magdalena Beccarini, Milán Marie Orensanz, París Nora Ancarola, Barcelona Eje El deseo cuerpifica Monserrat LLao Y Mariu Fernandez, Salta Majo Prieto, Coronel Suárez  Valeria Fornes, CABA Paola Lunch, Neuquén Mar Díaz, CABA Graciela Rodriguez, Río Gallegos Victoria Ipas, Florencio Varela, Buenos Aires Bettina Muruzábal, Río Gallegos Licha Bernal, Chaco Carolina Grillo, Salta Luciana Bertellys (Las Guarangas), San Luis Laura Elgueta (Las Guarangas), San Luis Azucena Orozco (Las Guarangas), San Luis Andrea Imberti (Las Guarangas), San Luis Neda Olguin (Las Guarangas), San Luis Vicky Freire, CABA Romina De Gioia, CABA Laura Elgueta, SanLuis Bordando disidencias Alejandra Fenocchio, La Boca Alina Percovich, CABA Mecha Falke CABA Valentina Rivas Robles, La Plata Vicky Power, Bahia Blanca Rocío Corbera, Olivos Alana Rodriguez (Vejez Lésbica), CABA Alejandra Barrientos (Marronas) Alma Gonzalez, CABA Ana Wahren (S.A Oficina de Estampas) , CABA ByWacha (Marronas) Clara Barnes, CABA Emmanuel Franco (Marronas) Felicitas Quispe (Marronas) Flora Nómada (Marronas) María Sofía Larroca (S.A Oficina de Estampas), CABA Mariposa Kountaras, Buenos Aires Noelia Mercanzini (Estampa Feminista), CABA Parafinas Doradas, Buenos Aires Paula Colavitto (Vejez Lésbica), CABA Paulx Castex (Estampa Feminista), CABA Soledad Apaza (Marronas) Eje: Eticas del Cuidado Ana Copto (Colectivo Viento Negro), Río Gallegos Bomba de lana, Rafaela Adriana Bustos, Buenos Aires Celina Galera, Catamarca Alicia Esquivel, CABA Eva Dolard, La Pampa Federica López, Rosario Fernanda Bonill (Colectivo Viento Negro), Río Gallegos Gabriela Juarez, Buenos Aires Guadalupe Gómez Verdi, Buenos Aires Jael Caeiro, Ituzaingó, Buenos Aires Lucía Bianchi, CABA Rosana Linari, Puerto Madryn María Inés Guantay, Tucuman Monica Alvarado, Ushuaia Mónica Millán, Posadas Mara Paz, Córdoba Gabriela Sol Morales, Córdoba Roxana Ramos, Salta Silvana Castro, San Clemente Silvana Torres, Río Gallegos Valentina Mariani, Corrientes Eleonora Filippi 

https://cck.gob.ar/eventos/politicas-del-deseo-para-todes-tode_3783#:~:text=La%20exhibici%C3%B3n%20Pol%C3%ADticas%20del%20deseo,dise%C3%B1adoras%20de%20todo%20el%20pa%C3%ADs.&text=Esta%20definici%C3%B3n%20es%20la%20que,proyectos%20art%C3%ADsticos%20que%20se%20exponen.

#politicasdeldeseo paratodestode cck curaduriaafectiva vergel kekenacorvalan

[objects-of-desire-astrolabe]

#7 Research Proposal

Objects of Desire Research Proposal 

My object of desire is the Replica Islamic Astrolabe, accession number: DUROM.2017.323

Initial Description of Object

It is a replica Astrolabe created by ‘Hemisferium’, a specialist manufacturer in antique scientific instruments. It is based on an original piece by Diya’al Din Muhammad, who was part of a predominant family of astronomical instrument makers from Lahore.[1] The original piece was created in Lahore, Pakistan in 1647 whilst the replica was made in Madrid, Spain around 2016/17.  The replica astrolabe is 180 mm (height) X 6mm (depth) X 120mm (width).

The astrolabe is an astronomical instrument made from cast metal which was originally used to measure angles, the altitude from the horizon to the celestial space, and for navigation purposes by helping to identify constellations to determine your location and the direction you were heading. Although, some Astrolabe specialists argue it has hundreds of uses. 

 Context

This concept was integrated into the Islamic faith when they inherited texts and technology from the Greeks, as they were going to be destroyed by the Christians who saw the technology as heathen. The navigational concept of astrolabes was adopted into the Islamic faith to help Muslims find the Qibla, the direction of Mecca, especially whilst they were travelling.

This piece isn’t simply a scientific instrument, but also a masterpiece of art and design with intricate carvings on the ‘rete’, the decorative netting overlay, which is designed with Arabic and Latin script and numbers which encapsulates the Greek and Islamic cultures its evolved from.

Rationale for Choice

I wanted to choose an object which stood out to me, or ‘spoke’ to me in a way. I have always had a fascination with celestial space – galaxies, nebulas, the solar system. One of my Art & Design A Level projects centred on this topic and I have always been curious of how outer space has been used for scientific purposes through the decades and in different cultures. As an English Literature student, I have not had the opportunity to learn about such scientific objects and their historical importance, and I thought this project would be a great opportunity to explore that intrigue. Equally, the Islamic culture and region of the Islamic Republic, where the original Astrolabe originates from, is an area I have not investigated in great depth and I feel this project will help open up a dominate area of worldly culture which is missing from my knowledge.

Contact with the Oriental Museum & Review of Existing Information: 

I contacted Gillian Ramsay following our trip to the Oriental museum as she was the curator who originally purchased the replica astrolabe for the collection. We met in mid November and she was very helpful in sharing her knowledge of the object and subject area. She provided me with the museum’s material on the specific object which consisted of the dimensions, a brief description of the piece, details of its production, and materials used and how much it cost. As it is a replica it does not have a large paper trail of former owners or donors, but I believe it provides a unique opportunity to explore how and why it has remained an ‘object of desire’ for so many centuries and why are replicas still being produced.

The lack of direct material on the object I feel opens up a world of opportunity to explore the development of the astrolabe from its original concept in the Greek world and then to its use in the Islamic world. I also feel there is a great area for exploration amongst the original craftsman, Diya’al Din Muhammad, and his family and the seminal pieces they created that are still being replicated. 

Research Questions: 

I feel a central debate for my project is whether a replica can still hold the same value as an object of desire compared to an original piece?

Equally, whether the astrolabe has lost value when it is now being mostly used as an aesthetic piece rather than one of a functional purpose as a scientific instrument?

Questions surrounding the Astrolabe as a reference piece into the ancient Greek world, where it was first created, and whether it can shine light on to this culture and the importance they place on exploring the universe?

Exploration into how the Islamic culture utilised scientific objects to support their religion when Christian based religions rejected them.

Questions surrounding the evolution of pieces due to transferring cultures could be posed. The astrolabe was originally a scientific instrument developed by the Greeks and was adopted by the Islamic world who expanded its potential use through further scientific research. I feel it would be insightful to explore into this adoption of objects into other cultures and what implications does this have for the development of the object and the cultures? 

Reflective Analysis

I think the first natural obstacle is that it is a replica, not an original piece. This means it does not have a personal story attached to it or a donor. I hope to counter this issue by contacting the replica manufacturer ‘Hemisferium’ to understand why they feel there is a demand for replicas of these pieces and to explore the questions of replica vs original and whether they hold equal value.

I hope to also explore the original manufacturing company from Lahore to see where the original piece is located and if it had an intended owner. Equally if the manufactures have any personal anecdotes and explore what their production line meant to their family as it remained as a generational business.  

It is an intricate piece of science and I feel the first hurdle will be understanding how it works. I hope to consult scientific material and the Astrolabe specialist at the Oxford museum to understand how it actually functions.  

Although, there is not a great deal of information on my specific item, there is an abundance of material on Astrolabes in general which makes the topic quite broad. I will tackle this challenge by being highly selective of what is explicitly relevant to my object of desire and the questions I want to answer, as outlined above.

Literature Review

Durham’s physical library came up short but their ‘discover’ link to online documents was highly fruitful.

- I have explored the general descriptions of Astrolabes and their evolution and purpose from: The Oxford History of Science Museum, The British Museum, The University of Hawaii’s, Institute for Astronomy, and the Smithsonian magazine, Oxford Art online.

Constanze Hampp & Stephan Schwan (2015) The Role of Authentic Objects in Museums of the History of Science and Technology: Findings from a visitor study, International Journal of Science Education, Part B, 5:2, 161-181.

Eagleton, C. (2019). What Were Portable Astronomical Instruments Used for in Late-Medieval England, and How Much Were They Actually Carried Around? In J. Nall, L. Taub, & F. Willmoth (Eds.), The Whipple Museum of the History of Science: Objects and Investigations, to Celebrate the 75th Anniversary of R. S. Whipple's Gift to the University of Cambridge (pp. 33-54). Cambridge: Cambridge University Press. doi:10.1017/9781108633628.003 https://www.cambridge.org/core/books/whipple-museum-of-the-history-of-science/72EAE4248EBCB8CA20DFFA3D1264557D

F., J. The Astrolabes of the World: based upon the Series of Instruments in the Lewis Evans Collection in the Old Ashmolean Museum at Oxford, with Notes on Astrolabes in the Collections of the British Museum, Science Museum, Sir J Findlay, Mr S V Hoffman, the Mensing Collection, and in other Public and Private Collections . Nature 131 https://www.nature.com/articles/131819a0#citeas

Falk, Seb. “Sacred Astronomy? Beyond the Stars on a Whipple Astrolabe.” The Whipple Museum of the History of Science: Objects and Investigations, to Celebrate the 75th Anniversary of R. S. Whipple's Gift to the University of Cambridge, edited by Joshua Nall et al., Cambridge University Press, Cambridge, 2019, pp. 11–32.

Hoskin, Michael, ‘Astronomy in the Middle Ages’, The History of Astronomy: A Very short introduction, Oxford University Press, 2003. https://www.veryshortintroductions.com/view/10.1093/actrade/9780192803061.001.0001/actrade-9780192803061-chapter-3

Huggins, M. L., ‘The astrolabe. II. History’, Popular Astronomy, Vol. 2, pp.261-266 http://articles.adsabs.harvard.edu//full/1895PA......2..261H/0000261.000.html

Jeffs, P. Science in culture: A culture of knowledge. Nature 439, 536 (2006) https://www-nature-com.ezphost.dur.ac.uk/articles/439536b

Latham, Marcia. “The Astrolabe.” The American Mathematical Monthly, vol. 24, no. 4, 1917, pp. 162–168. JSTOR, www.jstor.org/stable/2973089.

M.R. Brett‐Crowther (2010) ‘Science & Islam: A History’, International Journal of Environmental Studies, 67:1, 111-114.  https://www.tandfonline.com/doi/pdf/10.1080/00207230903208407

Rodríguez-Arribas, Josefina, ‘Astrolabes in Medieval Encounters’, Medieval Encounters, September 2017, Vol.23(1-5) https://brill.com/view/journals/me/23/1-5/article-p1_1.xml?lang=en

Safiai, Mohd Hafiz, ‘Astrolabe As Portal To The Universe, Inventions Across Civilizations’, International Journal of Civil Engineering and Technology (IJCIET), Volume 8, Issue 11, November 2017, pp. 609–619 https://pdfs.semanticscholar.org/3f06/c9eab107851daaef4f5ac6c371c807fe94b4.pdf

Sarma, Sreeramula Rajeswara, “The Lahore Family Of Astrolabists And Their Ouvrage.” Proceedings of the Indian History Congress, vol. 55, 1994, pp. 287–302., www.jstor.org/stable/44143367. (To investigation into the original designer, Diya’al Din Muhammad, and his family is essential as they highly regarded astrolabe makers.)

Vafea, Flora. "From the Celestial Globe to the Astrolabe Transferring Celestial Motion onto the Plane of the Astrolabe". Medieval Encounters 23.1-5: 124-148. https://doi.org/10.1163/15700674-12342245

Ward, Rachel, “The Inscription on the Astrolabe by ʿAbd Al-Karim in the British Museum.” Muqarnas, vol. 21, 2004  - (To analyse how Astrolabes are depicted and investigated)

Further Sources:

Gillian Ramsay alerted me to the Oxford History of Science Museum collection. On investigation I found they have the ‘world’s largest collection of astrolabes’ and another astrolabe by Diya’al Din Muhammad.  I also discovered that there is an incredible colossal astrolabe in the Albukhary Gallery in the British Museum. I have consulted both of their collections and online material, and I will be in contact with their curators for more in-depth questions I have on the topic such as: Why the curators feel such objects hold importance in the education of Islam and scientific development.

I also hope to visit both collections in Epiphany term if possible so I can compare their specific details to my Astrolabe as the designs, notably on the rete, are typically different on each which provides a personal and beautiful aesthetic quality to the object.

11/12/2019

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Ban công nào tốt nhất quanh Portland? Dưới đây là 10 ngôi nhà được bán với một con cá rô Ban công thoáng mát là bình đẳng. Họ mở rộng không gian, trực quan và vật lý, của các căn hộ nhỏ gọn và lâu đài kiểu lâu đài.Những cá rô thực tế, nâng cao cũng có thể được nhìn thấy trên các phong cách kiến ​​trúc. Ban công của Thế giới cũ được hỗ trợ bởi các cột Ionic và được bao bọc bởi lan can bằng sắt rèn hoặc lan can giống như đá trong khi những cái hiện đại có bệ bê tông và hàng rào thép và kính.Mục tiêu của họ: Mở rộng một căn phòng phía trên thành một lát ngoài trời.Có phải là một sân thượng hoặc ban công? 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Nó có tầm nhìn bao quát Núi Hood, Núi Saint Helens, Núi Adams và Sông Willamette từ hầu hết mọi phòng,Trong suốt 6.085 feet vuông của không gian sống là những bức tường hoàn thiện mịn màng, sàn gỗ sồi tứ quý tùy chỉnh, và thiết bị chiếu sáng và phần cứng thiết kế.Có bốn lò sưởi, năm phòng ngủ và 4,5 phòng tắm.Nhà bếp của đầu bếp có một chiếc cốc nhỏ, phòng đựng thức ăn của quản gia, bữa sáng, ,, nói rằng đại lý niêm yết Marcia Kies với Rebecca Green của Công ty Hasson.Đây có phải là một sân thượng hoặc ban công? 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Được rào chắn với cổng điện, rất an toàn, chuyên cho biết đại lý niêm yết Mary Jo Avery của Avery Bunick Luxury Properties.Avery Bunick Thuộc tính sang trọngChung cư hồ OswegoBạn muốn tìm kiếm danh sách bất động sản Oregon và sử dụng tài nguyên địa phương? Bấm vào đây.--Janet Eastman | [email protected] | @janeteastmanTheo dõi Oregonia / OregonLive bản tin và podcast cho những tin tức mới nhất và những câu chuyện hàng đầu[ad_2] Nguồn