Making Original Men: Elijah Muhammad,The Nation of Islam,and The Fruit of Islam

Elijah Muhammad's Nation of Islam converted thousands of African American men to Islam during the height of the Civil Rights Movement and the Black Power Movement. Muhammad's men neither protested for Civil Rights nor subscribed to the militancy of the Black Power Movement. Indeed, they construed both to be fundamentally flawed routes to justice, freedom, and equality. Nation men, or Fruit of Islam (FOI) as they are more commonly known, believed that through Islam, racial separation, and community building initiatives they could ultimately reclaim their freedom, self-respect, and manhood. The NOI provided men with a newfound sense of self and purpose and in doing so imbued them with a deep-rooted appreciation for Islam, as taught by Elijah Muhammad. Rank-and-file male members of the faith community remain largely overlooked in the extant scholarship on the NOI. This article seeks to recover the stories of rank-and-file FOI. It assesses the organisation's appeal to men, the varied means by which it challenged them and the burdens the community placed on FOI.     

Muhammad Ghaffari: The Persian Painter of Modern Life

In the late nineteenth century, Qajar Iran, like its neighbor the Ottoman Empire, faced the dual challenges of colonialism and modernity. This paper considers the role of art education and art production in its response to these forces, focusing on the leading court painter of the late Qajar period, Mirza Muhammad Ghaffari, Kamal al-Mulk (1848–1941), whose career bridged the late Qajar period and the early twentieth century. Early in his career, Ghaffari was recognized as the leading exponent of academic painting, yet by the constitutional period his art had evolved into a style representing contemporary Persian life, a style which was informed by nationalistic discourses current in intellectual and political circles. This paper's consideration of the evolution of his style from a European modernism to an authentic Iranian modernism includes Ghaffari's training as a painter, the role of photography in the development of his style, his travel to Europe, and parallels with the art and career of the Ottoman painter Osman Hamdi.     

The Unity of Gen 2,4

ABSTRACT

This article seeks to argue that Gen 2,4 should not be divided into two halfverses as many theologians have asserted. At least four good reasons exist for saying that the verse is best to be understood as one coherent whole. The article basically draws its reasoning from its close exegesis of Gen 2,4. However, the first reason is founded in looking into both the three verses before Gen 2,4 and into other Mesopotamian texts. The second and third argument are built upon an exegesis of Gen 2,4, and the ultimate reason is based upon the Masoretes” work in the Middle Ages, and is therefore an argument resting upon how an earlier traditions looked at the discussed verses.     

海底两万里 潜行中的海洋奇缘

<正>"每个人心底或许都有一片孤独而自由的大海,我们往往在深夜,独自潜入其中,有时又因为潜入得太深,而思念陆地上的灯火。大多数人一生都在这两者间穿梭。"——电影《碧海蓝天》2018年,第90届奥斯卡金像奖选出了最佳影片——《水形物语》,影片讲述了人与水中生物的一段奇缘。人类对海洋的向往,从古至今,颇有几分愈演愈烈的趋势。古希腊神话中海神波塞冬掌握着海洋的力量,北欧神话中的尼约     

从涉海历史到海洋整体史的思考

中国海外交通史研究的兴起，与中国“新史学”的诞生同步，已有百年的历史了，从20世纪20、30年代的“南海交通”，到80、90年代的“海上丝绸之路”，经过几代学的耕耘，取得丰硕的成果，其他涉海的专门史研究也纷纷开辟，得到国内外学术界的肯定。然而，在中国历史体系和教科书中，中国古代社会仍是农耕世界与游牧世界的二元结构：在这种陆地历史结构和权力话语体系中，中国海洋发展的种种事实，都被诠释为农业明的海上延伸。比如说。     

新疆的花海会迟到 但绝不缺席

<正>一粒沙里有一个世界,一朵花里有一个天堂。新疆,位于中国的最西部,是距离海洋最远的一个省级行政单位,这里有洁白的高山雪峰、美丽的维族姑娘、狂野的西域风情,翠绿的云杉倒映湖里,洁白的云朵镶嵌在空中,春夏秋冬,各色风光,总有一种让你心生向往。由于深居内陆,气候干旱,纬度较高,新疆的春天总比