Deconstructing Islamic Studies

The study of Islam has historically been approached in two different ways: apologetical and polemical. The former focuses on the preservation and propagation of religious teachings, and the latter on the attempt to undermine the tradition. The dialectic between these two approaches continued into the Enlightenment, and the tension between them still exists today. What is new in the modern period, however, is the introduction of a third approach, the academic one, which ostensibly examines the tradition in diverse historical, religious, legal, intellectual, and philosophical contexts. Classical Islamic subjects (e.g., Qur'ān, ḥadīth, fiqh, tafsīr) are now studied using a combination of the apologetical, the polemical, and the academic approaches. Depending upon the historical period and the institutional context, these classical topics have been accepted (apologetical), have had their truth claims undermined (polemical), or have simply been taken for granted (academic). This volume, comprising chapters by leading experts, deconstructs the ways in which classical Muslim scholarship has structured (and, indeed, continues to structure) the modern study of Islam. It explores how classical subjects have been approached traditionally, theologically, and secularly, in addition to examining some of the tensions inherent in these approaches.

The scholarly study of Islam has become ever more insular and apologetic. Academic Islamic Studies has tried to maintain a focus on truth, authenticity, experience and meaning and has effectively avoided discussion of larger social, cultural and ideological issues. Many scholars of Islam have presented themselves to their colleagues, the media and the public as the interpreters of Islam and have done so with an interpretation which tends, almost universally, to the liberal and egalitarian. The ignorance and hostility which the Islamic faith has faced since 9/11 has partly necessitated the taking of such a position. But, as Theorizing Islam argues, the issue remains that only one interpretation of Islam is generally being presented and, as with any interpretation, this has its own assumptions. The aim of Theorizing Islam is to explore the potential for a fuller, more honest and more sophisticated approach to both theory and methodology in the academic study of Islam.

From the avant-garde design of the Islamic Cultural Center in New York City to the simplicity of the Dar al-Islam Mosque in Abiquiu, New Mexico, the American mosque takes many forms of visual and architectural expression. The absence of a single, authoritative model and the plurality of design nuances reflect the heterogeneity of the American Muslim community itself, which embodies a whole spectrum of ethnic origins, traditions, and religious practices. In this book, Akel Ismail Kahera explores the history and theory of Muslim religious aesthetics in the United States since 1950. Using a notion of deconstruction based on the concepts of "jamal" (beauty), "subject," and "object" found in the writings of Ibn Arabi (d. 1240), he interprets the forms and meanings of several American mosques from across the country. His analysis contributes to three debates within the formulation of a Muslim aesthetics in North America—first, over the meaning, purpose, and function of visual religious expression; second, over the spatial and visual affinities between American and non-American mosques, including the Prophet's mosque at Madinah, Arabia; and third, over the relevance of culture, place, and identity to the making of contemporary religious expression in North America.

Deconstructing the Myths of Islamic Art addresses how researchers can challenge stereotypical notions of Islam and Islamic art while avoiding the creation of new myths and the encouragement of nationalistic and ethnic attitudes. Despite its Orientalist origins, the field of Islamic art has continued to evolve and shape our understanding of the various civilizations of Europe, Africa, Asia, and the Middle East. Situated in this field, this book addresses how universities, museums, and other educational institutions can continue to challenge stereotypical or homogeneous notions of Islam and Islamic art. It reviews subtle and overt mythologies through scholarly research, museum collections and exhibitions, classroom perspectives, and artists’ initiatives. This collaborative volume addresses a conspicuous and persistent gap in the literature, which can only be filled by recognizing and resolving persistent myths regarding Islamic art from diverse academic and professional perspectives. The book will be of interest to scholars working in art history, museum studies, visual culture, and Middle Eastern studies.

Rather than focus solely on theological concerns, this well-rounded introduction takes an expansive view of Islamic ideology, culture, and tradition, sourcing a range of historical, sociological, and literary perspectives. Neither overly critical nor apologetic, this book reflects the rich diversity of Muslim identities across the centuries and counters the unflattering, superficial portrayals of Islam that are shaping public discourse today. Aaron W. Hughes uniquely traces the development of Islam in relation to historical, intellectual, and cultural influences, enriching his narrative with the findings, debates, and methodologies of related disciplines, such as archaeology, history, and Near Eastern studies. Hughes's work challenges the dominance of traditional terms and concepts in religious studies, recasting religion as a set of social and cultural facts imagined, manipulated, and contested by various actors and groups over time. Making extensive use of contemporary identity theory, Hughes rethinks the teaching of Islam and religions in general and helps facilitate a more critical approach to Muslim sources. For readers seeking a non-theological, unbiased, and richly human portrait of Islam, as well as a strong grasp of Islamic study's major issues and debates, this textbook is a productive, progressive alternative to more classic surveys.

The formation of any scholarly discourse is contingent upon the creation of a vocabulary and a set of categories responsible for manufacturing the data that it deems "significant" or not. The discovery of raw data, the manufacture of theoretical or interpretive frameworks that make sense of such data, and subsequent scholarly conventions responsible for its dissemination are always mediated by particular social, ideological, and political contexts. This book documents these contexts in the creation of the discipline known as Islamic Studies and demonstrates how they have been instrumental in shaping how we think about Islam in both the academy and, especially post 9/11, in the media. This volume argues that knowledge of Islam has never been innocent or about the simple collection of facts, but that the interpretive lenses used to study Islam have always been and continue to be caught up with larger forces (e.g., the reform of Judaism, Orientalism, identity politics of the 1960s, 9/11, the fight against terrorism, the creation of a liberal Islam). Whereas previous work is content to show the nefarious influence of Orientalism in the creation of Islamic data and the formation of an essentialized Islam, Situating Islam argues that the opposite approach - the construction of an authentic Islam that coincides effortlessly with Western values - is equally problematic. The work concludes by examining how Islamic data has the potential to help us better understand how we construct and contest "religion."

This book exposes the mimetic assumption involved in early Islamic historiography, its literary practice and whatever subverts it as reflected in Ṭabarī's History. Four major events in the history of early Islam are then subject to analysis based on literary criticism and are shown to produce a new meaning.

One would think that the space between Islam and Judaism would prove fertile enough to engage in questions of social, religious, cultural, and intellectual interactions. Yet, for a variety of political reasons, this is unfortunately rarely the case. In Somewhere Between Islam and Judaism, Hughes reflects on what it means to work in both traditions, but feel at home in neither. The essays collected in this volume provide a set of critical reflections on what it means to study these two religious traditions within the larger context of the academic study of religion. Using case studies that span from the rise of Islam to the current state of Islamic studies and Jewish studies, this work examines the discourses that scholars use to bring Islam and Judaism into what they believe to be sharper focus. In the process, Hughes forces us to confront the countless blindspots, assumptions, and problematic assertions responsible for structuring and framing Islamic and Jewish data.Somewhere Between Islam and Judaism will be of interest to scholars and students of religion concerned with comparison, and to those studying Islam, Judaism and Jewish-Muslim relations.