The Hikam The Wisdom Of Ibn Ata Allah

The Hikam, or Wisdom, of the great Sufi Master Ibn `Ata' Allah al-Iskandari has long been acknowledged as an essential and classic masterwork of the Islamic science of enlightenment. Ibn `Ata 'Allah, a Sufi master possessed a deep foundation in the sciences of Qur'an, the way of the Prophet and the Universal Laws of the Islamic way of life.

This book is one of the more widely distributed works of Ibn 'Ata'illah and serves as an ethical guide to those seeking God. It is a collection of short spiritual sayings each containing profound meaning driven from the Qur'an and Sunnah, and deals with issues related to tawhid, ethics and day-to-day conduct.

The Pure Intention: On Knowledge of the Unique Name is the first ever translation into English of a seminal work from the Sufi tradition. This title focuses on the Divine Name Allah and the virtues and transformative power of its invocation. Written by the renowned Sufi master Ibn Ata Allah al-Iskandari in the twelfth century the work is divided into two parts. Part One looks at the Name of Allah, its letters and their meanings. While in Part Two the author turns to the more practical question of the role of invocation, both in general and of the Name Allah specifically. Ibn Ata Allah discusses the virtue of invocation and establishes that it is the supreme act of worship.

This is the first English translation of Miftah al-falah, a thirteenth century Sufi text, written by Ibn Ata Allah, one of the great masters of the Shadhili Sufi order. It is considered to be one of his most important works because it sets out the principles of actual Sufi mystical practices, shedding light on the sacred invocations, and associated practices, such as the spiritual retreat. Written in a clear, lucid style, it offers a glimpse into the Sufi world of the 7th Islamic century and allows us to see almost at first hand how the novice was guided by the Sufi Shaykh and, above all, the purpose and preparation involved in engaging in the invocation, dhikhru'llah. Ibn Ata' Allah sets out to define it, to explain its nature and power, to show its results and to prove that it is part of the Prophet's Sunna, or practice. The author goes to great lengths to point out many Qur'anic verses where dhikru'llah is mentioned and cites many noted authorities.

Commentary of Hikam al-Ata'iyyah by ibn 'Abdullah ibn Ibrahim ibn 'Abba al-Nafazi al-Rundi known as Ibn Abbad al-Rundi. English Translation by Guiding Helper Foundation.

Lev Kuleshov (1899-1970) was the first aesthetic theorist of the cinema. An outstanding figure in the "montage" school, he was a key influence on Eisenstein and Pudovkin. Kuleshov was the first to see clearly that montage--the assemblage and alternation of shots--was the very essence and structure of cinematic expression, often overriding the significance of the content of the shots themselves. Deriving his insights from close study of American films (particularly D. W. Griffith's), Kuleshov used his experience in prerevolutionary Russian films and his wartime efforts in Soviet documentaries to conduct experiments in film acting and montage. He developed an editing method later referred to as the "Kuleshov effect" that juxtaposed shots to evoke new meanings from the combinations. In one experiment, he intercut identical shots of an actor's neutral face with shots of a bowl of soup, a child in a coffin, and a sunny landscape to evoke different emotional responses from the audience. Kuleshov also "synthesized" a nonexistent woman from close-ups of different parts of several women and created artificial landscapes by intercutting shots of locations separated by great distances. Kuleshov taught at the Soviet film school and was a well-known director of features, and Kuleshov on Film contains essays on both the theoretical and practical sides of filmmaking. Influenced by Futurism, Russian Formalism, and structural linguistics, Kuleshov's analysis can now be seen as semiotic, presaging studies of film as a system of signs. As a Marxist and structuralist, Kuleshov examined form and content with a materialist approach. The translator's extensive introduction discusses Kuleshov's use of signs, typage, and other structuralist concepts and places him in the development of semiotic thought. It also provides intriguing biographical detail on Kuleshov's conflicts with advocates of "socialist realism," who attempted to stamp out the artistic and theoretical innovations of the early revolutionary years, and establishes Kuleshov's position as one of the great figures in the evolution of film. Kuleshov on Film is essential reading for everyone seriously concerned with the cinema. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1974.