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引用次数: 0
摘要
在这项研究中,作者考察了什叶派领袖al-Mukhtār运动中权威的某些方面(d. 67/687)。由Birgit Meyer提出的宗教美学概念被用作分析工具。有人认为al-Mukhtār通过引入和控制三种“美学形式”完成了他的政治努力,这三种“美学形式”在人民和已故的阿卜Ṭālib之间起着“媒介”的作用:他声称代表阿卜Ṭālib的儿子伊本·阿卜-Ḥanafiyya行事,他称之为al- mahdi,“正确的指导”;他呼吁为杀害al ā al ā的儿子Ḥusayn报仇;他还展示了一把椅子,他声称这把椅子是属于伊勒的。作者进一步认为,这三种媒体的叙述都有其历史基础。最后,他认为通过这些媒体al-Mukhtār能够将Kufa许多什叶派的需求和愿望转化为政治行动。
Emerging Patterns of Authority in Early Shiʿism: al-Mukhtār and the Aesthetics of Persuasion
In this study the author examines some aspects of authority in the movement of the Shiʿite leader al-Mukhtār (d. 67/687). The notion of religious aesthetics as developed by Birgit Meyer is used as an analytical tool. It is argued that al-Mukhtār accomplished his political endeavour partly by introducing and controlling three “aesthetic forms” which functioned as “media” between the people and the deceased ʿAlī b. Abī Ṭālib: his claim to act on behalf of ʿAlī’s son Ibn al-Ḥanafiyya, whom he called al-mahdī, “the rightly guided”; his call to revenge for the killing of ʿAlī’s son Ḥusayn; and his exhibiting of a chair that he claimed had belonged to ʿAlī. The accounts of these three media, the author furthermore argues, have an historical foundation. Finally he holds that through these media al-Mukhtār was able to channel the needs and aspirations of many of the Shiites of Kufa into political action.