The uniqueness of the life of the Prophet Muhammad ﷺ compared to that of other personalities and world figures present and past, is such that his ﷺ legacy has not only remained, but is continually and endlessly on the rise. His ﷺ praise continues to be spread far and wide by men and women whom Allah, exalted is He, has chosen in various times and places to carry the light of the Messenger ﷺ and convey his life ﷺ to the people. This Prophetic legacy is enduring, and will forever remain as long as the testament of faith is upon the lips and hearts of believers.
Who is the Prophet Muhammad ﷺ? is primarily a didactic text in question & answer format. The book consists of 6 groups of questions & answers, progressing from relatively simple questions and short answers in the first group, to more complex issues with longer, more detailed explanations by the end. Each question & answer pair is given first in Arabic, as formulated by Habib 'Umar, or by his students under his supervision. Then, the translation of each Q & A is given. While perhaps not common in adult literature, the Q&A format is a time-honored teaching technique, and readers of all ages and levels will find surprising benefits in this unique text. The entire book has been beautifully arranged and presented by IGI's world-class design team, to make reading an enjoyable and visually appealing reading experience for the whole family.
The author, Habib Umar bin Hafiz, is a descendant of the Prophet Muhammad ﷺ, and is one of the great luminaries of our time. This book has been made available to English speakers for whom we ask Allah to make it a means to attain proximity, in this life and the Hereafter, to Him and the Prophet Muhammad ﷺ.
ISIS’s genocidal attack on the Yezidi population in northern Iraq in 2014 brought the world’s attention to the small faith that numbers less than one million worldwide. That summer ISIS massacred Yezidi men and enslaved women and children. More than one hundred thousand Yezidis were besieged on Sinjar Mountain. The US began airstrikes to roll back ISIS, citing a duty to save the Yezidis, but the genocide is still ongoing. The headlines have moved on but thousands of Yezidi women and children remain in captivity, and many more are still displaced. Sinjar is now free from ISIS but the Yezidi homeland is at the centre of growing tensions amongst the city’s liberators, making returning home for the Yezidis almost impossible. The mass abduction of Yezidi women and children is here conveyed with extraordinary intensity in the first-hand reporting of a young journalist who has been based in Iraqi Kurdistan for the past four years, covering the war with ISIS and its impact on the people of the country. Otten tells the story of the ISIS attacks, the mass enslavements of Yezidi women and the fallout from the disaster. She challenges common perceptions of Yezidi female victimhood by focusing on stories of resistance passed down by generations. Yezidi women describe how, in the recent conflict, they followed the tradition of their ancestors who, a century ago during persecutions at the fall of the Ottoman empire, put ash on their faces to make themselves unattractive and try to avoid being raped. Today, over 3,000 Yezidi women and girls remain in the Caliphate where they are bought and sold, and passed between fighters as chattel. But many other have escaped or been released. Otten bases her book on interviews with these survivors, as well as those who smuggled them to safety, painstakingly piecing together their accounts of enslavement. Their deeply moving personal narratives bring alive a human tragedy.
This work is about women's education; it is not about education for women. "Women's education" is education which is possessed or owned by women, is provided by women for women, is designed for and about women, and focuses on the needs of women.
In the history of western art, decorative and applied arts – including textiles and ceramics – have been separated from the ‘high arts’ of painting and sculpture and deemed to be more suitable for women. Artists began to reclaim and redefine these materials and methods, energizing them with expressions of identity and imagination. Women’s Work tells the story of this radical change, highlighting some of the modern and contemporary artists who dared to defy this hierarchy and who, through, experimentation and invention, transformed their medium. The work of these women has helped underscore the ongoing value of these art forms within the history of art, championing ‘women’s work’ as powerful mediums worthy of celebration. With biographical entries on each artist featured, as well as beautiful images of their artworks, Women's Work raises up the work of these visionary and groundbreaking artists, telling their stories and examining their artistic legacies.
English teachers are currently concerned by the question of less traditional reading materials. This book deals with the culture of young people, and how that culture determines their reading of popular literature, and of popular video, as well as approved texts.
Audre Lorde (1934-92) described herself as 'Black, lesbian, mother, warrior, poet'. Her extraordinary belief in the power of language of speaking to articulate selfhood, confront injustice and bring about change in the world remains as transformative today as it was then, and no less urgent. Your Silence Will Not Protect You brings Lorde's poetry and prose together for the first time.
This volume examines the youth service and the values, attitudes, culture and needs of working class youth in Northern Ireland. It explores why some young people participate in youth clubs and others do not; how patterns of participation differ by gender, class and religion; how young people use their leisure time if they are not involved with youth clubs (and whether youth clubs could meet their needs). It concentrates on young people's views, exploring the tensions and contradictions of working class youth culture.
Zami is a fast-moving chronicle. From the author's vivid childhood memories in Harlem to her coming of age in the late 1950s, the nature of Audre Lorde's work is cyclical. It especially relates the linkage of women who have shaped her. Lorde brings into play her craft of lush description and characterization. It keeps unfolding page after page.
We've been told for years that the capitalist free market is a self-correcting perpetual growth machine in which sellers always find buyers, precluding any major crisis in the system. Then the credit crunch of August 2007 turned into the great crash of September–October 2008, leading one apologist for the system, Willem Buiter, to write of "the end of capitalism as we knew it."
As the crisis unfolded, the world witnessed the way in which the runaway speculation of the "shadow" banking system wreaked havoc on world markets, leaving real human devastation in its wake. Faced with the financial crisis, some economic commentators began to talk of "zombie banks"–financial institutions that were in an "undead state" and incapable of fulfilling any positive function but a threat to everything else. What they do not realize is that twenty-first century capitalism as a whole is a zombie system, seemingly dead when it comes to achieving human goals.