In The Sublime Way: the Sufi Path of the Sages of Makka, Shaykh Seraj Hendricks, Ust?dh Dr H.A. Hellyer and Shaykh Ahmad Hendricks, describe the path of the way of the scholars of Makka - ?ar?qa ?Ulam? Makka - who came from around the globe, and engaged with each other in that holy city. The authentic and indigenous spirituality of the Holy Cities has survived. This book is an authoritative Sufi guide in English transmitting the teachings of the great sage from the Holy City of Makka, Shaykh al-Sayyid Muhammad b. ?Alaw? al-M?lik? (d. 2004). This Meccan scholar represents one of the true inheritors of the Ghaz?l?an legacy in the modern age. The brotherhood follows the spiritual path of "self-purification (tazkiya), inner excellence (i?s?n) and the path (sayr) to God Most High" Shaykh Seraj Hendricks and Shaykh Ahmad Hendricks were khulafa- spiritual representatives - of the pre-eminent sage, Sayyid Muhammad b. Alawi al-Maliki, who was a prominent master of this way. This volume explains various practical aspects of Sufism, and provides the reader with both some of the litanies and practices of the order, while also introducing how it engaged with a particular community of Muslims in South Africa. Scholars from around the world have provided glowing recommendations for it, including the likes of Shaykh Abdal Hakim Murad, Shaykh Muhammad Ninowy, Shaykh Afeefuddin al-Jailani, Dr Mona Hassan, and many others. "This is a book that I believe, Allah Willing, would please the souls of the noble scholar, al-Sayyid Muhammad b. ?Alaw? al-M?lik?, and that of his forefathers, for it shows how united the scholars of Makka were in their Sufism. Indeed, it's a very good explanation of the different facets of the path of Sufism, the way of the scholars of Makka - ?ar?qa ?Ulam? Makka - who came from around the globe and engaged with each other in such a beautiful way in Makka. May Allah bless the authors for their efforts, and may He allow us to benefit."? - Syed Hasan b. Muhammad bin Salem al-Attas, Imam, Masjid Ba'Alaw?e, Singapore

Knowledge, Spirit, Law, Book 2: The Anti-capitalist Sublime takes up where Knowledge, Spirit, Law, Book 1: Radical Scholarship (2015) left off, foremost in terms of a critique of neo-liberal academia and its demotion of the book in favor of various mediatic practices that substitute, arguably, for the one form of critical inquiry that might safeguard speculative intellectual inquiry as long-form and long-term project, especially in relationship to the archive or library (otherwise known as the "public domain"). This ongoing critique of neo-liberal academia is a necessary corrective to processes underway today toward the further marginalization of radical critique, with many of the traditional forms of sustained analysis being replaced by pseudo-empirical studies that abandon themes only presentable in the Arts and Humanities through the "arcanian closure" that the book as long-form inquisition represents (whether as novel, non-fictional critique, or something in-between). As a tomb for thought, this privileging of the shadowy recesses of the book preserves, through the very apparatuses of long- and slow-form scholarship, the premises presented here as indicative of an anti-capitalist project embedded in works that might otherwise shun such a characterization. The perverse capitalist capture of knowledge through mass digitalization is - paradoxically - the negative corollary for the reduction by abstraction of everyday works to a philosophical and moral inquest against Capital. The latter actually constitutes a transversal reduction for works (across works) toward the age-old antithesis to instrumentalized socio-cultural production - Spirit. For similar reasons, the anti-capitalist sublime as presented here is primarily a product of the imaginative, magical-realist regimes of thought in service to "no capital" - to no capitalization of thought. This book seeks to re-establish paradigmatic, a-historical, and universalizing practices in humanistic scholarship associated with speculative inquiry as a form of art, utilizing in passing forms of art and exemplary paradigmatic practices that are also first-order forms of speculative inquiry - suggesting that first-order works in the Arts and Humanities are those works that may "suffer" second-order incorporations without the attendant loss of the impress of sublimity (Spirit).

This volume offers readers a unique and comprehensive overview of different theoretical and interdisciplinary perspectives on 'the sublime'.

Throughout its long history, and not just as the key aesthetic category for the Romantic Movement, the sublime has created the necessary link between aesthetic and moral judgment, offering the prospect of transcending the limits of measurement, even imagination. The best of science makes genuine claims to the sublime. For in science, as in art, every day brings the entirely new, the extreme, and the unrepresentable. How does one depict negative mass, for example, or the folding of a protein that is contagious? Can one capture emergent phenomena as they emerge? Science is continually faced with describing that which is beyond. This book, through contributions from nine prominent scholars, tackles that challenge. The explorations within Beyond the Finite range from the images taken by the Hubble Telescope to David Bohm's quantum romanticism, from Kant and Burke to a "downward spiraling infinity" of the 21st century sublime, all lucid yet transcendent. Squarely positioned at the interface between science and art, this volume's chapters capture a remarkable variety of perspectives, with neuroscience, chemistry, astronomy, physics, film, painting and music discussed in relation to the sublime experience, topics surely to peak the interest of academics and students studying the sublime in various disciplines.

Of all of Teresa of Avila's works, The Way of Perfection is the most easily understood. Written at the height of the controversy surrounding the reforms Teresa instituted in the Carmelite order, it instructed the nuns in the practice of prayer. Teresa discusses the three essentials of a prayer-filled life -- fraternal love, detachment from material things, and true humility. Her counsels on these are the fruit of her practical experience. The book develops these ideas and takes up directly the matters of prayer and contemplation. Teresa gives various maxims for the practice of prayer and concludes the book with her masterful and impassioned version of the Lord's Prayer. "How is it that Thou canst give us so much with Thy first word?" she says of the "Our" at the beginning of that prayer. The simple and practical nature of this mystical classic will appeal to all who seek a life of wholeness.

A Taytsh Manifesto calls for a translational paradigm for Yiddish studies and for the study of modern Jewish culture. Saul Noam Zaritt calls for a shift in vocabulary, from Yiddish to taytsh, in order to promote reading strategies that account for the ways texts named as Jewish move between languages and cultures. Yiddish, a moniker that became dominant only in the early twentieth century, means “Jewish” and thus marks the language with a single identity: of and for a Jewish collective. In contrast, this book calls attention to an earlier and, at one time, more common name for the language: taytsh, which initially means “German.” By using the term taytsh, speakers indicated that they were indeed speaking a Germanic language, a language that was not entirely their own. In time, when the word shifted to a verb, taytshn, it came to mean the act of translation. To write or speak in Yiddish is thus to render into taytsh and inhabit the gap between languages. A Taytsh Manifesto highlights the cultural porousness that inheres in taytsh and deploys the term as a paradigm that can be applied to a host of modern Jewish cultural formations. The book reads three corpora in modern Yiddish culture through the lens of translation: Yiddish pulp fiction, also known as shund (trash); the genre of the Yiddish monologue as authored by Sholem Aleichem and other prominent Yiddish writers; and the persistence of Yiddish as a language of vulgarity in contemporary U.S. culture. Together these examples help revise current histories of Yiddish while demonstrating the need for new vocabularies to account for the multidirectionality of Jewish culture. A Taytsh Manifesto develops a model for identifying, in Yiddish and beyond, how cultures intertwine, how they become implicated in world systems and empire, and how they might escape such limiting and oppressive structures.