Destiny film averroes biography

Kaddara ( Larabci: المصير‎ , fassara;al-Masīr ; French: Le Destin) fim ne na wasan kwaikwayo na tarihi na Faransa da Masar na 1997 wanda Youssef Chahine ya jagoranta. An nuna shi daga gasar a 1997 Cannes Film Festival.^[1] An zaɓi fim ɗin azaman shigarwar Masar don bada kyautar Mafi kyawun Fim ɗin Harshen Waje a 70th Academy Awards, amma ba a yarda da shi a matsayin wanda aka zaɓa ba. ^[2][3]

Fim ɗin yana game da Averroes, masanin falsafa na ƙarni na 12 daga Andalusia wanda za a san shi da mafi mahimmancin sharhi akan Aristotle .

An shirya fim ɗin a Cordoba kuma yana nuna dangantakar da ke tsakanin Halifa da Averroes, wanda yana ɗaya daga cikin mashawarcinsa da ya fi amincewa. Masu tsattsauran ra'ayi na addini sun fara samun iko, suka fara yin tasiri a kan hukuncin da halifa ya yanke, wanda ya kai ga gallazawa masanin falsafa da hargitsin siyasa a Andalus.

Yan wasa

[gyara sashe | gyara masomin]

• Nour El-Sher

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  The Ibn Rushd (Averroes) page

  Averroes (1126-1198)

  
  Ibn Rushd (Averroes) is regarded by many as the foremost Islamic philosopher.
  
  Abu'l-Walid Ibn Rushd, better known as Averroes (1126-1198), stands out as a towering figure in the history of Arab-Islamic thought, as well as that of West-European philosophy and theology. In the Islamic world, he played a decisive role in the defense of Greek philosophy against the onslaughts of the Ash'arite theologians (Mutakallimun), led by al-Ghazali (d. 1111), and the rehabilitation of Aristotle.
  
  A common theme throughout his writings is that there is no incompatibility between religion and philosophy when both are properly understood. His contributions to philosophy took many forms, ranging from his detailed commentaries on Aristotle, his defense of philosophy against the attacks of those who condemned it as contrary to Islam and his construction of a form of Aristotelianism which cleansed it, as far as was possible at the time,

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Abstract:
Critics of Youssef Chahine’s 1997 film Destiny assume that its message is that ideas will always trump censorship. Such responses, however, neglect to ask why Chahine chose to make this film a musical of sorts and to what extent the coupling of philosophy with song and dance might work to contest oppressive state and religious power. Song and dance is not simply window-dressing in the film; it represents defiance in the face of loss and defeat. In Destiny, conviviencia becomes conviviality, but it is ephemeral, doomed to fade along with the music’s dying notes.

Youssef Chahine’s 1997 film Destiny opens with the burning of a heretic and ends with a book burning, attesting to the dangers of – and to – philosophy in the culture, politics, and religions of the Christian and Islamic worlds of the medieval Mediterranean. The film sets a mythologised version of the twelfth-century Andalusian philosopher Averroes against a backdrop of aristo