The decline of scientific tradition in the contemporary Islamic world indicates an epistemological disconnect between the classical scientific heritage and the development of modern science. The current educational paradigm tends to be imitative and separated from the spiritual, rational, and empirical values that once served as the foundation of Islamic scientific glory. This study aims to analyze the thoughts of Al-Kindi and Ar-Razi as two central figures representing rationalism and empiricism in the classical Islamic scientific tradition. The approach used is a qualitative literature study method using primary data in the form of books and articles adopted from the works of both figures and supporting secondary data in the form of books on Islamic intellectual history, studies of the philosophy of science, and scientific articles. The results show that Al-Kindi developed deductive rationalism that combines reason and revelation, while Ar-Razi emphasized inductive empiricism based on observation and experimentation. The synthesis of these two approaches forms an epistemological framework that balances theoretical reasoning and empirical verification, which then becomes the basis of the modern scientific method. This study emphasizes the importance of re-internalizing the critical spirit, intellectual autonomy, and orientation towards the welfare of the people in reviving the scientific tradition in the Islamic world, while contributing to contemporary Islamic philosophy by offering a model of epistemological integration relevant to education and research.

This article focuses on selected travel writings by Dyzma Bończa Tomaszewski who, though little known for his poetic achievements, was remembered primarily as an opponent of the May 3rd Constitution of 1791. This stance notwithstanding, his work offers research material worthy of in-depth consideration, enabling us to trace the processes of aesthetic and literary transformation that occurred during the Polish Enlightenment. The issues raised in this analysis concern literary methods of representing landscape: motifs, strategies, and conventions employed to convey the “gaze of the viewing subject” as simultaneously observer but also co-creator of the seen landscape. Tomaszewski drew from, among other things, classical traditions, employing, for instance, the motif of Hercules at the crossroads. At the same time, he remained open to emerging literary trends and, more broadly, to the culture of the more mature later stages of the Age of Light.

This study critically analyzes and evaluates the core philosophical and structural educational innovations developed during the Islamic Golden Age (8th to 13th centuries AD) and their specific relevance in addressing three critical contemporary global educational challenges: the knowledge dichotomy (secularization), the character crisis, and the global competency gap. The research employs a qualitative-descriptive method, utilizing a literature study approach (Library Research) and focused contextual comparative analysis. Primary and secondary data were sourced from historical accounts of key Islamic educational institutions Bayt al-Hikmah and Madrasah systems, classical Islamic philosophy of science, and contemporary literature on global educational demands (e.g., 21st Century Skills and the impact of digitalization). The analysis follows a three-stage framework: 1) Historical Analysis of Golden Age innovations; 2) Critical Evaluation of the identified innovations' potential to resolve contemporary challenges by operationalizing them against modern structural and philosophical variables (such as pragmatism and secularization); and 3) Constructive Synthesis to formulate practical pillars of revitalization rooted in Qur'anic values. The findings propose six interconnected pillars of revitalization, specifically targeting systemic deficiencies: paradigm revitalization (eliminating the curriculum dichotomy), ecosystem revitalization, methodology, institutional structure, teaching staff development, and pedagogical orientation. In conclusion, the revitalization of Islamic education is framed as a systematic effort to re-embody the spirit of iqra (reading and researching), leveraging the intellectual and ethical strengths of classical traditions to build a bridge to the future. This effort aims to transition Islamic education from being merely a follower of change to becoming a renewed source of civilization and innovation that effectively integrates spiritual depth with global competence.

This study compares two Arabic poems from different historical periods, namely Waṣf al-Jannah by Ibn Qayyim al-Jawziyyah and Ādam wa Firdawsuhu by Nāzik al-Malā’ikah, to examine how each poet constructs the imagery and meaning of paradise within distinct aesthetic systems. The research employs a qualitative literary approach based on Wellek and Warren’s intrinsic and extrinsic framework, complemented by Tötösy de Zepetnek’s systemic approach. The data consist of poetic texts that represent images, symbols, and thematic expressions of paradise in both poems. The primary data are drawn from recognized editions of Waṣf al-Jannah, contained in Hādī al-Arwāḥ ilā Bilād al-Afrāḥ, and Ādam wa Firdawsuhu, included in Nāzik al-Malā’ikah al-Mujalladu al-Awwal. The secondary data are obtained from relevant scholarly studies in Arabic literary criticism. Data were collected through close reading and textual documentation focusing on diction, imagery, symbolism, and emotional tone related to the representation of paradise. Data analysis was conducted by examining intrinsic elements such as theme, imagery, diction, and symbolism, as well as extrinsic aspects including socio-historical context and literary conventions, which were then interpreted using a systemic perspective. The findings suggest that Ibn Qayyim portrays paradise through vivid sensory imagery inspired by Qur’anic descriptions, employing metaphors of light, gardens, flowing rivers, and eternal rewards to evoke spiritual longing and reinforce religious motivation. In contrast, Nāzik portrays paradise as an inner and psychological realm marked by loss and existential tension, using symbolic language to reflect modern concerns such as violence, alienation, and human fragility. The study concludes that representations of paradise are shaped not only by theological perspectives but also by cultural and aesthetic environments, demonstrating how poetic discourse bridges classical and modern Arabic literary traditions.

Objective: This study aims to examine the contribution of Violin Room to the creative industry and music culture in the digital era. Method: This research employs a qualitative descriptive approach with a phenomenological design, allowing for an in-depth understanding of the experiences and practices implemented by Violin Room. Results and Discussion:The findings reveal that Violin Room adopts a systematic strategy in content creation, including planning, production, and publication stages. The content produced covers educational material such as violin tutorials and music theory, as well as entertainment, including student performances and cover songs. The promotional strategies employed involve SEO optimization, the use of attractive thumbnails, and active audience engagement through comments. Conclusion: Violin Room successfully utilizes the violin as a medium for creative content through structured production processes, engaging educational and entertaining content, and effective digital promotion. This not only bridges classical music traditions with digital culture but also broadens the appreciation of the violin in the modern era, contributing to the development of music-based creative content.

This study analyzes the application of the (Read, Guide, Muraja'ah) Method in the learning of yellow books in Islamic boarding schools in the Southwest Aceh region as a response to the weakening of students' Arabic language skills, increasing dependence on translated books, and the challenges of modernization that affect the quality of classical text comprehension. Through the Read stage to train phonetic accuracy, the Guidance stage to provide correction and conceptual understanding, and the Muraja'ah stage to strengthen memory, this method is considered capable of improving reading accuracy, understanding of meaning, motivation, and discipline of students. A qualitative descriptive approach is used to explore the learning process in depth. The validation results show that aspects of all three methods are in the "very feasible" category, although this study is limited by the variation in student abilities and the time limit for muraja'ah. This study is based on classical Islamic boarding school studies and international pedagogical theories such as scaffolding and guided learning for the effectiveness of the Method. And the findings also confirm the relevance of the Method in bridging classical scientific traditions with the needs of Islamic boarding school learning in the modern era.

The Raas Dance of Manipur occupies a unique place within India’s sacred performing arts, embodying a synthesis of spiritual discipline and the aesthetic experience of divine love. Within the classical tradition, the Govindaji Raas Dance is regarded as an exceptionally refined artistic form through which profound spiritual concepts are communicated. Believed to embody the eternal divine love of Radha and Krishna, the Raas Dance conveys subtle philosophical meanings through intricate movement, gesture, and musical expression. The tradition attained a transformative dimension during the reign of King Bhagyachandra, whose visionary contributions shaped the structural, choreographic, and ritual foundations of the Raas Leela. The present article explores the historical evolution, ritual procedures, musical-literary sources, aesthetic principles, and spiritual foundations of the Raas Dance performed at Shree Shree Govindaji Temple. Special attention is given to the Bhangi Pareng Achouba of Maha Raas, its spiritual significance, and its place within the broader context of Manipuri Vaishnava devotional culture. Keywords: Rasa, Song, Rhythm, Raas Dance sequence, Bhangi Pareng, Costume, Ornamentation

The article is devoted to the study of the motivic structure of the novelistic prose of Sarah Waters, the modern British writer. Despite the recognition of her merits in Great Britain, numerous nominations of her books for various awards and their translations into many languages of the world, including Russian, the works of this author have not yet received proper scientific understanding. In particular, the undoubted connection between S. Waters’ works and the Russian literary tradition, which manifests itself in the writer’s novels at the level of the motivic structure, in which one cannot help but notice the influence of F. M. Dostoevsky, was not examined in detail. While intertextual echoes of the writer’s work with English novels of the 19th century, including those written by Charles Dickens, were noted by individual researchers. The motives in the writer’s novels are varied, but the proposed study separately examines two groups of motives that relate the author’s poetics to the legacy of English and Russian literature. The study proves that these elements of the motivic structure function in the legacy of S. Waters as a continuation of the classical literary tradition, but at the same time are the basis for postmodernist literary experiments.

This research aims to critically examine the feasibility of hermeneutics as a method of interpreting the Qur'an, while questioning its compatibility with the epistemology of revelation and the standardized and permanent Islamic shari'a system. This research is a qualitative study with a descriptive-analytical approach through a literature study method, namely by examining primary and secondary literature from the classical tafsir tradition and contemporary hermeneutic thought. The results show that hermeneutics has epistemological roots that are not in line with the character of revelation in Islam and has the potential to shift the authority of the meaning of the Qur'an towards interpretative relativism. The novelty of this research lies in its position that not only examines hermeneutics as a method, but also criticizes it philosophically and methodologically as an interpretive approach that cannot replace the established Islamic interpretive framework. The implication is that the results of this study can be an important consideration in maintaining the authority of tafsir methodology in Islamic education, as well as being an academic policy footing so that Qur'anic studies remain grounded in the integrity of Islamic epistemology.

This essay explores the symbolic and philosophical connections between medieval alchemy, the figure of the Chimera, and contemporary BioArt. It argues that BioArt is not merely a biotechnological practice but also draws on archaic and alchemical imaginaries to produce artworks that challenge the boundaries between human and non-human, natural and artificial. The Chimera, as a hybrid figure, symbolizes transformation, the reconciliation of opposites, and the emergence of new modes of existence. Alchemy, in turn, is presented as a spiritual and material precursor to BioArt, offering a vision of transformation as a pathway to knowledge. Through the analysis of specific BioArt projects and historical references, the essay demonstrates how contemporary practices update and reinterpret classical and medieval symbols, proposing an ontology of hybridity. The result is not only an aesthetic proposition but also a philosophical and ethical one: an invitation to rethink matter, life, and creation from a more integrated perspective. In conclusion, the hypothesis is confirmed—BioArt emerges as a contemporary form of alchemy, generating chimerical creations that reactivate classical traditions and foster novel insights into the present. This essay ultimately proposes a historical hybridization, encouraging us to create our own philosophical and artistic chimeras.

Whether as the attributes of prominent Greek divinities like Hekate or as the guardian of the Underworld, Cerberus, the pervasive presence of dogs in Greek mythology is surely a result of their role as companions of humans throughout history. The features ascribed to canines through this Classical tradition emerge in literature, by means of symbolism, as a deliberate attempt to convey a message both to the characters and the readers. In most cases, this serves as a reminder of the origins of civilization – which coincides with the first interactions between humans and wolves – and a need for the recovery of some crucial features as a result of our estrangement from nature. In Companion Piece (2022), Ali Smith's revisiting of the mythical image of the dog/wolf accounts for our aim at exploring its distinct presentation both as companion and custodian of tangible and intangible doorways. The results obtained in this study denote that the narrative, through the image of the dog, entices us to see thresholds as an opportunity for the meeting of opposing realities rather than as a space where there is a confrontation between arbitrary binary conceptions. This particularly applies to the female characters by asking them to break the conventions by accepting their inner and real selves.

The article analyzes the genre-style specificity of small prose of Maria Dombrovskaya and Irina Wilde. The example of the works shows the artistic and figurative organization of texts, experimental searches, author's synthesis of different genre elements in the structure of short stories and stories. Particular attention is paid to topics (family and social conflicts, peasant existence, harmony of man and nature), style polyphony (neoromanticism, symbolism, impressionism, orientation on existentialism), autobiographical narrative (determined by subjectivism in the transmission of impressions). The research uses a comparative approach that made it possible to identify common and distinctive features of the work of Polish and Ukrainian writers, to outline the search for artistic and expressive means to convey the inner world of characters. The works of Marіа Dombrovskaya are characterized by psychology, attention to the inner world of personality, fragmentation of composition and philosophical implication. Irina Wilde's prose is distinguished by the emphasis on family-psychological issues, a women's view of social, gender, and cultural aspects of Galician life of that time. A common feature is attention to the inner world of characters, subtle reproduction of psychological nuances, attention to the role of a woman in the world private and public, lyricization of the story and the use of impressionistic techniques in the depiction of reality. Close are the topics of works: memories of childhood, relationships with children, issues of being in the world, motherhood, love, etc. Heroes of works about childhood are endowed with the character traits of writers, their feelings and experiences, and through memories, they express the past. The genre spectrum of their small prose covers the novel, the story, the etudes, the impressionistic sketch, which certifies artistic searches on the verge of classical tradition and modernist renewal.

This study explores the reception of M.Yu. Lermontov’s traditions within the poetry of the Silver Age. The relevance of this research is underscored by the significance of Russian classical literature traditions as foundational to the integrity of national literary discourse, serving as a source of creative reflection for subsequent generations and a means of grappling with contemporary issues. The novelty of this investigation lies in the examination of how female poetic consciousness at the turn of the 19th to the 20th century engaged with Lermontov’s spiritual legacies, highlighting both shared and distinctive traits in creative continuity. The religious and aesthetic underpinnings of Lermontov’s artistic expression are emphasized, particularly his interpretations of the divine and earthly realms within a unified cosmological framework. The study identifies the reasons behind the enduring relevance of Lermontov’s insights in the literature of the late 19th and early 20th centuries. Special attention is given to the female poetic line represented by the works of Anna Akhmatova, Zinaida Gippius, and Mira Lokhvitskaya. A typology of women’s poetry is developed based on their shared attraction to a common spiritual-aesthetic center. It is demonstrated that this poetry is intrinsically linked to the preservation of Lermontov’s primary ideological trajectory — the religious-aesthetic perspective. Furthermore, the analysis reveals unique characteristics in each poetess’s interpretation of various thematic, imagery-based, and stylistic elements from Lermontov’s vast legacy.

This article aims to examine the intellectual positioning of Murtaza Mutahharī—one of the most prominent figures of twentieth-century Iranian thought—within both historical and theoretical frameworks. Focusing on Mutahharī’s intellectual identity, innovative linguistic strategies, and public discursive interventions, the study explores his effort to construct a dialogical bridge between the classical Hawza tradition and modern academic discourse. Drawing on Edward Said’s notion of the “universal intellectual,” Jürgen Habermas’s theory of communicative action and the public sphere, Michel Foucault’s distinction between knowledge and consciousness, and Pierre Bourdieu’s concept of “epistemic habitus,” the article analyzes the discursive structure of Mutahharī’s thought. Another key focus of the article is the reception of Mutahharī’s works in post-1980 Turkey. His translated texts, which circulated through magazines, publishing houses, and intellectual platforms, constituted not only a private reading practice but also a discursive intervention that contributed to the intellectual transformation of Turkish Islamism. Through indicators such as editorial strategies, the publication of articles in periodicals, and growing academic interest, the study investigates the influence of Mutahharī’s ideas—particularly among younger generations—on regional formations of Islamic public reason. Methodologically, the article adopts a multilayered strategy combining qualitative discourse analysis with conceptual textual interpretation. Mutahharī’s conceptual architecture, discursive patterns, and social critiques are examined through intertextual readings within the context of Islamic intellectual history. Special attention is given to key notions such as “philosophical insight” (basīrat), “public reason,” and “intellectual responsibility.” These analyses reveal not only the nature of Mutahharī’s intellectual identity but also the dynamic interplay between discourse and its historical and social context. Ultimately, the article conceptualizes Mutahharī’s intellectual practice as a transnational form of public reason that resonates beyond Iran in both regional and interdisciplinary dimensions. His legacy is marked by an effort to transform traditional epistemic structures within the Hawza, combining epistemological reform with ethical critique. Thus, Mutahharī should be reevaluated as a critical, transformative, and participatory Islamic intellectual. From this perspective, the article calls for a renewed discussion on the role of public reason and intellectual representation within Islamic thought.

The article deals with the issue of describing the pausal form of a word in the Arabic literary language, which existed within the framework of traditional grammar with its unique terminological base until the middle of the last century, and after it was transferred to the concepts of general linguistics. In the period from the VIII to the XIX century, the Arabic linguistic tradition built the description of the phonetics of the language on the basis of the term «harf», which represented a minimally pronounced unit. Many phenomena based on the Harf theory have no analogues in general linguistics even today, including the pausal form of a word. However, in the XX century, Ibrahim Anis began to build his theory of the Arabic language, focusing on Western linguistics. The transition to the concept of «sound» and the rejection of harf led to the fact that the linguist had to create a syllabic picture of the language, which he did by identifying the five most frequent types of syllables in Arabic. This move led to the terms «syllable group», «accent», «intonation», etc., which the classical tradition had not created. This transition also affected the pausal form of a word, since in the context of Harf theory the mechanism of its formation consisted in requiring the presence of an inconsistent element in the word’s outcome and making the necessary changes if the word did not initially correspond to it. In the transition to the syllabic description of language, this phenomenon lost its structurality, losing the key factor distinguishing it from the contextual form.

The article presents a comprehensive analysis of the formation and professional realization of the scientific potential of doctoral schools in the Republic of Poland within the context of current European tendenciess in higher education and science. The authors emphasize the historical stages of the transformation of doctoral education, which were marked by the massification of higher education and the expansion in the number of doctoral candidates, while at the same time employment opportunities in the academic sector remained limited. The study traces the contradiction between the increasing number of doctoral students and the low rate of dissertation completion, which necessitated the reform of the doctoral training system. The pivotal role of the Bologna Process, the Lisbon Strategy, and the European Qualifications Framework in shaping new approaches to the organization of PhD programs is highlighted. The research analyses the functioning of doctoral schools, which have become the central element of the doctoral training system in Poland. Their establishment facilitated the transition from fragmented faculty-based practices to a coherent institutional policy, ensured the financial stability of doctoral candidates, and created conditions for a more transparent and competitive selection and training process. Considerable attention is paid to the role of the academic supervisor, who remains the principal mentor in the research activity of the doctoral student, as well as to the analysis of the status of doctoral candidates, their rights, social guarantees, and obligations as defined by the Law of the Republic of Poland “On Higher Education and Science.” The authors also emphasize the importance of the scholarship and grant system, which provides opportunities for academic mobility and integration into the European research area. In conclusion, the study generalizes that the modern Polish model combines classical academic traditions with innovative management mechanisms and international openness, thus fostering the development of highly qualified scientific potential. A promising direction for further research is identified in the analysis of the functioning of doctoral schools in Poland’s military universities.

Islamic boarding schools play a central role in shaping human resources with religious, moral, and social character. In the modern context, Islamic boarding schools face the enormous challenge of maintaining their educational authority and relevance without abandoning classical scholarly traditions. This research was conducted at the Annuqayah Lubangsa Selatan Islamic Boarding School, Guluk-Guluk, Sumenep, which is known for its significant contribution in fostering students through a structured management system. The purpose of this study is to analyze the patterns of administrators in building the educational authority of Islamic boarding schools, the strategies used in maintaining this authority amid the challenges of modernity, and its impact on student behavior. The research method used was qualitative with a field study approach. Data were obtained through observation, in-depth interviews, and documentation, then analyzed using an interactive analysis model that emphasized data reduction, presentation, and verification. The results of the study show that the educational authority of Islamic boarding schools is built through synergy between formal structures, moral exemplary behavior, and the internalization of religious values. The management's strategy in maintaining authority is carried out by strengthening Islamic boarding school traditions, using a persuasive-humanistic approach, institutional synergy, and utilizing internal media as a means of education. The impact of this authority is evident in the formation of students who are disciplined, religious, civilized, and able to live in a community with a high level of solidarity. Educational authority at the Annuqayah Lubangsa Selatan Islamic Boarding School is collective, adaptive, and based on Islamic values, thereby shaping students who are spiritually, morally, and socially mature.

This paper focuses on Bin Chun, one of the first official envoys to the West in the late Qing Dynasty, and his work Notes on Riding the Raft, as well as translator Zhang Deyi and his Accounts of Maritime Voyages. Through a comparative literary analysis approach, the method systematically examines the differences between the two works in terms of narrative perspective, focal point of observation, stylistic features, and cultural mentality. The study shows that Bin Chun, as a represeyuanntative of the traditional literati, upheld the classical note-writing tradition, depicting the West with an aestheticized and assimilatory gaze, reflecting a sense of cultural superiority; whereas Zhang Deyi, as a modern intellectual trained at the Tongwen Guan, adopted a technical and analytical gaze, focusing on objective recording and the exploration of mechanisms, exhibiting characteristics of early modern enlightenment. This paper argues that these two works respectively represent two distinct ways in which Chinese modern intellectuals responded to Western civilization, marking a key turning point in the evolution of traditional Chinese travel writing toward modern documentary prose.

In this article, I propose a fresh reading of Niccolò Machiavelli’s work. I am interested in how his views and writings were influenced by the works of the two poets he loved and emulated a lot (if not the most); Dante and Ovid. I first examine Machiavelli’s literary culture and his relationship to the Classical tradition. I then discuss the reception of Ovid in the Middle Ages and in Dante, and then in Machiavelli, as I finally look at the relationship of the author of The Prince and The Discourses to his great Florentine predecessor. In doing so, I will try to show that this particular poetic tradition inspires and guides not only Machiavelli’s lesser-known poetic works, but also his famous and highly influential writings.

This study examines how the Donggyeong Daejeon (東經大全), the principal scripture of early Donghak, receives and theologically reconfigures the conceptual lexicon of Confucian classics through text mining-based analysis. Drawing on the classical Chinese texts of the Four Books and the Donggyeong Daejeon, and employing computational techniques such as keyword frequency, keyword-in-context (KWIC), and co-occurrence mapping, the study identifies structural parallels and semantic shifts across the two corpora. These patterns are then interpreted hermeneutically to assess how early Donghak appropriates, repurposes, and theologically transforms inherited Confucian categories. Findings suggest that while the Donggyeong Daejeon retains key Confucian terms, it situates them within a distinct theological framework. The Confucian triad of human being, the Way, and Heaven (人–道–天), for example, is recast in Donghak as “Heaven’s heart is the human-heart” (天心卽人心), a theological affirmation of the human as the locus of Heaven’s immanence. Similarly, the Confucian virtue of sincerity (誠) is reinterpreted through the lens of faith (信), transforming it from a metaphysical ideal into a performative mode of spiritual judgment. Most notably, the Confucian dualism of li (理) and qi (氣) is overcome through the theology of “ultimate energy” (至氣), a divine substance that animates and unifies all beings. By combining quantitative text analysis with interpretive discussion, this study presents Donghak not as a rhetorical appropriation of Confucian discourse, but as a conceptual innovation rooted in the resemanticization of its inherited language. This methodology offers a new model for tracking doctrinal transformation in East Asian religious texts and contributes to broader discussions on intertextual borrowing, and the semantic evolution of classical traditions.