An extraordinarily rich debut novel, set in India in 1947 at the time of Partition, touching on the importance of tolerance, love and family. The main character is Bilal, a boy determined to protect his dying father from the news of Partition - news that he knows will break his father's heart. With great spirit and determination, and with the help of his good friends, Bilal persuades others to collude with him in this deception, even printing false pages of the local newspaper to hide the ravages of unrest from his father. All that Bilal wants is for his father to die in peace. But that means Bilal has a very complicated relationship with the truth...
Abstract We in our current era observe the movement of masses in three dimensions, be it through a section of road, through airways or under a layer of water. Time, a fourth dimension, provides a conclusive evidence of traveling along three dimensions, and this fourth dimension always co-exists with any of the three dimensions, either traveling from the last moment (past) to the current moment (present) or from the current moment to the next coming moment (future). Our brain is a tool which helps us to comprehend the discoveries of science in these four dimensions, but a signal of error propagates in our body when we hear of a concept which does not exist in all these four dimensions. In our first response, we try to jump into a state of denial or refusal of such concepts and realities for some. This rhetoric gives birth to the exigency of exploring the unexplored dimensions of this universe. IRFAN (inner knowledge of self and GOD in accordance with Islamic Sufism), a beneficial compilation for its readers, outlines the theoretical concepts and personal experiences of Faqeer Noor Muhammad Sawari Qadri (R.A) that uncover the ways for the reader to introspect, search for the inner light of the soul, build connectivity with GOD, and practice renunciation towards materialism to walk on the un-travelled dimensions of this physical world. The author highlights the ways to identify the inner divine spark by focusing on the personal name of GOD . An example of spiritual failure or failure in a dimension which does not exist in the basic four dimensions is the wreckage of Titanic (a British liner), which to many is the failure of its massive frame. However, understanding of the parallel existence of physical and spiritual worlds for one could be developed and self-examined by reaching the photons in one’s soul.
Irfan Ahmad makes the far-reaching argument that potent systems and modes for self-critique as well as critique of others are inherent in Islam--indeed, critique is integral to its fundamental tenets and practices. Challenging common views of Islam as hostile to critical thinking, Ahmad delineates thriving traditions of critique in Islamic culture, focusing in large part on South Asian traditions. Ahmad interrogates Greek and Enlightenment notions of reason and critique, and he notes how they are invoked in relation to "others," including Muslims. Drafting an alternative genealogy of critique in Islam, Ahmad reads religious teachings and texts, drawing on sources in Hindi, Urdu, Farsi, and English, and demonstrates how they serve as expressions of critique. Throughout, he depicts Islam as an agent, not an object, of critique. On a broader level, Ahmad expands the idea of critique itself. Drawing on his fieldwork among marketplace hawkers in Delhi and Aligarh, he construes critique anthropologically as a sociocultural activity in the everyday lives of ordinary Muslims, beyond the world of intellectuals. Religion as Critique allows space for new theoretical considerations of modernity and change, taking on such salient issues as nationhood, women's equality, the state, culture, democracy, and secularism.
The esteemed visual artist, Irfan Ajvazi, stands tall in the realm of contemporary art, and has been a relentless innovator and boundary-pusher for over four decades. Having graduated with the title of Master of Education in Fine Arts from the Logo Design Insitute in Switzerland with the specialization in the graphic design, drawing , painting, and sculpture. after studying graphic design and drawing there from 2019 – 2022, Irfan has anchored his life and work in working in the field of painting, sculpture , drawing and new media. A master of subverting the familiar, Irfan’s artistry lies in transforming ordinary shapes and materials into extraordinary visuals. His work thrives on the principles of contrast and simplicity, recurring themes that underpin his profound aesthetic philosophy. Irfan has gained renown for his unique methodologies that amplify the inherent qualities of his chosen materials, adding a distinct layer of depth and intrigue to his oeuvre.
In Irfan Ajvazi’s artworks, men are discreetly observed, almost like flies on the wall, without disrupting their self-perception. These men represent the modern archetype, dressed in timeless suits, seemingly in control, yet occasionally revealing their vulnerabilities. Irfan’s art uncovers the hidden suffering beneath the facade of order and discipline in the modern world. Drawing has been Irfan’s lifelong means of understanding the world. He skillfully controls color and composition, akin to a seasoned calligrapher or a pianist adding that unspoken essence to his work. His ability to capture the essence of a moment with precision is striking. Ravn takes on the role of a surveillance camera, observing while his subjects lose control, leaving behind intriguing mysteries. Some of Irfan’s pieces exhibit fragmented motifs, revealing the inner turmoil and absurdity of modern existence. Men in suits and shiny shoes tumble, displaying a choreographed loss of control, shedding light on societal norms. His series of artworks often explore variations on a central theme, occasionally delving into the metaphysical, representing the inner and outer pressures that shape our humanity. Irfan’s paintings offer a window into the complex inner lives of his subjects, where multiple personas interact, emotions break through, and the boundaries of control are challenged. Irfan Ajvazi’s art is deeply infused with a profound admiration for black and white photography and the visual culture of Central Europe during the 20th century. Influential filmmakers like Hitchcock, Bergman, Tati, Fellini, and Kubrick have always served as guiding stars, shaping the aesthetic essence of his work. In the early stages of his career, Irfan employed a limited color palette, primarily working with black, white, and ochre oil paints. Later, he introduced ultramarine and vermillion, expanding his spectrum to these five colors. In more recent paintings depicting gardens and forests, a splash of lemon yellow adds a refreshing vibrancy to the lush greenery. Although Irfan’s artistic journey may appear unconventional at first glance, intimate connections can be traced from his early record covers and designs to the themes that pervade his art. For instance, the cover of “Tøsedrengene 3” (1982) visualizes the disciplined young body, while “Gangway’s Out on the Rebound for Love” (1985) introduces the suited modern man. Both these designs carry a lightly nostalgic touch reminiscent of a bygone era, influenced by black and white photography. The overarching exploration of the modern man’s disciplined exterior and tumultuous interior can be observed throughout Irfan’s artistic evolution. This theme is also evident in his fashion design, such as “Trust Your Intuition” (1991), where he plays with the male role in conflict with identity and instincts. In recent years, Irfan’s male figures have begun to break free from their mental confines and interact with various landscapes. Some find themselves in semi-natural garden spaces, while others appear as if they’ve been dropped into open, cultivated landscapes with intricate road networks dividing the surroundings. A few have ventured into the woods, embracing nature. This shift from inhabiting abstract mental spaces to occupying physical spaces is notable. The garden paintings, in particular, are characterized by a dark sense of humor that subtly underlies Irfan’s work. The suited men, despite their formal attire, attempt to unwind in these recreational spaces. This juxtaposition reflects the containment of the human’s animalistic side, mirroring the tamed nature of the garden compared to the wild surroundings. By Noah Moreland , art historian and writer
Rasa macam nak mengamuk! Rania bengang kerana ibu bapanya bersekongkol dengan Irfan kerana menerima lamaran lelaki itu. Memang Irfan sahabat terbaiknya. Mereka kenal sejak kecil lagi. Tapi dia tidak boleh melupakan arwah Haris, lelaki pertama yang dicintainya. Kerana memberontak, dia dera suaminya sendiri. Ada saja yang dia buat supaya dapat sakitkan hati Irfan. Dia panggil Irfan si kura-kura. Peduli apa! Dia tidak boleh terima Irfan sebagai suami. Irfan pula sentiasa bersabar kerana faham perasaan Rania. Sifat garang isterinya itu sangat menakutkan. Kecut perutnya! Namun, dia kenal hati budi Rania yang sebenar. Dia percaya, suatu hari nanti Rania akan jatuh cinta padanya. Dia akan buat sampai Rania cair. Si kura-kura ini tidak pernah mengaku kalah. Hati Rania akan ditawan walau apa jua rintangan!
A leading Islamic finance banker sheds light on an industry with growing global influence: “A superb introduction to a fascinating subject” (Financial Times) A trillion-dollar financial industry has revolutionized the global economy. Governments and corporations across the Islamic world have turned to finance that complies with Shari‘a law in order to fund economic growth. Even in the West, Islamic finance became an important alternative source of funding when the conventional finance industry was reeling from the effects of the financial crisis. From its origins in the seventh century, Islamic finance has sought to develop core ethical principles that are based in the foundations of Islam and Shari‘a. But with an increasing Western interest, is it able to remain true to the principles of its faith? Can it maintain its ideals of social justice? Or is Islamic finance guilty of the very dangers it seeks to avoid. In Heaven's Bankers, Harris Irfan, one of the world's leading Islamic finance bankers, gives unparalleled insight into the heart of this secretive industry. From his personal experience of working with leading bankers, scholars and lawyers, he debunks the myths of Islamic banking, analyzes its greatest deals, and looks to the future of a system that has reprioritized the very nature of money itself.
Coalition Politics and Economic Development challenges the conventional wisdom that coalition government hinders necessary policy reform in developing countries. Irfan Nooruddin presents a fresh theory that institutionalized gridlock, by reducing policy volatility and stabilizing investor expectations, is actually good for economic growth. Successful national economic performance, he argues, is the consequence of having the right configuration of national political institutions. Countries in which leaders must compromise to form policy are better able to commit credibly to investors and therefore enjoy higher and more stable rates of economic development. Quantitative analysis of business surveys and national economic data together with historical case studies of five countries provide evidence for these claims. This is an original analysis of the relationship between political institutions and national economic performance in the developing world and will appeal to scholars and advanced students of political economy, economic development and comparative politics.
