Download SENSIS Short project description

ERC Consolidator Grant
The senses of Islam (SENSIS):
A cultural history of perception in the Muslim world
Name of PI:
Prof. Dr. Christian Lange
PI’s host institution: Utrecht University
Duration in months: 60
1. Scope, objectives, and relevance
Sensory perception is not only a physical but also a cultural act: how people experience and understand sight,
sound, smell, taste, and touch differs according to the historical, geographical, social and intellectual contexts
in which perception occurs. How, then, is one to conceive of the Muslim sensorium, past and present? The
aim of The Senses of Islam (SENSIS) is to write a cultural history of the senses in Islam, by examining
how the senses have been conceptualised, and calibrated, in a variety of Muslim spatio-historical
environments. Despite the rich promise that a sensory history of Islam holds, no sustained, comprehensive
reflection on this question exists in current scholarship, whether in historical-critical, text-based Islamic
Studies, the field of study in which this project is primarily located, or in any of its cognate disciplines.
The topic is important and timely on three accounts. First, reality is perceived through the senses: we see,
hear, taste, smell and touch the world around us. The way in which our environment shapes our senses,
therefore, determines how we relate to the world. This invests the senses with the power to engender cultural
difference; thereby, the senses both complicate and enrich multicultural coexistence. In the case of Islam,
European societies continuously, and increasingly, wrestle with this challenge—think of debates surrounding
veiling in public, the sounding of the Muslim call to prayer, the shaking of hands (or indeed other,
unsolicited forms of bodily contact) between Muslims and non-Muslims, or halal food. A coherent and
properly communicated account of the variety of Muslim attitudes towards the senses would go a long way
in making such sensory encounters more comprehensible, and easier to navigate.
Second, the history of the senses is closely entangled with that of modernity, while Islam’s compatibility
with modernity remains the subject of controversy. Following the seminal, and disputed, work of Marshall
McLuhan (1962) and Walter Ong (1982), it has been suggested that the Islamic denigration of vision—what
Daryush Shayegan (2003) has termed the regard mutilé of Islam—undermines Islam’s ability to modernise.
However, such sweeping narratives, influential though they may be, rarely stand the test of closer inspection.
The Quran, for example, clearly elevates sight above hearing. The relationship in Islamic culture between the
senses, and the two distal senses (sight and hearing) in particular, is far from evident. Therefore, granting that
Islam’s ability to modernise is tied up with the sensory regimes it promotes, there is a need to study the issue.
Third, disembodied Western rationalism is often contrasted, by both its defenders and its detractors, with an
alleged Muslim celebration of the senses. This finds expression in enduring stereotypes about an indulgent
Orient full of colours, smells, and tactile sensations. Besides facilitating caricatures of Muslims as irrational
and easily aroused, such characterisations ignore the important strands of sense denial in Islamic thought,
which always existed side by side with notions of sensory, embodied religion. The alleged Muslim emphasis
on the senses, particularly the proximate senses, should therefore be critically re-evaluated, and the varieties
of sensory discourses in Islam comprehensively examined.
On this background, the questions that are posed in SENSIS are as broad as they are fundamental. For
example, how many senses should one count from a Muslim perspective (subprojects 1, 2, 5)? How are the
senses activated and used in Muslim devotional practices (subprojects 2, 3)? What are the regulatory
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mechanisms by which the various senses are silenced, restricted, or enhanced, in Islamic ethical and legal
traditions (subprojects 3, 4)? How are the senses deployed in the construction of identity and alterity
(subprojects 4, 5)? What kind of shifts and variations in Islamically founded sensory regimes can we observe
in different intellectual currents, as well as different places and epochs of Islamic history (all subprojects)?
2. State-of-the-art and imbedding in scholarship
Despite the pioneering work of sociologists such as Georg Simmel (1907) and cultural historians such as
McLuhan and Ong, it is only in the last thirty years or so that sensory studies have become a full-fledged
field of study in the humanities, complete with its learned scholarly associations, book series, journals, and
online collaborative forums. A towering synthesis has recently been produced under the editorship of
Constance Classen (A Cultural History of the Senses, 6 vols., 2014). It is striking, however, that Islam
receives no more than passing mention in Classen’s multi-volume work. Neither does Islam figure
prominently in the equally impressive Sensational Religion: Sensory Cultures in Material Practice (ed. Sally
Promey, 2014), of whose 37 chapters a mere four touch on Muslim cultures. While, as some have claimed, in
other fields of the humanities “a sensorial revolution” is well underway (Howes 2003: 39), scholars of the
Islamic world are only beginning to sketch the contours of a sensory history of Muslim societies.
The most important exceptions to this generalisation are found in the work of historians and anthropologists
of Islam, particularly the latter. Next to a few explorations by historians and art historians of smell
(Thurkill 2007; Bonneric fc.), taste (Lewicka 2012), and vision (Necipoglu 1993; Belting 2008) in
premodern Middle Eastern cultures, significant progress has been booked by historical studies examining
changes in Muslim attitudes toward the senses following, and oftentimes resisting, the impact of Western
modernity (Fahmy 2002; Fahmy 2013). However, Islamic historians are yet to embrace fully the senses as an
object of historical inquiry. In regard to anthropological studies, Charles Hirschkind’s 2006 monograph on
the “ethical soundscape” that undergirds revival movements in late 20th-century Cairo is inspirational in that
it highlights the profound effects of cassette-recorded preaching, not just in the sense of instilling religious
ideology, but of shaping the perceptual habits of listeners (2006: 2). In the wake of Hirschkind’s seminal
work, other recent anthropological studies make valuable contributions to the scholarly understanding of the
role of the senses and sense perception in Islamic contexts (de Koning 2011; Weiner 2011; Güney 2012;
Tamimi Arab 2015). What is common to these studies, and what differentiates them from the project
herewith proposed, is that they focus on the contemporary period and pay comparatively little attention to
Islam’s textual heritage, instead stressing everyday Muslim discourses and practices.
The few studies by textual scholars of Islam that address the senses provide important stimuli, but they do
not analyse the cultural history of the Muslim sensorium in comprehensive fashion. The little research that
has been done on the physiology of the senses in Islam has focused on optics, and on the Iraqi optician, Abu
l-Haytham (Alhazen, d. 1040) in particular (Omar 1977; Sabra 1989). The physiological history of audition,
olfaction, gustation, and touch in Islam, by contrast, remains virtually unstudied. In the study of Islamic law,
it is the Islamic protocol of the gaze that has garnered the greatest attention. Thus, scholars have studied the
scopic regime promoted by the jurists of Sharia law, whether in regard to the rules concerning the obligation
to veil certain parts of the human body (Chaumont 2006) or to shield the privacy of houses from the gaze of
others (Alshech 2004; O’Meara 2007). Fewer studies exist of the legal regulation of the other senses, despite
the promise of such studies to produce fresh insights into the world-making mechanisms of Sharia law.
Finally, some efforts have been made to understand Muslim attitudes towards the senses according to
Muslim theology and philosophy, although on balance researchers have been more interested in abstract
intellection than in sense-based knowledge (Rosenthal 1970). Muslim mystics (Sufis) are known for
regularly invoking the senses in talking about experiences of communion with the divine and strikingly use
the metaphors of vision (ru’ya), hearing (sam’) and, above all, taste (dhawq), to describe moments of mystic
exultation. While Böwering (1996) has written about the relationship in early Sufi thought between audition
and vision, taste, a pivotal concept in Sufi literature that contrasts curiously with the Aristotelian hierarchy of
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the senses, remains virtually unstudied. One might also mention a number of studies of the sensuality of the
Muslim afterworld (al-Azmeh 1995; Lange 2016), which suggest that the Islamic religious imagination
produces a distinct attitude towards the senses in Islam—a far-reaching proposition that invites full
treatment.
3. Set-up of the project
SENSIS aspires to develop an intersensory, “synaesthetic” perspective on the history of the senses in
Islam, that is, to avoid atomistic examination of single senses and instead understand the genesis of the
Muslim sensorium in holistic fashion. The project is structured along a spectrum of epistemic traditions,
each resulting in a subproject. An equal spread of the subprojects over Islamic history will ensure that all
major periods, from the formative period to the middle periods and all the way to modern times, are covered.
The senses and the individual
(inner dimension)
Epistemology
Subproject 1
Religious Experience
Subproject 2
The senses and the individual
(outer dimension)
The senses and society
Ethics
Law
Subproject 3
Subproject 4
Poetry
Subproject 5
Figure 1: Spectrum of sensory discourses in Islam
Subproject 1: The senses in Islamic epistemology
This project unit will develop an understanding of how the Aristotelian hierarchy of the senses was received
and modified in Islamic contexts. Aural learning being a hallmark of classical Islamic civilisation (and
continuing to be important up to the present), the question deserves to be asked in how far the privileging of
sight was questioned by Muslim philosophers and theologians of various stripes and colours. In addition to
studying the role played by the senses in Muslim epistemological theories, this project unit will also address
the Islamic reception and modulation of the Aristotelian notion of a sensus communis, that is, the seat of the
senses, in which all sense perceptions are combined into one (see Wolfson 1935; Gätje 1965), and which is
variously subdivided into a number of “inner senses” that complement and enrich the outer senses.
Subproject 2: Sensing the sacred in Islam: The senses and Islamic religious experience
This subproject will investigate the Muslim sensorium in as much as it is instrumental, according to Muslim
religious literature, in perceiving the divine. The Sufi tradition, which contrary to a common stereotype is by
no means marginal in Islamic history, offers the richest vocabulary of sensory encounters with the
transcendent and will therefore be given special attention in this axis of the project. While figurative
understandings of seeing, hearing, and above all, tasting God dominate in Sufi thought, one should not forget
that the body was in many instances “more central to Sufi practice than the intellect” (Bashir 2011: 12-13; cf.
Kugle 2007). This project unit will therefore investigate the Sufis’ attempts to bridge the gap between
ordinary life and transcendent reality by engaging the senses not only metaphorically, but also corporeally.
Subproject 3: Sensory etiquettes in Islam: The senses in Islamic ethics
This project unit will engage with strands in Muslim ethics that seek to discipline the senses and thus attune
the body with ascetic ideals. The roots of this phenomenon are located in early Islam’s ascetic movement
(zuhd); later, a moderate asceticism became a mainstream feature of Sunni piety, due to the influence of the
two seminal thinkers, Muhasibi (Iraq, d. 834) and Ghazali (Iraq, d. 1111). As Hirschkind has noted with
regard to contemporary Egypt, pious literature and sermons dealing with the etiquette of listening to the
Qur’an hone in on recommendations made in the premodern ethical literature (Hirschkind, 2006: 70), and a
broader analysis, including all five senses, promises to shed light on similar long-term survivals.
Subproject 4: The Muslim sensorium in society: The senses in Islamic law
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This subproject will study the ways in which Sharia law seeks to frame the senses in the public sphere. For
example, the Syrian jurist, Ibn Qayyim al-Jawziyya (d. 1350), in a book dealing with the legal treatment of
non-Muslims, wrote about how the call to prayer replaces church bells, in the same way in which the Qur’an
supersedes previous scriptures (1961: 718). Some centuries later, al-Ghazzi (d. 1651) issued a prohibition of
the alarm clock on the basis that it threatened to supersede the time-keeping function of the call to prayer
(2011: VII, 499). Developments in the legal discourse on sight (e.g., the nonvisible parts of the body), smell
(e.g., acceptable body smells), or touch (e.g., between sexes, or believers and unbelievers) will likewise be
examined in this subproject.
Subproject 5: The aesthetics of the Muslim sensorium: The senses in Islamic poetry
This subproject will be devoted to excavating the attitudes towards the sensorium that can be gleaned from
poetry produced in the Islamic world. In order to do so, discourses on the senses and sense perception in
Arabic or Persian poetry will be analysed: how, in particular, poets of love poetry (ghazal), panegyrics, and
lampoons (hija’) frame moments of seeing, hearing, smelling, tasting and touching the beloved, the ruler, a
saintly figure (such as the Prophet), or an abject person. The material is rich: For example, a well-known
anthology of classical Arabic poetry, by Sari al-Raffa’ (fl. 10th c. CE), is entitled The lover, the beloved,
what is smelled, and what is drunk (al-Muhibb wa ’l-mahbub wa ’l-mashmum wa ’l-mashrub). The ability to
paint multisensory poetic images, to celebrate the “partnership of the senses” in poetry, has been identified as
the sign of poetic mastery, as evinced by the example of the early Islamic desert poet, Dhu l-Rumma (Agha
2007); later poets of the Muslim world await analysis along similar lines.
4. Methodology
SENSIS will connect its questions and aims to the existing scholarship on the history of the senses not only
in Islam but also in other cultural traditions, first and foremost in Western societies, as scholarship on the
latter has produced nuanced accounts of the sensory history of, for example, Catholicism and Protestantism
(e.g., Mellor and Shilling 1997; Meyer 2009). This cross-pollination will be achieved by inviting selected
senior experts of (Western) sensory history to intensive workshops with the members of the project team.
Methodologically, the following four approaches will be paramount.
4.1 “Future philology” and digital humanities
The research undertaken in SENSIS will be based on the careful and critical reading of texts: philosophical,
religious and legal literature and poetry, but also newspapers and archival sources. In the spirit of what is
often referred to today as “future philology” (cf. the project Zukunftsphilologie at FU Berlin led by Dr. Islam
Dayeh, with whom the applicant collaborates), it is suggested that philology enables the humanistic project
of rendering alterity understandable, provided it sheds its traditional, historicist focus on the linguistic and
historical analysis of (mostly dead) languages (cf. Said 2004; Pollock 2009). Occasionally, scholars premise
the study of “embodied” culture (from which the turn toward the senses derives) on the need to “exit the
text”. This project takes the opposite view: it proposes to read embodied culture in and through texts. Where
appropriate, such an approach can be combined with new, “distant reading” techniques developed by
scholars in digital humanities. A remarkable amount of, mostly Arabic, and mostly religious, literature exists
in digital format and shall be made use of, particularly in subprojects 1, 4, and 5.
4.2 Multidisciplinary longue-durée history
Rather than proceeding by an examination of the sensory teachings of the various religious ‘orthodoxies’ in
Islam (Sunni, Imami, Isma’ili, etc.), SENSIS will focus on the different discursive traditions and epistemes
underlying thinking about the senses in Islam. It strives to reconstruct a critical number of such
perspectives (epistemological, mystical, ethical, legal, and aesthetic) on the various senses and how they
interrelate, and to do so while adopting a perspective of longue durée. This approach might be challenged
on the grounds of being overly ambitious, given that it requires expertise and skills of interpretation in a
number of heterogeneous cultural genres and forms of expression. However, the focus on discourses on the
senses—that is, on explicit written reflections on the senses, not on how the senses are culturally stimulated
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in a general sense—enables the multidisciplinary, synthetic approach that is herewith proposed.
4.3 Postcolonial studies
Since the publication of Edward Said’s Orientalism (1978), scholars of Islam can no longer avoid
questioning the ideological underpinnings of the Western (academic) discourse of supremacy over the
Muslim world. In studying the history of the senses in Islam, a postcolonial perspective entails the adoption
of two methodological principles. First, previous Western accounts of the Muslim sensorium have to be read
critically (cf. GoGwilt’s [2011: 4] notion of “postcolonial philology”), and their underlying sensorial biases
be brought to the fore and filtered out. Second, Muslim sources must be interpreted with the possibility in
mind that a distinct sensorial regime may emerge from them. It is also important, however, to realise that the
postcolonial project to capture the autonomous spirit of contemporary Muslim piety (see, e.g. Mahmood
2009), pitching it against the alleged Protestant, liberal bias in the current study of religion, is criticised by
scholars, Muslim and non-Muslim alike, who identify with liberal agendas (Abbas 2014: 100-111).
4.4 Sensory studies
SENSIS aims to participate fully in what is identified, by some, as the “sensorial turn” in the humanities.
Sensory studies, as the preceding literature review has shown, are almost completely unknown in Islamic
Studies. The possibilities for interdisciplinary exchanges are therefore manifold. Scholars of Islam can learn
from sociologists that processes of modernisation and individualisation play an important role in how the
sensorium is calibrated (already Simmel 1907); from anthropologists, that one should pay proper attention to
the culture-specific, performative aspects of perception (see, e.g., Hirschkind 2006: 29); from historians, that
sources should not be read ‘with an eye to the eye’ only, because the preference for vision was never as
paramount as McLuhan and Ong asserted (see, e.g., Schmidt 2000). Reciprocally, scholars not specialised in
the study of Islam may benefit from comparing their findings with the Islamic case. In sum, SENSIS is not
only about catching up with sensory history as it is practiced in other fields, but about advancing the
discussion by establishing Islamic sensory history as a properly constituted field of academic inquiry,
thereby providing a corrective, from the point of view of Islamic civilisation, to dominant narratives in
sensory studies elsewhere.
5. Planned output and activities
The postdocs will each write three specialised research articles; the PhDs, dissertations. The team will
produce a dedicated journal issue in The Senses and Society (Taylor & Francis) or a similar venue. A project
website will be created to host information about ongoing research projects, conferences, videos, and other
materials. Regular “chapter clinics” with the PhDs and postdocs will be convened. In years 2 through 4, five
interdisciplinary workshops, each dedicated to one sense and with the participation of two experts (one in
Islamic Studies and one in sensory studies), will be held. Each workshop will be concluded by a public
lecture of one of the two invitees. Finally, in year 5, the project will conclude with a synthesizing
international conference, The senses of Islam (ca. 50 participants), including several public keynote lectures.
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