foof meaning

"Why did Just Add Magic end?" Just Add Magic was a popular and well-loved TV series that captivated audiences with its magical and enchanting storyline. The show followed the adventures of three young girls who stumble upon a magical cookbook and discover their own powers as they uncover the mysteries behind the book's recipes. The inevitable question that arises when a beloved show comes to an end is why did it end? There could be numerous reasons behind the cancellation or conclusion of a TV series, and Just Add Magic is no exception. One possible reason for the end of Just Add Magic could be the completion of the show's story arc. The series ran for a total of four seasons and each season built upon the previous one, gradually revealing the secrets of the magical cookbook and the girls' past. Perhaps the creators felt that they had told the story they set out to tell and decided to conclude it on a satisfying note.

A collection of excerpts from Hermes' "Trismegistus," which introduces Westerners to the mystical philosophy of ancient Egypt and Greece More

There are likewise made rings of dreams of wonderful efficacy, and there are rings of the Sun and Saturn -and the constellation of them is, when the Sun or Saturn ascend in their exaltation in the ninth, and when the Moon is joined to Saturn in the ninth, and in that sign which was the ninth house of the nativity, and write and engrave upon the rings the name of the spirit of the Sun or Saturn, and by these rules you may know how and by what means to constitute more of yourself. The 150,000-copy national bestselling autobiography of Marilyn Manson, America s most controversial celebrity icon, is offered with a bonus chapter not included in the hardcover.

Perhaps the creators felt that they had told the story they set out to tell and decided to conclude it on a satisfying note. Another reason could be the actors' contracts and availability. As the show featured young actors, their schedules and commitments may have played a role in the decision to end the series.

Books on Occult Sciences. In Treasures of Knowledge: An Inventory of the Ottoman Palace Library (1502/3-1503/4), ed. Gülru Necipoğlu, Cemal Kafadar and Cornell H. Fleischer. Muqarnas Supplements 14. Leiden: Brill, 2019. Vol. I, pgs. 735-765.

The divinatory art of geomancy (ʿilm al-raml), Arabic answer to the I Ching, was third in popularity only to astrology and oneiromancy throughout the premodern Islamo-Christianate world, and is still widely practiced today from Iran and Yemen to west Africa and Madagascar. Despite its ubiquity among scholarly and ruling elites, however, the reflexive scholarly elision of occultism from Islamicate intellectual and cultural history means that this science has been very poorly studied beyond its reception by Europe. This holds especially true for the early modern Persianate world: in the wake of the occultist renaissance that swept the Islamicate heartlands from the late 8th/14th century onward, geomancers emerged as influential fixtures at Mughal, Safavid and Ottoman courts, and geomancy, offering detailed knowledge of past, present and future, was widely lionized as a means for controlling history—yet the subject remains almost untouched. And despite its status as a mathematical occult science predicated on a neoplatonic-neopythagorean system and animated by the twin principles of correspondence and secondary causation, its importance to the history of science has likewise only been recognized in its European context. Extending the work of Emilie Savage-Smith, Marion B. Smith and others, I therefore provide the first survey, necessarily tentative, of the development of geomantic theory and practice in the persophone world from the 7th/13th century onward, when Naṣīr al-Dīn Ṭūsī (d. 672/1274) inaugurated a specifically Persianate geomantic tradition for the benefit of his Mongol patron Hülegü. With Ṭūsī as precedent, geomancy went on to exercise some of the best minds of the early modern Persianate world as a mainstream occult-scientific tradition, and enjoyed a crescendo of popularity in the 10th/16th century with the approach of the Islamic millennium. After sketching the development of the eastern geomantic tradition, then, I identify the philosophical-scientific reasons for its great vitality and cultural prestige down to the present, with particular attention to authors on geomancy like Luṭf Allāh Nīshāpūrī Samarqandī (fl. 812/1409), Sharaf al-Dīn Yazdī (d. 858/1454), Shams al-Dīn Khafrī (d. 942/1535) and Hidāyat Allāh Munajjim-i Shīrāzī (fl. 1001/1593), court geomancer to Emperor Akbar at the turn of the millennium.

In Matthew Melvin-Koushki and Noah Gardiner, eds., Islamicate Occultism: New Perspectives, special double issue of Arabica, 64/3-4 (2017), 346-403

The late 8th/14th century saw a renaissance of high occultism throughout Islamdom—a development alarming to puritan scholars. This includes Ibn Ḫaldūn, whose anti-occultist position in the Muqaddima is often assumed to be an example of his visionary empiricism; yet his goal is simply the recategorization of all occult sciences under the twin rubrics of magic and divination, and his veto persuades more on religious and social grounds than natural-philosophical. Restoring the historian’s argument to its original state of debate with the burgeoning occultist movement reveals it to be not forward-thinking but rather conservative, fideist and indeed reactionary, as such closely allied with Ibn Qayyim al-Ǧawziyya’s puritanical project in particular; and in any event, the eager patronage and pursuit of the occult sciences by early modern elites suggests that his appeal could only fall on deaf ears. That it also flatly opposed the forms of millennial sovereignty that would define the post-Mongol era was equally disqualifying. I here take Šaraf al Dīn ʿAlī Yazdī, Ibn Ḫaldūn’s younger colleague and fellow resident in Cairo, as his sparring partner from the opposing camp: the Timurid historian was a card-carrying occultist and member of the Iḫwān al-Ṣafāʾ network of neopythagorean-neoplatonic-monist thinkers then gaining prominence from India to Anatolia via Egypt. I further take geomancy (ʿilm al-raml) as a test case, since Yazdī wrote a tract in defense of the popular divinatory science that directly rebuts Ibn Ḫaldūn’s arguments in the Muqaddima. To set the stage for their debate, I briefly introduce contemporary geomantic theory and practice, then discuss Ibn Ḫaldūn’s and Yazdī’s respective theories of occultism with a view toward establishing points of agreement and disagreement; I also append a translation of Yazdī’s tract as a basis for this comparison. In Matthew Melvin-Koushki and Noah Gardiner, eds., Islamicate Occultism: New Perspectives, special double issue of Arabica, 64/3-4 (2017), 287-693: 346-403

In Matthew Melvin-Koushki and Noah Gardiner, eds., Islamicate Occultism: New Perspectives, special double issue of Arabica, 64/3-4 (2017), 287-693: 287-95

Muqarnas, Supplements, Volume: 14

Gülru Necipoğlu, Cemal Kafadar and Cornell H. Fleischer (eds.), Treasures of Knowledge: An Inventory of the Ottoman Palace Library (1502/3-1503/4) (2 vols) (Leiden: Brill, 2019), 341–366.

In Jamal Elias and Bilal Orfali, eds., Light upon Light: Essays in Islamic Thought and History in Honor of Gerhard Bowering, Leiden: Brill, 2019, 256-90

al-'Usur al-Wusta, 24 (2016), 42-113

As Derrida charged, Plato’s famous declaration of speech’s superiority to writing would seem to have resonated with inheritor cultures similarly transitioning from orality to literacy, and especially the Islamicate; despite the explosion of writerly culture from the 8th century onward, Arabic scholarship continued to evince a categorical, if increasingly rhetorical, mistrust of writing. In the 14th century, however, as the age of encyclopedism dawned throughout the Islamicate heartlands, the superiority of writing to speech was formally and definitively asserted by Arabic and Persian encyclopedists, including most prominently Ibn al-Akfānī (d. 1348) of Mamluk Egypt and Shams al-Dīn Āmulī (d. 1352) of Ilkhanid Iran. It is hardly coincidental in this connection that the same century also witnessed the burgeoning popularity among scholarly and ruling elites of lettrism (ʿilm al-ḥurūf), kabbalah’s coeval cognate—the occult science that posited the cosmos itself as a text to be read, even rewritten. Synthesizing these literary and occult-scientific currents, in the early 15th century a circle of Muslim neopythagoreanizing lettrists—chief among them Ibn Turka of Isfahan (d. 1432)—developed the first formal metaphysics of writing. This article analyzes Ibn Turka’s unprecedented valorization of writing over speech in terms both epistemological and ontological, as well as the sociocultural ramifications of this move throughout the post-Mongol Persianate world. Letter-number, he argued, is a form of light eternally emanated from the One; hence vision, that faculty of light, must be the sense most universal; hence visible text must be the form of the One most manifest. In support of this thesis, he synthesized the Avicennan-Ṭūsian doctrine of the transcendental modulation of being (tashkīk al-wujūd) with its illuminationist upgrade, the transcendental modulation of light (tashkīk al-nūr), to produce his signature doctrine of tashkīk al-ḥarf: letters of light as uncreated, all-creative matrix of the cosmos, gradually descending from the One in extramental, mental, spoken and finally written form. Far from being a peculiar intellectual rabbit trail of no enduring significance, I argue that Ibn Turka’s lettrist metaphysics of light was embraced by subsequent thinkers in Iran as the most effective means of conceptualizing and celebrating Islamicate writerly culture; these include the famed philosophers Jalāl al-Dīn Davānī (d. 1502) and Mīr Dāmād (d. 1630), founder of the so-called school of Isfahan. Nor was its influence limited to Aqquyunlu-Safavid philosophical circles; I further argue that Ibn Turka’s system informed the explosion of Persianate book culture more generally, and by extension Persianate visual culture, from the early Timurid period onward. A telling example in this context is the emergence of the album preface as a new genre of art history-theory in early Safavid Iran, a phenomenon that has been well feted and studied by art historians; but they have wholly elided high lettrism as the genre’s most immediate philosophical context. This principle may be extended to the Persian cosmopolis as a whole: two of the most seminal discourses on writing developed in the Ottoman and Mughal contexts, by Taşköprüzāde (d. 1561) and Abū l-Fażl ʿAllāmī (d. 1602) respectively, are demonstrably Ibn Turkian. Like Derrida was to do half a millennium later, in sum, early modern Muslim lettrists inverted Plato’s speech-writing hierarchy; unlike Derrida, for whom writing can have no ontological edge, they put forward a profoundly humanistic neopythagorean ontogrammatology as core of the philosophia perennis—and that so trenchantly that it served to shape Islamicate intellectual and aesthetic culture alike for centuries. The modern ideologues of East-West rupture notwithstanding, moreover, I propose this cosmology as a major node of Islamo-Christianate cultural continuity even to the present.

Sorry, preview is currently unavailable. You can download the paper by clicking the button above.

RELATED PAPERS

Treasure of Knowledge: An Inventory of Ottoman Palace Library (1502/3-1503/4)

All hail to thee, moon; all hail to thee,

As they grew older and pursued other projects, it may have become challenging to align their schedules and continue the show. Additionally, viewer ratings and reception could have influenced the decision to end Just Add Magic. While the show garnered a loyal fan base, declining ratings or a decrease in popularity over time could have contributed to the show's cancellation. Networks often make decisions based on viewership numbers and financial viability, and if the numbers weren't favorable, they may have opted to end the series. Lastly, creative choices and the desire to explore new projects could have also been a factor in ending the show. Creators and writers often have new ideas and concepts they want to bring to life, and sometimes that means moving on from a successful show to pursue new endeavors. It's possible that the creators of Just Add Magic wanted to explore different storytelling avenues and felt that the time was right to end the series and embark on new projects. In the end, the decision to end a TV series like Just Add Magic is multi-faceted and influenced by various factors. While fans may be disappointed to see a beloved show come to an end, it's important to remember that all good things must eventually conclude. Just Add Magic left its mark on audiences and will be remembered for its magical and enchanting tale..

Reviews for "foof meaning"

foof meaning