The uproar about paintings of the Prophet Muhammad on campus shows legacy media need to interrogate the entrenched ideas that shape their coverage.
Unknown to the world, the Qubaysiyat boast tens of thousands of disciples within Syria, in franchises across the Middle East and as far afield as Europe and the Americas. At their center was the towering figure of al-Qubaysi, a woman as influential as she was mysterious.
Hamline’s firing of an instructor for showing Islamic medieval images of the Prophet Muhammad is akin to a Calvinist taking offence at an image of Michelangelo’s Sistine Ceiling, and the university administration siding with the Calvinist and calling the incident "anti-Christian."
The birth of Jesus of Nazareth has found veneration not just from Christians but in Islam as well. Regardless of the important differences they attribute to this event, Muslims honor Jesus’ birth almost as much as Christians themselves.
An instructor who showed an Islamic painting during a visual analysis was publicly impugned for hate speech and dismissed without due process. As a scholar specializing in representations of the Prophet Muhammad, it is my duty to share accurate information about the painting at the heart of the controversy.
“Islam” is not only a religion; it is also a cultural ethos and disposition — even a “civilization,” of which Islam the religion is only one part. People don’t necessarily need to be Muslim — devout, practicing or otherwise — to have adopted aspects of “Islamic” culture.
New digital technologies like VR, holograms and immersive museums make it possible for Muslims to go on a virtual pilgrimage (or “v-hajj”), echoing a long tradition of hajj tourism products that persist despite provoking backlash from religious authorities who wish to preserve the “authentic” pilgrimage celebration.