여성할례에 대한 샤리아

임병필(Lim, Byung-Pil) 한국중동학회 2019 韓國 中東 學會 論叢 Vol.40 No.2

There was no direct verse in the Koran about female circumcision. However,some verses related to the prophet Abraham have been claimed as the basis of female circumcision by some jurists (legal scholars). There are many verses related to circumcision in Sunni and Shiah s Hadith (Sunna). In the case of men, it is Sunna, the practice of Islam, but in the case of women, it is neither a mandatory nor a forbidden. There is no agreed legal view on female circumcision by the serval major schools of Islamic law in the Sunni and Shiah. But as a result of this study, female circumcision was dominated as Makrumah (Mustahabb, Mandub) by Hanafi, Makrumah by Maliki, Wajib by Shafi‘i, Wajib by Hanbali, Makrumah by Ja’fari.

아랍 까씨다와 스페인 무왓샤하트의 상호 영향에 관한 연구

임병필(Lim Byung-pil) 한국외국어대학교 외국문학연구소 2006 외국문학연구 Vol.- No.23

This is a study of the mutual influences between Arab Qa??dah which was the most leading literary vehicle in the whole Arab Islamic world and Andalus Muwashsha??t which was popular in Andalus Spain during 11-14 centuries. Up to now lots of works about this topic were produced. But most of these works were focused on the one-sided influence, not on the mutual influences. That is to say, they eagerly treated the Qa??dah's influence on the formation of Andalus Muwashsha??t, but they paid no attention to the Andalus Muwashsha??t's influence on the Arab Qa??dah. So, this paper, in the frist place, examined the established works about the influence of Qa??dah and Muwashsha??t and put them together. As a result, Andalus Muwashsha??t's themes were influenced by Arab Qa??dah's and Andalus Muwashsha??t's form was modified and expanded by Arab Qa??dah's rhythm. Next, this paper studied the influence of the Andalus Muwashsha??t and Zajal on the Arab Qa??dah, And so I found that because of the active inter-changes between Andalus and Arab-Islamic world and also the inner changes of Qa??dah itself, Muwashsha??t and Zajal composed in Maghrib, Sham and Egypt widely. And then after the 1798 occupation of Egypt by Napoleon, as a part of modernization Andalus Muwashsha??t was revived in Egypt and Lebanon. After that the form of Muwashsha??t was experimented by a lot of poets in Egypt and America and finally it became the base of the modem Arab Free Verse. This is a study of the mutual influences between Arab Qa??dah which was the most leading literary vehicle in the whole Arab Islamic world and Andalus Muwashsha??t which was popular in Andalus Spain during 11-14 centuries. Up to now lots of works about this topic were produced. But most of these works were focused on the one-sided influence, not on the mutual influences. That is to say, they eagerly treated the Qa??dah's influence on the formation of Andalus Muwashsha??t, but they paid no attention to the Andalus Muwashsha??t's influence on the Arab Qa??dah. So, this paper, in the frist place, examined the established works about the influence of Qa??dah and Muwashsha??t and put them together. As a result, Andalus Muwashsha??t's themes were influenced by Arab Qa??dah's and Andalus Muwashsha??t's form was modified and expanded by Arab Qa??dah's rhythm. Next, this paper studied the influence of the Andalus Muwashsha??t and Zajal on the Arab Qa??dah, And so I found that because of the active inter-changes between Andalus and Arab-Islamic world and also the inner changes of Qa??dah itself, Muwashsha??t and Zajal composed in Maghrib, Sham and Egypt widely. And then after the 1798 occupation of Egypt by Napoleon, as a part of modernization Andalus Muwashsha??t was revived in Egypt and Lebanon. After that the form of Muwashsha??t was experimented by a lot of poets in Egypt and America and finally it became the base of the modem Arab Free Verse.

고전과 낭만의 "경계 시인"칼릴 무뜨란(1872-1949)

임병필 ( Byung Pil Lim ) 부산외국어대학교 지중해연구소 2009 지중해지역연구 Vol.11 No.2

Khalil Mutran played a part as a transitional figure between neoclassicism and romanticism in Arabic literature. And he was called "the poet of the two (Arab) countries", Egypt and Lebanon. In an attempt to free himself from the strict rules of the Arabic Qasidah, Mutran sometimes used the narrative poem, the Andalus-Arabic form(Muwashshat), a long prose poem, and the form of the five-lined(Mukhammas). But in spite of these efforts to break away from the Qasidah, and in spite of his personal lyrical notes, his works as a whole make a neoclassicist impression. And thematically for poems of profound personal introspection, there are numerous panegyrics, lampoons, elegies, social and political occasional poems. So he was not called the romantic poet, but the neo-romantic poet. His reaction to the limitations of classicism was an expression of a much wider movement towards Westernization. Mutran was a highly conscious artist who introduced into Arabic poetry a number of attitudes and assumptions and so he can be regarded as the true father of the new or modern school of poetry in Arab world. The most important of these assumptions are the unity of the poem, the belief in the freedom and independence for self-expression, and the uncommonness of the imagination and the strangeness of the subject.

현대아랍자유시에 나타난 인유의 기법에 관한 연구

임병필 ( Byung Pil Lim ) 부산외국어대학교 지중해지역원 2000 지중해지역연구 Vol.2 No.-

히잡 착용에 관한 샤리아 규범

임병필(Lim, Byung-Pil) 명지대학교 중동문제연구소 2018 중동문제연구 Vol.17 No.3

The word Hijab appears in eight verses of the Koran, and all of them mean barriers or partitions separating the two spaces. More than 100 verses that use the word Hijab are found in the six Sunni Hadiths, and they confirm the meaning of the Koran. Although the word Hijab in the Koran and the Hadiths is not directly related to the Muslim women’s clothing, the term cannot be too difficult to understand as a dress for women because it separates Muslim women from the other sides. Although it was mandatory for Muslim women to cover their entire body and head when they go out, it was not clearly stipulated whether they should cover their faces. In response, the Sunni four legal schools (Hanafi, Maliki, Shafi‘i and Hanbali) claim that women should cover their faces in the presence of men other than Mahram, unless inevitable or necessary.

문학 : 아랍시 전통 운율의 파괴, 산문시 연구 -아랍 산문시의 형성과 발전 과정에 나타난 시적 실험들을 중심으로-

임병필 ( Byung Pil Lim ) 한국아랍어아랍문학회 2005 아랍어와 아랍문학 Vol.9 No.2

리바( الربا ) 금지에 대한 샤리아 규범 제정

임병필(Lim Byung Pil) 한국중동학회 2018 韓國 中東 學會 論叢 Vol.38 No.3

This paper examined the process of establishing the Shari‘ah norm that Islam prohibits the Ribā. The Koran, the first source of the Shari‘ah, proclaimed the prohibition of Ribā through the revelation that Ribā is prohibited because it is one of the felony sins, and if it is violated, it is punished by fire . In the Koran, however, there is no exact concept of Ribā and the reason for Ribā ban. Therefore, the Islamic community tried to find more concrete information in the way of the question to the apostle Muhammad, and in Sunna (Hadith), the second source of Shari‘ah after the death of Muhammad. In Sunna (Hadith), the concept of Ribā is more specifically described as the case which is not dealing directly with the same quantity of goods and goods that can be measured in volume or weight . However, it is not enough to clearly distinguish legitimate commerce from Ribā. Thus, the Sunni four Law Schools produced a detailed laws required by the complicated Islamic society through the Ijtihad, which is based on the Koran and the Sunnah (Hadith).

마흐르에 대한 샤리아 규범과 여성의 권리: 코란, 하디스, 법학파를 중심으로

임병필(Lim, Byung Pil) 한국이슬람학회 2018 한국이슬람학회논총 Vol.28 No.3

Koran (Qurʻān) defined Mahr as a monetary or non-monetary gift mandated by men to Muslim women and the Biblical women at marriage . That is to say, Mahr is the gift which bridegroom gives to the bride and then it is the right of the bride. Sunna (Hadith) specifically described the meaning of the gift mentioned in the Koran as all (gold, silver, commodity, real estate, etc.) that has worth, everything that the both bridegroom and bride satisfy, memorizing the Koran and it’s education, conversion to Islam, liberation of slave and so on. Nonetheless, the norms of the Koran and Sunnah were not enough to meet all the demands of the vast Muslim world extended after the 9th century. So the Islamic law schools have dealt with the details of Mahr to apply them to the whole Islamic world.

『그리스문명의 오리엔트 전통』 -발터 부르케르트(저) 남경태(역)-

임병필 ( Byung Pil Lim ) 부산외국어대학교 지중해지역원 2011 지중해지역연구 Vol.13 No.3

아폴로그룹의 시 공간에 나타난 아랍과 서구 모더니티 통섭 과정 연구 -주제와 형식의 신고전성과 낭만성을 중심으로

임병필 ( Byung Pil Lim ) 한국아랍어아랍문학회 2012 아랍어와 아랍문학 Vol.16 No.1

The poetic trend of Arab world in the beginning of 20th century could be called as the contest of strength between the Neoclassicism and Romanticism. Actually the romanticism started to be introduced to Arab world when the first romantic poetry was published by Khalil Mutran in the early 20th century. After that the mood of Romanticism was spread through the whole Arab world by Diwan Group of Egypt in 1920s and 30s. And then by Apollo Group which led the Arabic poetry in 1930s and 40s the Romanticism was firmly settled on Arab world. Meantime the Romanticism of Arab world appeared as the different aspects from the Classicism in its subject and form. In the subject the rate of the Occasional poetry that expressed the concern of people objectively was decreased, but the Emotional poetry that expressed the emotion of a person frankly was overwhelmingly increased. And in the form the rate of the classicial Qasidah was decreased, but the new forms like as the blank verse, the prose poem, the strophic verse and the dramatic poem were increased gradually. So the result of analyzing the four leading poets of the Apollo Group like Abu Shadi, Ibrahim Naji, Ali Mahmud Taha and Abu al-Qasim al-Shabbi has two important points. First, in the subject there are so many new emotional contents like love, nature, meditation and so on than the Occasional ones like praise, respect, condolence and so on. Second, in the form there are lots of Qasidah than the new formal experiments. So, it is difficult to mention that Apollo Group who played the leading role in the 1930s and 40s strongly settled the Romanticism in Arab world. Actually they were on the border which had crossed to the Romanticism from the Neoclassicism.