Islamic literature in the context of "Islam"

Historiography is the study of the methods used by historians in developing history as an academic discipline. By extension, the term historiography is any body of historical work on a particular subject. The historiography of a specific topic covers how historians have studied that topic by using particular sources, techniques of research, and theoretical approaches to the interpretation of documentary sources. Scholars discuss historiography by topic—such as the historiography of the United Kingdom, of WWII, of the pre-Columbian Americas, of early Islam, and of China—and different approaches to the work and the genres of history, such as political history and social history. Beginning in the nineteenth century, the development of academic history produced a great corpus of historiographic literature. The extent to which historians are influenced by their own groups and loyalties—such as to their nation state—remains a debated question.

In Europe, the academic discipline of historiography was established in the 5th century BC with the Histories, by Herodotus, who thus established Greek historiography. In the 2nd century BC, the Roman statesman Cato the Elder produced the Origines, which is the first Roman historiography. In Asia, the father and son intellectuals Sima Tan and Sima Qian established Chinese historiography with the book Shiji (Records of the Grand Historian), in the time of the Han Empire in Ancient China. During the Middle Ages, medieval historiography included the works of chronicles in medieval Europe, the Ethiopian Empire in the Horn of Africa, Islamic histories by Muslim historians, and the Korean and Japanese historical writings based on the existing Chinese model. During the 18th-century Age of Enlightenment, historiography in the Western world was shaped and developed by figures such as Voltaire, David Hume, and Edward Gibbon, who among others set the foundations for the modern discipline. In the 19th century, historical studies became professionalized at universities and research centers along with a belief that history was like a science. In the 20th century, historians incorporated social science dimensions like politics, economy, and culture in their historiography.

Criticism of ḥadīth or hadith criticism is the critique of ḥadīth—the genre of canonized Islamic literature made up of attributed reports of the words, actions, and the silent approval of the Islamic prophet Muhammad.

Mainstream Islam holds that the Sunnah—teachings and doings of Muhammad—are like the Quran, divine revelation to be obeyed, but the "great bulk" of the rules of Sharia (Islamic law) are derived from ḥadīth rather than the Quran. However, Quranists reject the authority of the hadiths, viewing them as un-Quranic; they believe that obedience to Muhammad means obedience to the Quran; some further claim that most hadiths are fabrications (pseudepigrapha) created in the 8th and 9th century AD, and which are falsely attributed to Muhammad. Historically, some sects of the Kharijites also rejected the hadiths, while Mu'tazilites rejected the hadiths as the basis for Islamic law, while at the same time accepting the Sunnah and Ijma.

A dream vision or visio is a literary device in which a dream or vision is recounted as having revealed knowledge or a truth that is not available to the dreamer or visionary in a normal waking state. While dreams occur frequently throughout the history of literature, visionary literature as a genre began to flourish suddenly, and is especially characteristic of early medieval Europe. In both its ancient and medieval form, the dream vision is often felt to be of divine origin. The genre reemerged in the era of Romanticism, when dreams were regarded as creative gateways to imaginative possibilities beyond rational calculation.

This genre typically follows a structure whereby a narrator recounts their experience of falling asleep, dreaming, and waking, with the story often an allegory. The dream, which forms the subject of the poem, is prompted by events in their waking life that are referred to early in the poem. The ‘vision’ addresses these waking concerns through the possibilities of the imaginative landscapes offered by the dream-state. In the course of the dream, the narrator, often with the aid of a guide, is offered perspectives that provide potential resolutions to their waking concerns. The poem concludes with the narrator waking, determined to record the dream – thus producing the poem. The dream-vision convention was widely used in European, Old Russian, medieval Latin, Muslim, Gnostic, Hebrew, and other literatures.