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"Abstract:"Saladin remains one of the most iconic figures of his age. As the man who united the Arabs and saved Islam from Christian crusaders in the twelfth century, he is the Islamic world's preeminent hero. A ruthless defender of his faith and brilliant leader, he also possessed qualities that won admiration from his Christian foes. But Saladin is far more than a historical hero. Builder, literary patron, and theologian, he is a man for all times, and a symbol of hope for an Arab world once again divided. Centuries after his death, in cities from Damascus to Cairo and beyond, to the Arabian Peninsula and the Gulf, Saladin continues to be an immensely potent symbol of religious and military resistance to the West. He is central to Arab memories, sensibilities, and the ideal of a unified Islamic state. John Man charts Saladin's rise to power, his struggle to unify the warring factions of his faith, and his battles to retake Jerusalem and expel Christian influence from Arab lands. Saladin explores the life and enduring legacy of this champion of Islam while examining his significance for the world today."--Offers a portrait of Saladin, the twelfth-century sultan who defended Islam against the Christian crusaders and sought to unify the factions within his faith, as well as his enduring legacy as a champion of Islam"

"Sir Anthony Hope Hawkins, better known as Anthony Hope was an English novelist and playwright. He was a prolific writer, especially of adventure novels. The Prisoner of Zenda is an adventure novel. When an evil prince plots to steal the Ruritanian throne and kidnaps his elder brother, a look-alike is persuaded to stand in for the rightful king. English nobleman Rudolph Rassendyll must successfully impersonate the monarch, assist in the prisoner's liberation from the Castle of Zenda--and come to terms with his growing attraction to Princess Flavia, the king's betrothed, who remains unaware of his true identity. A favorite of adventure lovers of all ages, Anthony Hope's gripping story spawned legions of imitations and inspired the literary genre known as the Ruritanian romance. Repeatedly adapted for stage and screen, this classic continues to enchant audiences with its tales of derring-do"

"Buku kedua dari serial A game of thrones yang menceritakan kisah adik berkomplot melawan kakaknya ketika sihir menguasai akal sehat , walaupun pembunuhan antar saudara kandung dan siapapun yang menjadi pemenang pastilah mereka yang memiliki hati terdingin"

"This study analyses how the link between politics and conscience was articulated and shaped by confessors as counsellors to monarchs throughout the seventeenth century. Against the backdrop of the momentous intellectual, theological, and political shifts during this period, it examines comparatively how ethical challenges of political action were confronted in Spain and France and how questions of conscience became a major argument in the hegemonic struggle between these competing Catholic powers. Counsel of conscience was not a peripheral feature of early modern political culture but fundamental for the definition of politics and conscience. Tracing the rise and fall of confessors as counsellors reveals the parallel transformation of both, getting closer to a historical understanding of the modernization of politics with the idea of an individual conscience at its heart. Placed at the junction of norms and practices, royal confessors shaped the ways in which the royal conscience was identified and scrutinized. By the same token, their expertise and activities remained a source of anxiety and conflict that triggered wide debate on the relationship between State and Church and religion and politics. The notion of counsel of conscience, of which this book provides the first in-depth analysis, challenges fundamental historical paradigms such as the emergence of absolutism, individualization, and the division of public and private. Putting theological concepts and religious dimensions back into political theory and practice sheds new light not only on the importance of counselling for early modern statecraft but also on the reconfiguration of normative frameworks underlying it."

"ABSTRAKTugas akhir akademik pascasarjana yang berupa karangan ilmiah ini berjudul "Keragaman Nisan dan Jirat Kompleks Makam Raja Kutai Abad 18-20 (Ditinjau dari Aspek Hiasan). Inti yang hendak disampaikan adalah pengungkapan ragam-ragam hias kompleks makam Raja Kutai yang kemudian ragam hiasnya yang menyerap unsur budaya Bugis, Makassar, Dayak dan yang baru muncul pada masa Kutai Islam.Tinggalan arkeologi berupa kompleks makam Raja Kutai ini, secara administratif berada di Tenggarong, ibukota Kabupaten Kutai, Kalimantan Timur, tepatnya sebelah utara gedung Museum Mulawatman (dahulu Istana Kerajaan Kutai).Kompleks ini mempunyai 142 makam. Dari 142 itu hanya 20 bush yang dijadikan sampel. Kompleks ini mempunyai ragam-ragam bias yang raya dan beragam. Menurut Ambary, tipe nisan di kompleks ini adalah tipe Bugis - Makassar dan terpengaruh tradisi ragam bias Dayak. Dan berdasarkan data sejarah telah ada hubungan antara Kerajaan Kutai bercorak Islam dengan Bugis, Makassar dan Dayak.Dari isu ini, masalah yang hendak dikaji adalah hubungan antara nisan dan jirat di kompleks makam Raja Kutai dengan tradisi hiasan pada nisan dan jirat Bugis, Makassar dan tradisi hiasan pada blonrang dan hmgun Dayak berdasarkan ragam hias. Dengan demikian, penelitian ini bertujuan untuk mengungkap ragam-ragam hias pada nisan dan jirat di kompleks makam Raja Kutai dan dengan mengadakan perbandingan ragam-ragam hias Bugis, Makassar dan Dayak dengan ragam-ragam hias Kutai tersebut dapat diketahui seberapa banyak ragam hias pada nisan dan jirat terpengaruh ragam bias tradisi Bugis, Makassar dan Dayak.Dari isu ini, masalah yang muncul berupa hipotesis, yaitu, "bahwa ragam-ragam hias di kompleks makam Raja Kutai ini diduga menyerap budaya Bugis, Makassar dan Dayak dan ada sejumlah ragam bias yang baru muncul pada masa Kutai Islam".Oleh sebab itu, dilaksanakan pengkajian terhadap 7 lokasi, yaitu ragam bias kompleks-kompleks makam budaya Bugis (2 lokasi), Makassar (3 lokasi) dan Dayak yang kemudian dibandingkan dengan kompleks makam Raja Kutai. Menilik objek kajian ini, maka pendekatan yang paling sesuai diterapkan adalah pendekatan Identifikasi yang dianggap dapat menjawab atau membuktikan hipotesis yang diajukan.Berdasarkan hasil pengamatan dengan pendekatan Identifikasi diperoleh kelompok ragam bias pada masing-masing lokasi. Untuk melihat seberapa jauh ragam-ragam bias di kompleks makam Raja Kutai, maka ragam-ragam hiasnya dibandingkan dengan ragam-ragam bias keenam lokasi tersebut (kompleks makam Gowa, Tallo, Binamu, Watan Lamuru, Jere LompoE dan Dayak).Dari perbandingan hasil pendekatan klasifikasi, tampak, bahwa dalam keragaman hiasan pada nisan dan jirat kompleks maka Raja Kutai menyerap unsur budaya lain. Unsur-unsur ragam bias yang lain itu dapat dikelompokan menurut tradisi asalnya, adalah:1. Ragam hias Bugis: helai mawar, belah ketupat, bintang, tumpal dan gada2. Ragam hias Makassar: helai mawar, bonggol bunga, mawar, swastika, belah ketupat, lingkaran, tumpal dan ular.3. Ragam hias Dayak: mawar, pelipit, gada (blontang) dan ular.4. Ragam hias yang baru muncul pada masa Islam adalah: keligrafi kufi, bingkai cermin, swastika banji dan stilir ekor, kepala dan badan ular.Faktor-faktor pendukung tentang kemungkinan adanya ragam hias kompleks makam Raja Kutai menyerap budaya ragam hias Bugis-Makassar karena adanya pembauran mereka dengan sifat sirinya dalam masyarakat dan peranannya dalam Pemerintahan Kutai (salah satu turunannya ada yang merjadi Raja Kutai). Begitu pula dalam hal penyerapannya terhadap ragam bias budaya Dayak karena adanya kebijakasanaan Pemerintah Kutai kepada suku Dayak yang tampak dalam Undangundang Kerajaan "Panji Selaten" dan mereka hidup berbaur dalam masyarakat Kutai. Penyerapan terhadap budaya Bugis, Makassar dan Dayak menyebabkan difusi kebudayaan yang terjadi dalam keragaman hiasan nisan dan jirat kompleks makam Raja Kutai.

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The Ornamentation on Nisans and Jirats at Complex of Grave for Kings of Kutai at 18-20 of the CenturyThis study concentrates on the archaeology of The Complex of Grave for Kings of Kutai, especially, the ornamentation on the nisans and the jirats. By administrative, the complex is located in Tenggarong, the capital regent for Kutai Regent, East Kalimantan, The location is exactly at the north or at the right of Mulawarman Museum (it was a palace of Kutai kingdom). The complex has 142 graves but they are only 20 graves of them to be as samples. The nisans and the jirats of graves have many beautiful of forms of ornamentation. A nisan and a jirat are elements of grave. A nisan is a sign which also mentioned a tomb stone and a jirat is a subbasement of grave. According to Ambary that nisans in complex of grave for kings of Kutai are typical of Bugis-Makassar influenced by the Dayak tradition. As far as he said, it doesn't seem if forms of ornamentation are derived from Bugis, Makassar and Dayak tradition in detail or not.

Because of that reason, the study formulated is the relationship among nisans and jirats at the complex of graves for king of Kutai and the ornamentation of Bugis, Makssar and Dayak based on the aspect of ornamentation.

The objective of this study are to identify the ornamentation on nisans and jirats in the complex of grave for kings of Kutai, and to identify the ornament influenced by Bugis, Makassar and Dayak's ornamentation into nisans and jirats in that complex of graves for king of Kutai.

To this case, the classification approach will be relevance to resolve the hypotheses above and also to the objective is. Technically, the writer must classify all ornament of all traditions into groups and types. The all types are compared to get the background characters.

At the end of this scientific work is shown, that results are that ornamentation on nisans and jirats in the complex of grave for Kings of Kutai are influenced by Bugis, Makassar and Dayak tradition. The forms of ornamentation are derived from i.e.: 1. Tradition of Bugis: sheets of rose, stars, hitters, triangles and escutcheons. 2. Tradition of Makassar: sheets of rose, buds of flower, rosettes, lattice (swastikas), escutcheons, circles, triangles, snakes and hitters. 3. Tradition of Dayak: sheets of flower, roses, hitters (blontang), pelipits (smallish of folds) and snakes. 3. Tradition of the Islam age of Kutai: Kufi of calligraphy, lattice-works (swastikas of banji), tails and heads of snake stylized by flora and snake body stylized by pelipit (smallish of folds) and frames of mirror.

That's for the abstract of the study for ending the duty to the mastery degree. The hoping, it will contribute to all researchers. To all professors contributed the knowledge, thank them very much."