Page - 28 - in JRFM - Journal Religion Film Media, Volume 03/02

28 | Mirko Roth www.jrfm.eu 2017, 3/2, 17–35 european-Christian traditions. as the tertium comparationis “Word of God”, the Qur’an can be better compared with Jesus Christ than with the Bible. in Chris- tianity the Word is made flesh in Jesus Christ; in Islam the Word of God is made into book in the Qur’an. it is for this reason that the Qur’an can most certainly be regarded as the central medium of islam. But as scripture and book of the Word of God or as a recited Word of God?22 it is important that this media typological tension be addressed, because al- though the oral dimension of the Qur’an cannot be overestimated, it often re- mains under-illuminated. The power and beauty of the Qur’an – and other levels of meaning as well – open themselves not to the reader, but to the listener. This is readily evident in narrative parts such as surah yusuf, which unlike in the old testament version is a play of voices. recurring elements and references in the chiastic structure connect and intersect the narrative in such a way that they form an inner coherence and keep the dialogue gripping and fluid. The protago- nists differ in the nature and complexity of their language – which is vital, since yusuf alone appears as a named actor.23 furthermore, it seems from the inner Muslim perspective to be the case that recitation of the Qur’an as a form of re- enactment of the revelation of the Word of God is not merely re-presentation but a sacred sound sphere in which the extraordinary becomes corporeal.24 this point suggests itself for the presentation of an audio sample.25 after a quick round in which acoustic impressions are collected and reflected upon on the basis of religious studies classifications and newly acquired interpretive horizons, the various uses and recitation contexts of the Qur’an can be intro- duced, which can be an opportunity to address again the differences between first-order and second-order mediatisation. a further media theoretical point of tension can be found in the fact that most Muslims are not arabic native speakers and most have little if any knowl- edge of arabic, yet the Qur’an is read and heard in arabic, even in less pious Muslim communities. on the one hand, this can be explained on the basis of the above-mentioned dimension of meaning; on the other hand, it raises questions about the relationship between the form and content of a medium, when the aesthetic dimension of a recitation predominates. Ultimately, despite the prominent position of the oral and/or acoustic dimen- sion of the Qur’an as a medium of perception, its character as a medium of com- munication (language) and dissemination (script/book) with both aesthetic and material dimensions remains central. Pious Muslims ensure the ritual purity of 22 Cf. Kermani 1999. 23 Cf. roth 2017. 24 Cf. Neuwirth 2010, esp. 31–37, 168–181; Fischer-Lichte 2014. 25 Course evaluations often show that students would have preferred the use of audio samples earlier in the learning process, a desire I see as being founded in different learning types. I prefer this drama- turgy.