Granara, William, and Ibrahim Akel, ed. The Thousand and One Nights: Sources and Transformations in Literature, Art, and Science. Brill, 2020.
Publisher's VersionAbstract
The Thousand and One Nights does not fall into a scholarly canon or into the category of popular literature. It takes its place within a middle literature that circulated widely in medieval times. The Nights gradually entered world literature through the great novels of the day and through music, cinema and other art forms. Material inspired by the Nights has continued to emerge from many different countries, periods, disciplines and languages, and the scope of the Nights has continued to widen, making the collection a universal work from every point of view. The essays in this volume scrutinize the expanse of sources for this monumental work of Arabic literature and follow the trajectory of the Nights’ texts, the creative, scholarly commentaries, artistic encounters and relations to science.
Contributors: Ibrahim Akel, Rasoul Aliakbari, Daniel Behar, Aboubakr Chraïbi, Anne E. Duggan, William Granara, Rafika Hammoudi, Dominique Jullien, Abdelfattah Kilito, Magdalena Kubarek, Michael James Lundell, Ulrich Marzolph, Adam Mestyan, Eyüp Özveren, Marina Paino, Daniela Potenza, Arafat Abdur Razzaque, Ahmed Saidy, Johannes Thomann and Ilaria Vitali.
Collaço, Gwendolyn. “
The Image as Commodity: The Commercial Market for Single-Folio Paintings in Ottoman Istanbul, 17th–18th C.”
History of Art and Architecture and MES, 2020.
Publisher's VersionAbstract
In the Ottoman capital of Istanbul, for most of the sixteenth century, only royalty and close companions of the sultan enjoyed the experience of perusing an album, the premier form of preserving and viewing single-folio works on paper. Yet in the last few decades of the century, the first surviving cases of commercial albums reveal that the practice had moved beyond the palace, attracting both wealthy Ottoman urbanites and European travelers alike. This dissertation delves into the history of the art market from the production to the consumption of loose-leaf paintings in numerous compilation formats. Although scholarship on Istanbul’s early modern art market and single-folio paintings has often centered on analyses of individual manuscripts, such as costume albums, this study aims to contextualize these single-folio paintings as part of a wider network of urban production. In this network, models and designs circulated between artists of numerous social groups and specialties, as well as through foreign import. The study further refocuses attention on codicology in order to illustrate how the trappings of a collection could profoundly impact the reception of the works within it and reveal precious detail about the backgrounds of the owners, many of whom remain anonymous today.
The dissertation begins by setting the stage for the emergence of the market for single-folio paintings by analyzing the antecedents to the commercial album through Ottoman court albums, portraits, and the works of unofficial court artists who lived in the city. It then turns to European genres such as costume books and alba amicorum (friendship albums), before turning to the first commercial album, which fuses features from the aforementioned areas. Chapter Two assesses production techniques, emphasizing the mobility of model forms, before turning to artists’ multi-professional backgrounds. The next two chapters delve into the collecting practices of the two main consumer groups. Chapter Three follows the development of costume albums primarily collected by European travelers over the seventeenth century as objects of novelty crafted from a commonplace corpus of models. It tracks the expansion of the model corpus, shifts in binding and mounting practices, and the relationships between albums (as well as their identified forgeries).
Chapter Four offers a history of compilation among urbanite Ottomans of a literati persuasion over the seventeenth century as a story of taste-making on the page. As the practice grew, artists began offering a wider range of works to suit multiple price points of paintings and bindings among their consumers. Chapter Five continues to follow Ottoman compilers into the eighteenth century after the court’s return to Istanbul in 1703, which coincided with a significant increase in album-making. This period brought about the rise of specialized painting collections. The market also began to engage with its past as later commercial albums provided a wider chronological range of paintings from numerous traditions, which included refurbished and creatively over-painted works. Rather than Westernization, these albums indicate a global outlook that reflected mercantile networks of the time. The last two chapters delve into the case of an unstudied trilogy of albums at the Bibliothèque Nationale de France that exemplifies these later trends. Together, they offer a hypothesis for the background of the owner while situating the albums in the local and transregional contexts that created this cosmopolitan work.
Razzaque, Arafat Abdur. “
The Sin of Ghība in Early Islamic Thought: Disciplining the Tongue in the Zuhd Tradition and Its Late Antique Background.”
History and MES, 2020.
Publisher's VersionAbstract
This dissertation explores the form, substance and social context of pious exhortations in medieval Islamic history, focusing on ideas about gossip and slander. It is a study on a single concept of enduring significance in Islamic ethics, the notion of ghība or backbiting, defined as unwelcome statements of fact as opposed to false slander (buhtān). Prohibited by the Qurʾān, the mundane social vice of speaking ill about other people in their absence was a source of great moral concern, with ramifications in discourses of piety, religious ethics, ritual law, and eschatology. Early proponents of the isnād method for the authentication of ḥadīth had to frequently address the ethical quandary that their criticism of transmitters might be tantamount to sinful gossip. I demonstrate that the discourse on ghība stems from a broader ethics of “disciplining the tongue” among the early Muslim renunciants of the so-called zuhd movement. A major work by the Baghdadi scholar Ibn Abī l-Dunyā (d. 281 AH/894 CE), the Kitāb al-Ṣamt wa-ādāb al-lisān or “Book of Silence and Etiquettes of the Tongue” serves as a key point of departure for this study. I examine the traditions, stories and wise maxims on ghība in the context of zuhd, ḥadīth, tafsīr and fiqh sources, as well as their broader reception in pious ethics literature of the ninth and tenth centuries CE. Through close attention to motifs, I argue further that some early Muslim ideas about gossip and slander reflect older traditions of religious thought in late antiquity. The commonalities are evident especially in the Apophthegmata Patrum or Sayings of the Desert Fathers. Resonances can be traced as well through eschatological motifs common to Jewish, Christian and Zoroastrian apocalyptic literature and Islamic imaginations of hell, in which the sin of backbiting is met with severe punishments. In contrast to conventional ancient punishment motifs for slander, Islamic eschatology introduces new types of scenes informed by the Qurʾānic metaphor of ghība as eating the flesh of another. Early Muslim ethical discourses thus interpreted a universal moral concern through a combination of inherited traditions and original elements.
Schwerda, Mira Xenia. “
How Photography Changed Politics: The Case of the Iranian Constitutional Revolution (1905-1911).”
History of Art and Architecture and MES, 2020.
Publisher's VersionAbstract
My dissertation reconceptualizes the Iranian Constitutional period (1905-1911) as an era of spectacle, in which photography played a central role in defining, mobilizing, and memorializing political movements and their leaders. The first chapter of my dissertation traces the role and impact of one specific photograph: a portrait of Joseph Naus, the Belgian head of the Iranian tax and customs systems, in the costume of an Iranian mullah. The circulation of the photograph, which had been reproduced as a postcard with a caption that purposefully misinterpreted the image, sparked a nationwide protest and turned the previously economic protest into a religiously legitimated one. The photograph became the basis for a fatwa and death threats to Naus. The second chapter discusses photographs of political protest. It focuses on a key event of the Constitutional Revolution, a several weeks-long sit-in during the summer of 1906 in the gardens of the British Legation in Tehran. In my research, I was able to prove that the so far unattributed series of photographs of this event was taken by the well-known photographer Antoin Sevruguin. The third chapter focuses on political portrait photographs from the second half of the Iranian Constitutional Revolution, which was characterized by revolutionary and counter-revolutionary violence. I analyze portraits of Iranian assassins and their victims and show how these acts of violence were influenced by global political movements and international media coverage. The epilogue of my dissertation focuses on the events directly following the Constitutional Revolution, when the Russian army invaded Tabriz and executed the remaining revolutionaries. I discuss the photographic documentation of the events, the circulation of the images, and their changing interpretations.
Alimagham, Pouya.
Contesting the Iranian Revolution: The Green Uprisings. Cambridge University Press, 2020.
Publisher's VersionAbstract
Most observers of Iran viewed the Green Uprisings of 2009 as a 'failed revolution', with many Iranians and those in neighbouring Arab countries agreeing. In Contesting the Iranian Revolution, however, Pouya Alimagham re-examines this evaluation, deconstructing the conventional win-lose binary interpretations in a way which underscores the subtle but important victories on the ground, and reveals how Iran's modern history imbues those triumphs with consequential meaning. Focusing on the men and women who made this dynamic history, and who exist at the centre of these contentious politics, this 'history from below' brings to the fore the post-Islamist discursive assault on the government's symbols of legitimation. From powerful symbols rooted in Shiʿite Islam, Palestinian liberation, and the Iranian Revolution, Alimagham harnesses the wider history of Iran and the Middle East to highlight how activists contested the Islamic Republic's legitimacy to its very core.
Penslar, Derek.
Theodor Herzl: The Charismatic Leader. Yale University Press, 2020.
Publisher's VersionAbstractFrom the prizewinning Jewish Lives series, a masterful new biography of Theodor Herzl by an eminent historian of Zionism.
The life of Theodor Herzl (1860–1904) was as puzzling as it was brief. How did this cosmopolitan and assimilated European Jew become the leader of the Zionist movement? How could he be both an artist and a statesman, a rationalist and an aesthete, a stern moralist yet possessed of deep, and at times dark, passions? And why did scores of thousands of Jews, many of them from traditional, observant backgrounds, embrace Herzl as their leader?
Drawing on a vast body of Herzl’s personal, literary, and political writings, historian Derek Penslar shows that Herzl’s path to Zionism had as much to do with personal crises as it did with antisemitism. Once Herzl devoted himself to Zionism, Penslar shows, he distinguished himself as a consummate leader—possessed of indefatigable energy, organizational ability, and electrifying charisma. Herzl became a screen onto which Jews of his era could project their deepest needs and longings.