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Dedicated to the topic of eroticism and sexuality in the visual production of the medieval and early modern Muslim world, this volume offers new insights and methodological models that extend our understanding of erotic and sexual subjects in the Islamic tradition. The essays shed light on the diverse socio-cultural milieus of erotic images, on the motivations underlying their production, and on the responses generated by their circulation.
Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces—public, private, seen, unseen, accessible, and forbidden—thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long durée or resisted those societal transformations as a result of modernization.
Focusing on the impact of the erotic revolution that swept through 16th-century Italy, Eros Visible presents a compendious, revisionist account of High Renaissance art. Through close visual analysis of artworks and careful reading of related texts, James Grantham Turner demonstrates the surprisingly close connection between explicitly pornographic art and the canonical works of masters such as Leonardo, Raphael, and Michelangelo. Full of new discoveries, this volume explores the passionate response to antiquity and how a new sex-positive philosophy not only encouraged an increased accentuation of sensual and erotic themes in art, but influenced the sexual cultures of both the court and the art studio. With an interdisciplinary approach that draws on a wide array of visual and textual erotica, Turner offers the first broad, synthetic history of the classically inspired and unambiguously lascivious sensibilities behind some of the most sublime artistic achievements of the Renaissance.
Introduction: Lingua Persica -- Mughal Persian literary culture -- The Mughal discovery of India -- Celebrating imperial cities -- Mughal Arcadia -- Conclusion: Paradise lost
Taking into account the destructive powers of globalization, Making Worlds considers the interconnectedness of the world in the early modern period. This collection examines the interdisciplinary phenomenon of making worlds, with essays from scholars of history, literary studies, theatre and performance, art history, and anthropology. The volume advances questions about the history of globalization by focusing on how the expansion of global transit offered possibilities for interactions that included the testing of local identities through inventive experimentation with new and various forms of culture. Case studies show how the imposition of European economic, religious, political, and military models on other parts of the world unleashed unprecedented forces of invention as institutionalized powers came up against the creativity of peoples, cultural practices, materials, and techniques of making. In doing so, Making Worlds offers an important rethinking of how early globalization inconsistently generated ongoing dynamics of making, unmaking, and remaking worlds.
The most sacred site of Islam, the KaE ba (the granite cuboid structure at the centre of the Great Mosque of Mecca) is here investigated by examining six of its predominantly spatial effects: as the qibla (the direction faced in prayer); as the axis and matrix mundi of the Islamic world; as an architectural principle in the bedrock of this world; as a circumambulated goal of pilgrimage and site of spiritual union for mystics and Sufis; and as a dwelling that is imagined to shelter temporarily an animating force; but which otherwise, as a house, holds a void.
The two Muslim poets featured in Scott Kugle's comparative study lived separate lives during the eighteenth and early-nineteenth centuries in the Deccan region of southern India. Here, they meet in the realm of literary imagination, illuminating the complexity of gender, sexuality, and religious practice in South Asian Islamic culture. Shah Siraj Awrangabadi (1715-1763), known as "Sun," was a Sunni who, after a youthful homosexual love affair, gave up sexual relationships to follow a path of personal holiness. Mah Laqa Bai Chanda (1768-1820), known as "Moon," was a Shi'i and courtesan dancer who transferred her seduction of men to the pursuit of mystical love. Both were poets in the Urdu language of the ghazal, or love lyric, often fusing a spiritual quest with erotic imagery. Kugle argues that Sun and Moon expressed through their poetry exceptions to the general rules of heteronormativity and gender inequality common in their patriarchal societies. Their art provides a lens for a more subtle understanding of both the reach and the limitations of gender roles in Islamic and South Asian culture and underscores how the arts of poetry, music, and dance are integral to Islamic religious life. Integrated throughout are Kugle's translations of Urdu and Persian poetry previously unavailable in English.
For years, Iranian academics, writers, and scholars have equated national development and progress with the reform of men’s sexual behavior. Modern intellectuals repudiated native sexuality in Iran, just as their European counterparts in France and Germany did, arguing that transforming male identity was essential to the recovery of the nation. DeSouza offers an alternate narrative of modern Iranian masculinity as an attempt to redraw social hierarchies among men. Moving beyond rigid portrayals of Islamic patriarchy and female oppression, she analyzes debates about manhood and maleness in early twentieth-century Iran, particularly around questions of race and sexuality. DeSouza presents the larger implications of Pahlavi hegemonic masculinity in creating racialized male subjects and “productive” sexualities. In addition, she explores a cross-pollination with Europe, identifying how the “East” shaped visions of European male identity.
Lyombe Eko carries out an historical and cultural survey of the regulation of visual depictions of explicit human sexual conduct from their earliest appearance on the clay tablets of the valley of the Tigris and Euphrates rivers in ancient Mesopotamia, to the tablet computers of Silicon Valley. The Regulation of Sex-Themed Visual Imagery analyzes the contemporary problem of the applicability of the human right of freedom of expression to explicit imagery in the face of societal interests in the regulation of representations of human sexuality. This book will be of interest to scholars, students, and broad audiences interested in comparative studies in pornography regulation, the history of pornography, the law of pornography and obscenity, and visual culture and history alike.
A history of the Ottoman incorporation of Arab lands that shows how gentlemanly salons shaped culture, society, and governance Historians have typically linked Ottoman imperial cohesion in the sixteenth century to the bureaucracy or the sultan’s court. In Empire of Salons, Helen Pfeifer points instead to a critical but overlooked factor: gentlemanly salons. Pfeifer demonstrates that salons—exclusive assemblies in which elite men displayed their knowledge and status—contributed as much as any formal institution to the empire’s political stability. These key laboratories of Ottoman culture, society, and politics helped men to build relationships and exchange ideas across the far-flung Ottoman lands. Pfeifer shows that salons played a central role in Syria and Egypt’s integration into the empire after the conquest of 1516–17. Pfeifer anchors her narrative in the life and network of the star scholar of sixteenth-century Damascus, Badr al-Din al-Ghazzi (d. 1577), and she reveals that Arab elites were more influential within the empire than previously recognized. Their local knowledge and scholarly expertise competed with, and occasionally even outshone, that of the most powerful officials from Istanbul. Ultimately, Ottoman culture of the era was forged collaboratively, by Arab and Turkophone actors alike. Drawing on a range of Arabic and Ottoman Turkish sources, Empire of Salons illustrates the extent to which magnificent gatherings of Ottoman gentlemen contributed to the culture and governance of empire.