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This book explores how Modernist movements all across the Mediterranean basin differed from those of other regions. The chapters show how the political and economic turmoil of a period marked by world war, revolution, decolonization, nationalism, and the rapid advance of new technologies compelled artists, writers, and other intellectuals to create a new hybrid Mediterranean Modernist aesthetic which sought to balance the tensions between local and foreign, tradition and innovation, and colonial and postcolonial.
Traversed by masses of migrants and wracked by environmental and economic change, the Mediterranean has come to connote crisis. In this context, Critically Mediterranean asks how the theories and methodologies of Mediterranean studies may be brought to bear upon the modern and contemporary periods. Contributors explore how the Mediterranean informs philosophy, phenomenology, the poetics of time and space, and literary theory. Ranging from some of the earliest twentieth-century material on the Mediterranean to Edmond Amran El Maleh, Christoforos Savva, Orhan Pamuk, and Etel Adnan, the essays ask how modern and contemporary Mediterraneans may be deployed in political, cultural, artistic, and literary practice. The critical Mediterranean that emerges is plural and performative—a medium through which subjects may negotiate imagined relations with the world around them. Vibrant and deeply interdisciplinary, Critically Mediterranean offers timely interventions for a sea in crisis.
The Islamic world's artistic traditions experienced profound transformation in the 19th century as rapidly developing technologies and globalizing markets ushered in drastic changes in technique, style, and content. Despite the importance and ingenuity of these developments, the 19th century remains a gap in the history of Islamic art. To fill this opening in art historical scholarship, Making Modernity in the Islamic Mediterranean charts transformations in image-making, architecture, and craft production in the Islamic world from Fez to Istanbul. Contributors focus on the shifting methods of production, reproduction, circulation, and exchange artists faced as they worked in fields such as photography, weaving, design, metalwork, ceramics, and even transportation. Covering a range of media and a wide geographical spread, Making Modernity in the Islamic Mediterranean reveals how 19th-century artists in the Middle East and North Africa reckoned with new tools, materials, and tastes from local perspectives.
Considering the influence of the forms and tectonics of the Mediterranean vernacular on modern architectural practice and discourse from the 1920s to the 1960s.
Focusing on the significance of travel in Joseph Conrad, E.M. Forster, D.H. Lawrence, Henry James, and Edith Wharton, Robert Burden shows how travel enabled a new consciousness of mobility and borders during the modernist period. For these authors, Burden suggests, travel becomes a narrative paradigm and dominant trope by which they explore questions of identity and otherness related to deep-seated concerns with the crisis of national cultural identity. He pays particular attention to the important distinction between travel and tourism, at the same time that he attends to the slippage between seeing and sightseeing, between the local character and the stereotype, between art and kitsch, and between older and newer ways of storytelling in the representational crisis of modernism. Burden argues that the greater awareness of cultural difference that characterizes both the travel writing and fiction of these expatriate writers became a defining feature of literary modernism, resulting in a consciousness of cultural difference that challenged the ethnographic project of empire.
The Mediterranean is an invented cultural space, on the frontier between North and South, West and East. Modern Art and the Idea of the Mediterranean examines the representation of this region in the visual arts since the late eighteenth century, placing the 'idea of the Mediterranean' - a cultural construct rather than a physical reality - at the centre of our understanding of modern visual culture. This collection of essays features an international group of scholars who examine competing visions of the Mediterranean in terms of modernity and cultural identity, questioning and illuminating both European and non-European representations. An introductory essay frames the analysis in terms of a new spatial paradigm of the Mediterranean as a geographic, historical, and cultural region that emerged in the late eighteenth century, as France and Britain colonized the surrounding territories. Essays are grouped around three vital themes: visualization of the space of the new Mediterranean; varied uses of the classical paradigm; and issues of identity and resistance in an age of modernity and colonialism. Drawing on recent geographical, historical, cultural and anthropological studies, contributors address the visual representation of identity in both the European and the 'Oriental, ' the colonial and post-colonial Mediterranean.
Contemporary Islamic theology remains a neglected area in studies on Islam. This work is dedicated to the thought and ideas of Said Nursi (1876-1960), one of the most prominent Muslim theologians of the twentieth century. Nursi inspired a faith movement--the Nur community--that originated in Turkey. It continues to play a key role in the revival of Islam and now numbers several millions of followers worldwide. His legacy and impact deserve therefore to be examined more closely. This volume is the most substantial overview in English of the inspiration of Said Nursi and his masterpiece the Risale-i Nur. In the beginning, the essays provide the reader with Nursi's historical context and biography. Then Nursi's theological views, his understanding of society, and ideas on politics are placed under the spotlight. Over the last twenty years, more and more comparative religion specialists in the West have become acquainted with Said Nursi. Nursi studies is now an established discipline, and this volume is a celebration of that reality. As it reveals, Muslims and Christians are grappling with the wisdom of this remarkable, rich thinker.
Within the field of Islamic Studies, scientific research of Muslim theology is a comparatively young discipline. Much progress has been achieved over the past decades with respect both to discoveries of new materials and to scholarly approaches to the field. The Oxford Handbook of Islamic Theology provides a comprehensive and authoritative survey of the current state of the field. It provides a variegated picture of the state of the art and at the same time suggests new directions for future research. Part One covers the various strands of Islamic theology during the formative and early middle periods, rational as well as scripturalist. To demonstrate the continuous interaction among the various theological strands and its repercussions (during the formative and early middle period and beyond), Part Two offers a number of case studies. These focus on specific theological issues that have developed through the dilemmatic and often polemical interactions between the different theological schools and thinkers. Part Three covers Islamic theology during the later middle and early modern periods. One of the characteristics of this period is the growing amalgamation of theology with philosophy (Peripatetic and Illuminationist) and mysticism. Part Four addresses the impact of political and social developments on theology through a number of case studies: the famous mi?na instituted by al-Ma'mun (r. 189/813-218/833) as well as the mihna to which Ibn 'Aqil (d. 769/1367) was subjected; the religious policy of the Almohads; as well as the shifting interpretations throughout history (particularly during Mamluk and Ottoman times) of the relation between Ash'arism and Maturidism that were often motivated by political motives. Part Five considers Islamic theological thought from the end of the early modern and during the modern period.
In an era of globalization and European standardization, dialect, patois, and linguistic pastiche are marks of identity, of individual and regional nature. Paraphrasing the words of Luigi Pirandello, one tends to use the standard national language to express the concept, while one opts to use one’s regional dialect to express the feeling. The literary tradition has always accepted language mixing. Linguists and literary critics have studied this phenomenon from different perspectives. No in-depth treatment, however, has been offered so far as to the causes, conditions, consequences, and limits of language mixing from both the linguistic and literary points of view. The aim of this book is to start to fill this lack of analysis. Through a plurality of literary subjects, perspectives, and linguistic environments, this publication provides an overview of the linguistic and cultural contributions which underline, in turn, the importance of dialect use and conservation. This book recognizes the international and topical scope of interest in the academia and the public at large both through the contributions made by the authors of the respective essays, who come from various parts of the world and from a wide range of disciplines, and also through the international and topical importance of the perspectives offered by these contributions. Contributors offer analysis of selected literary and cinematic works which reveal the intricate interweaving of morphosyntax, semantics, and pragmatics of various dialects, Italian, French, English, and other languages that contribute to invented codes, which, in turn, provide material for the construction of invented worlds. This publication is a must for all literary scholars, linguists, and for all students of foreign languages, linguistic and literary studies. It is a unique collection of perspectives and topics of interest to all language and literature aficionados.