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Literary works are much more than mere illustrations of societal conditions. Literature is the setting in which society discusses itself. In this volume, international scholars of Literary Studies as well as specialists in Arabic, Hebrew, Persian and Turkish Studies explore the dimensions and ways of how writers, from the classical period to modernity, tackled the values of their societies. From the contents: Religious Norms Advocating / Domesticating Literary Freedom - Literary Norms and the Travelling of Genres - Linguistic Norms: Writing in the 'Stepmother Tongue' - Gender Norms, Inverted and Subverted - Societal Norms I: The Poet Involved - Societal Norms II: Imagining Communities, Debating the Collective.
Drawn from the acclaimed New Princeton Encyclopedia of Poetry and Poetics, the articles in this concise new reference book provide a complete survey of the poetic history and practice in every major national literature or cultural tradition in the world. As with the parent volume, which has sold over 10,000 copies since it was first published in 1993, the intended audience is general readers, journalists, students, teachers, and researchers. The editor's principle of selection was balance, and his goal was to embrace in a structured and reasoned way the diversity of poetry as it is known across the globe today. In compiling material on 106 cultures in 92 national literatures, the book gives full coverage to Indo-European poetries (all the major Celtic, Slavic, Germanic, and Romance languages, as well as other obscure ones such as Hittite), the ancient middle Eastern poetries (Hebrew, Persian, Sumerian, and Assyro-Babylonian), subcontinental Indian poetries (the widest linguistic diversity), Asian and Pacific poetries (Chinese, Japanese, Korean, Vietnamese, Mongolian, and half a dozen others), continental American poetries (all the modern Western cultures and native Indian in North, Central, and South American regions), and African poetries (ancient and emergent, oral and written).
The first study of album-making in the Ottoman empire during the seventeenth century, demonstrating the period’s experimentation, eclecticism, and global outlook The Album of the World Emperor examines an extraordinary piece of art: an album of paintings, drawings, calligraphy, and European prints compiled for the Ottoman sultan Ahmed I (r. 1603–17) by his courtier Kalender Paşa (d. 1616). In this detailed study of one of the most important works of seventeenth-century Ottoman art, Emine Fetvacı uses the album to explore questions of style, iconography, foreign inspiration, and the very meaning of the visual arts in the Islamic world. The album’s thirty-two folios feature artworks that range from intricate paper cutouts to the earliest examples of Islamic genre painting, and contents as eclectic as Persian and Persian-influenced calligraphy, studies of men and women of different ethnicities and backgrounds, depictions of popular entertainment and urban life, and European prints depicting Christ on the cross that in turn served as models for apocalyptic Ottoman paintings. Through the album, Fetvacı sheds light on imperial ideals as well as relationships between court life and popular culture, and shows that the boundaries between Ottoman art and the art of Iran and Western Europe were much more porous than has been assumed. Rather than perpetuating the established Ottoman idiom of the sixteenth century, the album shows that this was a time of openness to new models, outside sources, and fresh forms of expression. Beautifully illustrated and featuring all the folios of the original seventy-page album, The Album of the World Emperor revives a neglected yet significant artwork to demonstrate the distinctive aesthetic innovations of the Ottoman court.
Preface p. ix Acknowledgments p. xv 1 A Brief Historical Background of Shi`ism and Moharram p. 3 2 The Qajar Elites and Religious Patronage (1796-1925) p. 15 3 Qajar Society and Religious Culture: Tehran as a Case Study p. 30 4 The Pahlavi Regime and the Emergence of Secular Modernism (1925-1979) p. 47 5 Religious Rituals, Society, and Politics during the Pahlavi Period p. 67 6 Hoseyn, "The Prince of Martyrs" p. 87 7 Fatemeh, Zeynab, and Emerging Discourses on Gender p. 113 8 The Islamic Republic p. 131 9 Conclusion p. 154 Notes p. 163 Bibliography p. 179 Index p. 195.
This book examines popular preaching and religious storytelling in the medieval Islamic Near East. It argues that popular preaching and storytelling reflect the persistent flexibility of the Islamic understanding of religious authority.
Central Asia is distinctive in its role as a frontier region in which a unique diversity of cultural, religious, and political traditions exist. This collection of essays by expert scholars in a range of disciplines focuses on the formation of ethnic, religious, and national identities in Muslim societies of Central Asia, thus furthering our general understanding of the history and culture of this significant region. This study includes several geopolitical regions--Chinese Central Asia, Soviet Central Asia, Afghanistan, Transoxiana and Khurasan--and covers historical periods from the fifteenth century to the present. Drawing on scholarship in anthropology, religion, history, literature, and language studies, Muslims in Central Asia argues for an interdisciplinary, inter-regional dialog in the development of new approaches to understanding the Muslim societies in Central Asia. The authors creatively examine the social construction of identities as expressed through literature, Islamic discourse, historical texts, ethnic labels, and genealogies, and explore how such identities are formed, changed, and adopted through time. Contributors. Hamid Algar, Muriel Atkin, Walter Feldman, Dru C. Gladney, Edward J. Lazzerini, Beatrice Forbes Manz, Christopher Murphy, Oliver Roy, Isenbike Togan
This book studies the uses of orality in Italian society, across all classes, from the fifteenth to the seventeenth century, with an emphasis on the interrelationships between oral communication and the written word. The Introduction provides an overview of the topic as a whole and links the chapters together. Part 1 concerns public life in the states of northern, central, and southern Italy. The chapters examine a range of performances that used the spoken word or song: concerted shouts that expressed the feelings of the lower classes and were then recorded in writing; the proclamation of state policy by town criers; songs that gave news of executions; the exercise of power relations in society as recorded in trial records; and diplomatic orations and interactions. Part 2 centres on private entertainments. It considers the practices of the performance of poetry sung in social gatherings and on stage with and without improvisation; the extent to which lyric poets anticipated the singing of their verse and collaborated with composers; performances of comedies given as dinner entertainments for the governing body of republican Florence; and a reading of a prose work in a house in Venice, subsequently made famous through a printed account. Part 3 concerns collective religious practices. Its chapters study sermons in their own right and in relation to written texts, the battle to control spaces for public performance by civic and religious authorities, and singing texts in sacred spaces.