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.

Studies of the pivotal historic place of the Mediterranean have long been dominated by specialists of its northern shores, that is, by European historians. The seven leading authors in this groundbreaking volume challenge views of Mediterranean space as shaped by European trajectories, and in doing so, they challenge our comfortable notions. Drawing perspectives from the Mediterranean’s eastern and southern shores, they ask anew: What is the Mediterranean? What are its borders, its defining characteristics? What forces of nature, politics, culture, or economics have made the Mediterranean, and how long have they or will they endure? Covering the sixteenth century to the twentieth, this timely volume brings the early modern world into conversation with the modern world in new ways, demonstrating that only recently can we differentiate the north and south into separate cultural and political zones. The Making of the Modern Mediterranean: Views from the South offers a blueprint for a new generation of readers to rethink the world we thought we knew.

Providing an introduction to the artistic and architectural traditions of the Islamic world, A Story of Islamic Art explores fifty case studies, taken from different regions of the Islamic world and from the seventh to the twenty-first centuries. The novel aspect of these case studies is that they are presented as fictional narratives, allowing the reader to imagine art and architecture, either in their original cultural settings or at some later point in their histories. These stories are supported by a scholarly framework that allows the reader to continue their exploration of the chosen artefacts and their historical context. The fifty case studies take the form of short stories, each of which focuses on one or more object from the Islamic world. These encompass portable items in a wide variety of media, book illustrations, calligraphy, photographs, architectural decoration, buildings, and archaeological sites. The book also provides a detailed introduction, maps, timeline, glossary, and guides for further reading. This book offers accessible answers to key questions in the scholarship on Islamic art and architecture from its earliest times to the present. The issues dealt with in each of the stories include iconography, attitudes towards representation, the role of script, the elaboration of geometric decoration, the creation of sacred and secular spaces in architecture, and the socio-cultural context of art production and consumption. Artistic interactions between the Islamic world and other regions including Europe and China are also discussed in this book. A Story of Islamic Art is an engaging and informative introduction for interested readers and students of Islamic art, history, and architecture.

From the mountains of Lebanon to the shores of Turkey and North Africa, the Islamic Mediterranean has always been a dynamic cultural hub, where the stories and passions of East and West collide. In a sweeping survey spanning the first Arabic edition of the "Thousand and One Nights" to the novels of the 20th century, Robin Ostle pours through centuries of books, art and architecture to reveal what they tell us about the changing relationship between individual and society in this distinctive culture.In pre-modern literature, individuality was expressed through a series of comic subversions which, through their resolution, ultimately strengthened the social status quo. The great 19th century travelogues represented a more transgressive exploration of the boundaries of the self. This theme was continued in the cultural forms of the 20th century, with their emphasis on self-expression and emotional liberation, something increasingly defined in opposition to the state. "Sensibilities of the Islamic Mediterranean" unravels the emotions, ideas and power relationships which make up the cultural fabric of this fascinating region.

Between the 1890s and 1920s, cities in the vast region stretching from the Mediterranean Sea to the Indian Ocean were experiencing political, social, economic, and cultural changes that had been set in motion at least since the early nineteenth century. Avoiding such dichotomies as East/West and modernity/tradition, this book provides a comparative analysis of contested versions of the concept of modernity, examining not only the "high" culture of scholars and the literati, but also popular music, the visual arts, and journalism.

Diversifying the current art historical scholarship, this edited volume presents the untold story of modern art by exposing global voices and perspectives excluded from the privileged and uncontested narrative of “isms.” This volume tells a worldwide story of art with expanded historical narratives of modernism. The chapters reflect on a wide range of issues, topics, and themes that have been marginalized or outright excluded from the canon of modern art. The goal of this book is to be a starting point for understanding modern art as a broad and inclusive field of study. The topics examine diverse formal expressions, innovative conceptual approaches, and various media used by artists around the world and forcefully acknowledge the connections between art, historical circumstances, political environments, and social issues such as gender, race, and social justice. The book will be of interest to scholars working in art history, imperial and colonial history, modernism, and globalization.

With the process of a 'wider Europe' (EU-Commission President Romano Prodi's 'ring of friends') that extends from Marrakech in Morocco to St Petersburg in Russia gathering speed, the growing rift between Europe and America also is about how to deal politically with the countries of the Mediterranean-Muslim world. The house of Islam (Dar al Islam) was pivotal to the European path to the Renaissance and to the re-discovery of classic Greek philosophy. The Mediterranean policy of the European Union aims at a positive and co-operative relationship with the region. A successful integration of the Mediterranean South would have tremendous and positive repercussions for regional and world peace. World-wide leading experts from the field of world systems analysis, economics, integration theory, political science, theology and area studies, agnostics, Christians, Jews and Muslims alike discuss the issue with European decision makers. The outcome is an interdisciplinary evaluation of this projected export of peace, co-operation, dialogue and stability in the framework of world centre-periphery relationships.

In writings about Islam, women and modernity in the Middle East, family and religion are frequently invoked but rarely historicized. Based on a wide range of local sources spanning two centuries (1660-1860), Beshara B. Doumani argues that there is no such thing as the Muslim or Arab family type that is so central to Orientalist, nationalist, and Islamist narratives. Rather, one finds dramatic regional differences, even within the same cultural zone, in the ways that family was understood, organized, and reproduced. In his comparative examination of the property devolution strategies and gender regimes in the context of local political economies, Doumani offers a groundbreaking examination of the stories and priorities of ordinary people and how they shaped the making of the modern Middle East.

Concepts such as influence, imitation, emulation, transmission or plagiarism are transcendental to cultural history and the subject of universal debate. They are not mere labels imposed by modern historiography on ancient texts, nor are they the result of a later interpretation of ways of transmitting and teaching, but are concepts defined and discussed internally, within all cultures, since time immemorial, which have yielded very diverse results. In the case of culture, or better Arab-Islamic cultures, we could analyze and discuss endlessly numerous terms that refer to concepts related to the multiple ways of perceiving the Other, receiving his knowledge and producing new knowledge. The purpose of this book evolves around these concepts, and it aims to become part of a very long tradition of studies on this subject that is essential to the understanding of the processes of reception and creation. The authors analyze them in depth through the use of examples that are based on the well-known idea that societies in different regions did not remain isolated and indifferent to the literary, religious or scientific creations that were developed in other territories and moreover that the flow of ideas did not always occur in only one direction. Contacts, both voluntary and involuntary, are never incidental or marginal, but are rather the true engine of the evolution of knowledge and creation. It can also be stated that it has been the awareness of the existence of multidimensional cultural relations which has allowed modern historiography on Arab cultures to evolve and be enriched in recent decades.

The topic of religious conversion into and out of Islam as a historical phenomenon is mired in a sea of debate and misunderstanding. It has often been viewed as the permanent crossing of not just a religious divide, but in the context of the early modern Mediterranean also political, cultural and geographic boundaries. Reading between the lines of a wide variety of sources, however, suggests that religious conversion between Christianity, Judaism and Islam often had a more pragmatic and prosaic aspect that constituted a form of cultural translation and a means of establishing communal belonging through the shared, and often contested articulation of religious identities. The chapters in this volume do not view religion simply as a specific set of orthodox beliefs and strict practices to be adopted wholesale by the religious individual or convert. Rather, they analyze conversion as the acquisition of a set of historically contingent social practices, which facilitated the process of social, political or religious acculturation. Exploring the role conversion played in the fabrication of cosmopolitan Mediterranean identities, the volume examines the idea of the convert as a mediator and translator between cultures. Drawing upon a diverse range of research areas and linguistic skills, the volume utilises primary sources in Ottoman, Persian, Arabic, Latin, German, Hungarian and English within a variety of genres including religious tracts, diplomatic correspondence, personal memoirs, apologetics, historical narratives, official documents and commands, legal texts and court records, and religious polemics. As a result, the collection provides readers with theoretically informed, new research on the subject of conversion to or from Islam in the early modern Mediterranean world.