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The Great Mosque of Damascus is an iconic monument of world architecture, and the oldest mosque still standing in something close to its original state. This book is the first in-depth study of its foundation by the Umayyad dynasty, just as the first Islamic century was drawing to a close. Towards the end of 705, the Umayyad caliph al-Walid determined to build a new monumental mosque at the heart of his capital Damascus. This required the seizure of a church that had stood there since the forceful closure, centuries earlier, of the Roman temple of Jupiter, the walls of which still stand today. When the Christians refused to cede their building, al-Walid decided to take it by force. This controversial act broke with the consensual politics of the early Islamic empire and triggered a major crisis, the ripples of which were felt as far afield as the Byzantine Empire. Still, events ran their course. Once the rubble of the church was cleared, al-Walid and his supervisors deployed complex logistics to create a building of dazzling opulence and splendour that marked a turning point in mosque architecture. The book anchors the foundation of the Umayyad Mosque in its pre-Islamic past and brings to life the commotion that followed the destruction of the church. Alain George explores the process whereby craftsmen and materials were gathered to build the new mosque, seeks to reconstruct its Umayyad appearance, and investigates the subtle aesthetics that underpinned its stupendous ornament. This beautifully illustrated volume is based upon extensive research on new textual and visual sources, including Umayyad court poems and rare nineteenth-century photographs.

In 1814, Johann Wolfgang von Goethe read the poems of the great fourteenth-century Persian poet Hafiz in a newly published translation by Joseph von Hammer-Purgstall. For Goethe, the book was a revelation. He felt a deep connection with Hafiz and Persian poetic traditions, and was immediately inspired to create his own West-Eastern Divan as a lyrical conversation between the poetry and history of his native Germany and that of Persia. The resulting collection engages with the idea of the other and unearths lyrical connections between cultures. The West-Eastern Divan is one of the world's great works of literature, an inspired masterpiece, and a poetic linking of European and Persian traditions. This new bilingual edition expertly presents the wit, intelligence, humor, and technical mastery of the poetry in Goethe's Divan. In order to preserve the work's original power, Eric Ormsby has created this translation in clear contemporary prose rather than in rhymed verse, which tends to obscure the works sharpness. This edition is also accompanied by explanatory notes of the verse in German and in English and a translation of Goethe's own commentary, the "Notes and Essays for a Better Understanding of the West-Eastern Divan." This edition not only bring this classic collection to English-language readers, but also, at a time of renewed Western unease about the other, to open up the rich cultural world of Islam.

This authoritative work sheds light on the religious world of the Kalasha people of the Birir valley of the Pakistani districtof Chitral, focusing on their winter feasts which culminate in a great winter solstice festival. The Kalasha representthe last example of the pre-Islamic cultures of the Hindu Kush/Karakorum, but are also the only observable example,worldwide, of an archaic Indo-European religion. Cacopardo addresses the historical and cultural context of the area and,referencing an array of relevant literature, offers comparisons with the Indian world and the religious folklore of Europe.Interdisciplinary and based on extensive field research, Pagan Christmas is the first extended ethnographic study devotedto this little known Kalasha community and represents a standard international reference source on the anthropology,ethnography and history of religions of Pakistan and Central South Asia.Augusto S. Cacopardo has conducted anthropological research in Pakistan under the aegis of the Istituto Italianoper l'Africa e l'Oriente and is Professor of Ethnography at the University of Florence.His publications include themonograph Gates of Peristan: History, Religion and Society in the Hindu Kush (2001), co-authored with his brother Alberto M.Cacopardo.

The first ever account of the making of the Arab Hall at Leighton House, by reputation, the ‘most beautiful room in London’. ‘I am cutting down all less important expenses and applying myself all the more energetically into my rash and wild project of the Arab hall…’Frederic Leighton, letter to Val Prinsep, 29 August 1877Frederic Leighton (1830-96) was celebrated as one of the most successful and influential artists of his day, and as the creator of some of the most iconic and well-loved paintings of the Victorian era, including Flaming June and Perseus and Andromeda. The house he built in Holland Park was his home, his studio, and his passion. He lavished money and attention on it throughout his life, but its centrepiece was the ‘Arab Hall’ – the extraordinary suite of spaces on the ground floor of the house that Leighton decorated with a spectacular collection of tiles and ceramics brought back from his travels across the Middle East.Many books have been written on Frederic Leighton, but this is the first to explore his activities as traveller and collector; uncovering the story of how he travelled, where he stayed and how he acquired the artworks that went into the making of what has been called ‘the most beautiful room in London’. This lavishly decorated space, with its golden dome and tiles from Damascus and Iznik, was hailed as an extraordinary creative and artistic triumph from the moment of its first public unveiling in 1881, with one visitor described it as ‘quite the eighth wonder of the world’. It continues to astonish, delight and inspire today.The Arab Hall details the history of these rooms, and the role played in their creation by such figures as Leighton’s architect George Aitchison; the ceramicist William De Morgan and the designer Walter Crane; by Owen Jones, interior designer for the Great Exhibition of 1851; by Arthur Liberty, founder of the store that still bears his name, and by such fascinating ‘extras’ as the explorer and writer Richard Burton and his wife Isabel, and the garden designer Gertrude Jekyll, one of whose earliest commissions was to make cushions for a seat from which Leighton could admire his tiled walls.This volume also includes a complete translation of the inscriptions in the Arab Hall by Hidaya Abbas, and selections from Leighton’s correspondence with Val Prinsep.

Twenty chapters, authored by leading scholars from around the world, explore the astonishing variety of building styles and traditions that have evolved over millennia in a region of diverse terrains, extreme climates and distinctive local histories. Generations of highly-skilled masons, carpenters and craftspeople have deftly employed the materials-to-hand and indigenous technologies to create urban architectural assemblages, gardens and rural landscapes that dialogue harmoniously with the natural contours and geological conditions of southern Arabia. A sharp escalation in military action and violence in the country since the 1990s has had a devastating impact on the region's rich cultural heritage. In bringing together the astute observations and reflections of an international and interdisciplinary group of acclaimed scholars, the principal aim of this book is to raise awareness among the general public and policy makers of Yemen's long history of cultural creativity, and of the very urgent need for international collaboration to protect it and its people from the destructive forces that have beset the region.Following the editor's introduction, the book is divided into three parts.Part One introduces readers to the astonishing variety of architecture and building traditions across the country, from the Red Sea coast, eastward into the mountainous highlands, to the edge of the Sahara desert, and southward into the deep, dramatic wadis of the Hadhramaut. Part Two is dedicated to exploring the issues and the challenges of conserving and preserving Yemen's rich architectural heritage. Part Three offers vivid personal insights - both historical and contemporary - into the making of place and the construction of identities.

Javanmardi is one of those Persian terms that is heard frequently in discussions associated with Persian identity, and yet its precise meaning, conveying all the nuances inherent within it, is so difficult to comprehend. A number of equivalents have been offered, including chivalry and manliness, and while these terms are not incorrect, javanmardi transcends them. The concept encompasses character traits of generosity, selflessness, hospitality, bravery, courage, honesty, truthfulness and justice - and yet there are occasions when the exact opposite of these is required for one to be a javanmard. At times it would seem that being a javanmard is about knowing and doing the right thing, although this is not an adequate definition at all.The present collection is the product of a three-year project, financed by the British Institute of Persian Studies on the theme of `Javanmardi in the Persianate world'. The articles in this volume represent the sheer range, influence and importance that the concept has had in contributing and creating Persianate identities over the past one hundred and fifty years. A conscious decision was taken to make the contributions as wide-ranging as possible. Rather than focus, for example, on medieval Sufi manifestations of javanmardi, both medieval and modern studies were encouraged, as were literary, artistic, archaeological and sociological studies among others. The opening essays examine the concept's origin in medieval history and legends throughout a geographical background that spans from modern Iran to Turkey, Armenia and Bosnia, among both Muslim and Christian communities. Subsequent articles explore modern implications of javanmardi within such contexts as sportsmanship, political heroism, gender fluidity, cinematic representations and the advent of digitalisation.

Before the time of Napoleon, the most ambitious effort to explore and map the Nile was undertaken by the Ottomans, as attested by two monumental documents: an elaborate map, with 475 rubrics, and a lengthy travel account. Both were achieved at about the same time--c. 1685--and both by the same man.Evliya elebi's account of his Nile journeys, in the tenth volume of his Book of Travels (Seyahatname), has been known to the scholarly world since 1938, when that volume was first published. The map, held in the Vatican Library, has been studied since at least 1949. Numerous new critical editions of both the map and the text have been published over the years, each expounding upon the last in an attempt to reach a definitive version. The Ottoman Explorations of the Nile provides a more accurate translation of the original travel account. Furthermore, the maps themselves are reproduced in greater detail and vivid color, and there are more cross-references to the text than in any previous edition. This volume gives equal weight and attention to the two parts that make up this extraordinary historical document, allowing readers to study the map or the text independently, while also using each to elucidate and accentuate the details of the other.

The region comprised of the Middle East and North Africa (MENA) is well known for its abundant natural resources and important geostrategic position. That image, however, is often overshadowed by ongoing sectarian violence and trans-boundary conflicts that threaten the stability of the entire region and dominate much of the global news cycle. Although the region's fragile environmental state has increasingly preoccupied policymakers in individual countries, there is as yet insufficient concerted effort to recognize and address problems relating to sustainability and climate change. And despite the urgency of these challenges, there are very limited academic resources, if any, dedicated to studying MENA's environmental future. Environmental Challenges in the MENA Region draws from the proceedings of a seminal international conference on the subject at the School of Oriental and African Studies at the University of London. The chapters in this book are predicated upon two critical premises: that expertise and awareness from a wide range of disciplines is required to understand and address environmental challenges; and that, to have a real chance of success, MENA countries need to confront these problems as common and shared threats. The interdisciplinary nature of this book mirrors the conclusion reached: that these nations must cooperate on all fronts in order to shape the future of their mutual environment.

In honour of Goethe and the 200th anniversary of the first publication of his outstanding poem sequence the West-Eastern Divan (1819), A New Divan contains outstanding original poems by twenty-four leading poets - twelve from the `East' and twelve from the `West' - and presents a truly international poetic dialogue inspired by the culture of the Other and Goethe's late, great work. The poets come from across the East - from Morocco to Turkey, Syria to Afghanistan - and from across the West - from Germany to the USA, Estonia to Brazil. Writing in Arabic, Persian and Turkish, and English, French, German, Portuguese, Russian, Spanish and Slovenian, each pair of poets has responded to one of the themes of the twelve books of Goethe's original Divan, including `The Poet', `Love', `The Tyrant', `Faith' and `Paradise'. Working directly with the original poets or via a bridge translation the twenty-two English-language poets have created new poems that draw on the poetic forms and cultures of the poets taking part. Three pairs of essays enhance and complement the poems, mirroring Goethe's original `Notes and Essays for a Better Understanding of the West-Eastern Divan'. A New Divan is a life-enhancing, lyrical conversation at a time when understanding of the Other has never been more important. In celebrating Johan Wolfgang von Goethe, it also celebrates the art of poetry and the art of translation.

This lavishly illustrated volume of essays introduces a fascinating array of subjects, each exploring an aspect of the far-reaching "mercantile effect" and its impact across western Asia in the early modern era. In the seventeenth and eighteenth centuries the increased movement of merchants and goods from China to Europe brought desirable commodities to new markets, but also spread ideas, tastes, and technologies across western Asia as never before. Through the newly-established Dutch, English, and French East India companies, as well as much older mercantile networks, commodities including silk, ivory, books, and glazed porcelains were transported both east and west. The Mercantile Effect shows a fascinating array of trade objects and the customs and traditions of traders that brought about a period of intense cultural interchange.

The volume `The Early Ottoman Peloponnese: A study in the Light of an Annotated editio princeps of the TT10-1/14662 Ottoman Taxation Cadastre (ca. 1460-1463)' is a revised version of the author's PhD thesis, conducted at Royal Holloway, University of London, under the supervision of the late Professor Julian Chrysostomides. Part I contains an Introduction, three Chapters (1-3) and a Conclusion. The Introduction presents the aims, scope and methodology adopted, followed by a survey of previous scholarship conducted on the subject, and a brief historical examination of the late Byzantine Peloponnese and its conquest by the Ottomans. It concludes with a brief codicological and palaeographical description and dating of the cadastre TT10-1/14662. Chapter 1 presents the Historical Geography of the Peloponnese, listing all the place-names (667 in total) mentioned in the sequence they appear in the TT10-1/14662 register accompanied by topographic and linguistic notes. This is followed by a set of thirty-eight digital maps of the early Ottoman Peloponnese using GIS (Geographical Information Systems). Chapter 2 discusses the Demography of the Peloponnese, including the settlement patterns, the density of population and its categorisation into urban/rural, sedentary/nomadic, concentrating, in particular, on the influx and settlement of the second largest ethnic group, after the Greeks, in the peninsula, namely the Albanians.Chapter 3 explores the Administrative and Economic Structures of the Peloponnese, concentrating on the Ottoman timar system and taxation. A detailed presentation of the level of agricultural production, types of crops, livestock, fishing, commerce, industrial development, etc. is illustrated with tables and charts.The Conclusion summarises the findings of the research and attempts to identify areas for possible future investigation. Part II comprises a diplomatic edition of the transcribed Ottoman text. The study closes with full bibliography followed by facsimiles of the cadastre.

The images released by Islamic State of militants smashing statues at ancient sites were a horrifying aspect of their advance across Northern Iraq and Syria during 2015-16. Their leaders justified this iconoclasm (destruction of images) by arguing that such actions were divinely decreed in Islam, a notion that has remained fixed in the public consciousness. The Image Debate: Figural Representation in Islam and Across the World is a collection of thirteen essays which examine the controversy surrounding the use of images in Islamic and other religious cultures and seek to redress some of the misunderstandings that have arisen. Written by leading academics from the United States, Australia, Turkey, Israel and the United Kingdom, the book has a foreword by Stefano Carboni, Director of the Art Gallery of Western Australia, followed by an introduction by the editor Christiane Gruber, who sets the subject in context with a detailed examination of the debates over idols and the production offigural images in Islamic traditions. Twelve further articles are divided into three sections: the first deals with pre-modern Islam:Mika Natif looks at tensions between the Hadith prohibition on images and the praxis of image-making under the Umayyad dynasty and argues that the Umayyad rulers used imagery to establish their political and religious authority; Finbarr Barry Flood examines the practice of epigraphic erasure, i.e., the removal of names of rulers and patrons from historical inscriptions from the medieval Islamic world; and Oya Pancaroglu focuses on the figural conventions of an illustrated manuscript of Varqa and Gulshah, a medieval Persian romance composed in the masnavi (rhyming couplet) form by the 11th-century poet `Ayyuqi.The second section addresses the situation outside Islam: Alicia Walker surveys attitudes toward the production and veneration of religious images in Byzantium from the earliest years of the Christian Roman Empire (early 4th century) to the aftermath of the Iconoclast controversy (late 9th century); Steven Fine explores the history of Jewish engagement with`art' from Roman antiquity through the high middle ages through a detailed exploration of the 3rd-century Dura Europos synagogue and its wall paintings; Michael Shenkar examines evidence for the employment of figural images in the cultic practices of some of the major ancient Iranian cultural and political entities, offering a broad perspective on perceptions ofimages in ancient Iranian worship; and Robert DeCaroli delves into the question of why no image of the Buddha was made during the first five hundred years of Buddhism. The third section brings the reader back to Islamic lands with five articles examining aspects of the issue in the modern and contemporary periods: Yousuf Saaed investigates South Asian mass-produced images, especially posters that include illustrations of local Sufi shrines, portraits of saints and Shi`i iconography; James Bennett explores the visual depiction of Javanese shadow puppets (wayang kulit), including the sage Begawan Abiyasa, whose narratives convey key elements of Sufi mystical philosophy; Allen and Mary Roberts consider images of Cheikh Amadu Bamba, the founding Sufi saint of the Senegalese Mouride order; Rose Issa addresses how the term `Islamic' relates to contemporary art, how artists manage to create work in countries in constant turmoil and to what extent such works reflect their conceptual, aesthetic, and socio-political concerns; and finally Shiva Balaghi traces the use of the figure, along its symbolic shadows and silhouettes, in works by notable Iranian artists living in Iran and in diaspora.

The familiar and heartwarming story of Christmas is one of hope, encapsulated by the birth of the infant Jesus. It is also a story that unites Christianity and Islam--two faiths that have often been at odds with each other. The accounts of the Nativity given by the Evangelists Luke and Matthew find their parallels in Surahs 3 and 19 of the Qur'an, which take up the Annunciation to Mary, the Incarnation from the Holy Spirit, and the Nativity. Christmas and the Qur'an is a sensitive and precise analysis of the Christmas story as it appears in the Gospels and the Qur'an. Karl-Josef Kuschel presents both scriptures in a convincing comparative exegesis and reveals startling similarities as well as significant differences. Kuschel explores how Christians and Muslims read these texts and reveals an intertwining legacy that serves as a base for greater understanding. Without leaving the realm of theology, Kuschel approaches his analysis in a theocentric way by emphasizing the shared belief that God is almighty, which, he argues, can act as a healing suture between Christianity and Islam. Christmas and the Qur'an gives the reader the chance to remember the message of hope that the birth of Jesus brings and invites to a dialogue between Muslims and Christians.

The Fertile Crescent region has long been regarded as pivotal to the rise of civilisation. Alongside the story of human development, innovation, and progress, there is a culinary tradition of equal richness and importance. The Culinary Crescent shows Heine’s deep knowledge of the cookery traditions of the Umayyad, Abbasid, Ottoman, Safavid, and Mughal courts. In addition to a fascinating history, Heine presents more than seventy recipes—from the modest to the extravagant—with dishes ranging from those created by the celebrity chefs of the bygone Mughal era, up to gastronomically complex presentations of modern times. Beautifully produced, and designed for both reading and cooking, The Culinary Crescent is sure to provide a delectable window into the history of food in the Middle East.

Well beyond the Arab world, El Saadawi's fiction and non-fiction work, from Woman at Point Zero to The Fall of the Imam to her prison memoirs, have earned her a reputation as a refreshing voice of feminism in the Arab World. This series of essays form a selection of El Saadawi's most recent musings, memories and reflections, considering the role of women in Egyptian and wider Islamic society, the inextricability of imperialism from the patriarchy, the meeting point of East and West, and the image and body politic of the woman in the intersections of those cultures. These musings leave no stone unturned and no view unchallenged, and offer the interested reader new insight into El Saadawi's thoughts and reflections.

The aim of this volume is to adopt an original analytical approach in explaining various dynamics at work behind the Arab Spring, through giving voice to local dynamics and legacies rather than concentrating on debates about paradigms. It highlights micro-perspectives of change and resistance as well of contentious politics that are often marginalised and left unexplored in favour of macro-analyses. First, the story of the uprisings in Tunisia, Egypt, Syria, Morocco and Algeria is told through diverse and novel perspectives, looking at factors that have not yet been sufficiently underlined, but carry explanatory power for what has occurred. Second, rather than focusing on macro-comparative regional trends - however useful they might be - the contributors to the book focus on the particularities of each country, highlighting distinctive micro-dynamics of change and continuity. The essays collected here are contributions from renowned writers and researchers from the Middle East and North Africa, along with Western experts, thus allowing the formation of a sophisticated dialogic exchange.

Amman, the capital of Jordan, contends with a crisis of identity rooted in how it grew to become a symbol for the Anglo-Hashemite government first, and a city second. As a representation of the new centralised authority, in 1921 Amman became the seat of the mandatory government that orchestrated the development of Transjordan. Despite its diminutive size, the city grew to house all the components necessary for a thriving and cohesive state by the end of the British mandate in 1946. However, in spite of its modernising and regulatory ambitions, the Transjordan government did not control all facets of life in the region. Instead, the story of Transjordan is one of tensions between the state and the realities of the region, and these limitations forced the government to scale down its aspirations. This book presents the history of Amman's development under the rule of the British mandate from 1921-46 and illustrates how the growth of the Anglo-Hashemite state imbued the city with physical, political, and symbolic significance.

Part visual history, part memoir, You Can Crush the Flowers is the celebrated Egyptian-Lebanese artist Bahia Shehab's chronicle of the Egyptian Revolution of 2011 and its aftermath, as it manifested itself not only in the art on the streets of Cairo but also through the wider visual culture that emerged during the Revolution. Marking the ten year anniversary of the revolution, the book tells the stories that inspired both her own artwork and those of her fellow-revolutionaries. It narrates the events of the revolution as they unfolded, describing on one hand the tactics deployed by the regime to drive protesters from the street, from the use of tear gas and snipers to employing brute force, intimidation techniques and virginity tests, and on the other hand the retaliation by the protesters online and on the street in marches, chants, street art and memes. Throughout this powerful and moving account, and using a vast array of over 250 images, Bahia Shehab responds to what she has witnessed as both artist and activist. The result bears witness to the brutality of the regime and pays tribute to the protestors who bravely defied it.

An illustrated reference book for students and scholars of Persian art, poetry, and literature.With this book, Barbara Brend provides thorough consideration of two celebrated Persian manuscripts housed in the British Library. These two copies of the Khamsah (Quintet) a set of five narrative poems by twelfth-century poet Nizami, a master of allegorical poetry in Persian literature, were produced in Herat in the fifteenth century, one of the greatest periods of Persian painting. Although well known, the manuscripts have never before been written about in relation to each other. Brend tells the story of each poem and the painting that illustrates it, and she formally analyzes the images, placing them in their historical and artistic context. The images from both highly prized manuscripts are beautifully reproduced in color, and the ownership history of one of the manuscripts-recorded in the form of seal impressions and inscriptions- is also included. Ursula Sims-Williams provides a translation and commentary of these important marks of ownership which identify the Mughal rulers Akbar, Jahangir, Shah Jahan, and Aurangzeb, among many others.

This book provides an overview of the range of seminarian thinking in Iran on the controversial topic of the hijab. During the modern period, Iran has suffered a great deal of conflict and confusion caused by the impact of Western views on the hijab in the 19th century, Riza Shah Pahlavi's 1936 decree banning Islamic head coverings, and the imposition of the veil in the wake of the Islamic Revolution in 1979. Hijab addresses the differences of opinion among seminarians on the hijab in the Islamic Republic of Iran, focusing on three representative thinkers: Murtaza Mutahhari who held veiling to be compulsory, Ahmad Qabil who argued for the desirability of the hijab, and Muhsin Kadivar who considers it neither necessary nor desirable. In the first chapter, the views of these three scholars are contextualized within the framework known as 'new religious thinking' among the seminarians. Comprehending the hermeneutics of this new religious thinking is key to appreciating how and why the younger generation of scholars have offered divergent judgements about the hijab. Following the first chapter, the book is divided into three parallel sections, each devoted to one of the three seminarians. These present a chronological approach, and each scholar's position on the hijab is assessed with reference to historical specificity and their own general jurisprudential perspective. Extensive examples of the writings of the three scholars on the hijab are also provided.

Collected essays honoring the work of British professors Carole and Robert Hillenbrand. Carole and Robert Hillenbrand are legendary British professors, both of whom have made immense contributions to the fields of Islamic history and art history, and they are highly respected and beloved by the academic community. For these two volumes, editors Melanie Gibson and Ali Ansari have gathered an eclectic mix of scholarly contributions by colleagues and by some of their most recent students who now occupy positions in universities worldwide. The eleven articles in the volume dedicated to Carole Hillenbrand include research on a range of topics, including the elusive Fatimid caliph al-Zafir, a crusader raid on Mecca, and the Persian bureaucrat Mirza Saleh Shirazi's history of England. In Robert Hillenbrand's volume, the thirteen articles include studies of a rare eighth-century metal dish with Nilotic scenes, Chinese Qur'ans, the process of image-making in both theory and practice, and a shrine in Mosul destroyed by ISIS.

Collected articles on Iranian art from the Qajar dynasty. The thirteen articles in this volume were originally given as presentations at the symposium of the same name organized in June 2018 by the Musee du Louvre and the Musee du Louvre-Lens in conjunction with the exhibition The Empire of Roses: Masterpieces of 19th Century Persian Art. The exhibition explored the art of Iran in the nineteenth and early twentieth centuries, while the nation was under the rule of the Qajar dynasty. The symposium set out to present research on previously unknown and unpublished objects from this rich period of art history. This volume, published with the Louvre Museum in France, is divided into four sections. The first, "Transitions and Transmissions," is dedicated to the arts of painting, illumination, and lithography. The focus of the second section, entitled "The Image Revealed," also considers works on paper, looking at new themes and techniques. "The Material World" examines the use of materials such as textiles, carpets, and armor. The articles in the final section discuss the history of two groups of artifacts acquired by their respective museums.

As the Egyptian revolution unfolded throughout 2011 and the ensuing years, no one was better positioned to comment on it - and try to push it in productive directions - than best-selling novelist and political commentator Alba Al Aswany. For years a leading critic of the Mubarak regime, Al Aswany used his weekly newspaper column for Al-Masry Al-Youm to propound the revolution's ideals and to confront the increasingly troubled politics of its aftermath. This book presents, for the first time in English, all of Al Aswany's columns from the period, a comprehensive account of the turmoil of the post-revolutionary years, and a portrait of a country and a people in flux. Each column is presented along with a context - setting introduction, as well as notes and a glossary, all designed to give non-Egyptian readers the background they need to understand the events and figures that Al Aswany chronicles. The result is a definitive portrait of Egypt today - how it got here, and where it might be headed.

Set against the backdrop of Iran s struggle against the rising powers of Russia and Britain, the memoirs of Mirza Riza Khan Arfa -ed-Dowleh otherwise known as Prince Arfa (1853 1902) are packed with picaresque adventures as the prince tells the story of his rise from humble provincial beginnings to the heights of the Iranian state. With this translation, his incredible story is brought to life for the first time in English. Prince Arfa writes with arresting wit about the deadly intrigues of the Qajar court. Lamentingly, but resolutely, he chronicles the decline of Iran from a once great empire to an almost bankrupt, lawless state, in which social unrest is channelled and exploited by the clergy. He describes the complex interactions between Iran and Europe, including an account of Naser-od-Din Shah s profligate visits to Britain and France; the splendor and eccentricities of the doomed Tsar Nicholas II s court; the Tsar s omen-laden coronation; and his own favor with the Tsarina, who would grant him concessions on matters of vital importance to his country. The result is a memoir of extraordinary political intrigue. "

In the early 1250s Mongke Khan, grandson and successor of the mighty Mongol emperor, Genghis Khan, sent out his youngerbrothers Qubilai and Hulegu to consolidate his grip on power. Hulegu was welcomed into Iran while his older brother, Qubilai, continued to erode the power of the Song emperors of southern China. In 1276 he finally forced their submission and peacefully occupied their capital, Hangzhou. The city enjoyed a revival as the cultural capital of a united China and was soon filled with traders, adventurers, artists, entrepreneurs, and artisans from throughout the great Mongol Empire includinga prosperous, influential and seemingly welcome community of Persians. In 1281, one of their number, Al al-Din, built thePhoenix Mosque in the heart of the city where it still stands today. This study of the mosque and the Ju-jing Yuan cemetery,today as a lake-side public park, casts light on an important and transformative period in Chinese history, and perhaps themost important period in Chinese Islamic history. The book is published in the Persian Studies Series of the British Instituteof Persian Studies.

The essays in this book trace a rich continuum of artistic exchange that occurred between successive Islamic dynasties from the twelfth through nineteenth centuries as well as the influence of Islamic art during that time on cultures as far away as China, Armenia, India, and Europe. Taking advantage of recent technologies that allow new ways of peering into the pasts of art objects, the authors break new ground in their exploration of the art and architecture of the Islamic world. The essays range across a variety of topics. These include a look at tile production during the reign of the Qaytbay, the book bindings associated with Qansuh al-Ghuri, and the relationship between Mamluk metalwork and that found in Rasulid Yemen and Italy. Several essays examine inscriptions found on buildings of the Fatimid, Mamluk, and Ottoman periods, and others look at the debt of European lacquer works to Persian craftsmen, the Armenian patrons of eighteenth-century Chinese exports, and the influences of Islam on art and architecture found all across India. The result is a sweeping but deeply researched look at one of the richest networks of artistic traditions the world has ever known. "

The Qur'an identifies Jesus as a sign of God, and he holds a place as one of the most important prophets in Islam. Looking at Jesus in Islam also reveals both deep differences from and rich connections to the view of Jesus in Christianity. In The Other Prophet, Mouhanad Khorchide and Klaus von Stosch explore and explain the position of the Qur'anic Jesus, with one scholar working from the Muslim and the other from the Christian theological perspective. Their combined research presents a history of Jesus' presence in the Qur'an and provides astute observations to deepen the understanding of both Christians and Muslims. Here we find that a common view of Jesus from the Muslim and Christian sides is not only possible but also expands our understanding of Jesus and his message.

Current developments in Iran are forcing a fundamentalreassessment of the relationship between Islam and democracyand the processes of democratization in the Muslim world.While some scholars have argued that 'Islam' and 'democracy'are essentially incompatible, others have sought to portraythe advent of political Islam as a transitional phenomenonto be overcome before democratization can take root. Ansari,in tracing the historical roots of political development inIran, argues that what is in fact taking place is an intellectualsynthesis of ideas drawing from both Western and traditionalIranian norms. The author analyzes the origins and dynamicof this development, and discusses the possible consequencesfor Iran and the region, as well as Iran's relationship with thewider world. This new edition includes political developmentsin Iran since 2016. It looks at the increasing polarity of viewsand the changing nature of 'reformism' in light of successivesetbacks and growing international tensions.

In 1914 the Middle East was still dominated, as it had been for some four centuries, by the Ottoman Empire; by 1923, its political shape had changed beyond recognition as the result of the insistent claims of Arab and Turkish nationalism and of Zionism. This book examines that historic transformation, taking as its focus the work of three leaders. The Hashemite Emir Feisal hoped to head an Arab kingdom in Syria but was thwarted by the French. The Turkish war hero Mustafa Kemal defied the imperial ambitions of the European powers, inspiring a new Turkish nationalism and founding a secular republic on the ruins of a defeated empire. The Russian-born scientist Chaim Weizmann seized the chance to secure the Balfour Declaration in favour of Zionism from the British in 1917, and then successfully argued for a British mandate for Palestine which would carry this out.