"Analyzing the modernist art movement that arose in Cairo and Alexandria from the late nineteenth century through the 1960s, Alex Dika Seggerman reveals how the visual arts were part of a multifaceted transnational modernism. While the work of diverse, major Egyptian artists during this era may have appeared to be secular, she argues, it reflected the subtle but essential inflection of Islam, as a faith, history, and lived experience, in the overarching development of Middle Eastern modernity. Challenging typical views of modernism in art history as solely Euro-American, and expanding the conventional periodization of Islamic art history, Seggerman theorizes a 'constellational modernism' for the emerging field of global modernism. Rather than seeing modernism in a generalized, hyperconnected network, she finds that art and artists circulated in distinct constellations that encompassed finite local and transnational relations. Such constellations, which could engage visual systems both along and beyond the Nile, from Los Angeles to Delhi, were materialized in visual culture that ranged from oil paintings and sculpture to photography and prints. Based on extensive research in Egypt, Europe, and the United States, this richly illustrated book poses a compelling argument for the importance of Muslim networks to global modernism."--Dust jacket.

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.

The city of a thousand minarets is also the city of eclectic modern constructions, turn-of-the-century revivalism and romanticism, concrete expressionism, and modernist design. Yet while much has been published on Cairo's ancient, medieval, and early-modern architectural heritage, the city's modern architecture has to date not received the attention it deserves. Cairo since 1900: An Architectural Guide is the first comprehensive architectural guide to the constructions that have shaped and continue to shape the Egyptian capital since the early twentieth century. From the sleek apartment tower for Inji Zada in Ghamra designed by Antoine Selim Nahas in 1937, to the city's many examples of experimental church architecture, and visible landmarks such as the Mugamma and Arab League buildings, Cairo is home to a rich store of modernist building styles. Arranged by geographical area, the guide includes entries for more than 220 buildings and sites of note, each entry consisting of concise, explanatory text describing the building and its significance accompanied by photographs, drawings, and maps. This pocket-sized volume is an ideal companion for the city's visitors and residents as well as an invaluable resource for scholars and students of Cairo's architecture and urban history.

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.

This book presents the first comprehensive survey of the multiple versions of Islam propagated across geographical, political, and cultural boundaries during the era of modern globalization. Showing how Islam was transformed through these globalizing transfers, it traces the origins, expansion and increasing diversification of Global Islam - from individual activists to organizations and then states - over the past 150 years. Historian Nile Green surveys not only the familiar venues of Islam in the Middle East and the West, but also Asia and Africa, explaining the doctrines of a wide variety of political and non-political versions of Islam across the spectrum from Salafism to Sufism. This Very Short Introduction will help readers to recognize and compare the various organizations competing to claim the authenticity and authority of representing the one true Islam.

Imagining Modernity in the Andes is an interdisciplinary work that deals with the intersection of projects of modernity with constructions of race and ethnicity in the Andes. This book focuses initially on Indigenismo, attempting to recuperate the intellectual energy of writers and artists from the twenties who rewrote political and cultural discourse in an irreversible manner, and concludes with a consideration of the new configurations of indigeneity that are emerging today not only in the Andes but across the globe. The multidisciplinary work of José Marìa Arguedas occupies a privileged place in this study and his anthropological work is analyzed in the context of an ideological climate. In addition to considering sociological and anthropological accounts, Archibald examines representations of urbanization and social informality by four Peruvian novelists, pointing to the prevalence of the troupe of the grotesque as a metaphor for the unmanageability associated with cities of the South. Finally, Imagining Modernity in the Andes analyzes the implications of the emergence of new visual media in a culture context long defined by the oral-textual divide, and considers the continued relevance of the concept of transculturation in a transnational and post-literary context.

Compares twentieth-century literature from a network of British colonial cities, tracing a new, peripheral history of urban modernism.

Der vorliegende Band beschäftigt sich mit dem Surrealismus in Literatur und Kunst in Algerien, Ägypten, Libanon, Syrien und der Türkei zwischen den 1930er und 1980er Jahren. In einer transkulturellen Perspektive erscheint die zu Beginn der 1920er Jahre von Frankreich ausgehende Bewegung gleichermaßen als globales wie als lokales Phänomen, das in den hier behandelten Regionen weniger auf kollektive als auf individualistische Weise, vornehmlich auf dem Gebiet von Poesie und Sprache, rezipiert wurde. Die Studien in diesem Band verfolgen das Ziel, ein klareres Bild von den Resonanzen des Surrealismus in diesen Regionen zu zeichnen und damit einen Beitrag zur Geschichte sowohl der Transmoderne als auch des Surrealismus zu leisten. Methodisch geht es darum, Verbindungen, Begegnungen und Austausch auf individuell-künstlerischer, politisch-institutioneller und soziohistorischer Ebene zu untersuchen. Ein neuer Blick auf den globalen Surrealismus muss diese Netzwerke und Verbindungen auf der Mikroebene berücksichtigen, wenn es um die Fragen geht, wann, wo und was Surrealismus war. Die Antwort könnte zeigen, dass der Surrealismus weitaus weiter verbreitet war als bisher angenommen.

A first-hand journal about the Goldings' travels through Egypt, soon after winning the Nobel Prize, living on a motor cruiser on the Nile. Nothing went quite as planned, but William Golding's vivid and honest account of what actually happened, and of what he saw and felt about ancient Egypt and the exasperations of the living present, will delight his innumerable admirers and everyone who visits Egypt.'One of the funniest anti-travel books I have ever read.' Daily Telegraph'No previous book brings you so close to Golding the man. It bulges with abstruse knowledge . . . and is often screamingly funny . . . Hugely enjoyable.' The Times