The American Institute for Maghrib Studies (AIMS) is seeking proposals for its annual conference for 2023, with ideas for 2024 and 2025 welcome. The annual AIMS conference is a signature event that brings together delegations of scholars from the US, Morocco, Algeria, Tunisia, and occasionally individual scholars from other countries, as appropriate. The AIMS conferences are held in late spring/early summer at one of the three overseas research centers – Tangier, Oran, or Tunis.
AIMS members interested in proposing a theme with resonance across the countries of the Maghrib are encouraged to submit a formal proposal for the 2023 conference by September 19, 2022; ideas and proposals for 2024 and 2025 conferences are also welcome.
Prédire, comprendre et influer sur les forces cachées régissant le monde sont des préoccupations constantes en contexte islamique. Cet intérêt porté aux forces occultes a conduit à la production d’une large gamme d’objets employant à la fois une multitude d’héritages pré-islamiques, ainsi que le texte coranique. Cette production a souvent eu un une visée particulière dans les contextes de conflits militaires, afin de s’assurer la victoire ou de prévenir une mort subite lors des combats.
CALL FOR PAPERS: Archaeology, Antiquity, and the Making of the Modern Middle East: Global Histories 1800–1939, 25–26 May, 2023, University of Warwick, Global History and Culture Centre
This conference will explore the role played by discoveries and debates about the ancient past in the development of ideas about the Middle East in the nineteenth and early twentieth century. What competing imperial, national, and transnational narratives about the present and future of this geopolitically crucial region were fed by archaeology, philology, and history? How were these emergent disciplines themselves forged through Middle Eastern contexts they purported to study? How were temporalities of modernity and progress constructed in relation to the ruptures, continuities and heuristic challenges suggested by the excavation and exegesis of traces of ancient civilisations? Were there overlaps between how this region was simultaneously transformed by the construction of new transportation networks, the unearthing of oil in commercial qualities, transforming its present and future, and archaeological projects which dug up new dimensions to its past? How did the return of the remains of the past assist Western and Eastern empires, and new Middle Eastern countries in understanding their own national destinies?
La dynastie des Fatimides (969-1171) est au pouvoir en Égypte au moment de la réalisation de cet objet religieux. Revendiquant ses liens avec la famille du Prophète, en tant que descendants d’Ali son gendre et cousin, les Fatimides placent le chiisme au cœur de leur politique en opposition au sunnisme du califat abbasside. D’abord implantés au Maghreb et en Ifriqiya (Afrique du Nord actuelle), ils conquièrent le Caire (al-Qahira) en 969 et en font leur capitale. A l’acmé de leur pouvoir, leur territoire couvre le Maghreb et l’Ifriqiya, la Sicile, la Syrie et le Hijaz (péninsule arabique).
Le 29 mai 1453, la ville d’Istanbul, alors nommée Constantinople, tombe aux mains des Ottomans. Cette dynastie, qui tire son nom de son fondateur Osman, s’affirme au sein d’une principauté d’Anatolie à la fin du XIIIème siècle. Elle étend son empire jusqu’au XVIème siècle, depuis les Balkans jusqu’au Maghreb, avant de se désagréger progressivement à partir du XVIIème siècle, pour laisser place, au lendemain de la Première Guerre mondiale, à la République de Turquie. Si l’empire des Ottomans regroupe des populations fort diverses, il est néanmoins régi par une structure gouvernementale et administrative efficace. L’organisation très centralisée de l’empire trouve d’ailleurs un écho dans l’ensemble de la création artistique. Un corps hiérarchisé, dirigé par l’architecte en chef de l’empire, encadre ainsi les chantiers de construction des monuments publics et religieux, favorisant le développement d’un canon artistique. Constantinople, nouvelle capitale après Bursa et Edirne, est profondément modifié sous les Ottomans : les citernes datant de l’Antiquité sont restaurées, le palais de Topkapı voit le jour tandis que sont édifiées de nombreuses mosquées.
The University of California, Los Angeles (UCLA) will be hosting the Western Ottomanists’ Workshop (WOW)in person on November 18-19, 2022. (Friday Saturday) Some panels will be available for Zoom participation. WOW 2022 organizers encourage interested graduate students with works in progress to apply for this workshop using this Google Form. Funding for travel and accommodation is available for graduate students. Graduate applicants who need funding should follow the instructions in the form to be considered for funding.
Faculty members, instructors, adjuncts and independent scholars interested to attend should also get in touch using the Google Form; we would love to welcome you in person!
The deadline for applications and RSVPs is August 1st 2022.
The Textile Museum Journal publishes high-quality academic research on the textile arts and serves as an interface between different branches of academia and textile scholars worldwide. International in scope, the journal is devoted to the presentation of scholarly articles concerning the cultural, technical, historical, and aesthetic significance of textiles.
We invite manuscript submissions on any topic related to textile arts for the 2023 The Textile Museum Journal, which will be the journal’s 50th volume. Manuscripts should be based on original documentary, analytical, or interpretive research on the textile arts. We encourage submissions examining the cultural, technical, historical, and aesthetic significance of textiles through time and across cultures.
Deadline for abstract submissions: April 31, 2022.
Deadline for full manuscript submissions: August 31, 2022.
The European Research Council project “SlaveVoices” seeks a Postdoctoral researcher in the history of modern North Africa and the Mediterranean with an interest in the history of slavery and in North African Sufi Islamic sources (hagiographies and biographies of saints) from the mid-18th century to the 1930s.
Funded by the European Research Council, “SlaveVoices” aims at renewing our approach to the end of slavery by collecting and studying the testimonies of North African, West African and European slaves and their descendants written in Arabic, Ottoman Turkish and other European and African languages from the mid-18th century to the 1930s. Researchers involved in the project “SlaveVoices” explore the reshaping of the connections that groups of slaves built up within North African societies and between this part of the Muslim world and other adjoining societies in Africa, Asia and Europe in the abolition era.
The successful applicant will start working on the project by September 2022 for one year followed by a renewal for another year upon positive evaluation. The project is based at Sciences-Po Paris, and directed by Prof. M. Oualdi who specializes in early modern and modern history of North Africa.
Le Bulletin critique des Annales islamologiques numéro 36 (2022) édité par l’équipe Islam médiéval de l’UMR 8167 et l’Ifao vient de paraître. La revue est désormais disponible sur le site de l’Ifao mais également sur la plateforme OpenEdition pour les trois derniers numéros. Les numéros antérieurs sont accessibles sur la plateforme Persée.
Historical interiors and the digital – the possibilities and limits of virtual reconstructions for researchThe virtual reconstruction of historical interiors – from architecture to wall decoration and furniture to textiles – has been a proven instrument of cultural mediation in recent years, particularly in museums, exhibitions and/or for the study of historical monuments (for instance in archaeology). Questions of spatial proportions and fundamental architectural units are today at the forefront, with emphasis often placed on the possibility of visiting these spaces virtually, either on a 2D screen or with an immersive headset. However, when it comes to the recreation of the aesthetic characteristics of interiors, which are one of the key issues for their understanding, the possibilities of these new models seem limited. Depending largely on the harmonious interaction of different materials such as woods, metals, and textiles, as well as the structures of their respective surfaces, the nuances of colour or gold, or even the traces of artisanship, the existing solutions in rendering the materiality of an historic interior remain insufficient, both aesthetically and scientifically. The hope to swiftly overcome the excessively sanitized surfaces of digital models, expressed in 2013 (Kohle 2013, p. 166), has not yet come to fruition. Nevertheless, there is more to it than that, as the possibilities of using virtual reconstruction effectively for researching historical interiors – for example, through the virtual insertion of materials that are no longer ethically justifiable or prohibited today – are not fully exploited.Focusing on the possibilities and limits of virtual reconstructions of historical interiors, of which questions of materiality are only one aspect, this conference highlights the fundamental issues that occupy current research.
Panorama: Journal of the Association of Historians of American Art invites submissions of proposals for its final feature article as part of the initiative, “Toward a More Inclusive Digital Art History,” which is supported by a major grant from the Terra Foundation for American Art.
Panorama (journalpanorama.org) is the first peer-reviewed, open-access, online publication dedicated to American art and visual culture (broadly defined). The journal encourages a broad range of perspectives and approaches within an interdisciplinary framework encompassing local and global contexts and is published by the University of Minnesota Libraries.
The goal of “Toward a More Inclusive Digital Art History” is threefold to increase both inclusivity and access. First, to encourage a more comprehensive approach to the history of American art, we seek to publish digital art history scholarship that focuses on the contributions of constituencies that have historically been marginalized or under-researched. Second, our priority is to create digital projects that are accessible, easily managed, and sustainable. Finally, we encourage proposals from authors who do not have significant digital humanities support at their home institutions. You can read more about the initiative and scholarship supported so far at https://editions.lib.umn.edu/panorama/article/toward-a-more-inclusive-dah.
We are delighted to announce our Intensive Summer School:
Environment and Society in Turkish and Global Contexts June 13-24, 2022, Süleymaniye Complex, Istanbul
The departments of history at Ibn Haldun University and Penn State University are happy to announce an intensive summer school on environmental history titled, “Environment and Society in Turkish and Global Contexts.”
The program will run for two weeks and is comprised of lectures, discussion sessions, and field trips around the historic capital Istanbul. It will feature some of the most prominent figures in the field, including:
Halil Berktay (Ibn Haldun University, Turkey) Lisa Brady (Boise State University, USA) Suraiya Faroqhi (Ibn Haldun University, Turkey) John R. McNeill (Georgetown University, USA) Julia Adeney Thomas (Notre Dame University, USA) The program will be held at the iconic Süleymaniye Complex, built in the middle of the sixteenth century by Sultan Süleyman I.
This colloquium aims to provide a clearer comparative view of the social, cultural, and economic transformations of coastal and insular spaces in Byzantine and Islamic Mediterranean (6th – 11th centuries CE). These regions were affected by the ebbs and flows of Mediterranean politics, trade, and cultural engagements in the longue durée between Byzantine rule and the Fatimids.
1980s: Representational Pressures, Departures, and Beginnings
Nov 3-5, 2022 ** in person **
University of North Texas, Denton, TX
Organizational Sponsors: Office of the President, University of North Texas; al Mawrid Arab Center for the Study of Art, NYU Abu Dhabi; Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey (AMCA)
Conference Committee: Nada Shabout, Salwa Mikdadi, Sarah Rogers, Anneka Lenssen; Program Committee includes Pamela Karimi and Jessica Gerschultz
The 1980s may have reached a conclusion more than thirty years ago, but the decade’s transformations remain active in artistic practice across the countries and communities of what we now call the SWANA region (including, but not limited to, the Arab East, North Africa, Iran, and Turkey). Thanks to consumer recording technologies, experience and memory took new forms–replay and discontinuous viewing–while cultural criticism began to migrate away from the printed page. To look back on the 1980s is not to be nostalgic so much as to confront the very status of beginnings, departures, and ends. The decade features a list of political crises, invasions, occupations, uprisings, forced displacement, coups, emergent surveillance tactics, militias, and hostages, including the grim events of a catastrophic war between Iraq and Iran, that structure narratives about friendship, solidarity, and loss. And, although the 1980s brought rising enthusiasm for contemporary art as a global phenomenon, artists from the region faced a wave of anti-Middle East sentiment that coded their work as resistant or belated. Still other transitions, such as those associated with economic “opening,” came to manifest as intense attachments to things. We see 1980s-era commodities come to double as talismans for artists: a very specific paper shredder known as the Schleicher Intimus 007S; the certain cut of a leather jacket preferred by Cairo taxi drivers; a textile collage featuring doubled Jesus figure on leopard print; Doc Martens tied to a performer’s ankles in Brixton; a Nowruz variety show distributed only on videotape. For every promotion of an idealized fusion of “tradition” and “contemporaneity” issued by a cultural ministry, there have been artists expressing changeable gendered and classed positions in their projects.