Persian Manuscripts & Paintings from the Berenson Collection presents an in-depth analysis of the little-known Persian manuscripts and paintings collected by the world-renowned art historian, art critic, and connoisseur Bernard Berenson (1865–1959). It focuses on three manuscripts and four detached folios (containing over fifty paintings) from the fourteenth to the seventeenth century produced in Iran and Central Asia (with a later addition in Mughal India).
Fourteen essays are written by an international team of specialists in art history, Persian literature, statistics, conservation, and conservation science. The first two essays introduce Berenson’s collecting of these art works as an individual and as a trend among other collectors. The rest of the essays explain individual works of art. The Timurid Rasaʾil and the Safavid manuscripts Shahnama of Firdawsi and Farhad va Shirin of Vahshi are examined in groups of essays ranging from art historical to literary, statistical, and codicological analysis. The detached folios studied as single essays originate from the famous Great Mongol Shahnama; the 1436 Timurid Zafarnama of Sharaf al-Din ʿAli Yazdi; a Turkman Shahnama; and the dispersed Imperial Mughal Album also known as the Minto, Wantage, and Kevorkian albums. The appendix refers to the materials and techniques of the paintings in the volume.
Since 2002, at least 775 men have been held in the U.S. detention center at Guantánamo Bay, Cuba. According to Department of Defense data, fewer than half of them are accused of committing any hostile act against the United States or its allies. In hundreds of cases, even the circumstances of their initial detainment are questionable.
This collection gives voice to the men held at Guantánamo. Available only because of the tireless efforts of pro bono attorneys who submitted each line to Pentagon scrutiny, Poems from Guantánamo brings together twenty-two poems by seventeen detainees, most still at Guantánamo, in legal limbo.
If, in the words of Audre Lorde, poetry “forms the quality of light within which we predicate our hopes and dreams toward survival and change,” these verses—some originally written in toothpaste, others scratched onto foam drinking cups with pebbles and furtively handed to attorneys—are the most basic form of the art.
Poetic Justice is the first anthology of contemporary Moroccan poetry in English. The work is primarily composed of poets who began writing after Moroccan independence in 1956 and includes work written in Moroccan Arabic (darija), classical Arabic, French, and Tamazight.
Why Poetic Justice? Moroccan poetry (and especially zajal, oral poetry now written in Moroccan Arabic) is often published in newspapers and journals and is thus a vibrant form of social commentary; what’s more, there is a law, a justice, in the aesthetic act that speaks back to the law of the land. Poetic Justice because literature has the power to shape the cultural and moral imagination in profound and just ways.
Reading this oeuvre from independence until the new millennium and beyond, it is clear that what poet Driss Mesnaoui calls the “letters of time” have long been in the hands of Moroccan poets, as they write their ethics, their aesthetics, as well as their gendered and political lives into poetic being.
Iblīs, the character in the Qur’an who refuses God’s command to bow to Adam and is punished by eviction from heaven, is commonly depicted as a fiendish character no different from Satan. However, some Sufi stories describe Iblīs as the ultimate monotheist, a lover of God, but tragically rejected. This volume seeks the origins of this alternative Iblīs within the Qur’an itself, by looking at each of the seven Qur’anic versions of the Iblīs story as a unique rendering of the basic narrative. Whitney Bodman finds that the likely earliest version of the Iblīs story presents him as a tragic figure, an elder sibling of Adam unjustly displaced from God’s favor. Subsequent renderings present an Iblīs more hostile to humanity, and in the last two abbreviated versions Iblīs becomes an incidental figure in the extended story of Adam.
In modern Arab literature the character of Iblīs is deployed to reveal tragic dimensions of modern life. Although it is often said that there is no place for tragedy in Islam, Bodman’s careful examination of the Iblīs story shows that the tragic exists even in the Qur’an and forms part of the vision of medieval Sufi mystics and modern social critics alike.
Each day, as Oded Löwenheim commutes by mountain bike along dirt trails and wadis in the hills of Jerusalem to Hebrew University, he feels a strong emotional connection to his surroundings. But for him this connection also generates, paradoxically, feelings and emotions of confusion and estrangement.
In The Politics of the Trail, Löwenheim confronts this tension by focusing on his encounters with three places along the trail: the separation fence between Israel and the Palestinians; the ruins of the Palestinian village Qalunya, demolished in 1948; and the trail connecting the largest 9/11 memorial site outside the U.S. with a top-secret nuclear-proof bunker for the Israeli cabinet. He shares the stories of the people he meets along the way and considers how his own subjectivity is shaped by the landscape and culture of conflict. Moreover, he deconstructs, challenges, and resists the concepts and institutions that constitute such a culture and invites conversation about the idea of conflict as a culture.
Known for her far-reaching examinations of psychoanalysis, literature, and politics, Jacqueline Rose has in recent years turned her attention to the Israel-Palestine conflict, one of the most enduring and apparently intractable conflicts of our time. In Proust among the Nations, she takes the development of her thought on this crisis a stage further, revealing it as a distinctly Western problem.
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