This photographic and documentation project analyzes the work of prominent Slovakian architects of Eastern modernism in a photographic documentary and an “oral history”. It contains brilliant photos of a past yet unforgettable style period, and background information on the work methods and creative processes in the planning practices of the time. The excellent photos in this book convey the flair of an era in which planning was obviously the product of a collective vision, more so than is the case today. The book addresses architects and all those who are fascinated by the aesthetic of the time.
This ambitious and wide-ranging popular history is the first narrative account of the entire Near East (Turkey, Iraq, Syria, Lebanon, Jordan, Israel, Saudi Arabia and the Gulf States), from the genesis of civilization in the fourth millennium BCE until modern times. It provides an historical outline of the civilizations and cultures that dominated the region, one that has had an immense impact on the development of humankind, ever since the ancient Sumerians invented urban living and writing around 3200 BCE. Later, the Babylonians and the Assyrians built upon the Sumerian legacy. They were the world's earliest great powers, whose actions in the cradle of monotheism influenced Judaism and, eventually, Christianity and Islam. The Near East discusses the long eras of Arab, Persian and Ottoman rule, and the destabilizing intervention of Western colonial powers. Cotterell's book is a timely reminder of how historical events have shaped the outlooks of various peoples, just as political turbulence in the Near East is challenging both neighboring countries and the wider world.
The Ancient Near East reveals three millennia of history (c. 3500–500 bc) in a single work. Liverani draws upon over 25 years’ worth of experience and this personal odyssey has enabled him to retrace the history of the peoples of the Ancient Near East. The history of the Sumerians, Hittites, Assyrians, Babylonians and more is meticulously detailed by one of the leading scholars of Assyriology. Utilizing research derived from the most recent archaeological finds, the text has been fully revised for this English edition and explores Liverani’s current thinking on the history of the Ancient Near East. The rich and varied illustrations for each historical period, augmented by new images for this edition, provide insights into the material and textual sources for the Ancient Near East. Many highlight the ingenuity and technological prowess of the peoples in the Ancient East. Never before available in English, The Ancient Near East represents one of the greatest books ever written on the subject and is a must read for students who will not have had the chance to explore the depth of Liverani’s scholarship.
Provides a broad view of the history and current state of scholarship on the art of the ancient Near East This book covers the aesthetic traditions of Mesopotamia, Iran, Anatolia, and the Levant, from Neolithic times to the end of the Achaemenid Persian Empire around 330 BCE. It describes and examines the field from a variety of critical perspectives: across approaches and interpretive frameworks, key explanatory concepts, materials and selected media and formats, and zones of interaction. This important work also addresses both traditional and emerging categories of material, intellectual perspectives, and research priorities. The book covers geography and chronology, context and setting, medium and scale, while acknowledging the diversity of regional and cultural traditions and the uneven survival of evidence. Part One of the book considers the methodologies and approaches that the field has drawn on and refined. Part Two addresses terms and concepts critical to understanding the subjects and formal characteristics of the Near Eastern material record, including the intellectual frameworks within which monuments have been approached and interpreted. Part Three surveys the field’s most distinctive and characteristic genres, with special reference to Mesopotamian art and architecture. Part Four considers involvement with artistic traditions across a broader reach, examining connections with Egypt, the Aegean, and the Mediterranean. And finally, Part Five addresses intersections with the closely allied discipline of archaeology and the institutional stewardship of cultural heritage in the modern Middle East. Told from multiple perspectives, A Companion to Ancient Near Eastern Art is an enlightening, must-have book for advanced undergraduate and graduate students of ancient Near East art and Near East history as well as those interested in history and art history.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1965.
In many respects this book represents a considerable departure from traditional works on international relations in the Middle East. Instead of offering partial explanations based on conventional approaches, this book attempts to incorporate studies with different methodological approaches and with the Middle East. Foreign affairs specialists offer balanced and linguistically neutral commentaries, while marshalling empirical data to support their analyses. The result is a broad synthesis which helps the reader see the larger picture despite its complexity. The Middle East is considered as a subordinate system of the international political system in Part 1. The chapters in this section focus on the nations of the area and their interactions within the subsystem. The papers also examine the implications of these interactions to the nations outside the Middle East. In Part 2 the scope of inquiry is enlarged to treat interactions between the major world powers and the nations of the Middle East. Papers in Part 3 focus upon American foreign policy in the Middle East. This portion examines the roles of various special-interest groups such as the oil companies, Zionists, the United States Congress, newspapers, and religious bodies as they relate to the formation of American policy for the Middle East. In essence, The Middle East is an "international relations" study of the Middle East. Additionally, it has new material—the treatment of religious influences upon the Middle East, the attitudes of some major newspapers towards the middle East conflict, and the domestic position of Israel regarding the Arab-Israeli conflict—seldom discussed in other works.
Testing the Canon of Ancient Near Eastern Art and Archaeology invites readers to reconsider the contents and agendas of the art historical and world-culture canons by looking at one of their most historically enduring components: the art and archaeology of the ancient Near East. Ann Shafer, Amy Rebecca Gansell, and other top researchers in the field examine and critique the formation and historical transformation of the ancient Near Eastern canon of art, architecture, and material culture. Contributors flesh out the current boundaries of regional and typological sub-canons, analyze the technologies of canon production (such as museum practices and classroom pedagogies), and voice first-hand heritage perspectives. Each chapter, thereby, critically engages with the historiography behind our approach to the Near East and proposes alternative constructs. Collectively, the essays confront and critique the ancient Near Eastern canon's present configuration and re-imagine its future role in the canon of world art as a whole. This expansive collection of essays covers the Near East's many regions, eras, and types of visual and archaeological materials, offering specific and actionable proposals for its study. Testing the Canon of Ancient Near Eastern Art and Archaeology stands as a vital benchmark and offers a collective path forward for the study and appreciation of Near Eastern cultural heritage. This book acts as a model for similar inquiries across global art historical and archaeological fields and disciplines.
How is home-grown contemporary art viewed within the Middle East? And is it understood differently outside the region? What is liable to be lost when contemporary art from the Middle East is 'transferred' to international contexts - and how can it be reclaimed? This timely book tackles ongoing questions about how 'local' perspectives on contemporary art from the Middle East are defined and how these perspectives intersect with global art discourses. Inside, leading figures from the Middle Eastern art world, western art historians, art theorists and museum curators discuss the historical and cultural circumstances which have shaped contemporary art from the Middle East, reflecting on recent exhibitions and curatorial projects and revealing how artists have struggled with the label of 'Middle Eastern Artist'. Chapters reflect on the fundamental methodologies of art history and cultural studies - considering how relevant they are when studying contemporary art from the Middle East - and investigate the ways in which contemporary, so-called 'global', theories impact on the making of art in the region. Drawing on their unique expertise, the book's contributors offer completely new perspectives on the most recent cultural, intellectual and socio-political developments of contemporary art from the Middle East.
Dispossession and forced migration in the Middle East remain even today significant elements of contemporary life in the region. Dawn Chatty's book traces the history of those who, as a reconstructed Middle East emerged at the beginning of the twentieth century, found themselves cut off from their homelands, refugees in a new world, with borders created out of the ashes of war and the fall of the Ottoman Empire. As an anthropologist, the author is particularly sensitive to individual experience and how these experiences have impacted on society as a whole from the political, social, and environmental perspectives. Through personal stories and interviews within different communities, she shows how some minorities, such as the Armenian and Circassian communities, have succeeded in integrating and creating new identities, whereas others, such as the Palestinians and the Kurds, have been left homeless within impermanent landscapes.
