This book marks a major contribution to the study of Arabic illustrated manuscripts of Kalīla wa-Dimna and its Persian and Ottoman versions. The studies gathered in this volume showcase a wide diversity of approaches crossing textual investigation, codicological and iconographic study, and laboratory analysis. Ce livre constitue une contribution majeure à l'étude des manuscrits arabes illustrés de Kalīla wa-Dimna et de ses versions persane et ottomane. Les articles rassemblés dans ce volume montrent une grande diversité d'approches, croisant investigation textuelle, étude codicologique et iconographique et analyses physico-chimiques.
In this collected volume, members of the Kalīla and Dimna project discuss, from different perspectives, a core aspect of their work with this textual tradition: the study of variation and mutability. The aim is to shed light on Kalīla and Dimna’s so-called mouvance and establish typologies of textual mobility and instability across linguistic traditions and historical periods, as well as to develop analytical tools to describe, classify, represent, and interpret these dynamics. As will be shown, the progressive digitalization of philology in the last decades has offered the unique opportunity of putting the concept of mouvance into practice. Contributors: Theodore S. Beers, Jan J. van Ginkel, Beatrice Gründler, Khouloud Khalfallah, Mahmoud Kozae, Rima Redwan, Johannes Stephan, Isabel Toral.
Although it is fashionable among modernists to claim that globalism emerged only since ca. 1800, the opposite can well be documented through careful comparative and transdisciplinary studies, as this volume demonstrates, offering a wide range of innovative perspectives on often neglected literary, philosophical, historical, or medical documents. Texts, images, ideas, knowledge, and objects migrated throughout the world already in the pre-modern world, even if the quantitative level compared to the modern world might have been different. In fact, by means of translations and trade, for instance, global connections were established and maintained over the centuries. Archetypal motifs developed in many literatures indicate how much pre-modern people actually shared. But we also discover hard-core facts of global economic exchange, import of exotic medicine, and, on another level, intensive intellectual debates on religious issues. Literary evidence serves best to expose the extent to which contacts with people in foreign countries were imaginable, often desirable, and at times feared, of course. The pre-modern world was much more on the move and reached out to distant lands out of curiosity, economic interests, and political and military concerns. Diplomats crisscrossed the continents, and artists, poets, and craftsmen traveled widely. We can identify, for instance, both the Vikings and the Arabs as global players long before the rise of modern globalism, so this volume promises to rewrite many of our traditional notions about pre-modern worldviews, economic conditions, and the literary sharing on a global level, as perhaps best expressed by the genre of the fable.
Baghdād: From its Beginnings to the 14th Century offers an exhaustive handbook that covers all possible themes connected to the history of this urban complex in Iraq, from its origins rooted in late antique Mesopotamia up to the aftermath of the Mongol invasion in 1258. Against the common perception of a city founded 762 in a vacuum, which, after experiencing a heyday in a mythical “golden age” under the early ʿAbbāsids, entered since 900 a long period of decline that ended with a complete collapse by savage people from the East in 1258, the volume emphasizes the continuity of Baghdād’s urban life, and shows how it was marked by its destiny as caliphal seat and cultural hub. Contributors Mehmetcan Akpınar, Nuha Alshaar, Pavel Basharin, David Bennett, Michal Biran, Richard W. Bulliet, Kirill Dmitriev, Desmond Durkin-Meisterernst, Hend Gilli-Elewy, Beatrice Gruendler, Sebastian Günther, Olof Heilo, Damien Janos, Christopher Melchert, Michael Morony, Bernard O’Kane, Klaus Oschema, Letizia Osti, Parvaneh Pourshariati, Vanessa van Renterghem, Jens Scheiner, Angela Schottenhammer, Y. Zvi Stampfer, Johannes Thomann, Isabel Toral.
Examining literary narratives from the tenth through the fifteenth centuries, this book explores how writers used their craft to voice harsh criticism of the ruling class and unearths a deep distrust of kings and other authority figures during the Middle Ages.
"Kalīla wa-Dimna is one of the best-known texts of medieval Arabic literature and counts among the most illustrated works in the Islamic world. The extent of the corpus and its journey through the ages make it the ideal material for a reflection on the evolution of iconography in Islamic art. The studies gathered in this volume edited by Eloïse Brac de la Perrière, Aïda El Khiari and Annie Vernay-Nouri, showcase a wide diversity of approaches that convincingly crosses textual investigation, codicology, iconographical study, and physico-chemical analyses. They explore new tracks, either by devoting themselves to the examination of unknown or rarely studied manuscripts, or by proposing innovative readings of this extremely rich work that is Kalīla wa-Dimna. French summary: Kalīla wa-Dimna est l'un des textes les plus célèbres de la littérature arabe médiévale et compte parmi les œuvres les plus illustrées du monde islamique. L'étendue du corpus et son parcours à travers les âges en font un extraordinaire matériau pour mener une réflexion sur l'image dans l'histoire des arts islamiques. Les études rassemblées dans ce volume dirigé par Eloïse Brac de la Perrière, Aïda El Khiari et Annie Vernay-Nouri, mettent en œuvre une grande diversité d'approches croisant investigation textuelle, codicologique, iconographique et analyses physico-chimiques. Elles explorent toutes des pistes nouvelles, soit en se consacrant à l'examen de manuscrits inédits ou très rarement étudiés, soit en proposant des lectures innovantes de cette œuvre extrêmement riche qu'est Kalīla wa-Dimna. Contributors: Eloïse Brac de la Perrière, Nathalie Buisson, Mounia Chekhab-Abudaya, Frantz Chaigne, Anna Contadini, Jean-Charles Coulon, Françoise Cuisance, Aïda El Khiari, Rajana Fatima Amalarajah, Béatrice Gruendler, Mika Natif, Bernard O'Kane, Hoa Perriguey, Yves Porter, Francis Richard, Valérie Saurel, Christine Van Ruymbeke, Annie Vernay-Nouri"--
The Thousand and One Nightsdoes not fall into a scholarly canon or into the category of popular literature. It takes its place within a middle literature that circulated widely in medieval times. The Nightsgradually entered world literature through the great novels of the day and through music, cinema and other art forms. Material inspired by the Nightshas continued to emerge from many different countries, periods, disciplines and languages, and the scope of the Nightshas continued to widen, making the collection a universal work from every point of view. The essays in this volume scrutinize the expanse of sources for this monumental work of Arabic literature and follow the trajectory of the Nights' texts, the creative, scholarly commentaries, artistic encounters and relations to science.Contributors: Ibrahim Akel, Rasoul Aliakbari, Daniel Behar, Aboubakr Chraïbi, Anne E. Duggan, William Granara, Rafika Hammoudi, Dominique Jullien, Abdelfattah Kilito, Magdalena Kubarek, Michael James Lundell, Ulrich Marzolph, Adam Mestyan, Eyüp Özveren, Marina Paino, Daniela Potenza, Arafat Abdur Razzaque, Ahmed Saidy, Johannes Thomann and Ilaria Vitali.
Arab painting, preserved mainly in manuscript illustrations of the 12th to 14th centuries, is here treated as an artistic corpus fully deserving of appreciation in its own terms, and not as a mere precursor to Persian painting. The book assembles papers by a distinguished list of scholars that illuminate the variety of material that survives in scientific as well as literary manuscripts. Because of the contexts in which the paintings appear, a major theoretical concern is, precisely, the relationship of painting to text. It rejects earlier scholarly habits of analysing paintings in isolation, and proposes the integration of text and image as a more satisfactory framework within which to elucidate the characteristics and functions of this impressive body of work.
The triple aim of Hamadhání in this work, first translated into English in 1915, appears to have been to amuse, to interest and to instruct; and this explains why, in spite of the inherent difficulty of a work of this kind composed primarily with a view to the rhetorical effect upon the learned and the great, there is scarcely a dull chapter in the fifty-one maqámát or discourses. The author essayed, throughout these dramatic discourses, to illustrate the life and language both of the denizens of the desert and the dwellers in towns, and to give examples of the jargon and slang of thieves and robbers as well as the lucubrations of the learned and the conversations of the cultured.
Time and the Ancestors: Aztec and Mixtec Ritual Art combines iconographical analysis with archaeological, historical and ethnographic studies and offers new interpretations of enigmatic masterpieces from ancient Mexico, focusing specifically on the symbols and values of the religious heritage of indigenous peoples.
