The subject of Vassos Argyrou's study is modernisation, as reflected in the changing nature of wedding celebrations in Cyprus over two generations from the 1930s to the present day. He argues that modernisation is not a secular, progressive process, that remodels the life of a society, ironing out local differences. Rather, it is a legitimising discourse. It is an idiom which Greek Cypriots employ to represent, and contest, relationships between social classes, old and young, men and women, city folk and villagers. At the same time, by involving modernisation, they are submitting to foreign standards, and accepting the symbolic domination of Europe.
Between the 1890s and 1920s, cities in the vast region stretching from the Mediterranean Sea to the Indian Ocean were experiencing political, social, economic, and cultural changes that had been set in motion at least since the early nineteenth century. As the age of pre-colonial empires gave way to colonial and national states, there was a sense that a particular liberalism of culture and economy had been irretrievably lost to a more intolerant age. Avoiding such dichotomies as East/West and modernity/tradition, this book provides a comparative analysis of contested versions of the concept of modernity. The book examines not only the "high" culture of scholars and the literati, but also popular music, the visual arts, and journalism. The contributors incorporate discussion of the way in which the business in both commodities and ideas was conducted in the increasingly cosmopolitan cities of the time.
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.
This book explores how Modernist movements all across the Mediterranean basin differed from those of other regions. The chapters show how the political and economic turmoil of a period marked by world war, revolution, decolonization, nationalism, and the rapid advance of new technologies compelled artists, writers, and other intellectuals to create a new hybrid Mediterranean Modernist aesthetic which sought to balance the tensions between local and foreign, tradition and innovation, and colonial and postcolonial.
Sfakians on the island of Crete are known for their distinctive dress and appearance, fierce ruggedness, and devotion to traditional ways. Konstantinos Kalantzis explores how Sfakians live with the burdens and pleasures of maintaining these expectations of exoticism for themselves, for their fellow Greeks, and for tourists. Sfakian performance of masculine tradition has become even more meaningful for Greeks looking to reimagine their nation's global standing in the wake of stringent financial regulation, and for non-Greek tourists yearning for rootedness and escape from the post-industrial north. Through fine-grained ethnography that pays special attention to photography, Tradition in the Frame explores the ambivalence of a society expected to conform to outsiders' perception of the traditional even as it strives to enact its own vision of tradition. From the bodily reenactment of historical photographs to the unpredictable, emotionally-charged uses of postcards and commercial labels, the book unpacks the question of power and asymmetry but also uncovers other political possibilities that are nested in visual culture and experiences of tradition and the past. Kalantzis explores the crossroads of cultural performance and social imagination where the frame is both empowerment and subjection.
Through an interdisciplinary analysis of literary, musical, and visual works, this book proposes a cultural and historical reconfiguration of the Mediterranean.
It is mainly within and around Mediterranean itineraries that the European Union seeks its in/tangible cultural heritage, an important component of both individual and collective identities. This volume brings together many different strands of analysis, helping to shed light on the multifaceted entities that constitute the socio-semiotic landscape of the Mediterranean. It views this vibrant scenario from a cross-cultural perspective, and investigates the domains of national identities and stereotypes, advertising and social media, TV series, myths and festivals, landscapes, culture-bound terms, migrating words, and food. More specifically, some chapters revolve around issues of intra-/inter-group identities in the context of itineraries of recent or historical migrations, and how such variegated identities are re-shaped by and through the media, in a dynamic interplay of symbols and clichés. In the same vein, gender issues are also addressed in a dimension suspended between tradition and modernity, with a special focus on Turkish women. The multi-dimensional Turkish culture and landscape are also voiced through an example of blended American/Turkish children’s literature. Other chapters explore the language of tourism in the diverse multimodal representations and textualizations of the tourist experience in Mediterranean destinations, mainly expressed through social media. The contemporary appreciation of the Mediterranean Diet as a global cultural heritage is also explored through the magnifying lens of such media. Given the variety of perspectives and methodological approaches adopted by the contributors, this volume offers useful insights to students and practitioners of discourse analysis alike. From an educational perspective, the book, which also includes practical worksheets, can be used in first- and second-level degrees in Foreign Languages, Communication, Political Sciences, Media and Cultural Studies, as well as specific courses in linguistics, multimodal studies, critical discourse analysis and corpus linguistics. The underlying rationale of the book is its concentration on the prominent role of English in representing the Mediterranean heritage, despite the fact that it is a non-Mediterranean language. At the same time, the volume bridges the gap between academic research and class practice at the university level.
Offering a rich ethnographic account, this book traces the historical processes by which Andalusians experienced the shift from being poor emigrants to northern Europe to becoming privileged citizens of the southern borderland of the European Union, a region where thousands of African immigrants have come in search of a better life. It draws on extended ethnographic fieldwork in Granada and Senegal, exploring the shifting, complementary and yet antagonistic relations between Spaniards and African immigrants in the Andalusian agrarian work place. The author's findings challenge the assumption of fixed national, cultural, and socioeconomic boundaries vis-à-vis outside migration in core countries, showing how legal and cultural identities of Andalusians are constructed together with that of immigrants. Liliana Suárez-Navaz is Professor in the Social Anthropology Department at Autónoma University of Madrid.
Studies of the pivotal historic place of the Mediterranean have long been dominated by specialists of its northern shores, that is, by European historians. The seven leading authors in this groundbreaking volume challenge views of Mediterranean space as shaped by European trajectories, and in doing so, they challenge our comfortable notions. Drawing perspectives from the Mediterranean’s eastern and southern shores, they ask anew: What is the Mediterranean? What are its borders, its defining characteristics? What forces of nature, politics, culture, or economics have made the Mediterranean, and how long have they or will they endure? Covering the sixteenth century to the twentieth, this timely volume brings the early modern world into conversation with the modern world in new ways, demonstrating that only recently can we differentiate the north and south into separate cultural and political zones. The Making of the Modern Mediterranean: Views from the South offers a blueprint for a new generation of readers to rethink the world we thought we knew.
