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This book brings together essays by established and emerging
scholars that discuss Pakistan, Turkey, and their diasporas in
Europe. Together, the contributions show the scope of diverse
artistic media, including architecture, painting, postcards, film,
music, and literature, that has responded to the partitions of the
twentieth century and the Muslim diasporas in Europe. Turkey and
Pakistan have been subject to two of the largest compulsory
population transfers of the twentieth century. They have also been
the sites for large magnitudes of emigration during the second half
of the twentieth century, creating influential diasporas in
European cities such as London and Berlin. Discrimination has been
both the cause and result of migration: while internal problems
compelled citizens to emigrate from their countries, blatant
discriminatory and ideological constructs shaped their experiences
in their countries of arrival. Read together, the Partition emerges
from the essays in Part I not as a pathology specific to the
Balkans, Middle East, or South Asia, but as a central problematic
of the new political realities of decolonization and nation
formation. The essays in Part II demonstrate the layered histories
and multiple migration paths that have shaped the experiences of
Berliners and Londoners. This analysis furthers the study of
modernism and migration across the borders of, not only the
nation-state, but also class, race, and gender. As a result, this
book will be of interest to a broad multidisciplinary academic
audience including students and faculty, artists, architects and
planners, as well as non-specialist general public interested in
visual arts, architecture and urban literature.
Commercial cinema has been among the most powerful vectors of
social and aesthetic modernization in South Asia. So argues
Iftikhar Dadi in his provocative examination of cinema produced
between 1956 and 1969-the long sixties-in Lahore, Pakistan,
following the 1947 Partition of South Asia. These films drew freely
from Bengali performance traditions, Hindu mythology, Parsi
theater, Sufi conceptions of the self, Urdu lyric poetry, and
Hollywood musicals, bringing these traditions into dialogue with
melodrama and neorealism. Examining this layered context offers
insights into a period of rapid modernization and into cultural
affiliation in the South Asian present, when frameworks of
multiplicity and plurality are in jeopardy. Lahore Cinema probes
the role of language, rhetoric, lyric, and form in the making of
cinematic meaning as well as the relevance of the Urdu cultural
universe to midcentury Bombay filmmaking. Challenging the
assumption of popular cinema as apolitical, Dadi explores how films
allowed their audiences to navigate an accelerating modernity and
tense politics by anchoring social change across the terrain of
deeper cultural imaginaries. By constituting publics beyond social
divides of regional, ethnic, and sectarian affiliations, commercial
cinema played an influential progressive role during the mid- and
later twentieth century in South Asia. Lahore Cinema is freely
available in an open access edition thanks to TOME (Toward an Open
Monograph Ecosystem) and the generous support of Cornell
University. DOI: 10.6069/9780295750804
The western modernist view continues to influence contemporary art
discourse. "6(0) Ways "interrogates the most fundamental premises
of the modernist approach and casts a new light on a changed
contemporary practice.
Accompanying the first U.S. museum exhibition devoted to
contemporary art from Pakistan, this dynamic catalogue provides a
groundbreaking look at recent and current trends in Pakistani art.
Hanging Fire covers a fascinating range of subjects and media, from
installation and video art to sculpture, drawing, and paintings in
the "contemporary miniature" tradition. Essays by distinguished
contributors from a variety of fields, including Salima Hashmi,
Pakistani-American sociologist and historian Ayesha Jalal, and the
celebrated novelist Mohsin Hamid, place contemporary Pakistani art
in a cultural, historical, and artistic perspective. The book's
title, Hanging Fire, alludes to the contemporary economic,
political, and social tensions--both local and global--from which
these artists find their creative inspiration. It may also suggest
to the viewer to delay judgment, particularly based on assumptions
or preconceived notions about contemporary society and artistic
expression in Pakistan today. Distributed for the Asia Society
Museum Exhibition Schedule: Asia Society and Museum (9/10/09 -
1/3/10)
Commercial cinema has been among the most powerful vectors of
social and aesthetic modernization in South Asia. So argues
Iftikhar Dadi in his provocative examination of cinema produced
between 1956 and 1969-the long sixties-in Lahore, Pakistan,
following the 1947 Partition of South Asia. These films drew freely
from Bengali performance traditions, Hindu mythology, Parsi
theater, Sufi conceptions of the self, Urdu lyric poetry, and
Hollywood musicals, bringing these traditions into dialogue with
melodrama and neorealism. Examining this layered context offers
insights into a period of rapid modernization and into cultural
affiliation in the South Asian present, when frameworks of
multiplicity and plurality are in jeopardy. Lahore Cinema probes
the role of language, rhetoric, lyric, and form in the making of
cinematic meaning as well as the relevance of the Urdu cultural
universe to midcentury Bombay filmmaking. Challenging the
assumption of popular cinema as apolitical, Dadi explores how films
allowed their audiences to navigate an accelerating modernity and
tense politics by anchoring social change across the terrain of
deeper cultural imaginaries. By constituting publics beyond social
divides of regional, ethnic, and sectarian affiliations, commercial
cinema played an influential progressive role during the mid- and
later twentieth century in South Asia. Lahore Cinema is freely
available in an open access edition thanks to TOME (Toward an Open
Monograph Ecosystem) and the generous support of Cornell
University. DOI: 10.6069/9780295750804
This pioneering work traces the emergence of the modern and
contemporary art of Muslim South Asia in relation to transnational
modernism and in light of the region's intellectual, cultural, and
political developments. Art historian Iftikhar Dadi here explores
the art and writings of major artists, men and women, ranging from
the late colonial period to the era of independence and beyond. He
looks at the stunningly diverse artistic production of key artists
associated with Pakistan, including Abdur Rahman Chughtai, Zainul
Abedin, Shakir Ali, Zubeida Agha, Sadequain, Rasheed Araeen, and
Naiza Khan. Dadi shows how, beginning in the 1920s, these artists
addressed the challenges of modernity by translating historical and
contemporary intellectual conceptions into their work, reworking
traditional approaches to the classical Islamic arts, and engaging
the modernist approach towards subjective individuality in artistic
expression. In the process, they dramatically reconfigured the
visual arts of the region. By the 1930s, these artists had embarked
on a sustained engagement with international modernism in a context
of dizzying social and political change that included
decolonization, the rise of mass media, and developments following
the national independence of India and Pakistan in 1947. Bringing
new insights to such concepts as nationalism, modernism,
cosmopolitanism, and tradition, Dadi underscores the powerful
impact of transnationalism during this period and highlights the
artists' growing embrace of modernist and contemporary artistic
practice in order to address the challenges of the present era.
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American Qur'an (Hardcover)
Sandow Birk; Preface by Reza Aslan; Contributions by Iftikhar Dadi, Zareena Grewal
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R1,880
R1,526
Discovery Miles 15 260
Save R354 (19%)
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Out of stock
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At a time when the United States was involved in two wars against
Islamic nations, American-born artist Sandow Birk wanted to
understand the Qur'an as it is, and always has been intended: a
universal message to humankind. But to do so, he first needed to
comprehend what Islam's holiest book meant to an American living in
the twenty-first century. Indeed, how has the Qur'an related to us,
as Americans, in this life, in this time? In an attempt to answer
his own question, Birk embarked on the most ambitious work of his
career. Following in the grand traditions of ancient Arabic and
Islamic artists, he began hand-transcribing the entire Qur'an as
was done in centuries past-abiding by the traditional prescriptions
as to the colors of ink, the formatting of the pages, the size of
margins and illuminations of page headings and medallions marking
verses and passages. He then took each sura and set it against a
backdrop from everyday American life, one that reflected his
renowned "skate-surf" ascetic. Even before the first images of what
became known as the American Qur'an began appearing in public, in
2009, veteran art critics were concerned about its reception. While
Birk wasn't illustrating the Qur'an itself, the pairing of Islam's
holiest text with scenes from contemporary American life seemed
adventuresome, given the climate of the times. The project,
however, was not only welcomed by the Muslim community but also
celebrated as an "ambitious and valuable undertaking" (New York
Times). At the same time, many saw it as taking part in an ancient
tradition, one that, according to Yale University professor Zareena
Grewal, "eschewed the irony and satire that have become the
knee-jerk impulse of so many Western artists." Now appearing in
full for the first time ever, this lavishly designed
volume-containing all 114 suras-melds the past with the present,
East with the West like nothing before it. The result, hailed by
Reza Aslan as "a great favor, not only to Muslims, but also to
Americans," is one of the most original art books to appear in
decades.
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