The Middle East has long been a region of rival religions, ideologies, nationalisms, and ambitions. All of these conflicts—including the hostilities between Arabs and Israelis, and the violent challenges posed by Iraq's competing sects—are rooted in the region's political inheritance: the arrangements, unities, and divisions imposed by the Allies after the First World War.
In A Peace to End All Peace, David Fromkin reveals how and why the Allies drew lines on an empty map that remade the geography and politics of the Middle East. Focusing on the formative years of 1914 to 1922, when all seemed possible, he delivers in this sweeping and magisterial book the definitive account of this defining time, showing how the choices narrowed and the Middle East began along a road that led to the conflicts and confusion that continue to this day.
A new afterword from Fromkin, written for this edition of the book, includes his invaluable, updated assessment of this region of the world today, and on what this history has to teach us.
When Maziar Bahari left London in June 2009 to cover Iran’s presidential election, he assured his pregnant fiancée, Paola, that he’d be back in just a few days, a week at most. Little did he know, as he kissed her good-bye, that he would spend the next three months in Iran’s most notorious prison, enduring brutal interrogation sessions at the hands of a man he knew only by his smell: Rosewater.
For the Bahari family, wars, coups, and revolutions are not distant concepts but intimate realities they have suffered for generations: Maziar’s father was imprisoned by the shah in the 1950s, and his sister by Ayatollah Khomeini in the 1980s. Alone in his cell at Evin Prison, fearing the worst, Maziar draws strength from his memories of the courage of his father and sister in the face of torture, and hears their voices speaking to him across the years. He dreams of being with Paola in London, and imagines all that she and his rambunctious, resilient eighty-four-year-old mother must be doing to campaign for his release. During the worst of his encounters with Rosewater, he silently repeats the names of his loved ones, calling on their strength and love to protect him and praying he will be released in time for the birth of his first child.
A riveting, heart-wrenching memoir, Rosewater offers insight into the past seventy years of regime change in Iran, as well as the future of a country where the democratic impulses of the youth continually clash with a government that becomes more totalitarian with each passing day. An intimate and fascinating account of contemporary Iran, it is also the moving and wonderfully written story of one family’s extraordinary courage in the face of repression.
“I really connected to Maziar’s story. It’s a personal story but one with universal appeal about what it means to be free.”—Jon Stewart
“An important and elegant book . . . a prison memoir enlarged into a family history.”—The New Republic
“Clear and compelling . . . engaging and informative—a gripping tribute to human dedication and a cogent indictment of a corrupt regime.”—Washington Independent Review of Books
“[Rosewater] is not only a fascinating, human exploration into Bahari’s personal experience . . . it also provides insight into the shared experience of those affected by repressive governments everywhere.”—Mother Jones
“A damning account . . . [Rosewater] turns a lens not only on Iran’s surreal justice system but on the history and culture that helped produce it.”—The Washington Post
“[Rosewater] is a unique achievement. It is a story not just of political cruelty (a subject Bahari treats movingly), but also about the two poles of Iranian political culture, bent together in upheaval.”—The Guardian (UK)
“A beautifully written account of life in Iran, filled with insights not only into the power struggles and political machinations but into the personal, emotional lives of the people living in that complicated country. Maziar Bahari is a brave man and a wonderful storyteller.”—Fareed Zakaria
From the Trade Paperback edition.
By 1914 the powers of Europe were sliding inexorably toward war, and they pulled the Middle East along with them into one of the most destructive conflicts in human history. In The Fall of the Ottomans, award-winning historian Eugene Rogan brings the First World War and its immediate aftermath in the Middle East to vivid life, uncovering the often ignored story of the region's crucial role in the conflict. Unlike the static killing fields of the Western Front, the war in the Middle East was fast-moving and unpredictable, with the Turks inflicting decisive defeats on the Entente in Gallipoli, Mesopotamia, and Gaza before the tide of battle turned in the Allies' favor. The postwar settlement led to the partition of Ottoman lands, laying the groundwork for the ongoing conflicts that continue to plague the modern Arab world. A sweeping narrative of battles and political intrigue from Gallipoli to Arabia, The Fall of the Ottomans is essential reading for anyone seeking to understand the Great War and the making of the modern Middle East.
How Music Works is David Byrne’s incisive and enthusiastic look at the musical art form, from its very inceptions to the influences that shape it, whether acoustical, economic, social or technological. Utilizing his incomparable career and inspired collaborations with Talking Heads, Brian Eno, and many others, Byrne taps deeply into his lifetime of knowledge to explore the panoptic elements of music, how it shapes the human experience, and reveals the impetus behind how we create, consume, distribute, and enjoy the songs, symphonies, and rhythms that provide the backbeat of life. Byrne’s magnum opus uncovers ever-new and thrilling realizations about the redemptive liberation that music brings us all.
In the first half of the sixteenth century, the Ottoman Empire was thought to be invincible. Suleiman the Magnificent, the Ottoman sultan, had expanded his empire from western Asia to southeastern Europe and North Africa. To secure control of the Mediterranean between these territories and launch an offensive into western Europe, Suleiman needed the small but strategically crucial island of Malta. But Suleiman’s attempt to take the island from the Holy Roman Empire’s Knights of St. John would emerge as one of the most famous and brutal military defeats in history.
Forty-two years earlier, Suleiman had been victorious against the Knights of St. John when he drove them out of their island fortress at Rhodes. Believing he would repeat this victory, the sultan sent an armada to Malta. When they captured Fort St. Elmo, the Ottoman forces ruthlessly took no prisoners. The Roman grand master La Vallette responded by having his Ottoman captives beheaded. Then the battle for Malta began in earnest: no quarter asked, none given.
Ernle Bradford’s compelling and thoroughly researched account of the Great Siege of Malta recalls not just an epic battle, but a clash of civilizations unlike anything since the time of Alexander the Great. It is “a superior, readable treatment of an important but little-discussed epic from the Renaissance past . . . An astonishing tale” (Kirkus Reviews).
During World War I, the Ottoman Empire undertook a systematic extermination of its Armenian subjects from their historic homeland. Several of the key perpetrators fled to Europe as 1.5 million Armenians lay dead.
In The Legacy, Shiragian recounts how he located and assassinated the men responsible for this crime against humanity. He describes how he tracked down and killed the Grand Vizier, Sayid Halim Pasha, in Rome. A few months later, Shiragian, together with Aram Yerganian, located and shot dead Jemal Azmi Pasha, the governor-general of Trebizond, and Dr. Behaeddin Shakir Bey, the mastermind of the Armenian Genocide.
Between 1911 and 1922, a series of wars would engulf the Ottoman Empire and its successor states, in which the central conflict, of course, is World War I—a story we think we know well. As Sean McMeekin shows us in this revelatory new history of what he calls the “wars of the Ottoman succession,” we know far less than we think. The Ottoman Endgame brings to light the entire strategic narrative that led to an unstable new order in postwar Middle East—much of which is still felt today.
The Ottoman Endgame: War, Revolution, and the Making of the Modern Middle East draws from McMeekin’s years of groundbreaking research in newly opened Ottoman and Russian archives. With great storytelling flair, McMeekin makes new the epic stories we know from the Ottoman front, from Gallipoli to the exploits of Lawrence in Arabia, and introduces a vast range of new stories to Western readers. His accounts of the lead-up to World War I and the Ottoman Empire’s central role in the war itself offers an entirely new and deeper vision of the conflict. Harnessing not only Ottoman and Russian but also British, German, French, American, and Austro-Hungarian sources, the result is a truly pioneering work of scholarship that gives full justice to a multitiered war involving many belligerents.
McMeekin also brilliantly reconceives our inherited Anglo-French understanding of the war’s outcome and the collapse of the empire that followed. The book chronicles the emergence of modern Turkey and the carve-up of the rest of the Ottoman Empire as it has never been told before, offering a new perspective on such issues as the ethno-religious bloodletting and forced population transfers which attended the breakup of empire, the Balfour Declaration, the toppling of the caliphate, and the partition of Iraq and Syria—bringing the contemporary consequences into clear focus.
Every so often, a work of history completely reshapes our understanding of a subject of enormous historical and contemporary importance. The Ottoman Endgame is such a book, an instantly definitive and thrilling example of narrative history as high art.
The fall of Constantinople in 1453 signaled a shift in history and the end of the Byzantium Empire. Roger Crowley's readable and comprehensive account of the battle between Mehmet II, sultan of the Ottoman Empire, and Constantine XI, the 57th emperor of Byzantium, illuminates the period in history that was a precursor to the current conflict between the West and the Middle East.
The first fundamental truth about the "Arab Spring" is that there never was one. The salient fact of the Middle East, the only one, is Islam. The Islam that shapes the Middle East inculcates in Muslims the self-perception that they are members of a civilization implacably hostile to the West. The United States is a competitor to be overcome, not the herald of a culture to be embraced.
Is this self-perception based on objective truth? Does it reflect an accurate construction of Islam? It is over these questions that American officials and Western intellectuals obsess. Yet the questions are irrelevant. This is not a matter of right or wrong, of some posture or policy whose subtle tweaking or outright reversal would change the facts on the ground. This is simply, starkly, the way it is.
Every human heart does not yearn for freedom. In the Islam of the Middle East, "freedom" means something very nearly the opposite of what the concept connotes to Westerners – it is the freedom that lies in total submission to Allah and His law. That law, sharia, is diametrically opposed to core components of freedom as understood in the West – beginning with the very idea that man is free to make law for himself, irrespective of what Allah has ordained. It is thus delusional to believe, as the West's Arab Spring fable insists, that the region teems with Jamal al-Madisons holding aloft the lamp of liberty. Do such revolutionary reformers exist? Of course they do . . . but in numbers barely enough to weave a fictional cover story. When push came to shove – and worse – the reformers were overwhelmed, swept away by a tide of Islamic supremacism, the dynamic, consequential mass movement that beckons endless winter.
That is the real story of the Arab Spring – that, and the Pandora's Box that opens when an American administration aligns with that movement, whose stated goal is to destroy America.
For more than a millennium, Byzantium reigned as the glittering seat of Christian civilization. When Europe fell into the Dark Ages, Byzantium held fast against Muslim expansion, keeping Christianity alive. Streams of wealth flowed into Constantinople, making possible unprecedented wonders of art and architecture. And the emperors who ruled Byzantium enacted a saga of political intrigue and conquest as astonishing as anything in recorded history.
Lost to the West is replete with stories of assassination, mass mutilation and execution, sexual scheming, ruthless grasping for power, and clashing armies that soaked battlefields with the blood of slain warriors numbering in the tens of thousands.
From the Hardcover edition.
Yet in Istanbul—an ancient crossroads and Turkey's largest city—people were looking toward an uncertain future. Never purely Turkish, Istanbul was home to generations of Greeks, Armenians, and Jews, as well as Muslims. It welcomed White Russian nobles ousted by the Russian Revolution, Bolshevik assassins on the trail of the exiled Leon Trotsky, German professors, British diplomats, and American entrepreneurs—a multicultural panoply of performers and poets, do-gooders and ne’er-do-wells. During the Second World War, thousands of Jews fleeing occupied Europe found passage through Istanbul, some with the help of the future Pope John XXIII. At the Pera Palace, Istanbul's most luxurious hotel, so many spies mingled in the lobby that the manager posted a sign asking them to relinquish their seats to paying guests.
In beguiling prose and rich character portraits, Charles King brings to life a remarkable era when a storied city stumbled into the modern world and reshaped the meaning of cosmopolitanism.
It’s a sad fact: hip-hop album liners have always been reduced to a list of producer and sample credits, a publicity photo or two, and some hastily composed shout-outs. That’s a damn shame, because few outside the game know about the true creative forces behind influential masterpieces like PE’s It Takes a Nation of Millions. . ., De La’s 3 Feet High and Rising, and Wu-Tang’s Enter the Wu-Tang (36 Chambers). A longtime scribe for the hip-hop nation, Brian Coleman fills this void, and delivers a thrilling, knockout oral history of the albums that define this dynamic and iconoclastic art form.
The format: One chapter, one artist, one album, blow-by-blow and track-by-track, delivered straight from the original sources. Performers, producers, DJs, and b-boys–including Big Daddy Kane, Muggs and B-Real, Biz Markie, RZA, Ice-T, and Wyclef–step to the mic to talk about the influences, environment, equipment, samples, beats, beefs, and surprises that went into making each classic record. Studio craft and street smarts, sonic inspiration and skate ramps, triumph, tragedy, and take-out food–all played their part in creating these essential albums of the hip-hop canon.
Insightful, raucous, and addictive, Check the Technique transports you back to hip-hop’s golden age with the greatest artists of the ’80s and ’90s. This is the book that belongs on the stacks next to your wax.
“Brian Coleman’s writing is a lot like the albums he covers: direct, uproarious, and more than six-fifths genius.”
–Jeff Chang, author of Can’t Stop Won’t Stop
“All producers and hip-hop fans must read this book. It really shows how these albums were made and touches the music fiend in everyone.”
–DJ Evil Dee of Black Moon and Da Beatminerz
“A rarity in mainstream publishing: a truly essential rap history.”
–Ronin Ro, author of Have Gun Will Travel
From the Trade Paperback edition.
The contributors include experts in music, history, literature, culture, sociology, and anthropology, as well as practicing rockeros and rockeras. The multidisciplinary, transnational, and comparative perspectives they bring to the topic serve to address a broad range of fundamental questions about rock in Latin and Latino America, including: Why did rock become such a controversial cultural force in the region? In what ways has rock served as a medium for expressing national identities? How are unique questions of race, class, and gender inscribed in Latin American rock? What makes Latin American rock Latin American? Rockin' Las Américas is an essential book for anyone who hopes to understand the complexities of Latin American culture today.
Islam—the world’s second-largest religion—has big plans. Its goal? Nothing less than to bring the nations of this world under the influence of Islam and the rule of its sharia law.
Beginning in A.D. 632, the entire Muslim world was ruled by a single leader called a caliph. But on March 3, 1924, after 1,292 years, the caliphate was abolished. Today, though, many Muslims envision a coming worldwide Islamic Super-state—and they are determined to reestablish the caliphate and vow that it will be planted in Jerusalem.
Twice in its long history, Islam has dramatically expanded its reach in the world through aggressive Jihads—bringing huge areas of earth’s territory under Islamic control using all means necessary, including military conquest. Evidence is increasing that Islam is poised to launch a third Jihad to once again expand its dominion.
A Jerusalem caliphate? A third Jihad?
According to an ancient Bible prophecy, the answer to both questions is Yes. A reasonable and commonsense interpretation of that prophecy makes clear that Islam will indeed achieve its Jerusalem caliphate and set in motion its third Jihad: “And he shall plant the tabernacles of his palace between the seas in the glorious holy mountain. . .” Daniel 11:45.
What does this prophecy mean? And what will happen when the Muslim world—now 1.6 billion strong—unites under a restored caliphate in Jerusalem? The answers are set forth in the pages of this compelling book.
Focusing on a group of musicians from Bahia, an impoverished state in northeastern Brazil noted for its vibrant Afro-Brazilian culture, Christopher Dunn reveals how artists including Caetano Veloso, Gilberto Gil, Gal Costa, and Tom Ze created this movement together with the musical and poetic vanguards of Sao Paulo, Brazil's most modern and industrialized city. He shows how the tropicalists selectively appropriated and parodied cultural practices from Brazil and abroad in order to expose the fissure between their nation's idealized image as a peaceful tropical "garden" and the daily brutality visited upon its citizens.
Yosmaoglu’s account begins in the aftermath of the Congress of Berlin (1878), when a potent combination of zero-sum imperialism, nascent nationalism, and modernizing states set in motion the events that directly contributed to the outbreak of World War I and had consequences that reverberate to this day. Focusing on the experience of the inhabitants of Ottoman Macedonia during this period, she shows how communal solidarities broke down, time and space were rationalized, and the immutable form of the nation and national identity replaced polyglot, fluid associations that had formerly defined people’s sense of collective belonging. The region was remapped; populations were counted and relocated. An escalation in symbolic and physical violence followed, and it was through this process that nationalism became an ideology of mass mobilization among the common folk. Yosmaoglu argues that national differentiation was a consequence, and not the cause, of violent conflict in Ottoman Macedonia.
Danielson examines the careful construction of Umm Kulthum's phenomenal popularity and success in a society that discouraged women from public performance. From childhood, her mentors honed her exceptional abilities to accord with Arab and Muslim practice, and as her stature grew, she remained attentive to her audience and the public reception of her work. Ultimately, she created from local precendents and traditions her own unique idiom and developed original song styles from both populist and neo-classical inspirations. These were enthusiastically received, heralded as crowning examples of a new, yet authentically Arab-Egyptian, culture. Danielson shows how Umm Kulthum's music and public personality helped form popular culture and contributed to the broader artistic, societal, and political forces that surrounded her.
This richly descriptive account joins biography with social theory to explore the impact of the individual virtuoso on both music and society at large while telling the compelling story of one of the most famous musicians of all time.
"She is born again every morning in the heart of 120 million beings. In the East a day without Umm Kulthum would have no color."—Omar Sharif
Every culture on Earth has music. Every culture that’s ever existed has had it, but we don’t exactly know why. Music is not like food, shelter, or having opposable thumbs. We don’t need it to live, and yet we can’t seem to live without it. Glenn Dixon travels the globe exploring how and why people make music. From a tour of Bob Marley’s house to sitar lessons in India, he experiences music around the world and infuses the stories with the latest in brain research, genetics, and evolutionary psychology. Why does music give us chills down the backs of our necks? What exactly are the whales singing about and why does some music stick in our minds like chewing gum?
Through his adventures, Dixon uncovers the real reasons why music has such a powerful hold on us – and the answers just might surprise you.
A young Armenian-American goes to Turkey in a "love thine enemy" experiment that becomes a transformative reflection on how we use—and abuse—our personal histories
Meline Toumani grew up in a close-knit Armenian community in New Jersey where Turkish restaurants were shunned and products made in Turkey were boycotted. The source of this enmity was the Armenian genocide of 1915 at the hands of the Ottoman Turkish government, and Turkey's refusal to acknowledge it. A century onward, Armenian and Turkish lobbies spend hundreds of millions of dollars to convince governments, courts and scholars of their clashing versions of history.
Frustrated by her community's all-consuming campaigns for genocide recognition, Toumani leaves a promising job at The New York Times and moves to Istanbul. Instead of demonizing Turks, she sets out to understand them, and in a series of extraordinary encounters over the course of four years, she tries to talk about the Armenian issue, finding her way into conversations that are taboo and sometimes illegal. Along the way, we get a snapshot of Turkish society in the throes of change, and an intimate portrait of a writer coming to terms with the issues that drove her halfway across the world.
In this far-reaching quest, told with eloquence and power, Toumani probes universal questions: how to belong to a community without conforming to it, how to acknowledge a tragedy without exploiting it, and most importantly how to remember a genocide without perpetuating the kind of hatred that gave rise to it in the first place.
At its most spectacular, Istanbul was re-founded by Emperor Constantine I as New Rome, the capital of the eastern Roman Empire. He dramatically expanded the city, filling it with artistic treasures, and adorning the streets with opulent palaces. Constantine built new walls around it all—walls that were truly impregnable and preserved power, wealth, and withstood any aggressor—walls that still stand for tourists to visit.
From its ancient past to the present, we meet the city through its ordinary citizens—the Jews, Muslims, Italians, Greeks, and Russians who used the famous baths and walked the bazaars, and the rulers who built it up and then destroyed it, including Mustafa Kemal Ataturk, the man who christened the city "Istanbul" in 1930. Thomas Madden's entertaining narrative brings to life the city we see today, including the rich splendor of the churches and monasteries that spread throughout the city.
Istanbul draws on a lifetime of study and the latest scholarship, transporting readers to a city of unparalleled importance and majesty that holds the key to understanding modern civilization. In the words of Napoleon Bonaparte, "If the Earth were a single state, Istanbul would be its capital."
From ancient ballads at the heart of the tradition to instruments that express this dynamic music, Ritchie and Orr chronicle the details of an epic journey. Enriched by the insights of key contributors to the living tradition on both sides of the Atlantic, this abundantly illustrated volume includes a CD featuring 20 songs by musicians profiled in the book, including Dolly Parton, Dougie MacLean, Cara Dillon, John Doyle, Pete Seeger, Sheila Kay Adams, Jean Ritchie, Doc Watson, David Holt, Anais Mitchell, Al Petteway, and Amy White.
In 2017, noted Scottish musician Phil Cunningham followed this musical migration for the acclaimed BBC tv series "Wayfaring Stranger" to which the authors contributed. In the pages of this book, tv viewers will enjoy re-visiting the people and places they loved on screen.
Beginning with the French villages on the Mississippi River, Marshall leads us chronologically through the settlement of the state and how these communities established our cultural heritage. Other core populations include the “Old Stock Americans” (primarily Scotch-Irish from Kentucky, Tennessee, North Carolina, and Virginia), African Americans, German-speaking immigrants, people with American Indian ancestry (focusing on Cherokee families dating from the Trail of Tears in the 1830s), and Irish railroad workers in the post–Civil War period. These are the primary communities whose fiddle and dance traditions came together on the Missouri frontier to cultivate the bounty of old-time fiddling enjoyed today.Marshall also investigates themes in the continuing evolution of fiddle traditions. These themes include the use of the violin in Westward migration, in the Civil War years, and in the railroad boom that changed history. Of course, musical tastes shift over time, and the rise of music literacy in the late Victorian period, as evidenced by the brass band movement and immigrant music teachers in small towns, affected fiddling. The contributions of music publishing as well as the surprising importance of ragtime and early jazz also had profound effects. Much of the old-time fiddlers’ repertory arises not from the inherited reels, jigs, and hornpipes from the British Isles, nor from the waltzes, schottisches, and polkas from the Continent, but from the prolific pens of Tin Pan Alley.
Marshall also examines regional styles in Missouri fiddling and comments on the future of this time-honored, and changing, tradition. Documentary in nature, this social history draws on various academic disciplines and oral histories recorded in Marshall’s forty-some years of research and field experience. Historians, music aficionados, and lay people interested in Missouri folk heritage—as well as fiddlers, of course—will find Play Me Something Quick and Devilish an entertaining and enlightening read.
With 39 tunes, the enclosed Voyager Records companion CD includes a historic sampler of Missouri fiddlers and styles from 1955 to 2012. A media kit is available here: press.umsystem.edu/pages/PlayMeSomethingQuickandDevilish.aspx
The Routledge Companion to Philosophy and Music is essential reading for anyone interested in philosophy, music and musicology.
Part One provides an in-depth introduction to Africa. Part Two focuses on issues and processes, such as notation and oral tradition, dance in communal life, and intellectual property. Part Three focuses on the different regions, countries, and cultures of Africa with selected regional case studies.
The second edition has been expanded to include exciting new scholarship that has been conducted since the first edition was published. Questions for Critical Thinking at the end of each major section guide and focus attention on what musical and cultural issues arise when one studies the music of Africa -- issues that might not occur in the study of other musics of the world. An accompanying audio compact disc offers musical examples of some of the music of Africa.
Part one provides an in-depth introduction to the area of Southeast Asia and explores a series of issues and processes, such as colonialism, mass media, spirituality, and war. The articles in this section are important in gaining historical, political, and social perspective. Part two focuses on mainland Southeast Asia, with essays representing Cambodia, Thailand, Laos, Burma, Peninsular Malaysia, Vietnam, Singapore, and the minority peoples of mainland Southeast Asia. Part three focuses on island Southeast Asia, dividing the area into three sections: Indonesia, the Philippines, and Borneo. In addition to offering a detailed study of the music of each area, it also offers recent perspectives on the gamelan and theater traditions of Indonesia. Questions for Critical Thinking at the end of each major section guide and focus attention on what issues – musical and cultural – arise when one studies the music of Southeast Asia – issues that might not occur in the study of other musics of the world. An accompanying compact disc offers musical examples from Southeast Asia.
Focusing on the instrumentalization of violence, the ensuing and manufactured culture of fear, gendered experiences of state violence, pain, incarceration, and corporeal punishment, Ramazan Aras argues that these phenomena have shaped contemporary Kurdish history and memory. Analysing occurrences of various forms of protracted state violence and fear not only as personal and differential markers experienced by individuals, but also as communally-felt phenomena which have engendered collective suffering, this book asserts that these traumatic experiences have marked the social body and produced a prevailing narrative of Kurdishness.
Providing an anthropological study of political violence, fear, and pain amongst the Kurdish community in Turkey, this book will be welcomed by students and scholars of Kurdish Studies, Middle East Studies and Anthropology.
The memoirists are Filizten, concubine to Sultan Murad V; Princess Ayse, daughter of Sultan Abdulhamid II; and Safiye, a schoolteacher who instructed the grandchildren and harem ladies of Sultan Mehmed V. Their recollections of the Ottoman harem reveal the rigid protocol and hierarchy that governed the lives of the imperial family and concubines, as well as the hundreds of slave women and black eunuchs in service to them. The memoirists show that, far from being a place of debauchery, the harem was a family home in which polite and refined behavior prevailed. Douglas Brookes explains the social structure of the nineteenth-century Ottoman palace harem in his introduction.
These three memoirs, written across a half century and by women of differing social classes, offer a fuller and richer portrait of the Ottoman imperial harem than has ever before been available in English.
Investigating daily life in Anatolia during the fourteenth century, Foodways and Daily Life in Medieval Anatolia draws on a creative array of sources, including hagiographies, archaeological evidence, Sufi poetry, and endowment deeds, to present an accessible portrait of a severely under-documented period. Grounded in the many ways food enters the human experience, Nicolas Trépanier's comprehensive study delves into the Anatolian preparation of meals and the social interactions that mealtime entails—from a villager's family supper to an elaborately arranged banquet—as well as the production activities of peasants and gardeners; the marketplace exchanges of food between commoners, merchants, and political rulers; and the religious landscape that unfolded around food-related beliefs and practices. Brimming with enlightening details on such diverse topics as agriculture, nomadism, pastoralism, medicine, hospitality, and festival rituals, Foodways and Daily Life in Medieval Anatolia presents a new understanding of communities that lived at a key juncture of world history.
Pushing urban geography into new cultural contexts Music and Urban Geography will offer those concerned with the social effects of space newtheoretical models. Ranging from Anonymous 4 to Alanis Morissette, from Curaçao to Seattle, Music and Urban Geography presents a truly wide-ranging, interdisciplinary, and theoretically ambitious view of both musical and urban change.
Have you ever wanted to host a full evening of Indian food, culture, and music? How about preparing a traditional Balinese banquet? Or take a trip to Cairo and enjoy an Egyptian feast? The Ethnomusicologists' Cookbook takes you around the world on a culinary journey that is also a cultural and social odyssey.
Many cookbooks offer a snapshot of individual recipes from different parts of the world, but do nothing to tell the reader how different foods are presented together, or how to relate these foods to other cultural practices. For years, ethnomusicologists have visited the four corners of the earth to collect the music and culture of native peoples, from Africa to the Azores, from Zanzibar to New Zealand. Along the way, they've observed how music is an integral part of social interaction, particularly when it's time for a lavish banquet or celebration. Foodways and cultural expression are not separate; this book emphasizes this connection through offering over thirty-five complete meals, from appetizers to entrees to side dishes to desserts and drinks. A list of recommended CDs fills out the culinary experience, along with hints on how to present each dish and to organize the overall meal.
The Ethnomusicologists' Cookbook combines scholarship with a unique and fun approach to the study of the world's foods, musics, and cultures. More than just a cookbook, it is an excellent companion for anyone embarking on a cultural-culinary journey.
Joseph O'Neill's grandfathers--one Turkish, one Irish--were both imprisoned for suspected subversion during the Second World War. The Irish grandfather, a handsome rogue from a family of small farmers, was an active member of the IRA. O'Neill's other grandfather, a debonair hotelier from the tiny and threatened Turkish Christian minority, was interned by the British in Palestine on suspicion of being an Axis spy.
With intellect, compassion, and grace, O'Neill sets the stories of these individuals against the history of the last century's most inhuman events.
This book also includes explanations of traditional Navajo dance steps, notations on hand movements for selected songs, a discography, and sources for recordings and videos. Accompanied by a CD of twelve songs sung by Marilyn Help, this book is designed for people of all ages seeking to celebrate Navajo music and culture.
"I consider this book to be a treasure."--David P. McAllester, Professor Emeritus of Music and Anthropology, Wesleyan University