The modern Middle East was forged in the crucible of the First World War, but few know the full story of how war actually came to the region. As Sean McMeekin reveals in this startling reinterpretation of the war, it was neither the British nor the French but rather a small clique of Germans and Turks who thrust the Islamic world into the conflict for their own political, economic, and military ends.

The Berlin-Baghdad Express tells the fascinating story of how Germany exploited Ottoman pan-Islamism in order to destroy the British Empire, then the largest Islamic power in the world. Meanwhile the Young Turks harnessed themselves to German military might to avenge Turkey’s hereditary enemy, Russia. Told from the perspective of the key decision-makers on the Turco-German side, many of the most consequential events of World War I—Turkey’s entry into the war, Gallipoli, the Armenian massacres, the Arab revolt, and the Russian Revolution—are illuminated as never before.

Drawing on a wealth of new sources, McMeekin forces us to re-examine Western interference in the Middle East and its lamentable results. It is an epic tragicomedy of unintended consequences, as Turkish nationalists give Russia the war it desperately wants, jihad begets an Islamic insurrection in Mecca, German sabotage plots upend the Tsar delivering Turkey from Russia’s yoke, and German Zionism midwifes the Balfour Declaration. All along, the story is interwoven with the drama surrounding German efforts to complete the Berlin to Baghdad railway, the weapon designed to win the war and assure German hegemony over the Middle East.

A political theorist teases out the century-old ideological transformation at the heart of contemporary discourse in Muslim nations undergoing political change.

The Arab Spring precipitated a crisis in political Islam. In Egypt Islamists have been crushed. In Turkey they have descended into authoritarianism. In Tunisia they govern but without the label of “political Islam.” Andrew March explores how, before this crisis, Islamists developed a unique theory of popular sovereignty, one that promised to determine the future of democracy in the Middle East.

This began with the claim of divine sovereignty, the demand to restore the sharīʿa in modern societies. But prominent theorists of political Islam also advanced another principle, the Quranic notion that God’s authority on earth rests not with sultans or with scholars’ interpretation of written law but with the entirety of the Muslim people, the umma. Drawing on this argument, utopian theorists such as Abū’l-Aʿlā Mawdūdī and Sayyid Quṭb released into the intellectual bloodstream the doctrine of the caliphate of man: while God is sovereign, He has appointed the multitude of believers as His vicegerent. The Caliphate of Man argues that the doctrine of the universal human caliphate underpins a specific democratic theory, a kind of Islamic republic of virtue in which the people have authority over the government and religious leaders. But is this an ideal regime destined to survive only as theory?

The Diagram as Paradigm is the first book that looks at medieval diagrams in a cross-cultural perspective, focusing on three regions—Byzantium, the Islamicate world, and the Latin West—each culturally diverse and each closely linked to the others through complex processes of intellectual, artistic, diplomatic, and mercantile exchange.

The volume unites case studies, often of little-known material, by an international set of specialists, and is prefaced by four introductory essays that provide broad overviews of diagrammatic traditions in these regions in addition to considering the theoretical dimensions of diagramming. Among the historical disciplines whose use of diagrams is explored are philosophy, theology, mysticism, music, medicine, mathematics, astronomy, and cosmology. Despite the sheer variety, ingenuity, and visual inventiveness of diagrams from the premodern world, in conception and practical use they often share many similarities, both in construction and application. Diagrams prove to be an essential part of the fabric of premodern intellectual, scientific, religious, artistic, and artisanal life.

Frequent reports of honor killings, disfigurement, and sensational abuse have given rise to a consensus in the West, a message propagated by human rights groups and the media: Muslim women need to be rescued. Lila Abu-Lughod boldly challenges this conclusion. An anthropologist who has been writing about Arab women for thirty years, she delves into the predicaments of Muslim women today, questioning whether generalizations about Islamic culture can explain the hardships these women face and asking what motivates particular individuals and institutions to promote their rights.

In recent years Abu-Lughod has struggled to reconcile the popular image of women victimized by Islam with the complex women she has known through her research in various communities in the Muslim world. Here, she renders that divide vivid by presenting detailed vignettes of the lives of ordinary Muslim women, and showing that the problem of gender inequality cannot be laid at the feet of religion alone. Poverty and authoritarianism—conditions not unique to the Islamic world, and produced out of global interconnections that implicate the West—are often more decisive. The standard Western vocabulary of oppression, choice, and freedom is too blunt to describe these women's lives.

Do Muslim Women Need Saving? is an indictment of a mindset that has justified all manner of foreign interference, including military invasion, in the name of rescuing women from Islam—as well as a moving portrait of women's actual experiences, and of the contingencies with which they live.

Descriptions of dreams abound in the literatures of the Near East and North Africa. The Prophet Muhammad endowed them with a theological dimension, saying that after him “true dreams” would be the only channel for prophecy. Dreams were often used to support conflicting theological and political arguments, and the local chronicles contain many accounts of royal dreams justifying the advent of new dynasties.

This volume explores the context of these theological speculations and political aspirations through the medium of dreams to present fascinating insights into the social history of the pre-modern Islamic world in all its cultural diversity. Wider cultural exchanges are discussed through concrete examples such as the Arabic version of the Aristotelian treatise De divinatione per somnum. Some of the current scholarly assumptions about dreams being merely stylized expressions of social conventions are challenged by personal reports that express individual personalities, self-awareness, and spiritual development.

This is the first volume of the Ilex Series on Themes and Traditions. The series explores cross-cultural constructs without losing sight of the rich texture of local variations of traditions or beliefs.

The relationship between Western democracies and Islam, rarely entirely comfortable, has in recent years become increasingly tense. A growing immigrant population and worries about cultural and political assimilation—exacerbated by terrorist attacks in the United States, Europe, and around the world—have provoked reams of commentary from all parts of the political spectrum, a frustrating majority of it hyperbolic or even hysterical.

In The Fear of Barbarians, the celebrated intellectual Tzvetan Todorov offers a corrective: a reasoned and often highly personal analysis of the problem, rooted in Enlightenment values yet open to the claims of cultural difference. Drawing on history, anthropology, and politics, and bringing to bear examples ranging from the murder of Theo van Gogh to the French ban on headscarves, Todorov argues that the West must overcome its fear of Islam if it is to avoid betraying the values it claims to protect. True freedom, Todorov explains, requires us to strike a delicate balance between protecting and imposing cultural values, acknowledging the primacy of the law, and yet strenuously protecting minority views that do not interfere with its aims. Adding force to Todorov's arguments is his own experience as a native of communist Bulgaria: his admiration of French civic identity—and Western freedom—is vigorous but non-nativist, an inclusive vision whose very flexibility is its core strength.

The record of a penetrating mind grappling with a complicated, multifaceted problem, The Fear of Barbarians is a powerful, important book—a call, not to arms, but to thought. 

The use of perspective in Renaissance painting caused a revolution in the history of seeing, allowing artists to depict the world from a spectator’s point of view. But the theory of perspective that changed the course of Western art originated elsewhere—it was formulated in Baghdad by the eleventh-century mathematician Ibn al Haithan, known in the West as Alhazen. Using the metaphor of the mutual gaze, or exchanged glances, Hans Belting—preeminent historian and theorist of medieval, Renaissance, and contemporary art—narrates the historical encounter between science and art, between Arab Baghdad and Renaissance Florence, that has had a lasting effect on the culture of the West.

In this lavishly illustrated study, Belting deals with the double history of perspective, as a visual theory based on geometrical abstraction (in the Middle East) and as pictorial theory (in Europe). How could geometrical abstraction be reconceived as a theory for making pictures? During the Middle Ages, Arab mathematics, free from religious discourse, gave rise to a theory of perspective that, later in the West, was transformed into art when European painters adopted the human gaze as their focal point. In the Islamic world, where theology and the visual arts remained closely intertwined, the science of perspective did not become the cornerstone of Islamic art. Florence and Baghdad addresses a provocative question that reaches beyond the realm of aesthetics and mathematics: What happens when Muslims and Christians look upon each other and find their way of viewing the world transformed as a result?

Among the great civilizations of the world, Islam remains an enigma to Western readers. Now, in a beautifully illustrated historical atlas, noted scholar of religion Malise Ruthven recounts the fascinating and important history of the Islamic world.

From the birth of the prophet Muhammed to the independence of post-Soviet Muslim states in Central Asia, this accessible and informative atlas explains the historical evolution of Islamic societies. Short essays cover a wide variety of themes, including the central roles played by sharia (divine law) and fiqh (jurisprudence); philosophy; arts and architecture; the Muslim city; trade, commerce, and manufacturing; marriage and family life; tribal distributions; kinship and dynastic power; ritual and devotional practices; Sufism; modernist and reformist trends; the European domination of the Islamic world; the rise of the modern national state; oil exports and arms imports; and Muslim populations in non-Muslim countries, including the United States.

Lucid and inviting full-color maps chronicle the changing internal and external boundaries of the Islamic world, showing the principal trade routes through which goods, ideas, and customs spread. Ruthven traces the impact of various Islamic dynasties in art and architecture and shows the distribution of sects and religious minorities, the structure of Islamic cities, and the distribution of resources. Among the book's valuable contributions is the incorporation of the often neglected geographical and environmental factors, from the Fertile Crescent to the North African desert, that have helped shape Islamic history.

Rich in narrative and visual detail that illuminates the story of Islamic civilization, this timely atlas is an indispensable resource to anyone interested in world history and religion.

“Superb… A tour de force.”
—Ebrahim Moosa

“Provocative… Aydin ranges over the centuries to show the relative novelty of the idea of a Muslim world and the relentless efforts to exploit that idea for political ends.”
—Washington Post

When President Obama visited Cairo to address Muslims worldwide, he followed in the footsteps of countless politicians who have taken the existence of a unified global Muslim community for granted. But as Cemil Aydin explains in this provocative history, it is a misconception to think that the world’s 1.5 billion Muslims constitute a single entity. How did this belief arise, and why is it so widespread? The Idea of the Muslim World considers its origins and reveals the consequences of its enduring allure.

“Much of today’s media commentary traces current trouble in the Middle East back to the emergence of ‘artificial’ nation states after the fall of the Ottoman Empire… According to this narrative…today’s unrest is simply a belated product of that mistake. The Idea of the Muslim World is a bracing rebuke to such simplistic conclusions.”
—Times Literary Supplement

“It is here that Aydin’s book proves so valuable: by revealing how the racial, civilizational, and political biases that emerged in the nineteenth century shape contemporary visions of the Muslim world.”
—Foreign Affairs

Popular culture serves as a fresh and revealing window on contemporary developments in the Muslim world because it is a site where many important and controversial issues are explored and debated. Aesthetic expression has become intertwined with politics and religion due to the uprisings of the “Arab Spring,” while, at the same time, Islamist authorities are showing increasingly accommodating and populist attitudes toward popular culture. Not simply a “westernizing” or “secularizing” force, as some have asserted, popular culture now plays a growing role in defining what it means to be Muslim.

With well-structured chapters that explain key concepts clearly, Islam and Popular Culture addresses new trends and developments that merge popular arts and Islam. Its eighteen case studies by eminent scholars cover a wide range of topics, such as lifestyle, dress, revolutionary street theater, graffiti, popular music, poetry, television drama, visual culture, and dance throughout the Muslim world from Indonesia, Africa, and the Middle East to Europe. The first comprehensive overview of this important subject, Islam and Popular Culture offers essential new ways of understanding the diverse religious discourses and pious ethics expressed in popular art productions, the cultural politics of states and movements, and the global flows of popular culture in the Muslim world.

This book compares Islamic and Western political formulations, highlighting areas of agreement and disparity. Building on this analysis, the author goes on to show that political Islam offers a serious alternative to the dominant political system and ideology of the West.

Sabet argues that rather than leading to a "Clash of Civlizations" or the assimilation of Islam into the Western system, a positive process of interactive self-reflection between Islam and liberal democracy is the best way forward.

Beginning this process, Sabet highlights key concepts of Islamic political thought and brings them into dialogue with Western modernity. The resulting synthesis is essential reading for advanced undergraduate and graduate students of Islamic and Middle Eastern politics, political theory, comparative politics and international relations.

In the hysteria surrounding Political Islam, it is difficult to find analysis that doesn't feel the need to justify the existence of Islamic leaders or react to the West's fear of 'extremists'. In Islamic Activists, Deina Ali Abdelkader shows us what Islamic leaders and activists believe and what they think about just governance.

Explaining and comparing Islamist ideas, including those about leadership, justice and minority rights, Abdelkader explains how these have been represented in the writings of important historical and contemporary Islamists. In doing so, Abdelkader reveals that democracy is not the sole preserve of those who support Enlightenment values, offering the reader a chance to understand the populist non-violent side of Islamic activism. This includes an examination of the ideas of the leaders of the populist Islamist movements in Egypt, Tunisia and Morocco.

Islamicate Sexualities: Translations across Temporal Geographies of Desire explores different genealogies of sexuality and questions some of the theoretical emphases and epistemic assumptions affecting current histories of sexuality. Concerned with the dynamic interplay between cultural constructions of gender and sexuality, the anthology moves across disciplinary fields, integrating literary criticism with social and cultural history, and establishes a dialogue between historians (Kathryn Babayan, Frédéric Lagrange, Afsaneh Najmabadi, and Everett Rowson), comparative literary scholars (Sahar Amer and Leyla Rouhi), and critical theorists of sexualities (Valerie Traub, Brad Epps, and Dina al-Kassim).

As a whole, the anthology challenges Middle Eastern Studies with questions that have arisen in recent studies of sexualities, bringing into conversation Euro-American scholarship of sexuality with that of scholars engaged in studies of sexualities across a vast cultural (Iberian, Arabic, and Iranian) and temporal field (from the tenth century to the medieval and the modern).

A renowned authority on Islamic movements, François Burgat lived for eighteen years in the Arab world, including his time as director of the French Center for Archaeology and Social Sciences at Yemen. He also dedicated many months to fieldwork in North Africa. Bringing Burgat's decades of expertise to the complex dialogues that have marked the post-9/11 world, Islamism in the Shadow of al-Qaeda delivers much-needed clarity and historical perspective.

In Burgat's eyes, most of the West's political and media rhetoric has only fueled al-Qaeda's case, revealing a woeful lack of comprehension regarding the violent authoritarianism that divides the Middle East and creates a breeding ground for terrorism. Islamism in the Shadow of al-Qaeda provides a primer of the three eras of political Islam, from the 1928 founding of the Muslim Brothers to the rise of post-colonial dictatorships and the current radicalization of "Generation al-Qaeda." Offering a new roadmap for stability, Burgat bridges the ideologies—political, religious, and cultural—that must be traversed if the deadly sectarianism is to be superseded.

An accessible point of entry into the rich medieval religious landscape of Jewish biblical exegesis s

Medieval Judeo-Arabic translations of the Hebrew Bible and their commentaries provide a rich source for understanding a formative period in the intellectual, literary, and cultural history and heritage of Jews in Islamic lands. The carefully selected texts in this volume offer intriguing insight into Arabic translations and commentaries by Rabbanite and Karaite Jewish exegetes from the tenth to the twelfth centuries CE, arranged according to the three divisions of the Torah, the Former and Latter Prophets, and the Writings. Each text is embedded within an essay discussing its exegetical context, reception, and contribution.

Features:

• Focus on underrepresented medieval Jewish commentators of the Eastern world
• A list of additional resources, including major Judeo-Arabic commentators in the medieval period
• Previously unpublished texts from the Cairo Geniza

Analysts and pundits from across the American political spectrum describe Islamic fundamentalism as one of the greatest threats to modern, Western-style democracy. Yet very few non-Muslims would be able to venture an accurate definition of political Islam. Fully revised and updated, The Many Faces of Political Islam thoroughly analyzes the many facets of this political ideology and shows its impact on global relations.

 

Tracing the connections between music making and built space in both historical and contemporary times, Music, Sound, and Architecture in Islam brings together domains of intellectual reflection that have rarely been in dialogue to promote a greater understanding of the centrality of sound production in constructed environments in Muslim religious and cultural expression.

Representing the fields of ethnomusicology, anthropology, art history, architecture, history of architecture, religious studies, and Islamic studies, the volume’s contributors consider sonic performances ranging from poetry recitation to art, folk, popular, and ritual musics—as well as religious expressions that are not usually labeled as “music” from an Islamic perspective—in relation to monumental, vernacular, ephemeral, and landscape architectures; interior design; decoration and furniture; urban planning; and geography. Underscoring the intimate relationship between traditional Muslim sonic performances, such as the recitation of the Qur’an or devotional songs, and conventional Muslim architectural spaces, from mosques and Sufi shrines to historic aristocratic villas, gardens, and gymnasiums, the book reveals Islam as an ideal site for investigating the relationship between sound and architecture, which in turn proves to be an innovative and significant angle from which to explore Muslim cultures.

Muslim Cosmopolitanism in the Age of Empire recovers the stories of five Indian Muslim scholars who, in the aftermath of the uprising of 1857, were hunted by British authorities, fled their homes in India for such destinations as Cairo, Mecca, and Istanbul, and became active participants in a flourishing pan-Islamic intellectual network at the cusp of the British and Ottoman empires. Seema Alavi traces this network, born in the age of empire, which became the basis of a global Muslim sensibility—a form of political and cultural affiliation that competes with ideas of nationhood today as it did in the previous century.

By demonstrating that these Muslim networks depended on European empires and that their sensibility was shaped by the West in many subtle ways, Alavi challenges the idea that all pan-Islamic configurations are anti-Western or pro-Caliphate. Indeed, Western imperial hegemony empowered the very inter-Asian Muslim connections that went on to outlive European empires. Diverging from the medieval idea of the umma, this new cosmopolitan community stressed consensus in matters of belief, ritual, and devotion and found inspiration in the liberal reforms then gaining traction in the Ottoman world. Alavi breaks new ground in the writing of nineteenth-century history by engaging equally with the South Asian and Ottoman worlds, and by telling a non-Eurocentric story of global modernity without overlooking the importance of the British Empire.

From "green" pop and "clean" cinema to halal songs, Islamic soaps, Muslim rap, Islamist fantasy serials, and Suficized music, the performing arts have become popular and potent avenues for Islamic piety movements, politically engaged Islamists, Islamic states, and moderate believers to propagate their religio-ethical beliefs. Muslim Rap, Halal Soaps, and Revolutionary Theater is the first book that explores this vital intersection between artistic production and Islamic discourse in the Muslim world.

The contributors to this volume investigate the historical and structural conditions that impede or facilitate the emergence of a "post-Islamist" cultural sphere. They discuss the development of religious sensibilities among audiences, which increasingly include the well-to-do and the educated young, as well as the emergence of a local and global religious market. At the heart of these essays is an examination of the intersection between cultural politics, performing art, and religion, addressing such questions as where, how, and why pop culture and performing arts have been turned into a religious mission, and whether it is possible to develop a new Islamic aesthetic that is balanced with religious sensibilities. As we read about young Muslims and their quest for a "cool Islam" in music, their struggle to quell their stigmatized status, or the collision of morals and the marketplace in the arts, a vivid, varied new perspective on Muslim culture emerges.

The roster of Muslim superheroes in the comic book medium has grown over the years, as has the complexity of their depictions. Muslim Superheroes tracks the initial absence, reluctant inclusion, tokenistic employment, and then nuanced scripting of Islamic protagonists in the American superhero comic book market and beyond.

This scholarly anthology investigates the ways in which Muslim superhero characters fulfill, counter, or complicate Western stereotypes and navigate popular audience expectations globally, under the looming threat of Islamophobia. The contributors consider assumptions buried in the very notion of a character who is both a superhero and a Muslim with an interdisciplinary and international focus characteristic of both Islamic studies and comics studies scholarship. Muslim Superheroes investigates both intranational American racial formation and international American geopolitics, juxtaposed with social developments outside U.S. borders.

Providing unprecedented depth to the study of Muslim superheroes, this collection analyzes, through a series of close readings and comparative studies, how Muslim and non-Muslim comics creators and critics have produced, reproduced, and represented different conceptions of Islam and Muslimness embodied in the genre characters.

There exists today a tragic rift between Americans and the world’s Muslims. Yet in the immediate aftermath of 9/11, there was widespread sympathy for the U.S. throughout the Muslim world. This book explores what happened. It examines the disconnect that leads Americans and Muslims to view the same words and images in fundamentally different ways. Partly a result of a centuries-old 'us' against 'them' dichotomy, the problem is exacerbated by an increasingly polarised media and by leaders on both sides who either don't understand or don't care what impact their words and policies have in the world at large.

Journalist-scholar Lawrence Pintak, a former CBS News Middle East correspondent, argues that the Arab media revolution and the rise of 'patriot-journalists' in the US marginalized voices of moderation, distorting perceptions on both sides of the divide with potentially disastrous results.

Built on the author's extensive journalistic experience, the book will appeal to policymakers, students of media studies, Middle East studies and Islamic studies, and general current affairs readers.

During the Golden Age of Islam (seventh through seventeenth centuries A.D.), Muslim philosophers and poets, artists and scientists, princes and laborers created a unique culture that has influenced societies on every continent. This book offers a fully illustrated, highly accessible introduction to an important aspect of that culture—the scientific achievements of medieval Islam.

Howard Turner opens with a historical overview of the spread of Islamic civilization from the Arabian peninsula eastward to India and westward across northern Africa into Spain. He describes how a passion for knowledge led the Muslims during their centuries of empire-building to assimilate and expand the scientific knowledge of older cultures, including those of Greece, India, and China. He explores medieval Islamic accomplishments in cosmology, mathematics, astronomy, astrology, geography, medicine, natural sciences, alchemy, and optics. He also indicates the ways in which Muslim scientific achievement influenced the advance of science in the Western world from the Renaissance to the modern era. This survey of historic Muslim scientific achievements offers students and general readers a window into one of the world's great cultures, one which is experiencing a remarkable resurgence as a religious, political, and social force in our own time.

During the Middle Ages, a thriving center for learning and research was Muslim Spain, where students gathered to consult Arabic manuscripts of earlier scientific works and study with famous teachers. One of these teachers was Sa'id al-Andalusi, who in 1068 wrote Kitab Tabaqat al-'Umam, or "Book of the Categories of Nations," which recorded the contributions to science of all known nations. Today, it is one of few surviving medieval Spanish Muslim texts, and this is its first English translation.

Science ('ulum), as used by Sa'id and other scholars of that period, is a broad term covering virtually all aspects of human knowledge. After initial discussions of the categories of nations that did or did not cultivate science, Sa'id details the specific contribution of nine nations or peoples-India, Persia, Chaldea, Greece, Rome, Egypt, the Arab Orient, al-Andalus, and the Hebrews. He includes the names of many individual scientists and scholars and describes their various contributions to knowledge, making his book a significant work of reference as well as history.