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Culture and Diplomacy
Diplomats had multiple tasks: not only negotiating with the representatives of other states, but also mediating culture and knowledge, and not least elaborating reports on their observations of politics, society, and culture. Culture, according to the studies featured in this book, is defined as a complex sphere including aspects like systems of communication, literature, music, arts, education, and the creation of knowledge. This edition containing contributions from six conferences held in Vienna and Istanbul by the Don Juan Archiv Wien focuses on the complex diplomatic and cultural relations between the Ottoman Empire and Europe from the time of the early embassies to Istanbul up to "Tanzimat".
Arab Patriotism
Arab Patriotism presents the essential backstory to the formation of the modern nation-state and mass nationalism in the Middle East. While standard histories claim that the roots of Arab nationalism emerged in opposition to the Ottoman milieu, Adam Mestyan points to the patriotic sentiment that grew in the Egyptian province of the Ottoman Empire during the nineteenth century, arguing that it served as a pivotal way station on the path to the birth of Arab nationhood. Through extensive archival research, Mestyan examines the collusion of various Ottoman elites in creating this nascent sense of national belonging and finds that learned culture played a central role in this development. Mestya...
The Making of European Music in the Long Eighteenth Century
In this book, author D. R. M. Irving traces the emergence of such large-scale categories as "European music" and "Western music," showing how they originate from self-fashioning in contexts of intercultural comparison outside the European continent rather than the resolution of national aesthetic differences within it. Taken as a whole, this study demonstrates how reductive labels for the musics of a continent or a hemisphere often imply homogeneity and essentialism, and how a renewed critique of primary sources can help dismantle historiographical constructs that arose within narratives of musical pasts involving Europe.
Theatre and Modernity
This study aims to disclose the inner dynamics of the rich and diverse milieu within the Ottoman-Turkish society that created its unique hybrid forms through the scenic arts against an understanding of modernity in terms of a simple import or imitation of Western cultural forms. In the 19th century Armenians pioneered this process with melodramas, necessitating the presence of female performers on the stage; Armenian women thus went onstage with patriotic motives. Among the two leading figures of the Turkish Republic period are Nazim Hikmet, the most prolific but severely censured Turkish dramatist and Muhsin Ertugrul, who founded the subsidised theatres of Ankara and Istanbul. A later phase of modernisation arrives in the sixties with a social awakening towards the conditions of the rural society: Ankara becomes the seat of "popular" theatre after the founding of Ankara Art Theatre, in 1961. Mehmet Ulusoy's work in France in the 1970–1980s crowns the final synthesis.
Neo-Latin Drama in Early Modern Europe
From ca. 1300 a new genre developed in European literature, Neo-Latin drama. Building on medieval drama, vernacular theatre and classical drama, it spread around Europe. It was often used as a means to educate young boys in Latin, in acting and in moral issues. Comedies, tragedies and mixed forms were written. The Societas Jesu employed Latin drama in their education and public relations on a large scale. They had borrowed the concept of this drama from the humanist and Protestant gymnasia, and perfected it to a multi media show. However, the genre does not receive the attention that it deserves. In this volume, a historical overview of this genre is given, as well as analyses of separate plays. Contributors include: Jan Bloemendal, Jean-Frédéric Chevalier, Cora Dietl, Mathieu Ferrand, Howard Norland, Joaquín Pascual Barea, Fidel Rädle, and Raija Sarasti Willenius.
Street Sounds
As the twentieth century roared on, transformative technologies—from trains, trams, and automobiles to radios and loudspeakers—fundamentally changed the sounds of the Egyptian streets. The cacophony of everyday life grew louder, and the Egyptian press featured editorials calling for the regulation of not only mechanized and amplified sounds, but also the voices of street vendors, the music of wedding processions, and even the traditional funerary wails. Ziad Fahmy offers the first historical examination of the changing soundscapes of urban Egypt, highlighting the mundane sounds of street life, while "listening" to the voices of ordinary people as they struggle with state authorities for ...
Management of Modern Art
Dieses Buch will aufzeigen, dass es Methoden gibt, die Rationalitat und Emotionalitat des Menschen verknupfen, die die intuitiven Wahrnehmungen des Menschen in den Mittelpunkt des Interesses stellen und diese als eine weitere Basis zur Entscheidungsfindung einfliessen lassen. Dazu zahlen die Systemische Theaterarbeit in Organisationen und die Systemaufstellung im Projektgeschehen, welche in diesem Buch naher erlautert werden.
Royal Courts in Dynastic States and Empires
In recent decades the history of premodern states and empires has undergone major revision. At the heart of this process stood the court, encompassing the household as well as government institutions. This volume for the first time brings together the fruits of research on royal courts from antiquity to the modern world, from Asia to Europe. The authors are acknowledged specialists in their own fields, but they address themes relevant for all courts: the inner and outer dimensions of court architecture as well as staff organizations; the connections between court, capital, and realm; the relationship of the ruler with relatives and other elites. This volume pioneers comparative history combining a rich empirical orientation with a critical assessment of theoretical perspectives. This title is available online in its entirety in Open Access Contributors: Tülay Artan, Gojko Barjamovic, Peter Fibiger Bang, Jeroen Duindam, Sabine Dabringhaus, Nadia Maria El Cheikh, Ebba Koch, Metin Kunt, Paul Magdalino, Rosamond McKitterick, Ruth Macrides, Rolf Strootman, Isenbike Togan, Maria Antonietta Visceglia, and Andrew Wallace-Hadrill.
The Vienna Don Giovanni
Aspects of Don Giovanni's compositional history are uncovered and the study provides for detailed evidence with which to evaluate Da Ponte's recollections. The essential truth of his account - that the revision of the operain Vienna was an interactive process - seems to be fully borne out. A general theory of transmission is proposed, which clarifies the relationship between the fluid text produced by re-creation and the static text generated by replication. In the year following its 1787 Prague première, Don Giovanni was performed in Vienna. Everyone, according to the well-known account by Da Ponte, thought something was wrong with it. In response, Mozart made changes, producing a Vienna '...
