...Nadia von Maltzahn Von Maltzahn’s article looks at the relationship of Lebanese artists and cultural players to state institutions, in particular the ministry of culture. Why do cultural players in Lebanon call for the state’s involvement in cultural production, while in most countries...

..., and the political economy of transnational Arabic publishing in late 1960s Beirut. Relations between these three fields are analyzed through a multifaceted lens, focusing on the book as at once a product of intellectual and artistic practice, a commodity in a capitalist economy of publishing, and a translocal...

...Rajbir Singh Judge Abstract Focusing on early twentieth-century Punjab, this article considers how situating the region into historical context circumscribes the literary by tying it to place, thereby creating a seamless economy of exchange. In contrast, noting the refusal of literary and artistic...

[email protected] [email protected] [email protected] Copyright © 2022 by Duke University Press 2022 anti-colonialism archive artistic production revolution temporality Revolutions are often accompanied by ideas that presume a sharp delineation between the past, the present...

...Rounwah Adly Riyadh Bseiso Bseiso’s article examines how art production was understood during a particular moment in Egypt’s political and cultural history. It examines the ways understandings of art were liberated from the former (and predominant) understanding of art as an elitist, private...

... aggravates the difficulties of writers izing the suffering African body and spectacu- and artists whose urgent aim is to present the lar corpse in order to foster the production of devastating effects of national traumatic experi- humanitarianist capital, as Härting’s essay on ences. Segall demonstrates...

... these dead bodies from our shared cultural memory. Kahlon elaborates on the role of artistic production in highlighting and bridg- ing this gap between the rational medico-­legal entity of the corpse and the spectrality of the absent body. We close with a series of critical reflections...

... and multilingual archives—state, corporate, and private—these efforts have led to interdisciplinary and cross-regional scholarly as well as artistic productions. Inter-Asian mobilities, Afro-Arab linkages, Afro-Asian “infrastructures of solidarity,” Afro-Orientalism, and Persian Gulf urbanities are just a few...

...- distinguishably entangled and it is often the entangle- parative” in comparative literature should include: ment itself which produces meaning. Equally significant comparisons between artistic productions usually in the scenes of translation Levy examines is the recog- studied by different disciplines; between...

... of Islam from the literary, philosophical, and artistic products of this milieu. He presents his long argument not as history but as a sophisticated interpretive mechanism. He constructs a powerful logic machine to decode the enigma of what he terms the historical and human phenomenon that is Islam...

... the material culture and cultural dimen- serving and recording the natural world.14 Outside sions of the imperial polity and the ways in which the imperial atelier, equine portraits were to form these were appropriated or adapted in the succes- a mainstay of artistic production in the regional sor...

...? relays it back to the same: the thriller genre. As I pointed out earlier, the film invests What I mean to suggest here is that the in staging contradictions in order to disidentify ways in which artistic productions are marketed with and, more importantly...

... pres- Sikander to describe her own artistic practice and en- ence of woman, here figured as body part, of part gagement with the classical form of miniature paint- for whole. Sikander’s mode of self-­reflexivity dem- ing and the traditional contexts of its production; onstrates that labor...

..., finding varied manifestations in civilizational, cultural, and artistic productions.” It is this unique consciousness, and the particular local history which molds and carries it, that can give the colonized people a distinct sense of collective identity, help them to overcome a debilitating sense...

... the Shahnameh by Bruce Bahmani, Robert Napton, and digital products that aim to create a sense of Per- Karl Altstaetter (Hendersonville, TN: Hyperwerks, sian identity and pride. One artistically creative...

...Foad Torshizi Abstract This article examines the works of the Iranian contemporary artist, Ghazaleh Hedayat. It argues that her turn from figural representation to nonfigural abstraction and consequently to what Laura Marks has called “haptic visuality” demonstrates a careful and systematic...

... a painting, or rather its exhibition in the palatial new house of the Karachi millionaire who had commissioned it. 1 The work of a woman artist who had moved to the new state of Pakistan after India's partition, the painting depicted an elephant in a lush green landscape. A number of intellectuals...

... small drawings, which are scanned and digitally altered. The article then focuses on The Last Post (2010), which marked a radical departure in the artist's animation practice. The Last Post deals with the history of colonial struggle and the legacy of the British East India Company in South and East...

... intensely through the public rejection of an Indian classic. 45 However, misrecognizing Mughal-i-Azam solely as a film of Indian provenance, as Pak Films does, involves obliterating a critical aspect of the film's production. In July 2012, I met Saeed Ali, who narrated his film family's migration...

..., with disastrous effect political claims. on the volume and quality of African scholarship. In question were the ways the arts, literature, The crisis is a complex product of the post­ and music reflect and compose place and how, in colonial moment. First, African literary and artistic return, it shapes them...