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Cleo Cantone

This book constitutes a seminal contribution to the fields of Islamic architectural history and gender studies. It is the first major empirical study of the history and current state of mosque building in Senegal and the first study of mosque space from a gender perspective. The author positions Senegalese mosques within the field of Islamic architectural history, unraveling their history through pre-colonial travelers’ accounts to conversations with present-day planners, imams and women who continually shape and reshape the mosques they worship in. Using contemporary Dakar as a case study, the book’s second aim is to explore the role of women in the “making and remaking” of mosques. In particular, the rise of non-tariqa grass-roots movements (i.e.: the “Sunni/Ibadou” movement) has empowered women (particularly young women) and has greatly strengthened their capacity to use mosques as places of spirituality, education and socialization. The text is aimed at several specialized readerships: readers interested in Islam in West Africa, in the role of women in Islam, as well as those interested in the sociology and art-history of mosques.

Nikolaos Vryzidis

famous secular object—a tenth-century glass bowl in the Treasury of San Marco—could mix classicizing iconography and Islamicizing ornament in order to allude to the hybrid origin of divination, at least as it was understood by the Byzantines, as both ancient Greek and contemporary Islamic. 48 To

Finbarr Barry Flood

-era monuments and reached a crescendo in the fifteenth- and early sixteenth-century architecture of the Indus Valley, Delhi, and Malwa. 159 Whether one chooses to describe these phenomena in terms of homology, hybridity, syncretism, or synthesis, the basic point is clear: in its engagement with both regional

Suna Çağaptay

Gazi, and Murad I in Bursa, and Hacı Özbek (1333) in Iznik. This architectural style has been identified as both “hybrid” and “semi-Byzantine,” 8 but oftentimes comparisons between Byzantine and Otto- man buildings fail to go beyond a discussion of super- ficial similarities, such as the development of

D. Fairchild Ruggles

surprisingly, introductions to world art history. Their cultural hybridity disqualifies them from histories that identify linear chronological development within a well-defined context. These are problems that occur not for reasons intrinsic to the works themselves but because of the way that geographical and

Conrad Thake

also very loosely applied, to imply a hybrid style derived from a generic view of Islamic architecture, based primarily on regions of Spain and North Africa under Muslim influence. 51 Both terms have their shortcomings as they are not sensitive to the rich cultural diversity manifested in Islamic


Olivier Gosselain, Lucie Smolderen, Victor Brunfaut, Jean-François Pinet and Alexandre Livingstone Smith

. Accordingly, a hybrid research method was devised that relied on both oral descriptions and technical observations. The latter mostly concerned pottery making and the few artisans still active in the craft at the time. The team also witnessed partial or complete reconstructions of the technical processes made

Kishwar Rizvi

. It is thus a reminder of the mul- tiplicity of narratives embedded in public institutions, whose architectural manifestations are often a hybrid incorporating the lived and imagined histories of their patrons. The first part of this essay situates the tomb in its political and cultural context within

Olga Bush

, or to represent the alternative continuity of a hybrid identity? The opposing views on the historiography of medieval Muslim Spain expressed on the occasion of the inauguration recall the terms of a debate initiated in the 1950s by Spanish historians that has continued to influence the views of