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  • All: "hybridity" x
  • Archaeology, Art & Architecture x
  • Middle East and Islamic Studies x

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


Karen Rose Mathews

In Conflict, Commerce, and an Aesthetic of Appropriation in the Italian Maritime Cities, 1000-1150, Karen Rose Mathews analyzes the relationship between war, trade, and the use of spolia (appropriated objects from past and foreign cultures) as architectural decoration in the public monuments of the Italian maritime republics in the eleventh and twelfth centuries. This comparative study addressing five urban centers argues that the multivalence of spolia and their openness to new interpretations made them the ideal visual form to define a distinct Mediterranean identity for the inhabitants of these cities, celebrating the wealth and prestige that resulted from the paired endeavors of war and commerce while referencing the cultures across the sea that inspired the greatest hostility, fear, or admiration.

Dalmatia and the Mediterranean

Portable Archaeology and the Poetics of Influence


Edited by Alina Payne

Using the Braudelian concept of the Mediterranean this volume focuses on the condition of “coastal exchanges” involving the Dalmatian littoral and its Adriatic and more distant maritime network. Spalato and Ragusa intersect with Constantinople, Cairo and Spanish Naples just as Sinan, Palladio and Robert Adam cross paths in this liquid expanse. Concentrating on materiality and on the arts, architecture in particular, the authors identify portability and hybridity as characteristic of these exchanges, and tease out expected and unexpected serendipitous moments when they occurred. Focusing on translation and its instruments these essays expand the traditional concept of influence by thrusting mobility and the "hardware" of cultural transmission, its mechanisms, rather than its effects, into the foreground.

Contributors include: Doris Behrens-Abouseif, SOAS, University of London; Joško Belamarić, Institute of Art History, Split; Marzia Faietti, Uffizi, Florence; Jasenka Gudelj, University of Zagreb; Cemal Kafadar, Harvard University; Ioli Kalavrezou, Harvard University; Suzanne Marchand, State University of Louisiana; Erika Naginski, Harvard University; Gülru Necipoğlu, Harvard University; Goran Nikšić, City of Split, Split; Alina Payne, Harvard University; Avinoam Shalem, Columbia University and David Young Kim, University of Pennsylvania


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.

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


Elizabeth Golden

and social forces. To this end, Folkers proposes a hybrid model for development, one based on a “…combination of formal and informal elements, of modern and traditional materials and technology, and the mixture of traditional and international formal aspects…” 6 It is through this lens that we

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