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  • Archaeology, Art & Architecture x

Samet Budak

during his reign unfolded in a sequence of loss and reconquest. The Ottomans cannot be considered successful against the Safavids either; they lost several battles against ʿAbbas I (r. 1588–1629). Within this hopeless atmosphere the modern historian finds Ahmed’s own voice and his personal views about

Olga Bush

question of architectural style. When the Asociación de Vecinos spoke of the need for “protection,” it implied that the neighborhood was under attack, and at times it said so overtly: “If we allow this, they [Muslims] will end up taking the city.” 78 Similar remarks have been voiced publically time and

Olga Bush

characteristic feature of those inscriptions, namely, not simply the use of poetry but more particularly of poetry also speaking in the first person, has the effect—writ large—observed in the verses cited above. 11 The “I” inscribed on the walls gives a figurative voice to the otherwise mute and inanimate

Gülru Necipoğlu

too complex to lend itself to a single message, a single voice, or a single explanation. No one person can master its intricacies with the accuracy and commitment it deserves, and it would be a betrayal of its history to limit it to one formal system or to one set of explanations. 13 
 The nine

Marcus Milwright

of audiences. Most of those who take plea- sure at the sight of the karakūzātī are small children. There may be found some who perform the craft with speedy movements and using a beautiful voice, but if it is intended for young men and old men, they show [them] plays of it, and they recite it with a

Melis Taner

, which includes short biographical information written around the medallions. The prose introduction begins by praising God as the creator of the universe and attributes existence to God. Above all, Adam is distinguished as God’s choice creation because of his purity. After voicing gratitude to the

Yui Kanda

chū dar ghamash alif az bā nimī shinākht 
   yak sāl […]
 The adornment of the time, Shaykh Jamāl, nobody saw 
 a muʿarrif who has a sweet voice ( muʿarrif-i shīrīn-adā ) like him in the world.
 As he left this world for heaven,
 seek the chronogram of muʿarrif-i shīrīn-adā . 
 My

Holly Edwards

selection of voices and experiences, see Harriet Logan, Unveiled: Voices of Women in Afghanistan (New York, 2002).
 10 Cf. Christopher Pinney and Nicolas Peterson, eds., Photo­graphy’s Other Histories (Durham and London, 2003).
 11 Mitchell, What Do Pictures Want? , 352–56.
 12 See Edwards, “Unruly

D. Fairchild Ruggles

malikat al-muslimīn (Princess of Muslims) and as Mother of Khalil. 13 This is the first key point to the question of visibility because these are aural and visual instances of occupying the public sphere, of making herself “visible” through the voicing of public speech—notably the khutba—and the

David J. Roxburgh

tripled or quadrupled. On the page, the voice of each speaker—al-Harith and Abu Zayd—is emphasized amid continuous text by the expansion of the letter lām making up the verb qāla (“he said”), for example. The formal patterning of text emphasizes and renders legible the various structures and modes of