Printing Arab Modernity

Printing Arab Modernity presents printed books and pamphlets as important sites for visual, material, and cultural analysis in nineteenth-century Beirut, during a time of an emerging Arab modernity.

The Islamic world's artistic traditions experienced profound transformation in the 19th century as rapidly developing technologies and globalizing markets ushered in drastic changes in technique, style, and content. Despite the importance and ingenuity of these developments, the 19th century remains a gap in the history of Islamic art. To fill this opening in art historical scholarship, Making Modernity in the Islamic Mediterranean charts transformations in image-making, architecture, and craft production in the Islamic world from Fez to Istanbul. Contributors focus on the shifting methods of production, reproduction, circulation, and exchange artists faced as they worked in fields such as photography, weaving, design, metalwork, ceramics, and even transportation. Covering a range of media and a wide geographical spread, Making Modernity in the Islamic Mediterranean reveals how 19th-century artists in the Middle East and North Africa reckoned with new tools, materials, and tastes from local perspectives.

Die Studie untersucht für die Jahre vor dem Ersten Weltkrieg anhand der arabisch-palästinensischen Zeitung Filas?in lokale Debatten um politische Ordnung, kollektive Identität und Beziehungen zwischen ethnischen und konfessionellen Gruppen; dies vor dem Hintergrund transregionaler und transosmansicher Zusammenhänge. Dies ist deshalb relevant, weil Gruppenbeziehungen in Palästina für diese Phase der osmanischen Moderne wenig erforscht sind und sich in einer tiefen Umbruchphase, einer sog. ›Sattelzeit‹, befanden. Filastin, veröffentlicht ab 1911 in Jaffa von Isa al-Isa und Yusuf al-Isa, lokalen griechisch-orthodoxen Christen, diente als Medium, in dem ein vielfältiges Spektrum an palästinensischen Autoren verschiedener Konfession folgende Fragen kontrovers verhandelte: 1. Regeln des Zusammenlebens im multiethnisch und multikulturell geprägten Jaffa; 2. Die Integrierbarkeit der jüdisch-zionistischen Einwanderer in die Region, und 3. die Partizipation arabisch-palästinensischer Christen im von Griechen dominierten griechisch-orthodoxen Patriarchat von Jerusalem. Exploring Filas?in in the context of Arab Palestinian press development, its specific environment and networks, and the political culture after the Young Turk Revolution, this study analyzes the main concepts and terminological features that are conveyed through ist coverage. Further, it studies Palestinian group relations in the light of three selected case studies: the press debate on 1. the social cohabitation of groups in the Jaffa region, 2. the socio-economic integration of Zionist immigrants into the Jerusalem District, and 3. the political participation of Arab Palestinian Orthodox Christians in the administration of the Greek Orthodox Patriarchate of Jerusalem, and their opposition against the clerical establishment. Filastin was published from 1911 onwards in the coastal town of Jaffa by the cousins Yusuf and Isa al-Isa, Arab Palestinians of Greek Orthodox confession. Soon, it had established itself as a 'forum of debate' in late Ottoman Palestine, serving a pool of authors from different ethnic and confessional but similar educational backgrounds and moral values as a public medium to which they contributed through publishing articles, protest letters, petitions, etc. On its pages, these authors controversially discussed concepts of collective identity, society-building, political order and all kinds of reforms that they perceived progressive and as fitting the 'spirit of the age', as they called it: the age of Ottoman Constitutionalism and modernity. This study explores local debates on Palestinian group relations through Filastin during the years 1911 until 1914 which is relevant since, during this period of time, the Arab Middle East in general and Palestine in specific underwent a so-called 'saddle period'; a deep and fundamental change with regard to social relations and political concepts that is still rather unexplored in today's scholarship.

Arabic printing began in Eastern Europe and the Ottoman Levant through the association of the scholar and printer Antim the Iberian, later a metropolitan of Wallachia, and Athanasios III Dabbās, twice patriarch of Antioch, when the latter, as metropolitan of Aleppo, was sojourning in Bucharest. This partnership resulted in the first Greek and Arabic editions of the Book of the Divine Liturgies (Snagov, 1701) and the Horologion (Bucharest, 1702). With the tools and expertise that he acquired in Wallachia, Dabbās established in Aleppo in 1705 the first Arabic-type press in the Ottoman Empire. After the Church of Antioch divided into separate Greek Orthodox and Greek Catholic Patriarchates in 1724, a new press was opened for Arabic-speaking Greek Catholics by ʻAbdallāh Zāḫir in Ḫinšāra (Ḍūr al-Šuwayr), Lebanon. Likewise, in 1752-1753, a press active at the Church of Saint George in Beirut printed Orthodox books that preserved elements of the Aleppo editions and were reprinted for decades. This book tells the story of the first Arabic-type presses in the Ottoman Empire which provided church books to the Arabic-speaking Christians, irrespective of their confession, through the efforts of ecclesiastical leaders such as the patriarchs Silvester of Antioch and Sofronios II of Constantinople and financial support from East European rulers like prince Constantin Brâncoveanu and hetman Ivan Mazepa.

Ayalon explores the birth of Arab printing, publishing, dissemination methods, and mass readership during the formative phase from 1800 to 1914.

What was popular entertainment like for everyday Arab societies in Middle Eastern cities during the long nineteenth century? In what ways did café culture, theatre, illustrated periodicals, cinema, cabarets, and festivals serve as key forms of popular entertainment for Arabic-speaking audiences, many of whom were uneducated and striving to contend with modernity's anxiety-inducing realities? Studies on the 19th to mid-20th century's transformative cultural movement known as the Arab nahda (renaissance), have largely focussed on concerns with nationalism, secularism, and language, often told from the perspective of privileged groups. Highlighting overlooked aspects of this movement, this book shifts the focus away from elite circles to quotidian audiences. Its ten contributions range in scope, from music and visual media to theatre and popular fiction. Paying special attention to networks of movement and exchange across Arab societies in Lebanon, Syria, Egypt, Iraq, and Morocco, this book heeds the call for 'translocal/transnational' cultural histories, while contributing to timely global studies on gender, sexuality, and morality. Focusing on the often-marginalized frequenters of cafés, artist studios, cinemas, nightclubs, and the streets, it expands the remit of who participated in the nahda and how they did.

The Ottoman Syrians - residents of modern Syria and Lebanon - formed the first Arabic-speaking Evangelical Church in the region. This book offers a fresh narrative of the encounters of this minority Protestant community with American missionaries, Eastern churches and Muslims at the height of the Nahda, from 1860 to 1915. Drawing on rare Arabic publications, it challenges historiography that focuses on Western male actors. Instead it shows that Syrian Protestant women and men were agents of their own history who sought the salvation of Syria while adapting and challenging missionary teachings. These pioneers established a critical link between evangelical religiosity and the socio-cultural currents of the Nahda, making possible the literary and educational achievements of the American Syrian Mission and transforming Syrian society in ways that still endure today.

Over the course of the seventeenth to eighteenth centuries, an interior private notion of religion gained wide public recognition. It then spread through settler colonial contexts around the world. It has since been criticized for its abstract, immaterial nature as well as its irrelevance to traditions beyond the European context. However, such critiques obscure the contradiction between religion’s definition as a matter of interior privacy and its public visibility in various printed publications. Timothy Stanley responds by re-evaluating the cultural impact of the exterior forms in which religious texts were printed, such as pamphlets, broadsheets, books, and journals. He also applies that evidence to critical studies of religion shaped by the crisis of representation in the human sciences. While Jacques Derrida is oft-cited as a progenitor of that crisis, the opposite case is made. Additionally, Stanley draws on Derrida’s thought to reframe the relation between a religious text’s internal hermeneutic interests and its external forms. In sum, this book provides a new model of how people printed religion in ways that can be compared to other material cultures around the world.