Universität Wien FIND

Kehren Sie für das Sommersemester 2022 nach Wien zurück. Wir planen Lehre überwiegend vor Ort, um den persönlichen Austausch zu fördern. Digitale und gemischte Lehrveranstaltungen haben wir für Sie in u:find gekennzeichnet.

Es kann COVID-19-bedingt kurzfristig zu Änderungen kommen (z.B. einzelne Termine digital). Informieren Sie sich laufend in u:find und checken Sie regelmäßig Ihre E-Mails.

Lesen Sie bitte die Informationen auf https://studieren.univie.ac.at/info.

240035 VS The politics of cultural production in the Middle East (3.3.6) (2018S)

Prüfungsimmanente Lehrveranstaltung

Participation at first session is obligatory!


Hinweis: Ihr Anmeldezeitpunkt innerhalb der Frist hat keine Auswirkungen auf die Platzvergabe (kein "first come, first served").


max. 40 Teilnehmer*innen
Sprache: Englisch


Termine (iCal) - nächster Termin ist mit N markiert

Dienstag 06.03. 15:00 - 16:30 Hörsaal C, NIG 4. Stock
Dienstag 13.03. 15:00 - 16:30 Hörsaal A, NIG 4.Stock
Dienstag 20.03. 15:00 - 16:30 Seminarraum A, NIG 4. Stock
Dienstag 10.04. 15:00 - 16:30 Hörsaal A, NIG 4.Stock
Dienstag 17.04. 15:00 - 16:30 Seminarraum A, NIG 4. Stock
Dienstag 24.04. 15:00 - 16:30 Hörsaal A, NIG 4.Stock
Dienstag 08.05. 15:00 - 16:30 Seminarraum A, NIG 4. Stock
Dienstag 15.05. 15:00 - 16:30 Seminarraum A, NIG 4. Stock
Dienstag 29.05. 15:00 - 16:30 Seminarraum A, NIG 4. Stock
Dienstag 05.06. 15:00 - 16:30 Seminarraum A, NIG 4. Stock
Dienstag 12.06. 15:00 - 16:30 Seminarraum A, NIG 4. Stock
Dienstag 19.06. 15:00 - 16:30 Hörsaal C, NIG 4. Stock
Dienstag 26.06. 15:00 - 16:30 Hörsaal C, NIG 4. Stock


Ziele, Inhalte und Methode der Lehrveranstaltung

The study of cultural production has been central for anthropologists focusing on the Middle East. The ethnographies, theoretical insights, and methodological deliberations produced by these scholars however impacted anthropology as a discipline far beyond area-specific limitations. Whether nowadays' anthropologists study the arts, film, music, poetry, social media, or the mass media, it has become inevitable to demonstrate an understanding of and the capability to relate one's own research to theories and case-studies of Middle Eastern cultural production. Where appropriate, comparisons will be made with anthropological research produced in other contexts (West Africa, South Asia). The lecture will deal with four intersecting areas:

(1) Media
From CNN’s first live-broadcast of the Gulf war to the impact of social media usage on the dynamics of the Arab Spring, this section enables students to understand the ways in which media not only influenced local affairs in the region but how Western media outlets played a decisive role in portraying specific images of the Middle East.

(2) Popular Culture
Whether Egyptian songs, Palestinian poems and rap music, or Arab Gulf soap operas, students will learn to not only assess the impact of popular culture on notions of identity, national belonging, and religion but to also place these productions into larger contemporary and past socio-political contexts.

(3) Consumption
This section deals with contemporary consumption practices in regards to cultural production and material culture in the Middle East, including debates on Islamic fashion, Ramadan television serials, the rise of shopping malls as social spaces, and car-drifting/joy-riding practices.

(4) Art
Besides discussing modern and contemporary art production in the region, students will learn to place artworks into their larger societal frameworks, and critically assess the role that governments, cultural policies, and private art collectors play in the market. This part will also discuss the newly awakened interest of Western institutions in Middle Eastern art production, the rise of museum-franchises in the Arab Gulf, and the politics of representation at biennials and art fairs.

Art der Leistungskontrolle und erlaubte Hilfsmittel

The course will involve lecture elements and class discussions on readings, as well as the use of audio-visual materials to demonstrate case-studies in each section. Students have to attend classes regularly and submit 2 response essays, 1 presentation, as well as a final paper.

Mindestanforderungen und Beurteilungsmaßstab

To pass the course, students must
* write two response essays [2-3 pages] (30%)
* give one class presentation (10%)
* participate in discussions (10%)
* submit a final paper [10-15 pages] (50%)
The essays must stand in response to readings of two chosen sections. The class presentation of a reading will then have to deal with another section. Topics for the final paper must be suggested and approved well in advance of the end of the semester.


see above


Selected Literature (full list to be handed out in class)
Abu-Lughod, L. 1986. Veiled sentiments: Honor and poetry in a Bedouin society. Berkeley, London: University of California Press.
———. 2005. Dramas of nationhood: The politics of television in Egypt. Lewis Henry Morgan lectures series. Chicago, Ill, London: University of Chicago Press.
Armbrust, W. 1998. When the lights go down in Cairo: Cinema as secular ritual. Visual Anthropology 10(2):413–42.
———, ed. 2000. Mass mediations: New approaches to popular culture in the Middle East and beyond. Berkeley: University of California Press.
El Hamamsy, W., and M. Soliman. 2014. Popular culture in the Middle East and North Africa: A postcolonial outlook. London: Routledge.
Fillitz, T. 2012. The Mega-Event and the World Culture of Biennials: Dak’Art, the Biennale of Dakar. in: The Event as a Privileged Medium in the Contemporary Art World. Maska:147–48.
Hirschkind, C. 2006. The Ethical Soundscape: Cassette Sermons and Islamic Counterpublics. New York, NY: Columbia University Press.
Meneley, A. 2007. Fashions, and Fundamentalisms in Fin-De-Siècle Yemen: Chador Barbie and Islamic Socks. Cultural Anthropology 22(2):214–43.
Ménoret, P. 2014. Joyriding in Riyadh: Oil, urbanism, and road revolt. Cambridge Middle East studies. New York: Cambridge University Press.
Salamandra, C. 1998. Moustache hairs lost: Ramadan television serials and the construction of identity in Damascus, Syria. Visual Anthropology 10(2):226–46.
Scheid, K. 2008. What We Do Not Know: Questions for a Study of Contemporary Arab Art. International Institute for Studies of Islam in the Modern World Review (ISIM)(22):14–15.
Shryock, A. J. 2002. New Images of Arab Detroit: Seeing Otherness and Identity through the Lens of September 11. American Anthropologist 104(3):917–22.
Sindelar, M. 2016. Local, Regional, Global: An Investigation of Art Dubai’s Transnational Strategies. Arabian Humanities(7).
Stein, R. L., and T. Swedenburg, eds. 2005. Palestine, Israel, and the politics of popular culture. Durham, N.C. Duke University Press.
Velthuis, O., ed. 2015. Cosmopolitan Canvases: The Globalization of Markets for Contemporary Art. Oxford: Oxford Univ. Press.
Winegar, J. 2006. Creative reckonings: the politics of art and culture in contemporary Egypt: Stanford studies in Middle Eastern and Islamic societies and cultures. Stanford, Calif: Stanford Univ. Press.
———. 2006. Cultural Sovereignty in a Global Art Economy: Egyptian Cultural Policy and the New Western Interest in Art from the Middle East. Cultural Anthropology 21(2):173.
Zuhur, S., ed. 1998. Images of enchantment: Visual and performing arts of the Middle East. Cairo, Egypt: American University in Cairo Press.

Zuordnung im Vorlesungsverzeichnis

Letzte Änderung: Mo 07.09.2020 15:39