240035 VS The politics of cultural production in the Middle East (3.3.6) (2018S)
Prüfungsimmanente Lehrveranstaltung
Labels
Participation at first session is obligatory!
An/Abmeldung
Hinweis: Ihr Anmeldezeitpunkt innerhalb der Frist hat keine Auswirkungen auf die Platzvergabe (kein "first come, first served").
- Anmeldung von Do 01.02.2018 00:01 bis Mo 26.02.2018 23:59
- Abmeldung bis Mo 19.03.2018 23:59
Details
max. 40 Teilnehmer*innen
Sprache: Englisch
Lehrende
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
Information
Ziele, Inhalte und Methode der Lehrveranstaltung
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.
* 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.
Prüfungsstoff
see above
Literatur
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.
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
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.